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Kennedy Center Education Department. Funding Also Provided by the Kennedy Center Corporate Fund DOCUMENT RESUME ED 381 839 CS 508 906 AUTHOR Carr, John C. TITLE "Crazy for You." Spotlight on Theater Notes. INSTITUTION John F. Kennedy Center for the Performing Arts, Washington, D.C. SPONS AGENCY Department of Education, Washington, DC. PUB DATE [95] NOTE 17p.; Produced by the Performance Plus Program, Kennedy Center Education Department. Funding also provided by the Kennedy Center Corporate Fund. For other guides in this series, see CS 508 902-905. PUB TYPE Guides General (050) EDRS PRTCE MF01/PC01 Plus Postage. DESCRIPTORS Acting; *Cultural Enrichment; *Drama; Higher Education; Playwriting; Popular Culture; Production Techniques; Secondary Education IDENTIFIERS *Crazy for You; Historical Background; Musicals ABSTRACT This booklet presents a variety of materials concerning the musical play "Crazy for You," a recasting of the 1930 hit. "Girl Crazy." After a brief historical introduction to the musical play. the booklet presents biographical information on composers George and Ira Gershwin, the book writer, the director, the star choreographer, various actors in the production, the designers, and the musical director. The booklet also offers a quiz about plays. and a 7-item list of additional readings. (RS) ....... ; Reproductions supplied by EDRS ore the best that can he made from the original document, U S DEPARTMENT OF EDUCATION Ofi.co ofEaucabonni Research aria improvement EDUCATIONAL RESOURCES INFORMATION CENTER IERIC1 Et This document has been reproduced as received from the person or organization onqinallnq d 0 Minor charms have been made to improve reproduction quality. Points or view or opinions stated in this document do not necessarily represent official OERI position or policy -1411.1tn, *.,3^ ..*. yet S./ :o7'n-iewhere,iathe. ail:-..dedo1930s, is'a recatingofthel.930hit-Giri.Craz1). hiriania.bOut,..Mehhatta q-Bobby While both vd'rsi.Ons.areabOut heroes.: Child is -sent by his.dorj irreerincj sentwest against theiFwills; Ludyvic.i's mother to'foreclose onithetOrtga.ge. treafmentiroyides a,need.ed '90s IN -1 . of he. ter in a:Nreva.df&in:,The. pin- . to:the proceedings.: point of.a-tOWIT Ltidviiig 'explains:that -he....tneater. has:been closed for -Mike 0plcie.nt'reOgniZed...frOrn the Bobby who only.Wants to dan(e,. begiii`ning-q01.1eir discussions abut dabte,..dance, has:adYentiireS.that.. the sliow-tyaf Lhp script for. qirl Gra ey.;: invoivq..shoot,,ern-upsaldripking.titiej, vVritten byQuy8pf-tayi and-40r) British anth.rd'OelOOts,and,cif McGpwaii:wls tcx):Ote.d.tb aiipeat:to .cotirse;-lovetalt.aO.ot- fOt conterriOrziry.tidieliC:es. Tey."tp,o1<..- with Polly tiaker. Oh yes di.e.itie.atei: gets re-:Opened anBobby:g_ets to lust not.c3.quLudig says. It was. daiice;c1.anCe:dahco itlteci iniith...01164storqsiwpeOhit 1<eri.Lticlwig's,b.optc for crazObr-)/oti. .1,o,dat,vvoill(1.4p AmericanWianss7p-utting. on head- .can find in the'ti*ater.' Ludwig ives dresses, the.JeWish cab driver....most examples "The charactet-offBoby .. of:it waSsftfunny at We had to. is renewed bqcause.,,- by'Saying.the start over aricl4e1.1:0 n,ew Story. The ;theater; he's finally accomplished one aspect we keOt was the,J. -,somethin0 with :hiS life; the treater:is Ea stern er:goirtgout West.That's it:: :kre.0 eWed; the toWbi,S-renew c.I; end Ockterit adds4'.'-The baSic idea was then BobbNi and PolO:refatiphShip -..., to try.and.find as much reality.as we creates a ileW-life-fof:theMl: . - ... Ludwig'S'enthOsiasm-forthe sboW . could loOking -at the.1930s.throtigh the: eyes of relgiyely-YOUrig people work .. -sprin6out Of hi'aiteotion:f6r tq., ing:i'n the Jheater..in the 1990s:" wosib..al..comed,is Of:the period Co.-prodacer Elizabeth Freak.. :-:Wantedtocreatea musical ai the, sayi the showis essentiallY '30sseentl-OUgh..the prism of the ,.. about telitriism; Ockrent seconds bet -...90s....-so yo. v.WOul.dlook: arit.aii'd say, With the obser.vatiOnihtat the shove is They ti.id,great musicals in:those- the'senSe of revel eonle : d ays,' didn't they?' '' ''. _ 4^1( rOt....f COMPOSER: GEORGEbstiwim The joys of George Gershwin's music was-Swanee,". have been heralded for 77 years. which he The quality and quantity are breath- taking. In addition to songs he wrote wrote for for musical comedies that have 14olson become popular standards, there is eorge and Ira Gershwin were to sing in the music for Porgy and Bess, born in Brooklyn, New York, .4,Sinbald in 918:. Rhapsody in Blue, Concerto in F, An to poor immigrant parents. Sales of the sheet American in Paris, and the Second The family's most significant luxu- Rhapsody. ry was a piano, intended for Ira's Older brother to his frequent col- study. That George took to music sy laborator, Ira, George began his and Ira to words is one of the deci- career as a 16-year-old high school sions for which we can all be dropout plugging songs for one of grateful. Tin Pan Alley's music publishers. The brothers worked initially Later, he became a vaudeville with other collaborators, but by accompanist and rehearsal pianist. 1924, with their hit show Lady, Be His first commercial success was George GershWin's" Good! (seen at the Eisenhower "Swanee" (with lyrics by Irving :idols were Irving Berlin. Theater in 1987), they formed an Caesar), written when he was 20. and Jerome Kern. almost exclusive alliance with one Gershwin was highly regarded by another. Together they wrote the -ater in life,. his fellow composers and held in words and music for 12 musical Sel'Sfiwin special esteem by Vincent Youmans, comedies. otiserved, Arthur Schwartz, Vernon Duke, and An often-repeated story about Many things:. Harold Arlenall of whom he 'I wrote [atthe encouraged. Gershwin's contributions to musi- cal comedyhe wrote music for 22 shows--served collectively as a turning point in the genre's develop- score for the film The Goldwyn ment. His American jazz-based Follies. He was planning a film bal- melodies, harmonies, and rhythms let with George Balanchine, a sym- helped distinguish the new form phony, and a concert tour of Europe, from European operetta. and was considering prospects for Gershwin's death just before his two Broadway musicals and an 39th birthday, in 1937, from an unde- opera. In addition, he had expressed tected brain tumor, left the theatrical interest in another collaboration and musical worlds with one of the with DuBose Heyward, with whom century's great "ifs." At the time of he and Ira had created the folk his death he was working on the opera Porgy and Bess. 5 BEST COPY AVAILABLE 4. .6`4). P, George, Ira collaborated on Broadway shows with composers Vincent Youmans, Harold Arlen, Vernon Duke, and Arthur Schwartz, among others After Georges death, Ira wrote by its cover, buey lyrics to Kurt Weill's music for Lady in et a pretty goo the Dark. Two of its songs, "My Ship" idea of what and "[The Saga of) Jenny," have cult 20s and '30s status among devotees of musical the- musical ater. Two other musicals followed Lady in the Dark, produced in 1941, but e the Gershwin brothers exemplifies neither was successful. were like if v their fame as an artistic team. Like his brother George, Ira made look-at their titles,: Supposedly a 1930s radio an- numerous contributions to Hollywood Here a. e a few of the nouncer told his listeners, "Here's musicals. With Jerome Kern he collab- a song by George Gershwin, with titles ofd hows the orated on Cover Girl for Rita Hayworth lyrics by his lovely wife Ira. Gershwins wrote and Gene Kelly, with Harry Warren on The freshness of the Gersh- (together or The Barkleys of Broadway for Fred wins' work remains. Crazy for You Astaire and Ginger Rogers, with writing with director Mike Ockrent reports Burton Lane on Give a Girl a Break for oth ers):\ overhearing a couple talking about Debbie Reynolds and Marge and the show at the National Theatre, Gower Champion, and with Harold LaLa Lucille -74w where the show had its tryout in Arlen on A Star is Born for Judy ..Lady, Be COPcil 1992. arland and James Mason. Husband: "Are George Ira Gershwin's lyrics have become .Two.Ljttle Girls in Blue and Ira Gershwin still alive?" so well known that he has earned five Midnight Whi Wife: "They must be. listings in The Oxford Dictionary of American Modern Quotations (1991). The songs They're still writing musicals." Our Nell Ockrent adds, "That's exactly quoted are "A Foggy Day," "I Got Kay! how we hope everyone will feel." Rhythm," "Lady, Be Good!," "Let's Call the Whole Thing Off," and "Nice Work Tip-Toes If You Can Get It." Let 'Ern Eat Cake \ Just as his brother's music had Pardon my English helped change the musical comedy Life Begins at 8:40 form, so did Ira's lyrics. Breaking with LYPK1ST: tradition, they were not only clever, but colloquial and sometimes slangy. As PA6PSW4'l11M theater critic Michael Feingold puts it, Ira Gershwin was the first lyricist to re- "Ira's words don't stand still: instead ceive the Pulitzer Prizefor the 1931 they wriggle with jazzy exciten,ant, satirical musical Of Thee I Sing. Not leaping off the beat and over the line kid for a wvntei who, 0 bit unsure of Nooks, an exact match for the blue himself, fest published under the numa notes, ;awed phrases, and unexpected Arthur Francis (the first names of another chords with which George Gershwin Gershwin brother and their si!:ter) was ref urh:shinu pcpuidi music to iiddition to his work with brother hd (;(11,1)windui in NM unlly t-- VEST 1 local Bou Makes Good, And Then Some 1 1" 1- What does a playwright do after he hits the jackpot with a play? He does itagain, of 1- e I.- coursethat is, if he's Ken Ludwig.
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