COLE PORTER Arthur Kopit Susan Birkenhead by Philip Barry

Total Page:16

File Type:pdf, Size:1020Kb

COLE PORTER Arthur Kopit Susan Birkenhead by Philip Barry Music & Lyrics by COLE PORTER Book by Arthur Kopit Additional Lyrics by Susan Birkenhead Based on the play “The Philadelphia Story” by Philip Barry DIRECTED BY DAVID HUNTER KOCH MUSIC DIRECTION BY MARK RABE ILLSLEY BALL NORDSTROM RECITAL HALL AT BENAROYA HALL 200 University Street, Seattle, WA 98111 Director’s Note Some of the cleverest, funniest and most romantic songs ever written came featured in a now long forgotten Broadway revue, to his last score for a CBS television production of Aladdin in 1958, Porter crafted hundreds of songs for dozens of musicals: “Night and Day,” “I Get a Kick Out of You,” I’ve Got You Under My Skin,” ”My Heart Belongs to Daddy,” “Begin the Beguine,” “You’re the Top,” and on and on... successful composer/lyricist to move songs out of the simple sentimentality of Tin Pan Alley to explore subjects that, at the time, were thought too taboo for audiences. It was his urbane wit and musical complexity that won audiences over and the affection of the entire world. This year being the 50th anniversary of Cole Porter’s death, it seems appropri- ate to take a moment to relish his clever melodies and witty lyrics in this funny and touching musical. So sit back and enjoy HIGH SOCIETY as our amazingly talented cast share with you the many reasons why Cole Porter’s songs are so CAST De Lovely. (Sorry... couldn’t help myself!) Enjoy! David Hunter Koch MUSICAL NUMBERS Printing: United Reprographics Photo credit: Chris Bennion Graphic Design: Julie Carlos The use of any recording device, either audio or video, and the taking of 2 Director’s Note Music and Lyrics by COLE PORTER Book by Arthur Kopit Additional Lyrics by Susan Birkenhead Based on the play “The Philadelphia Story” by Philip Barry Also based on the Turner Entertainment Co. motion picture “High Society” Original Broadway Production Produced by: Lauren Mitchell and Robert Gailus, Hal Luftig and Richard Samson Dodger Endemol Theatricals in association with Bill Haber Originally Producers by American Conservatory Theatre, San Francisco, CA. Carey Perloff, Artistic Director, Heather Kitchen, Managing Director High Society in Concert is presented by arrangement with Tams-Witmark Music Library, Inc., 560 Lexington Avenue, New York, New York 10022 CAST Tracy Lord - Danielle Barnum* Dinah Lord – Analiese Guettinger - Jared Michael Brown* Margaret Lord – Valerie Piacenti* Mike Connor - Matt Giles Seth Lord – Paul Klein* - Katherine Strohmaier* – John X. Deveney George Kittredge - Matthew Posner* – Mallory King, Marissa Ryder, Mike Spee MUSICAL NUMBERS ACT I ACT II Prologue Entr’acte High Society/Ridin’ High Opening Act Two Throwin’ A Ball Tonight Let’s Misbehave Little One I’m Getting Myself Ready For You Who Wants To Be A Millionaire? Just One Of Those Things I Love Paris Well, Did You Evah? Tennis You’re Sensational She’s Got That Thing Say It With Gin Once Upon A Time Reprise: Ridin’ High I Worship You It’s All Right With Me Finale Act One/ True Love He’s A Right Guy Finale, Act Two The use of any recording device, either audio or video, and the taking of * are members of Actors’ Equity Association, the union of Professional Actors and Stage Managers in the United States. 3 CAST High Society, the story of Tracy Samantha Lord’s impending nuptials, started life in 1939 as Philip Barry’s play The Philadelphia Story, starring Katharine Hepburn. The following year, and James Stewart. Hepburn and Stewart were nominated for Academy Awards for own, so she probably didn’t regret the loss.) Sixteen years later, Cole Porter (see Writer bio) would add music – ten new songs to be performed by no less than Frank Sinatra, Bing Crosby, Grace Kelly, and Louis Armstrong. In 1998, the story came back to Broadway, with Porter’s songs still attached. When we meet Tracy Lord, with her mother and younger sister Dinah, she is busy preparing for her second wedding at the estate of her rather absent-minded Uncle Willie. It doesn’t invited a couple of tabloid reporters from Spy magazine to cover her wedding. Sure as point-and-shooting, writer Mike Connor and photographer Liz Imbrie arrive to work undercover on their inside scoop article. In order to keep Spy readers unaware of the Lord family’s marital problems, Tracy introduces Uncle Willie as her father, which only works out until Tracy’s father Seth shows up himself. attention from a charming young reporter. Although alcohol has embarrassed her in the past, the situation drives her back to drink. for their own reasons, Liz gets stuck fending off Uncle Willie’s increasing attentions, and Mike follows Tracy for a late dip in the pool. Everyone’s memory is a bit foggy the next morning, but not foggy enough to keep George from leaving. Mike and Liz remember that they never wanted to be millionaires, Tracy’s parents have reunited, and love is in the air. But with the wedding planned and guests arriving, who will be the groom? It seems that sometimes “just one of those things” can turn out to be “true love” after all. ~ Jon Lutyens Production Team Director:Music Director: Mark Rabe Production Stage Manager: Susannah Butler* Assistant Stage Manager: Xandria Nirvana Barber Costumer:Artistic Associate: Jon Lutyens Band Piano/Conductor: Mark Rabe Percussion: Brad McRae : Dane Anderson Bass: Lauren Hendrix 4 CAST DANIELLE BARNUM* Danielle is thrilled to make her SHOWTUNES debut! Other favorite credits include Balagan Theatre’s Les Miserables (Eponine), Into the Woods (The Witch) at Mt. Baker Theatre, the workshop of First Date (Allison) at 5th Avenue Theatre/ACT, Iron Curtain (Masha) at Village Theatre, Chicago (Roxie), the title role of Jane Eyre at SMT, Tell Me on a Sunday (Emma) at Artswest, Kristin Knox on TNT’s Leverage commercial work. In her offstage life, Danielle is happy as a freelance photographer at www.inspirebydanielle.com Jared is so honored to be returning to SHOWTUNES with JARED MICHAEL High Society, nearly three years since his debut in the titular role of George M!. Seattle credits include: Oliver!, Secondhand Lions, Pirates of Penzance, Titanic: The Concert, Oklahoma!, Cinderella, Saving Aimee, A Christmas Story: The Musical, and Adventure Musical Theatre at The 5th Avenue Theatre; and The Mousetrap and Iron Curtain at Village Theatre. He loves staged readings and new works. And his family. John is happy to return to SHOWTUNES after appearing in Miracle on 34th Street last Christmas. John has been seen at the Village Theatre in The Odd Couple, Iron Curtain, The Full Monty, Meet Me in St. Louis and Beauty and the Beast. Love to my beautiful wife Celeste, our college bound son, Ian, and the rest of the Deveney clan for their continued love and support. Cheers! Matt is thrilled to be a part of another SHOWTUNES MATT GILES production, and to be onstage with this amazingly talented group of performers. Matt is an actor, director, music director, and theatre teacher across the Puget Sound region. Originally from South Carolina, he made the cross country trek to work at Seattle Repertory Theatre. He misses his family and sweet tea, but loves 5 CAST (continued) CAST (continued) ANALIESE Analiese is delighted to join this stupendous cast after GUETTINGER previously being seen this season in Miracle on 34th Street as Susan Walker. Credits include: Grey Gardens (5th Avenue Theatre), Fiddler on the Roof, Annie Get Your Gun, Anne of Green Gables, Meet Me in St. Louis, Showboat (Village Theatre), Annie Get Your Gun, Fiddler on the Roof (Seattle Musical Theatre), A Christmas Carol (ACT). Love to the fam and the friends. MALLORY KING Mallory is pleased to be back at SHOWTUNES work- ing with such wonderful people. Favorite roles include Mary Poppins, Dorothy (Wizard of Oz), and Olive (Spelling Bee) all done at CST. 5th Avenue Theatre credits: Oklahoma! Music Man, and Oliver! Up next, Funny Girl at Village! Paul last appeared with SHOWTUNES as the off-center PAUL KLEIN* lawyer Simon Whitehead in Annie Warbucks. Locally he has worked at Seattle Children’s Theatre, Village The- atre, Seattle Shakespeare Festival and Tacoma Actor’s Guild. He has appeared at the Edinburgh Fringe festival, - vatory for the Performing Arts. Paul is a regular National Anthem singer for local sports teams. VALERIE PIACENTI* Valerie is delighted to be making her debut with SHOWTUNES! No stranger to Seattle audiences, she has appeared in productions at Seattle Rep, numerous revues at Cabaret de Paris and was in the last cast of Angry Housewives at Pioneer Square Theatre. She was Silver Lining both in Seattle and London. Valerie made her Broadway debut in The Pirates of Penzance starring Kevin Kline. 6 CAST (continued) CAST (continued) ANALIESE GUETTINGER Matthew is pleased to work with SHOWTUNES! Most recently seen at the 5th Avenue in Oliver, Pirates of Penzance and the World Premier of Secondhand Lions. Other credits include Fiddler on the Roof, Showboat, Saint Heaven, Gypsy King (Village Theatre); Camelot (National Tour). Matthew has also launched his voice- over career with various cartoons, video games, and radio/internet adds with Sony and Sharper Image. www.matthewposneractor.yolasite.com Marissa is thrilled to be making her SHOWTUNES debut MARISSA RYDER with High Society. Most recently seen as Meg in Little Women at Artswest, Marissa is a graduate of University of Puget Sound in Vocal Performance. Favorite roles include Claudia Nardi (Nine), Nellie (), Belle (Beauty and the Beast), Maria (Sound of Music) and Irene Lyle in the premiere of Ghosts of Celilo at Artists Repertory Theatre (PDX). PAUL KLEIN* MIKE SPEE Mike is excited to be back with SHOWTUNES after last being seen in Real to Reel.
Recommended publications
  • Arthur Kopit: Inveterate
    KU ScholarWorks | The Inge Digital Collection http://kuscholarworks.ku.edu Arthur Kopit: Inveterate Analyst of Frail Human Minds by Jeff Loomis Presented at the William Inge Theater Festival. March 29, 2014 The Inge Digital collection in KU ScholarWorks contains scholarly conference papers presented at the annual William Inge Theatre Festival, held at Independence Community College, in Independence, KS. The Independence Community College library is the curator of the William Inge Collection, home of over 400 manuscripts by William Inge donated primarily by Inge and his family, as well as press clippings, memorabilia and books. Arthur Kopit: Inveterate Analyst of Frail Human Minds By Jeff Loomis Presented at the William Inge Theater Festival 2014 2 Arthur Kopit: Inveterate Analyst of Frail Human Minds ”Wings,” produced in 1979 to high acclaim, is a key work in Arthur Kopit’s dramatic canon. In preparing this poignant transcription of one character’s efforts to conquer the debilitation caused by a cerebral hemorrhage, Kopit researched much medical data, after first having confronted his own father’s stroke and resultant death (“Wings” 142-143). Indeed, some critics have surmised that Emily Stilson, the central character of “Wings,” also dies, after enduring her second stroke, at the culmination of her drama’s plot (Simon 78, Rosen 78). The conclusion of the play seems ambiguous to me, though, and the drama surely strives, through much of its action, to demonstrate the slow, but apparently sure, dimensions of a recuperation that Emily Stilson had known, at least for a time. Meanwhile, of course, she did suffer (and we thus see dramatized) abundant personal anguish.
    [Show full text]
  • Music, Dance and Theatre (MDT) 1
    Music, Dance and Theatre (MDT) 1 MDT 510 Latin American Music (3 Credits) MUSIC, DANCE AND THEATRE A course in the music of selected Latin America countries offering music and Spanish-language majors and educators perspectives into the (MDT) musical traditions of this multifaceted region. Analysis of the music will be discussed in terms that accommodate non specialists, and all lyrics MDT 500 Louis Armstrong-American Hero (3 Credits) will be supplied with English translations. A study of the development of jazz with Louis Armstrong as the vehicle: MDT 511 Vocal Pedagogy (3 Credits) who he influenced and how he did it. Comparative analytical studies with This course is to provide the student of singing a deeper understanding his peers and other musicians are explored. of the vocal process, physiology, and synergistic nature of the vocal MDT 501 Baroque Music (3 Credits) mechanism. We will explore the anatomical construction of the voice as This course offers a study of 17th and 18th century music with particular well as its function in order to enlighten the performer, pedagogue and emphasis on the works of Johann Sebastian Bach, Dietrich Buxtehude, scholar. Each student will learn to codify a practical knowledge of, and Arcangelo Corelli, Francois Couperin, Andrea and Giovanni Gabrieli, skill in, teaching voice. George Frederick Handel, Jean-Baptiste Lully, Claudio Monteverdi, Jean- MDT 520 Musical On B'Way&Hollywood I (3 Credits) Philippe Rameau, Alessandro and Domenico Scarlatti, Gerog Telemann, This course offers an analysis of current Broadway musicals with special and Antonio Vivaldi. seminars with those connected with one or two productions.
    [Show full text]
  • A Quantitative Analysis of the Songs of Cole Porter and Irving Berlin
    i DEVELOPMENT OF CREATIVE EXPERTISE IN MUSIC: A QUANTITATIVE ANALYSIS OF THE SONGS OF COLE PORTER AND IRVING BERLIN A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy By Richard W. Hass January, 2009 ii ABSTRACT Previous studies of musical creativity lacked strong foundations in music theory and music analysis. The goal of the current project was to merge the study of music perception and cognition with the study of expertise-based musical creativity. Three hypotheses about the nature of creativity were tested. According to the productive-thinking hypothesis, creativity represents a complete break from past knowledge. According to the reproductive-thinking hypothesis, creators develop a core collection of kernel ideas early in their careers and continually recombine those ideas in novel ways. According to what can be called the field hypothesis, creativity involves more than just the individual creator; creativity represents an interaction between the individual creator, the domain in which the creator works, and the field, or collection of institutions that evaluate creative products. In order to evaluate each hypothesis, the musical components of a sample of songs by two eminent 20 th century American songwriters, Cole Porter and Irving Berlin, were analyzed. Five separate analyses were constructed to examine changes in the psychologically salient musical components of Berlin’s and Porter’s songs over time. In addition, comparisons between hit songs and non-hit songs were also drawn to investigate whether the composers learned from their cumulative songwriting experiences. Several developmental trends were found in the careers of both composers; however, there were few differences between hit songs and non-hit songs on all measures.
    [Show full text]
  • Phantom’ Otleibein College Will Present Its Turns the Gothic Novel Into a Psycho­ the Opera House
    Page 2 ThliW oalt in W aatervllla A pril 15, 1996 Otterbein sets elaborate staging of ‘Phantom’ Otleibein College will present its turns the gothic novel into a psycho­ the opera house. matinee at 2 p.m. Quenon is a Trappist monk at the second musical of the year when logical love story, as the Phantom's What the aging diva docs to thwart Tickets arc $13 for Friday and Sat­ Abbey of Gethscmani in Kentucky. “Phantom" is staged April 25-28 and background and motivations are ex­ Christine’s ambitions sets up the cli­ urday shows and $11 for Thursday Quenon’s images are studies of na­ May 2-4. plored. max of this version, as the Phantom and Sunday shows. Reservations may ture and his immediate surroundings: The musical is co-sponsored by The story delves into the soul of kidnaps Christine and is pursued into be made by calling the box office at the hionastcry walls, windows and the Otterbein College Theatre and the the man-monster who lives in a self- the catacombs. 823-1109 between I and 4:30 p.m. doors; the forms, textures and pat­ Department of Music and Dance. created world deep in the catacombs “Phantom” lias it all — humor, beginning Tuesday. terns of light discovered in content The American version of “Phan­ beneath the Paris Opera House. Ex­ drama, action, beauty, romance, stag­ plative seeing. tom" promises to be the most elabo­ plorations of the inner man reveal a ing, incredible sets, wonderful cos­ A poet as well as a photographer, rate production Otterbein has ever perceptive soul as rigidly secreted tumes, electrifying special effects.
    [Show full text]
  • Groove Doctors - Song List
    GROOVE DOCTORS - SONG LIST VOCAL STANDARDS A KISS TO BUILD A DREAM ON ALL THE WAY AT LAST AS TIME GOES BY BEYOND THE SEA BUT NOT FOR ME CHEEK TO CHEEK COME FLY WITH ME COME RAIN AND COME SHINE DO NOTHING TILL YOU HEAR FROM ME DOWN IN BRAZIL EAST OF THE SUN EMBRACEABLE YOU FLY ME TO THE MOON GREEN DOLPIN STREET HEART ANDSOUL HERE’S THAT RAINY DAY HOW HIGH THE MOON I CONCENTRATE ON YOU I LEFT MY HEART IN SAN FRANCISCO I LOVE BEIN HERE WITH YOU ISN’T IT ROMANTIC I THOUGHT ABOUT YOU IT DON’T MEAN A THING I’VE GOT THE WORLD ON A STRING I’VE GOT YOU UNDER MY SKIN I WANNA BE AROUND LET’S FALL IN LOVE LIKE A LOVER LIKE SOMEONE IN LOVE LOVE AND MARRIAGE LOVE DANCE MASQUERADE MISTY MOONDANCE MY FUNNY VALENTINE MY ONE AND ONLY LOVE MY ROMANCE NEW YORK NEW YORK NEW YORK STATE OF MIND NIGHT AND DAY VOCAL STANDARDS OLD DEVIL MOON ON THE SUNNY SIDE OF THE STREET OUR LOVE IS HERE TO STAY PIANO MAN RUBY RUBY SCOTCH AND SODA SINCE I FELL FOR YOU SOMEONE TO WATCH OVER ME SPEAK LOW STARDUST STEPPIN OUT WITH MY BABY STOMPIN AT THE SAVOY SUMMERTIME SUMMER WINDS TEACH ME TONIGHT THAT’S ALL THE BEST IS YET TO COME THE GOOD LIFE THE NEARNESS OF YOU THE SECOND TIME AROUND THE VERY THOUGHT OF YOU THE WAY YOU LOOK TONIGHT THERE WILL NEVER BE ANOTHER YOU TIME AFTER TIME UNFORGETTABLE WATCH WHAT HAPPENS WHAT A WONDERFUL WORLD WHAT ARE YOU DOIN NEW YEARS EVE WHEN I FALL IN LOVE WITCHCRAFT YOU DON’T KNOW ME YOU’D BE SO NICE TO COME HOME TO YOUR NOBODY TILL SOMEBODY LOVES YOU POP AND BALLADS ANOTHER STAR A SONG FOR YOU BACK AT ONE COPACABANA DADDY’S LITTLE GIRL FEEL LIKE
    [Show full text]
  • KEVIN COLE “America's Pianist” Kevin Cole Has Delighted
    KEVIN COLE “America’s Pianist” Kevin Cole has delighted audiences with a repertoire that includes the best of American Music. Cole’s performances have prompted accolades from some of the foremost critics in America. "A piano genius...he reveals an understanding of harmony, rhythmic complexity and pure show-biz virtuosity that would have had Vladimir Horowitz smiling with envy," wrote critic Andrew Patner. On Cole’s affinity for Gershwin: “When Cole sits down at the piano, you would swear Gershwin himself was at work… Cole stands as the best Gershwin pianist in America today,” Howard Reich, arts critic for the Chicago Tribune. Engagements for Cole include: sold-out performances with the Los Angeles Philharmonic at the Hollywood Bowl; BBC Concert Orchestra at Royal Albert Hall; National Symphony at the Kennedy Center; Hong Kong Philharmonic; San Francisco Symphony, Chicago Symphony, Philadelphia Orchestra, Philharmonia Orchestra (London); Boston Philharmonic, Adelaide Symphony Orchestra (Australia) Minnesota Orchestra, Pittsburgh Symphony, Dallas Symphony, Seattle Symphony,Vietnam National Symphony Orchestra; New Zealand Symphony, Edmonton Symphony (Canada), Ravinia Festival, Wolf Trap, Savannah Music Festival, Castleton Festival, Chautauqua Institute and many others. He made his Carnegie Hall debut with the Albany Symphony in May 2013. He has shared the concert stage with, William Warfield, Sylvia McNair, Lorin Maazel, Brian d’Arcy James, Barbara Cook, Robert Klein, Lucie Arnaz, Maria Friedman, Idina Menzel and friend and mentor Marvin Hamlisch. Kevin was featured soloist for the PBS special, Gershwin at One Symphony Place with the Nashville Symphony. He has written, directed, co- produced and performed multimedia concerts for: The Gershwin’s HERE TO STAY -The Gershwin Experience, PLAY IT AGAIN, MARVIN!-A Celebration of the music of Marvin Hamlisch with Pittsburgh Symphony and Chicago Symphony and YOU’RE THE TOP!-Cole Porter’s 125th Birthday Celebration and I LOVE TO RHYME – An Ira Gershwin Tribute for the Ravinia Festival with Chicago Symphony.
    [Show full text]
  • Cole Porter: the Social Significance of Selected Love Lyrics of the 1930S
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Unisa Institutional Repository Cole Porter: the social significance of selected love lyrics of the 1930s by MARILYN JUNE HOLLOWAY submitted in accordance with the requirements for the degree of MASTER OF ARTS in the subject of ENGLISH at the UNIVERSITY OF SOUTH AFRICA SUPERVISOR: PROFESSOR IA RABINOWITZ November 2010 DECLARATION i SUMMARY This dissertation examines selected love lyrics composed during the 1930s by Cole Porter, whose witty and urbane music epitomized the Golden era of American light music. These lyrics present an interesting paradox – a man who longed for his music to be accepted by the American public, yet remained indifferent to the social mores of the time. Porter offered trenchant social commentary aimed at a society restricted by social taboos and cultural conventions. The argument develops systematically through a chronological and contextual study of the influences of people and events on a man and his music. The prosodic intonation and imagistic texture of the lyrics demonstrate an intimate correlation between personality and composition which, in turn, is supported by the biographical content. KEY WORDS: Broadway, Cole Porter, early Hollywood musicals, gays and musicals, innuendo, musical comedy, social taboos, song lyrics, Tin Pan Alley, 1930 film censorship ii ACKNOWLEDGEMENTS I should like to thank Professor Ivan Rabinowitz, my supervisor, who has been both my mentor and an unfailing source of encouragement; Dawie Malan who was so patient in sourcing material from libraries around the world with remarkable fortitude and good humour; Dr Robin Lee who suggested the title of my dissertation; Dr Elspa Hovgaard who provided academic and helpful comment; my husband, Henry Holloway, a musicologist of world renown, who had to share me with another man for three years; and the man himself, Cole Porter, whose lyrics have thrilled, and will continue to thrill, music lovers with their sophistication and wit.
    [Show full text]
  • Cole Albert Porter (June 9, 1891 October 15, 1964) Was An
    Cole Albert Porter (June 9, 1891 October 15, 1964) was an American composer and songwriter. Born to a wealthy family in Indiana, he defied the wishes of his dom ineering grandfather and took up music as a profession. Classically trained, he was drawn towards musical theatre. After a slow start, he began to achieve succe ss in the 1920s, and by the 1930s he was one of the major songwriters for the Br oadway musical stage. Unlike many successful Broadway composers, Porter wrote th e lyrics as well as the music for his songs. After a serious horseback riding accident in 1937, Porter was left disabled and in constant pain, but he continued to work. His shows of the early 1940s did not contain the lasting hits of his best work of the 1920s and 30s, but in 1948 he made a triumphant comeback with his most successful musical, Kiss Me, Kate. It w on the first Tony Award for Best Musical. Porter's other musicals include Fifty Million Frenchmen, DuBarry Was a Lady, Any thing Goes, Can-Can and Silk Stockings. His numerous hit songs include "Night an d Day","Begin the Beguine", "I Get a Kick Out of You", "Well, Did You Evah!", "I 've Got You Under My Skin", "My Heart Belongs to Daddy" and "You're the Top". He also composed scores for films from the 1930s to the 1950s, including Born to D ance (1936), which featured the song "You'd Be So Easy to Love", Rosalie (1937), which featured "In the Still of the Night"; High Society (1956), which included "True Love"; and Les Girls (1957).
    [Show full text]
  • Cinema, Democracy and Perfectionism: Joshua Foa Dienstag in Dialogue
    Cinema, democracy and perfectionism CRITICAL POWERS Series Editors: Bert van den Brink (University of Utrecht), Antony Simon Laden (University of Illinois, Chicago), Peter Niesen (University of Hamburg) and David Owen (University of Southampton). Critical Powers is dedicated to constructing dialogues around innova- tive and original work in social and political theory. The ambition of the series is to be pluralist in welcoming work from different philosophical traditions and theoretical orientations, ranging from abstract concep- tual argument to concrete policy-relevant engagements, and encourag- ing dialogue across the diverse approaches that populate the field of social and political theory. All the volumes in the series are structured as dialogues in which a lead essay is greeted with a series of responses before a reply by the lead essayist. Such dialogues spark debate, fos- ter understanding, encourage innovation and perform the drama of thought in a way that engages a wide audience of scholars and students. Published by Bloomsbury On Global Citizenship, James Tully Justice, Democracy and the Right to Justification, Rainer Forst Forthcoming from Manchester University Press Rogue Theodicy – Politics and power in the shadow of justice, Glen Newey Democratic Inclusion, Rainer Baubock Law and Violence, Christoph Menke Autonomy Gaps, Joel Anderson Toleration, Liberty and the Right to Justification, Rainer Forst Cinema, democracy and perfectionism Joshua Foa Dienstag in dialogue Edited by Joshua Foa Dienstag Manchester University Press Copyright © Manchester University Press 2016 While copyright in the volume as a whole is vested in Manchester University Press, copyright in individual chapters belongs to their respective authors, and no chapter may be reproduced wholly or in part without the express permission in writing of both author and publisher.
    [Show full text]
  • Father Riggs of Yale by Stephen Schmalhofer
    Dispatch March 24, 2021 05:11 pm Father Riggs of Yale by Stephen Schmalhofer We open in Venice. On an Italian holiday in 1926, early on in his Broadway career, Richard Rodgers bumped into Noël Coward. Together they strolled the Lido before ducking into a friend’s beach cabana, where Coward introduced Rodgers for the first time to “a slight, delicate-featured man with soft saucer eyes.” Cole Porter grinned up at the visitors and insisted that both men join him for dinner that evening at a little place he was renting. Porter sent one of his gondoliers to pick up Rodgers. At his destination, liveried footmen helped him out of the boat. He gazed in wonder up the grand staircase of Porter’s “little place,” the three-story Ca’ Rezzonico, where Robert Browning died and John Singer Sargent once kept a studio. This was not the only dramatic understatement from Porter that day. In the music room after dinner, their host urged Rodgers and Coward to play some of their songs. Afterwards Porter took his turn. “As soon as he touched the keyboard to play ‘a few of my little things,’ I became aware that here was not merely a talented dilettante, but a genuinely gifted theatre composer and lyricist,” recalled Rodgers in his autobiography, Musical Stages. “Songs like ‘Let’s Do It,’ ‘Let’s Misbehave,’ and ‘Two Babes in the Wood,’ which I heard that night for the first time, fairly cried out to be heard from the stage.” Rodgers wondered aloud what Porter was doing wasting his talent and time in a life of Venetian indolence.
    [Show full text]
  • 1931 Article Titles and Notes Vol. III, No. 1, January 10, 19311
    1931 article titles and notes Vol. III, No. 1, January 10, 19311 "'The Youngest' Proves Entertaining Production of Players' Club. Robert W. Graham Featured in Laugh Provoking Comedy; Unemployed to Benefit" (1 & 8 - AC, CO, CW, GD, and LA) - "Long ago it was decided that the chief aim of the Players' Club should be to entertain its members rather than to educate them or enlighten them on social questions or use them as an element in developing new ideas and methods in the Little Theatre movement."2 Philip Barry's "The Youngest" fit the bill very well. "Antiques, Subject of Woman's Club. Chippendale Furniture Discussed by Instructor at School of Industrial Art. Art Comm. Program" (1 - AE and WO) - Edward Warwick, an instructor at the Pennsylvania Museum School of Industrial Art, spoke to the Woman's Club on "The Chippendale Style in America." "Legion Charity Ball Jan. 14. Tickets Almost Sold Out for Benefit Next Friday Evening. Auxiliary Assisting" (1 & 4 - CW, LA, MO, SN, VM, and WO) - "What was begun as a Benefit Dance for the Unemployed has grown into a Charity Ball sponsored by the local America Legion Post with every indication of becoming Swarthmore's foremost social event of the year." The article listed the "patrons and patronesses" of the dance. Illustration by Frank N. Smith: "Proposed Plans for New School Gymnasium" with caption "Drawings of schematic plans for development of gymnasium and College avenue school buildings" (1 & 4 - BB, CE, and SC) - showed "how the 1.035 acres of ground just west of the College avenue school which was purchased from Swarthmore College last spring might be utilized for the enlargement of the present building into a single school plant." "Fortnightly to Meet on Monday" (1 - AE and WO) - At Mrs.
    [Show full text]
  • The Journal of the Dramatists Guild of America, Inc
    The Journal of the Dramatists Guild of America, Inc. The the ageissue 2016 NOV/DEC $7 USD €10 EUR www.dramatistsguild.com FrontCOVER.indd 1 10/5/16 12:57 PM To enroll, go to http://www.dginstitute.org SEP/OCTJul/Aug DGI 16 ad.indd FrontCOVERs.indd 1 2 5/23/168/8/16 1:341:52 PM VOL. 19 No 2 TABLE OF NOV/DEC 2016 2 Editor’s Notes CONTENTS 3 Dear Dramatist 4 News 7 Inspiration – KIRSTEN CHILDS 8 The Craft – KAREN HARTMAN 10 Edward Albee 1928-2016 13 “Emerging” After 50 with NANCY GALL-CLAYTON, JOSH GERSHICK, BRUCE OLAV SOLHEIM, and TSEHAYE GERALYN HEBERT, moderated by AMY CRIDER. Sidebars by ANTHONY E. GALLO, PATRICIA WILMOT CHRISTGAU, and SHELDON FRIEDMAN 20 Kander and Pierce by MARC ACITO 28 Profile: Gary Garrison with CHISA HUTCHINSON, CHRISTINE TOY JOHNSON, and LARRY DEAN HARRIS 34 Writing for Young(er) Audiences with MICHAEL BOBBITT, LYDIA DIAMOND, ZINA GOLDRICH, and SARAH HAMMOND, moderated by ADAM GWON 40 A Primer on Literary Executors – Part One by ELLEN F. BROWN 44 James Houghton: A Tribute with JOHN GUARE, ADRIENNE KENNEDY, WILL ENO, NAOMI WALLACE, DAVID HENRY HWANG, The REGINA TAYLOR, and TONY KUSHNER Dramatistis the official journal of Dramatists Guild of America, the professional organization of 48 DG Fellows: RACHEL GRIFFIN, SYLVIA KHOURY playwrights, composers, lyricists and librettists. 54 National Reports It is the only 67 From the Desk of Dramatists Guild Fund by CHISA HUTCHINSON national magazine 68 From the Desk of Business Affairs by AMY VONVETT devoted to the business and craft 70 Dramatists Diary of writing for 75 New Members theatre.
    [Show full text]