A Chorus Line- Character Descriptions AGES 16 and OLDER
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“Kiss Today Goodbye, and Point Me Toward Tomorrow”
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Missouri: MOspace “KISS TODAY GOODBYE, AND POINT ME TOWARD TOMORROW”: REVIVING THE TIME-BOUND MUSICAL, 1968-1975 A Dissertation Presented to The Faculty of the Graduate School At the University of Missouri In Partial Fulfillment Of the Requirements for the Degree Doctor of Philosophy By BRYAN M. VANDEVENDER Dr. Cheryl Black, Dissertation Supervisor July 2014 © Copyright by Bryan M. Vandevender 2014 All Rights Reserved The undersigned, appointed by the dean of the Graduate School, have examined the dissertation entitled “KISS TODAY GOODBYE, AND POINT ME TOWARD TOMORROW”: REVIVING THE TIME-BOUND MUSICAL, 1968-1975 Presented by Bryan M. Vandevender A candidate for the degree of Doctor of Philosophy And hereby certify that, in their opinion, it is worthy of acceptance. Dr. Cheryl Black Dr. David Crespy Dr. Suzanne Burgoyne Dr. Judith Sebesta ACKNOWLEDGEMENTS I incurred several debts while working to complete my doctoral program and this dissertation. I would like to extend my heartfelt gratitude to several individuals who helped me along the way. In addition to serving as my dissertation advisor, Dr. Cheryl Black has been a selfless mentor to me for five years. I am deeply grateful to have been her student and collaborator. Dr. Judith Sebesta nurtured my interest in musical theatre scholarship in the early days of my doctoral program and continued to encourage my work from far away Texas. Her graduate course in American Musical Theatre History sparked the idea for this project, and our many conversations over the past six years helped it to take shape. -
Leonard Bernstein's MASS
27 Season 2014-2015 Thursday, April 30, at 8:00 Friday, May 1, at 8:00 The Philadelphia Orchestra Saturday, May 2, at 8:00 Sunday, May 3, at 2:00 Leonard Bernstein’s MASS: A Theatre Piece for Singers, Players, and Dancers* Conducted by Yannick Nézet-Séguin Texts from the liturgy of the Roman Mass Additional texts by Stephen Schwartz and Leonard Bernstein For a list of performing and creative artists please turn to page 30. *First complete Philadelphia Orchestra performances This program runs approximately 1 hour, 50 minutes, and will be performed without an intermission. These performances are made possible in part by the generous support of the William Penn Foundation and the Andrew W. Mellon Foundation. Additional support has been provided by the Presser Foundation. 28 I. Devotions before Mass 1. Antiphon: Kyrie eleison 2. Hymn and Psalm: “A Simple Song” 3. Responsory: Alleluia II. First Introit (Rondo) 1. Prefatory Prayers 2. Thrice-Triple Canon: Dominus vobiscum III. Second Introit 1. In nomine Patris 2. Prayer for the Congregation (Chorale: “Almighty Father”) 3. Epiphany IV. Confession 1. Confiteor 2. Trope: “I Don’t Know” 3. Trope: “Easy” V. Meditation No. 1 VI. Gloria 1. Gloria tibi 2. Gloria in excelsis 3. Trope: “Half of the People” 4. Trope: “Thank You” VII. Mediation No. 2 VIII. Epistle: “The Word of the Lord” IX. Gospel-Sermon: “God Said” X. Credo 1. Credo in unum Deum 2. Trope: “Non Credo” 3. Trope: “Hurry” 4. Trope: “World without End” 5. Trope: “I Believe in God” XI. Meditation No. 3 (De profundis, part 1) XII. -
Fly Over View of Musical Theatre History
Fly Over View of Musical Theatre History Rome Athens Modern drama can be traced Athens, Greece back to Greece in the 6th Century BC. It evolved from a religious Theatre of ceremony known as the Dionysus dithyramb, where 50 men Birthplace of dressed as satyrs would chant a theatre. choral song to the god Dionysus. • Only 1 to 3 actors performed 1st Actor • The chorus sang and danced but Thespis did not speak Rome We’re like the Greeks… only different! We like war and comedy! The Romans modeled their theatre after the Greeks. But rather than promoting moral values and philosophies, they stripped those things out. They kept the scandals and smut and left the religious messages out. They made fun of the middle class, and loved the gore and violence. Fly Over View of Musical Theatre History Medieval Times Rome Athens Medieval Europe Medieval Europe European Society was largely run by the Christian church. The Church did not like theatre. So they went in the complete opposite way from the Romans. • Almost all music was religious • Choirs used same Latin lyrics to different tunes • Street performers put on morality plays Performed in inn yards, pageant wagons, in the streets • Dance was evil – only of great cities, in the halls of knights, on top of hills or evil characters in play mountains. Stage production was temporary and could dance expected to be removed upon the completion of the performances. Fly Over View of Musical Theatre History Medieval Times Rome Italy- Opera Athens Medieval Europe Italy = Renaissance = Opera The Renaissance was a time of “rebirth” that started in Italy. -
Docking at the Benedum Center August 5-14
FOR IMMEDIATE RELEASE Contact: Aja Jones 412-281-3973 ext. 224 [email protected] Images: Press Room User: pressroom Pswd: pittstadium 10-TIME TONY AWARD®-WINNING MUSICAL THEATER MASTERPIECE DOCKING AT THE BENEDUM CENTER AUGUST 5-14 Pittsburgh, PA ∙ July 26, 2016 – Travel to Bali Ha’i with Billis and his crew in Rodgers & Hammerstein’s SOUTH PACIFIC, starring Broadway’s Ben Davis, James Snyder and Erika Henningsen August 5-14 at the Benedum Center. Tickets are now available and can be purchased online, by visiting the Theater Square Box Office or calling 412-456- 6666. Love transcends the harsh realities of war and prejudice in this sweeping Pulitzer Prize-winning tale centered around two unlikely love affairs. Set on a tropical island during World War II, this timeless Rodgers & Hammerstein classic features some of the most beautiful music ever composed woven into an inspiring story cherished the world over. The beloved score’s songs include “Some Enchanted Evening,” “I’m Gonna Wash That Man Right Outa My Hair,” and “There is Nothin’ Like a Dame” amidst big, Broadway performances and a chorus of American sailors and Navy nurses ready to take you to Bali Ha’i. ABOUT THE CAST Loretta Ables Sayre (Bloody Mary) had her NYC and Broadway debut as Bloody Mary in Lincoln Center Theater’s revival of South Pacific (Tony Award® nomination and Theatre World Award) and London debut at Barbican Theatre and U.K. tour. Other theatre credits include: Bloody Mary in South Pacific (The MUNY and Paper Mill Playhouse), Wrestling Ernest Hemingway (Hawaii Theatre), You Somebody (Diamond Head Theater), Dreamgirls (Hawaii Theatre), Song of the Navigator (Honolulu Theater for Youth - U.S. -
A CHORUS LINE Teaching Resource.Pages
2016-2017 SEASON 2016-2017 SEASON Teacher Resource Guide and Lesson Plan Activities Featuring general information about our production along with some creative activities to Tickets: thalian.org help you make connections to your classroom curriculum before and after the show. 910-251-1788 The production and accompanying activities address North Carolina Essential Standards in Theatre or Arts, Goal A.1: Analyze literary texts & performances. CAC box office 910-341-7860 Look for this symbol for other curriculum connections. A Chorus Line Book, Music & Lyrics by: Jim Jacobs and Warren Casey April 28th - May 7th 7:30 PM Friday - Saturday and 3:00 PM Sunday Hannah Block Historic USO / Community Arts Center Second Street Stage 120 South 2nd Street (Corner of Orange) About this Teaching Resource Resource This Teaching Resource is designed to help build new partnerships that employ theatre and the arts. A major theme that runs through A Chorus Line, is the importance of education and Summary: the influence of teachers in the performers’ lives. In the 2006 Broadway production of A Page 2 Chorus Line, it was stated that the cast had spent, all together, 472 years in dance training with Summary, 637 teachers! The gypsies in A Chorus Line, are judged and graded, just as students are About the Musical, every day. Students know what it’s like to be “on the line.” This study guide for A Chorus Line, explores the Pulitzer Prize winning show in an interdisciplinary curriculum that takes in Vocabulary English/Language Arts, History/Social Studies, Music, Theatre, and Dance. Learning about Page 3 how A Chorus Line, was created will make viewing the show a richer experience for young Gypsies, Writing Prompts, people. -
Download Urinetown Theatre Program
From the Director Welcome to the UAH campus and thank you for joining us tonight. Now that the cold dark days of winter are fading, we are here to celebrate the coming of spring with a fun Broad- way musical. This talented and devoted cast of players, artists, directors and technicians have been toiling through the winter months to prepare this wonderful piece of theatre to share with you, our humble audience. UAH Theatre is proud to be a part of this rich artistic community and privileged to offer this creative study to our students. Please enjoy the show and be sure to tell your friends that we are here producing live theatre at Huntsville’s own University. David Harwell - Director About the Musical Winner of three Tony awards and one of the most uproariously funny musicals in recent years, URINETOWN is a hilarious tale of greed, corruption, love, and revolution in a time when water is worth its weight in gold. In a Gotham-like city, a terrible water shortage, caused by a 20-year drought, has led to a government-enforced ban on private toilets. The citizens must use public amenities, regulated by a single malevolent company that profits by charging admission for one of humanity’s most basic needs. Amid the people, a hero decides he’s had enough, and plans a revolution to lead them all to freedom! Inspired by the works of Bertolt Brecht and Kurt Weill, URINETOWN is an irreverently humorous satire in which no one is safe from scrutiny. Greg Kotis had the idea for Urinetown while traveling in Europe. -
South Pacific
THE MUSICO-DRAMATIC EVOLUTION OF RODGERS AND HAMMERSTEIN’S SOUTH PACIFIC DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By James A. Lovensheimer, M.A. ***** The Ohio State University 2003 Dissertation Committee: Approved by Professor Arved Ashby, Adviser Professor Charles M. Atkinson ________________________ Adviser Professor Lois Rosow School of Music Graduate Program ABSTRACT Since its opening in 1949, Rodgers and Hammerstein’s Pulitzer Prize- winning musical South Pacific has been regarded as a masterpiece of the genre. Frequently revived, filmed for commercial release in 1958, and filmed again for television in 2000, it has reached audiences in the millions. It is based on selected stories from James A. Michener’s book, Tales of the South Pacific, also a Pulitzer Prize winner; the plots of these stories, and the musical, explore ethnic and cutural prejudice, a theme whose treatment underwent changes during the musical’s evolution. This study concerns the musico-dramatic evolution of South Pacific, a previously unexplored process revealing the collaborative interaction of two masters at the peak of their creative powers. It also demonstrates the authors’ gradual softening of the show’s social commentary. The structural changes, observable through sketches found in the papers of Rodgers and Hammerstein, show how the team developed their characterizations through musical styles, making changes that often indicate changes in characters’ psychological states; they also reveal changing approaches to the musicalization of the novel. Studying these changes provides intimate and, occasionally, unexpected insights into Rodgers and Hammerstein’s creative methods. -
Queering William Finn's a New Brain
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2019 Trouble in His Brain: Queering William FNicihnolnas 'Ksri satof eNr Reichward sBonrain Follow this and additional works at the DigiNole: FSU's Digital Repository. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF FINE ARTS “TROUBLE IN HIS BRAIN”: QUEERING WILLIAM FINN’S A NEW BRAIN By NICHOLAS KRISTOFER RICHARDSON A Thesis submitted to the School of Theatre in partial fulfillment of the requirements for the degree of Master of Arts 2019 © 2019 Nicholas Kristofer Richardson Nicholas Kristofer Richardson defended this thesis on April 16, 2019. The members of the supervisory committee were: Aaron C. Thomas Professor Directing Thesis Mary Karen Dahl Committee Member Chari Arespacochaga Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the thesis has been approved in accordance with university requirements. ii ACKNOWLEDGMENTS I have so much for which to be thankful and I am indebted to a great number of people. I will try my best to limit this section to those who helped me specifically with this thesis and these past two years of graduate school. First, I offer heartfelt thanks to my most admirable chair, Dr. Aaron C. Thomas. Thank you for guiding me through this thesis regardless of my many insecurities. Thank you for demanding rigor from me and my work. Thank you for your patience. Thank you for your faith in me. It’s been a pleasure to learn from you and work with you. -
Résumé Basics
Résumé Basics Written by Richard Adams Updated/Revised by James Gandre A Few Observations Résumés shed light on who you are, offer the reader a clear indication of your current development, past experiences and, most important, point out your potential for future growth professionally and artistically. In brief, a successfully prepared résumé is a road map to an individual’s past, present and future with the clear purpose of opening doors to the future. In a profession where it often looks and feels like others have control over our destinies, please remember YOU have control over your résumé, its contents, its construction, its point of view, its graphic design, etc. Be absolutely certain that it clearly represents you, your accomplishments and your goals. In addition to being an information/fact sheet, the carefully and responsibly prepared résumé is a piece of advertising, an advertisement for yourself. Résumé Construction ➲ Paper – Excellent quality; standard size (8 ½ x 11); white, off-white, tan, gray. ➲ Fonts – Choose clean, clear fonts (do not use Old English, Script or some other “flowery” font). ➲ Length – Use only one page for performance résumés. If you absolutely need to use more than one page, make sure to put your name and the page number at the top of each page following the first page. ➲ Outline form – A résumé is an outline of your past experience and achievements – NOT an autobiography. Once you have started to use a particular style, remain consistent in its use. ➲ Text – Never use personal pronouns (i.e., “I played in…”) and “little” adjectives. Use action verbs, descriptive adjectives and adverbs. -
February 7 - 8, 2020
February 7 - 8, 2020 As a courtesy to the artists and for the uninterrupted enjoyment of your fellow patrons, please turn off all electronic devices. No portion of this performance may be photographed, recorded, filmed, taped, broadcast or mechanically reproduced without the written consent of the Artist and/ or the Presenter. Mayo Performing Arts Center is not responsible for lost or stolen items. Program subject to change. 2 WORK LIGHT PRODUCTIONS presents Book, Music and Lyrics by Jonathan Larson Set Design Costume Design Lighting Design Sound Design Paul Clay Angela Wendt Jonathan Spencer Keith Caggiano Original Concept & Musical Arrangements Additional Lyrics Dramaturg Steve Skinner Billy Aronson Lynn M. Thompson Musical Direction Set Design Adaptation Production Stage Manager Mark Binns Matthew E. Maraffi Gabrielle Norris Tour Marketing Associate Associate Casting & Press Director Choreographer Wojcik | Seay Casting Allied Touring Trey Ellett MiRi Park Production Management General Management Company Manager Port City Technical Work Light Productions Kerrick Dougherty Music Supervision and Additional Arrangements Tim Weil Choreography Marlies Yearby Directed by Evan Ensign Based on Original Direction by Michael Greif Originally produced on Broadway by Jeffrey Seller Kevin McCollum Allan S. Gordon and New York Theatre Workshop EXCLUSIVE TOUR DIRECTION by THE BOOKING GROUP www.thebookinggroup.com 3 CAST (in order of appearance) Roger Davis ...................................................................................... COLEMAN -
Developmental Cross Training Repertoire for Musical Theatre
Developmental Cross Training Repertoire for Musical Theatre Women The repertoire suggestions below target specific developmental goals. It is important to keep in mind however that the distinguishing characteristic of musical theatre singing is the variability of tonal resonance within any given song. A predominantly soprano song might suddenly launch into a belt moment. A chest dominant ballad may release into a tender soprano. Story always pre-empts musical choices. “Just You Wait” from My Fair Lady is part of the soprano canon but we would be disappointed if Eliza could not tell Henry Higgins what she really felt. In order to make things easier for beginning students, it’s a good idea to find repertoire with targeted range and consistent quality as students develop skill in coordinating registration. Soprano Mix—Beginner, Teens to Young Adult Examples of songs to help young sopranos begin to feel functionally confident and enthusiastic about characters and repertoire. Integrating the middle soprano is a priority and it is wise to start there. My Ship Lady in the Dark Weill Far from the Home I Love Fiddler on the Roof Bock/ Harnick Ten Minutes Ago Cinderella Rodgers/Hammerstein Mr. Snow Carousel Rodgers/Hammerstein Happiness is a Thing Called Joe Cabin in the Sky Arlen/Harburg One Boy Bye Bye Birdie Strouse/Adams Dream with Me Peter Pan Bernstein Just Imagine Good News! DeSylva/Brown So Far Allegro Rodgers/Hammerstein A Very Special Day Me and Juliet Rodgers/Hammerstein How Lovely to be a Woman Bye Bye Birdie Strouse/Adams One Boy Bye Bye Birdie Strouse/Adams Lovely Funny Thing. -
Group Discounts Group Discounts Entertainment Packages
Group Discounts Call the box office at (540) 342-5740 to reserve your group tickets Group Size Discount Call the box office at 10 to 50 people 10% (540) 342-5740 to reserve your group tickets Over 50 people 15% Group Discounts & Entertainment Packages Enhancements Enhance your experience or make your company's team building adventure extra special by booking an event before or after the show at the following venues: • Center in the Square's Atrium* • Center in the Square's Rooftop* We can also enhance your experience with: • A VIP backstage tour Partnerships • A Curtain Talk at MMT or at your business to learn more about MMT and how the magic happens All restaurants listed, participated in partnership by giving 10% discounts off of For more information contact Larry Kufel food bill when group ticket stub is presented 540.342.5748 or [email protected] (excludes alcohol). * Please contact Caroline Adams from Center in the Square Fortunato at [email protected] for more information Lucky Shula's 347 Grill call (540) 342-5740 www.millmountain.org A CHORUS LINE A CHORUS LINE A CHORUS LINE A CHORUS LINE A CHORUS LINE A CHORUS LINE A CHORUS LINE THE MUSICAL A CHORUS LINE THEATRE FOR YOUNG AUDIENCES VERSION April 25-May 13 August 1-12 October 3-21 December 5-23 A Year Write With Stuff! New plays by young playwrights 2018 Tales of Mother Goose A CHORUS LINE A Year With A CHORUS LINE Write Stuff! The Tempest Mother Goose Tales THEATRE FOR YOUNG AUDIENCES VERSION February 10 May 4-12 May 4-12 June 2-30 A CHORUS LINE A CHORUS LINE A CHORUS