West Side Story Reading List

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West Side Story Reading List Other Works by Arthur Laurents Gypsy (also with Stephen Sondheim) Anyone Can Whistle (also with Stephen Sondheim) Do I Hear a Waltz? Home of the Brave Other Works by Leonard Bernstein On the Town Wonderful Town Trouble in Tahiti Candide Other Works by Stephen Sondheim Into the Woods Sweeny Todd A Funny Thing Happened on the Way to the Forum Company Sunday in the Park with George Filmography West Side Story directed by Robert Wise and Jerome Robbins, 1961 The Making of West Side Story directed by Christopher Swan, 1985 Discography West Side Story (Original Broadway Cast Recording), Columbia, 1957 West Side Story New Broadway Cast Recording, Sony Music Entertainment, 2009 Further Reading Something's Coming, Something Good: West Side Story and the American Imagination by Misha Berson, Applause Theatre and Cinema, 2011 A Place for Us: West Side Story and New York by Julia L. Foulkes, University of Chicago Press, 2016 Leonard Bernstein: A Life by Meryle Secrest, Alfred A. Knopf, 1994 Finishing the Hat by Stephen Sondheim, Alfred A. Knopf, 2010 Somewhere: The Life of Jerome Robbins by Amanda Vaill, Broadway Books, 2006 Original Story By: A Memoir of Broadway and Hollywood by Arthur Laurents, Alfred A. Knopf, 2000 Puerto Rican Arrival in New York: Narratives Of The Migration, 1920-1950 by Juan Flores, Markus Wiener Pub, 2005 The Puerto Rican Nation on the Move: Identities on the Island and in the United States by Jorge Duany, The University of North Carolina Press, 2002 Online Resources https://www.vanityfair.com/style/2018/01/leonard-bernstein-jerome-robbins-and- the-road-to-west-side-story .

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Bernstein's Trouble in Tahiti By
Postwar Modernity and the Wife's Subjectivity: Bernstein's Trouble in Tahiti By: Elizabeth L. Keathley Keathley, Elizabeth. “Postwar Modernity and the Wife's Subjectivity: Bernstein's Trouble in Tahiti,” American Music, Vol. 23 No. 2 (Summer 2005): 220-257. Made available courtesy of University of Illinois Press: http://www.jstor.org/stable/4153033 ***© University of Illinois Press. Reprinted with permission. No further reproduction is authorized without written permission from University of Illinois Press. This version of the document is not the version of record. Figures and/or pictures may be missing from this format of the document. *** Abstract: Leonard Bernstein's short opera Trouble in Tahiti (1951-52) is a humorous but scathing satire on postwar consumerism and bourgeois marriage. Such critiques are now so commonplace that it may be difficult to appreciate the opera's political edge unless it is seen against the backdrop of repression that marked the years following World War II: in an era in which a group as mainstream as the League of Women Voters was denounced as a "communist front organization," Trouble in Tahiti's criticisms risked reprisals.[1] Keywords: Musicals | Leonard Bernstein | Trouble in Tahiti | Gender | Feminism | Post World War II era Article: Leonard Bernstein's short opera Trouble in Tahiti (1951-52) is a humorous but scathing satire on postwar consumerism and bourgeois marriage. Such critiques are now so commonplace that it may be difficult to appreciate the opera's political edge unless it is seen against
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This Year Marks Leonard Bernstein's 100Th Birthday, and Some Philly Arts
This year marks Leonard Bernstein’s 100th birthday, and some Philly arts and culture institutions are teaming up to celebrate his centenary with eye- and ear-opening firsts. We know Bernstein best for works such as West Side Story, but his 1951 opera, Trouble in Tahiti, also became an important cultural touchstone. It satirized the outwardly perfect and inwardly tumultuous family life of a suburban couple in 1950s America. But things got darker in the mid-1980s, when Bernstein revisited the same fictional family 30 years later, as a death calls them home, with 1983’s A Quiet Place. Bernstein’s last stage work In 1980, Bernstein teamed with 30-year-old writer Stephen Wadsworth in their joint inspiration for a sequel to Trouble in Tahiti, while they were both grappling with tragic losses in their own lives. The work would combine vernacular speech and music with relatable middle-class woes, performed through a mix of American musical theater and contemporary opera styles that was unusual and polarizing at the time. A Quiet Place premiered in Houston in 1983 as a one-act opera on a double bill with Trouble in Tahiti. Original conductor John Mauceri thought Bernstein and Wadsworth could revisit the two works again. They developed a new version of A Quiet Place that incorporated Trouble in Tahiti, creating one opera with the family’s complete arc, alternating between past and present and becoming a map of a changing U.S. culture from the 1950s to the ’80s. The revised A Quiet Place debuted successfully at La Scala in 1984 and went on to the Kennedy Center before returning to Europe.
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Composition Catalog
1 LEONARD BERNSTEIN AT 100 New York Content & Review Boosey & Hawkes, Inc. Marie Carter Table of Contents 229 West 28th St, 11th Floor Trudy Chan New York, NY 10001 Patrick Gullo 2 A Welcoming USA Steven Lankenau +1 (212) 358-5300 4 Introduction (English) [email protected] Introduction 8 Introduction (Español) www.boosey.com Carol J. Oja 11 Introduction (Deutsch) The Leonard Bernstein Office, Inc. Translations 14 A Leonard Bernstein Timeline 121 West 27th St, Suite 1104 Straker Translations New York, NY 10001 Jens Luckwaldt 16 Orchestras Conducted by Bernstein USA Dr. Kerstin Schüssler-Bach 18 Abbreviations +1 (212) 315-0640 Sebastián Zubieta [email protected] 21 Works www.leonardbernstein.com Art Direction & Design 22 Stage Kristin Spix Design 36 Ballet London Iris A. Brown Design Boosey & Hawkes Music Publishers Limited 36 Full Orchestra Aldwych House Printing & Packaging 38 Solo Instrument(s) & Orchestra 71-91 Aldwych UNIMAC Graphics London, WC2B 4HN 40 Voice(s) & Orchestra UK Cover Photograph 42 Ensemble & Chamber without Voice(s) +44 (20) 7054 7200 Alfred Eisenstaedt [email protected] 43 Ensemble & Chamber with Voice(s) www.boosey.com Special thanks to The Leonard Bernstein 45 Chorus & Orchestra Office, The Craig Urquhart Office, and the Berlin Library of Congress 46 Piano(s) Boosey & Hawkes • Bote & Bock GmbH 46 Band Lützowufer 26 The “g-clef in letter B” logo is a trademark of 47 Songs in a Theatrical Style 10787 Berlin Amberson Holdings LLC. Deutschland 47 Songs Written for Shows +49 (30) 2500 13-0 2015 & © Boosey & Hawkes, Inc. 48 Vocal [email protected] www.boosey.de 48 Choral 49 Instrumental 50 Chronological List of Compositions 52 CD Track Listing LEONARD BERNSTEIN AT 100 2 3 LEONARD BERNSTEIN AT 100 A Welcoming Leonard Bernstein’s essential approach to music was one of celebration; it was about making the most of all that was beautiful in sound.
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Trouble in Tahiti Programming Bernstein
PROgraMMIng BErnstEIN: NOW ON FacEBOOK! WORK DETAILS Trouble in Tahiti (1951) 40’ We are pleased to introduce the new online companion to Bernstein Bound — the One-act opera in seven scenes Programming Bernstein discussion board! Located on Leonard Bernstein’s fan page Libretto by the composer; German version on Facebook, the discussion board will be an online gathering space for exchanging by Paul Esterházy (E,G) information about Bernstein and his music. There you can read about the experiences Scoring (original orchestral version) of musicians and programmers worldwide, and share your own with them. M,BBar,Jazz trio (S or M,hT,hBar) 2(II=picc).2.corA.2.bcl.2(II=dbn)-2.2.2.1-timp. Come join in the conversation — you may be surprised who’s there already. perc:cym/BD/high & low TD/snare dr/tgl/ wdbls/tpl.bls/gong/tom-t/vib/xyl-harp- strings(1.1.1.1.1) TROUBLE IN TAHITI Scoring (reduced orchestration by G. Sunderland) Mornin’ sun kisses the windows, 1.1.1.1--1.1.1.0--perc(1, opt. 2)--pft-strings(1/1/1/1/1) Kisses the walls of the little white RECOMMENDED RECORDINGS house; Kisses the the doorknob, Audio and pretty red roof of the little white Bernstein / New York Philharmonic house in Scarsdale. Williams / Patrick / Butler / Clarke / Brown Sony Classical So begins Leonard Bernstein’s 1952 operetta Sony KM 32597; KMQ 32597; CD: SM3K Trouble in Tahiti, a tragicomic tale of the eroding 47154; SMK 60969 marriage of Sam and Dinah (characters loosely Click here to purchase this CD from Amazon Listen to an excerpt now based on Bernstein’s own parents) and the failure of the white-washed American Dream.
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Leonard Bernstein
chamber music with a modernist edge. His Piano Sonata (1938) reflected his Leonard Bernstein ties to Copland, with links also to the music of Hindemith and Stravinsky, and his Sonata for Clarinet and Piano (1942) was similarly grounded in a neoclassical aesthetic. The composer Paul Bowles praised the clarinet sonata as having a "tender, sharp, singing quality," as being "alive, tough, integrated." It was a prescient assessment, which ultimately applied to Bernstein’s music in all genres. Bernstein’s professional breakthrough came with exceptional force and visibility, establishing him as a stunning new talent. In 1943, at age twenty-five, he made his debut with the New York Philharmonic, replacing Bruno Walter at the last minute and inspiring a front-page story in the New York Times. In rapid succession, Bernstein Leonard Bernstein photo © Susech Batah, Berlin (DG) produced a major series of compositions, some drawing on his own Jewish heritage, as in his Symphony No. 1, "Jeremiah," which had its first Leonard Bernstein—celebrated as one of the most influential musicians of the performance with the composer conducting the Pittsburgh Symphony in 20th century—ushered in an era of major cultural and technological transition. January 1944. "Lamentation," its final movement, features a mezzo-soprano He led the way in advocating an open attitude about what constituted "good" delivering Hebrew texts from the Book of Lamentations. In April of that year, music, actively bridging the gap between classical music, Broadway musicals, Bernstein’s Fancy Free was unveiled by Ballet Theatre, with choreography by jazz, and rock, and he seized new media for its potential to reach diverse the young Jerome Robbins.
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Education Resource Stephen Sondheim & James Lapine
Stephen Sondheim & James Lapine INTO THE WOODS Education Resource Music INTO THE WOODS - MUSIC RESOURCE INTRODUCTION From the creators of Sunday in the Park with George comes Into the Woods, a darkly enchanting story about life after the ‘happily ever after’. Stephen Sondheim and James Lapine reimagine the magical world of fairy tales as the classic stories of Jack and the Beanstalk, Cinderella, Little Red Ridinghood and Rapunzel collide with the lives of a childless baker and his wife. A brand new production of an unforgettable Tony award-winning musical. Into the Woods | Stephen Sondheim & James Lapine. 19 – 26 July 2014 | Arts Centre Melbourne, Playhouse Music and lyrics by Stephen Sondheim Book by James Lapine Originally Directed on Broadway by James Lapine By arrangement with Hal Leonard Australia Pty Ltd Exclusive agent for Music Theatre International (NY) 2 hours and 50 minutes including one interval. Victorian Opera 2014 – Into the Woods Music Resource 1 BACKGROUND Broadway Musical Music and Lyrics by Stephen Sondheim Book and Direction by James Lapine Orchestration: Jonathan Tunick Opened in San Diego on the 4th of December 1986 and premiered in Broadway on the 5th of November, 1987 Won 3 Tony Awards in 1988 Drama Desk for Best Musical Laurence Olivier Award for Best Revival Figure 1: Stephen Sondheim Performances Into the Woods has been produced several times including revivals, outdoor performances in parks, a junior version, and has been adapted for a Walt Disney film which will be released at the end of 2014. Stephen Sondheim (1930) Stephen Joshua Sondheim is one of the greatest composers and lyricists in American Theatre.
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Determining Stephen Sondheim's
“I’VE A VOICE, I’VE A VOICE”: DETERMINING STEPHEN SONDHEIM’S COMPOSITIONAL STYLE THROUGH A MUSIC-THEORETIC ANALYSIS OF HIS THEATER WORKS BY ©2011 PETER CHARLES LANDIS PURIN Submitted to the graduate degree program in Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ___________________________ Chairperson Dr. Scott Murphy ___________________________ Dr. Deron McGee ___________________________ Dr. Paul Laird ___________________________ Dr. John Staniunas ___________________________ Dr. William Everett Date Defended: August 29, 2011 ii The Dissertation Committee for PETER PURIN Certifies that this is the approved version of the following dissertation: “I’VE A VOICE, I’VE A VOICE”: DETERMINING STEPHEN SONDHEIM’S COMPOSITIONAL STYLE THROUGH A MUSIC-THEORETIC ANALYSIS OF HIS THEATER WORKS ___________________________ Chairperson Dr. Scott Murphy Date approved: August 29, 2011 iii Abstract This dissertation offers a music-theoretic analysis of the musical style of Stephen Sondheim, as surveyed through his fourteen musicals that have appeared on Broadway. The analysis begins with dramatic concerns, where musico-dramatic intensity analysis graphs show the relationship between music and drama, and how one may affect the interpretation of events in the other. These graphs also show hierarchical recursion in both music and drama. The focus of the analysis then switches to how Sondheim uses traditional accompaniment schemata, but also stretches the schemata into patterns that are distinctly of his voice; particularly in the use of the waltz in four, developing accompaniment, and emerging meter. Sondheim shows his harmonic voice in how he juxtaposes treble and bass lines, creating diagonal dissonances.
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INTO the WOODS Stephen Sondheim (Music and Lyrics) and James Lapine (Book) Directed by Susi Damilano Music Director: Dave Dobrusky Choreography: Kimberly Richards
Press Release For immediate release May 2014 [email protected] Download Hi Res photos here INTO THE WOODS Stephen Sondheim (music and lyrics) and James Lapine (book) Directed by Susi Damilano Music Director: Dave Dobrusky Choreography: Kimberly Richards June 24th to September 6th Previews June 24 – June 27 at 8pm Tuesdays through Thursdays at 7pm, Fridays and Saturdays at 8pm Saturdays at 3pm and Sundays at 2pm (except 6/29) PRESS OPENING: Saturday, June 28th at 8pm San Francisco, CA (May 2014) – San Francisco Playhouse (Artistic Director Bill English & Producing Director Susi Damilano) concludes its provocative eleventh season with Into the Woods by Stephen Sondheim (music and lyrics) and James Lapine (book). What happens after “happily ever after?” Fractured fairy tales of a darker hue provide the context for Into the Woods, which deconstructs the Brothers Grimm by way of “The Twilight Zone.” While the faces and names are familiar, Cinderella, Rapunzel, Little Red Riding Hood, Jack in the Beanstalk and company inhabit a sylvan neighborhood in which witches and bakers are next-door neighbors, handsome princes from once-parallel fables are competitive (and equally vain) brothers, and all the stories intersect through unexpected new plot twists. Stephen Sondheim and James Lapine’s beloved musical intertwines classic fairytales with a contemporary edge to tell stories of wishes granted and “the price” paid. Susi Damilano (Director), Dave Dobrusky (Music Director) and Kimberly Richards (Choreographer) will team up to bring a fresh twist to this familiar tale by adding a time-travelling boy, Ian DeVaynes to the Bay Area cast that features: Louis Parnell* (Narrator), Safiya Fredericks* (Witch), El Beh (Baker’s Wife), Keith Pinto* (Baker), Tim Homsley* (Jack), Joan Mankin* (Jack’s Mom), Monique Hafen* (Cinderella), Becka Fink (Cinderella’s Stepmom), identical twins, Lily and Michelle Drexler (Cinderella’s Stepsisters), Noelani Neal (Rapunzel), Corinne Proctor (Red), Ryan McCrary and Jeffrey Adams (Princes/Wolves) and John Paul Gonzales (Steward).
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Side by Side by Sondheim Stellar Cast Confirmed for a Celebration of the Music and Lyrics of Stephen Sondheim! Jan
FOR IMMEDIATE RELEASE December 12, 2016 Side by Side by Sondheim Stellar cast confirmed for a celebration of the music and lyrics of Stephen Sondheim! Jan. 27 – Feb. 19, 2017 at Spencer Theatre Kansas City, MO– Kansas City Repertory Theatre is pleased to announce the cast of this mid- season addition to its 2016/2017 season. Artistic Director Eric Rosen will direct a starry cast in the acclaimed musical revue Side by Side by Sondheim featuring actors Jenny Ashman, Shanna Jones, Orville Mendoza and Oliver Thornton. Nominated for both London’s Olivier Award and Broadway’s Tony Award for Best Musical, Side by Side by Sondheim celebrates the music and lyrics of Pulitzer-, Tony-, and Academy Award-winning composer Stephen Sondheim. Side by Side by Sondheim ran in London and New York for well over a thousand performances, making it one of the most successful musical revues of all time. In a glittering evening of music, comedy, and song, the star-studded cast will perform beloved numbers from such Broadway hits as Gypsy, West Side Story, A Funny Thing Happened on the Way to the Forum, Anyone Can Whistle, Company, Follies, A Little Night Music, and Pacific Overtures. Featured songs include “Comedy Tonight,” “Broadway Baby,” “Anyone Can Whistle,” “A Boy Like That,” and the Grammy Award-winning favorite “Send in the Clowns,” to name a few. “KC Rep audiences love Sondheim – among our biggest hits of all time are Sunday in the Park with George, Into the Woods, and Company,” says Artistic Director Eric Rosen. Side by Side takes us back to Sondheim’s most prolific period, from when he was a young artist writing lyrics for Leonard Bernstein’s music in West Side Story to the triumphs of musicals like A Little Night Music that made him a legend.
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Download Finishing the Hat: Collected Lyrics (1954-1981) with Attendant
Finishing the Hat: Collected Lyrics (1954-1981) with Attendant Comments, Principles, Heresies, Grudges, Whines and Anecdotes by Stephen Sondheim Ebook Finishing the Hat: Collected Lyrics (1954-1981) with Attendant Comments, Principles, Heresies, Grudges, Whines and Anecdotes currently available for review only, if you need complete ebook Finishing the Hat: Collected Lyrics (1954-1981) with Attendant Comments, Principles, Heresies, Grudges, Whines and Anecdotes please fill out registration form to access in our databases Download here >> Hardcover:::: 480 pages+++Publisher:::: Knopf; First Edition edition (October 26, 2010)+++Language:::: English+++ISBN-10:::: 0679439072+++ISBN-13:::: 978-0679439073+++Product Dimensions::::8.4 x 1.1 x 11.1 inches++++++ ISBN10 0679439072 ISBN13 978-0679439 Download here >> Description: Stephen Sondheim has won seven Tonys, an Academy Award, seven Grammys, a Pulitzer Prize and the Kennedy Center Honors. His career has spanned more than half a century, his lyrics have become synonymous with musical theater and popular culture, and in Finishing the Hat—titled after perhaps his most autobiographical song, from Sunday in the Park with George—Sondheim has not only collected his lyrics for the first time, he is giving readers a rare personal look into his life as well as his remarkable productions.Along with the lyrics for all of his musicals from 1954 to 1981—including West Side Story, Company, Follies, A Little Night Music and Sweeney Todd—Sondheim treats us to never-before-published songs from each show, songs that were cut or discarded before seeing the light of day. He discusses his relationship with his mentor, Oscar Hammerstein II, and his collaborations with extraordinary talents such as Leonard Bernstein, Arthur Laurents, Ethel Merman, Richard Rodgers, Angela Lansbury, Harold Prince and a panoply of others.
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Educating About the Works of Stephen Sondheim Through Parody
University of Central Florida STARS Electronic Theses and Dissertations, 2020- 2020 How Artists Can Capture Us: Educating About the Works of Stephen Sondheim Through Parody Jarrett Poore University of Central Florida Part of the Theatre and Performance Studies Commons Find similar works at: https://stars.library.ucf.edu/etd2020 University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2020- by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Poore, Jarrett, "How Artists Can Capture Us: Educating About the Works of Stephen Sondheim Through Parody" (2020). Electronic Theses and Dissertations, 2020-. 117. https://stars.library.ucf.edu/etd2020/117 HOW ARTISTS CAN CAPTURE US: EDUCATING ABOUT THE WORKS OF STEPHEN SONDHEIM THROUGH PARODY By JARRETT POORE B.F.A, University of Central Florida 2017 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Theatre in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Spring Term 2020 © Jarrett Mark Poore 2020 ii ABSTRACT This thesis examined the modern renaissance man and his relationship between musical theatre history and parody; it examined how the modern artist created, produced, and facilitated an original parody in which humor can both influence and enhance an individual’s interest in the art form. In the creation and production of The Complete Works of Stephen Sondheim [abridged], I showcased factual insight on one of the most prolific writers of musical theatre and infused it with comedy in order to educate and create appeal for Stephen Sondheim’s works, especially those lesser known, to a wider theatrical audience.
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Stephen Sondheim. Finishing The
158 Context 37 (2012) powerless before the appeal of Wagner’s music and the spiritual heights of its enjoyment’ (p. 64). Yet this statement directly contradicts the findings of existing (and more in-depth) research on the French response to Eine Kapitulation; Steven Huebner and Thomas S. Grey, among others, have argued that Wagner’s anti-French farce had a profound impact on French musical life.4 In this context it seems difficult to justify du Quenoy’s conclusion about the powerlessness of earthly concerns such as nationalism in the face of the spiritual power of Wagner’s music. Du Quenoy’s professed ‘ecstasy’ at the prospect of separating art from politics remains puzzling. Throughout the book he maintains that, despite the entanglement of Wagner and politics in France, Wagner’s music triumphed because people kept listening to it. But perhaps people continued to listen to Wagner for the very reason that it engaged with politics rather than operating in isolation from it. This proposition would entail considering ‘politics’ in a broader sense than du Quenoy seems to do, encompassing more than simply relations between France and Germany. Nevertheless, it would be a more productive and interesting way of examining the fascinating, complex and ongoing relationship between Wagner and the French. 4 Thomas S. Grey, ‘Eine Kapitulation: Aristophanic Operetta as Cultural Warfare in 1870,’ Richard Wagner and His World, 87–122; Steven Huebner, ‘Introduction,’ French Opera at the Fin de Siècle: Wagnerism, Nationalism, and Style (Oxford: OUP, 1999), 1–22. Stephen Sondheim. Finishing the Hat: Collected Lyrics (1954–1981) with Attendant Comments, Principles, Heresies, Whines and Anecdotes New York: Knopf, 2010 ISBN 978-0-679-43907-3.
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