DOCSLIB.ORG

The Musical: a Research and Information Guide

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Musical: a Research and Information Guide THE MUSICAL Routledge Music Bibliographies SERIES EDITOR: BRAD EDEN COMPOSERS Christoph Willibald Gluck, 2nd Giuseppe Verdi (1998) Edition (2003) Gregory Harwood Isaac Albéniz (1998) Patricia Howard Walter A. Clark Tomás Luis de Victoria (1998) G.F. Handel, 2nd Edition Eugene Casjen Cramer C. P. E. Bach (2002) (2004) Richard Wagner (2002) Doris Bosworth Powers Mary Ann Parker Michael Saffle Samuel Barber (2001) Paul Hindemith (2004) Adrian Willaert (2004) Wayne C. Wentzel Stephen Luttman David Michael Kidger Béla Bartók, 2nd Edition Charles Ives (2002) (1997) Gayle Sherwood GENRES Elliott Antokoletz Scott Joplin (1998) Central European Folk Music Vincenzo Bellini (2002) Nancy R. Ping-Robbins (1996) Stephen A. Willier Philip V. Bohlman Zoltán Kodály (1998) Alban Berg (1996) Mícheál Houlahan and Philip Chamber Music, 2nd Edition Bryan R. Simms Tacka (2002) John H. Baron Leonard Bernstein (2001) Franz Liszt, 2nd Edition (2004) Paul F. Laird Michael Saffle Choral Music (2002) Avery T. Sharp and James Johannes Brahms (2003) Guillaume de Machaut (1995) Heather Platt Michael Floyd Lawrence Earp Ethnomusicology (2003) Benjamin Britten (1996) Felix Mendelssohn Bartholdy Peter J. Hodgson Jennifer C. Post (2001) Elliott Carter (2000) John Michael Cooper Jazz Research and Performance John L. Link Materials, 3rd Edition Giovanni Pierluigi da (2004) Carlos Chávez (1998) Palestrina (2001) Eddie S. Meadows Robert Parker Clara Marvin Music in Canada (1997) Frédéric Chopin (1999) Giacomo Puccini (1999) Carl Morey William Smialek Linda B. Fairtile The Musical (2004) Aaron Copland (2001) Maurice Ravel (2004) William A. Everett Marta Robertson and Robin Stephen Zank Armstrong North American Indian Music Gioachino Rossini (2002) (1997) Frederic Delius (2004) Denise P. Gallo Richard Keeling Mary L. Huisman Alessandro and Domenico Opera, 2nd Edition (2001) Josquin Des Prez (2004) Scarlatti (1993) Guy Marco Carlo Fiore Carole F. Vidali The Recorder, 2nd Edition Gaetano Donizetti (2000) Camille Saint-Saëns (2003) (2003) James P. Cassaro Timothy S. Flynn Richard Griscom and David Edward Elgar (1993) Heinrich Schenker (2003) Lasocki Christopher Kent Benjamin Ayotte Serial Music and Serialism Gabriel Fauré (1999) Jean Sibelius (1998) (2001) Edward R. Phillips Glenda D. Goss John D. Vander Weg THE MUSICAL A RESEARCH AND INFORMATION GUIDE WILLIAM A. EVERETT ROUTLEDGE MUSIC BIBLIOGRAPHIES ROUTLEDGE NEW YORK & LONDON Published in 2004 by Routledge 270 Madison Avenue New York, NY 10016 Published in Great Britain by Routledge 2 Park Square Milton Park, Abingdon Oxon OX1 4RN Copyright © 2004 by Routledge Routledge is an imprint of the Taylor & Francis Group. This edition published in the Taylor & Francis e-Library, 2005. “To purchase your own copy of this or any of Taylor & Francis or Routledge’s collection of thousands of eBooks please go to www.eBookstore.tandf.co.uk.” All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical or other means, now known or hereafter invented, including photo- copying and recording or in any information storage or retrieval system, without permission in writing from the publisher. Routledge Music Bibliographies Series. Library of Congress Cataloging-in-Publication Data Everett, William A., 1962- The musical : a research and information guide / William A. Everett. p. cm. — (Routledge music bibliography series) Includes discographies (p. ) and index. ISBN 0-415-94295-0 (hardcover : alk. paper) 1. Musicals—Bibliography. 2. Musical films—Bibliography. I. Title. II. Series: Routledge music bibliographies. ML128.M78E84 2004 016.7821'4—dc22 2004016007 ISBN 0-203-32976-7 Master e-book ISBN To Lynda Contents Acknowledgments ix List of Abbreviations xi Introduction 1 I General Histories 5 Theater 5 American Opera/Opera in America 9 II Musical Theater 11 Dictionaries and Encyclopedias 11 Chronologies 16 General Histories 18 Theoretical and Analytical Studies 39 Sociological Studies 40 Generic Studies 45 Ethnic Genres in North America 53 National Genres and Surveys 58 III Film Musicals 65 Dictionaries and Encyclopedias 65 Chronologies 69 General Histories 69 Theoretical and Analytical Studies 72 Sociological Studies 73 Bollywood 75 vii viii Contents IV Works 79 V Creators 123 Composers 123 Wordsmiths 153 Orchestrators 162 Choreography, Choreographers, and Choreographer-Directors 163 Directors and Producers 166 VI Performers 171 General Resources 171 Individual Performers 172 VII Performance 193 Acting/Singing 194 Directing/Producing 197 Writing 199 Set Design 199 VIII Periodicals 201 Musical Theater 201 Related Subjects 202 IX Sets and Series of Printed Material 203 X Discography 207 XI Recorded Anthologies 209 XII Other Searchable Resources 211 Index 215 Acknowledgments Many individuals helped make this project possible—first and foremost the creators and writers in the musical theater. Without their contributions, this volume would not have a reason to exist. The librarians and staff at the Miller Nichols Library, at the University of Missouri-Kansas City (UMKC), were of tremendous assistance. Special thanks go especially to Laura Gayle Green, Deb- bie Keeton, Jonathan Borja, and Jonathan Krinke in the Music/Media section, and the superb people in Interlibrary Loan and at the Circulation Desk. Thanks are also due to Katie Schuermann and Jedd Schneider, the graduate teaching assistants with whom I have had the pleasure to work as this book progressed. I would also like to thank the students at the UMKC Conservatory of Music, whose desire to learn about the musical theater has been most inspiring. My thanks also go to Shannon McLachlan, Richard Carlin, Erin McElroy and Robert Sims at Routledge for their support and advice. I would like to make special mention of two important mentors who both passed away in December 2003: Dr. Herbert C. Turrentine and Dr. J. Bunker Clark. Herb Turrentine was my master’s thesis advisor at Southern Methodist University, and it was in a graduate seminar he taught on American Music that I was introduced to and engaged by the topic. Bunker Clark was one of my doctoral dissertation advisors at the University of Kansas and encouraged my interests in American music and in music bibliography. The present volume would not exist were it not for the influence of these two distinguished people. Finally, I would like to thank my wife, Lynda, and our dog, Bentley, for their unfaltering support of this project. ix List of Abbreviations COLLECTIONS Babington Babington, Bruce, ed. British Stars and Stardom: From Alma Taylor to Sean Connery. Manchester and New York: Manchester University Press, 2001. 260 p. ISBN 0-7190-5840-6. PN1998.2.B75 2001. BBC Music Magazine Special Issue (1999) BBC Music Magazine. Special Issue: The Golden Age of Musicals. 1999. 82 p. Cambridge Companion to the Musical Everett, William A., and Paul R. Laird, eds. The Cambridge Companion to the Musical. Cambridge and New York: Cambridge University Press, 2002. 310 p. ISBN 0-521-79189-8. ML2054.C35 2002. Cohan Cohan, Steven, ed. Hollywood Musicals: The Film Reader. New York and Lon- don: Routledge, 2001. 224 p. ISBN 0-415-23559-6. Goodhart Goodhart, Sandor, ed. Reading Stephen Sondheim: A Collection of Critical Essays. New York and London: Garland, 2000. 280 p. (Studies in Modern Drama, no. 10. Garland Reference Library of the Humanities, vol. 2065.) ISBN 0-8153-2832-X. ML410.S6872R4 1998. Gordon Gordon, Joanne, ed. Stephen Sondheim: A Casebook. New York and London: Garland, 1997. 259 p. (Casebook on Modern Dramatists, vol. 23. Garland Ref- erence Library of the Humanities, vol. 1916.) ISBN 0-8153-2054-X. ML410.S68- 72S74 1997. Lawson-Peebles Lawson-Peebles, Robert, ed. Approaches to the American Musical. Exeter: University of Exeter Press, 1996. 167 p. ISBN 0-85989-405-3. ML1711. xi xii List of Abbreviations Loney Loney, Glenn, ed. Musical Theatre in America: Papers and Proceedings of the Conference on the Musical Theatre in America. Westport, CT and London: Greenwood, 1984. 441 p. ISBN 0-313-23524-4. ML1711.C66 1981. CALL NUMBER SOURCES Call number, when not imprinted in book or obtained through WorldCat: SLU St. Louis University, Pius XII Memorial Library UMKC University of Missouri-Kansas City, Miller Nichols Library WU Washington University, St. Louis, Gaylord Music Library Introduction The musical, whether on stage or screen, is undoubtedly one of the most recog- nizable musical genres of the twentieth century, but also one of the most difficult to define with any kind of precision. What makes a musical a musical, and not an opera or a play with music? And what about its subgenres—sometimes viewed as synonyms—such as musical comedy, musical play, and operetta? These are terms for which it is impossible to find consistent meanings. The same questions can be asked regarding film musicals. In the film genre, when does a film that includes songs stop being a film with music and become a film musical? Is there a specific percentage of music that distinguishes movie musicals from other types of cinema? Determining what is or what is not a musical is a task wrought with ambi- guities. Musicals defy easy categorization (one of their most intriguing qualities) and the genre encompasses a variety of meanings and subgenres, all of which are related and intertwined. None of them exist within any sort of vacuum. However, when trying to gain a deeper understanding and appreciation of this complex tapestry, separating particular strands eases the task, allowing for closer investigations of certain approaches to the form. Looking first at the relationship between musicals and operas (both, after all, are staged entertainments that include music), could musicals be considered a type of opera? Some writers reply with a resounding yes, as noted in the biblio- graphic entries in Section 1b. Among these authors is John Dizikes, who labels Broadway musicals as “New York operas” in Opera in America: A Cultural History (see entry 21). The line between opera and musical, in any event, is not a fixed boundary but rather a permeable membrane.
Load more

Recommended publications
  • HERMIT International Art Symposium GROWTHRINGS
    HERMIT international art symposium GROWTHRINGS time-place-rhythm-light-matter-energy from baroque till present LETOKRUHY cas-misto-rytmus-zvuk-svetlo-hmota-energie v promenach casu od baroka k dnesku under auspicies of Czech Ministery of Culture poradano s podporou Ministerstva Kultury Ceske Republiky PLASY 1th JUNE - 30th 1993 Bohe is The Monastery in Plasy The theme of the second international symposium-meeting-exposition and work- shop in the ancient cistercian monastery in Plasy (West Bohemia) will be the stintu- iation of interrelations between the seeing and heating, between the past and the present, between cctttrunt and province, high and low, matter and energy, relation between people and their cultural and natural environtent. 44 artists, musicians and intermedia artists from Czecho-Slowakia, Netherland, Belgium, USA, Australia, Germany and Great Britain took part in the first symposium HERMIT 92. The installations, sound sculptures, performances were mostly realised directly in the complex of this former monastery founded in 114?. Especially ill the huge building of the baroque convent rebuilt by the famous architect Jail Blazcj Santini-Aichl in the 18th century. The second location was the space of the early baroque granary. The building of the convent contains many different spaces - from dark my- sterious subleractian cellars with underground watcrsystcttts to light chapels and huge corridors . The ideal sonic conditions of the interiors were used for many sound insta llatious and music performances. The interiors of the granary with it's early gothic King's chapel are considered by artists as outstanding exhibition space for con- temporary art. In the four floors of this unique monumental building with old tower- clock are four big cellars and four large rooms with original wooden construction from 17th century.
    [Show full text]
  • The Dance-In and the Re/Production of White Corporeality Anthea Kraut, University of California, Riverside
    The Dance-In and the Re/production of White Corporeality Anthea Kraut, University of California, Riverside Abstract This essay examines the figure of the “dance-in,” a stand-in who dances in place of a star prior to filming, focusing on two women who acted as surrogates and dance coaches for the mid-twentieth century white film star Betty Grable: a white woman named Angie Blue and an African American woman named Marie Bryant. Bringing together film studies theories of indexicality, performance studies theories of surrogation, and critical race theories of flesh and body, I argue that the dance-in helps expose how the fiction of white corporeality as a bounded and autonomous mode of being is maintained. Keywords: dance-in, white corporeality, surrogation, indexicality, Betty Grable, Angie Blue, Marie Bryant In 1935, the Los Angeles Times ran a seventy-word article under the headline “Dance Stand-In,” explaining a new phenomenon in Hollywood: “Stand-ins,” persons who take the places of stars while the cameras are being properly focused, have become an accepted fact around the studio sets. Now comes Shirley Temple, youngest star of them all, with a new kind of stand-in – a dance stand-in. Marilyn Harper, one of the Meglin Kiddies, is Shirley’s dance stand-in. Marilyn goes through all the terpsichorean motions for Shirley until she is ready to take her place.1 The need for “dance stand-ins,” sometimes referred to as “dance-ins,” coincided with the rise of the film musical and the increased occurrence of dance in film, ushered in by the advent
    [Show full text]
  • The Rita Williams Popular Song Collection a Handlist
    The Rita Williams Popular Song Collection A Handlist A wide-ranging collection of c. 4000 individual popular songs, dating from the 1920s to the 1970s and including songs from films and musicals. Originally the personal collection of the singer Rita Williams, with later additions, it includes songs in various European languages and some in Afrikaans. Rita Williams sang with the Billy Cotton Club, among other groups, and made numerous recordings in the 1940s and 1950s. The songs are arranged alphabetically by title. The Rita Williams Popular Song Collection is a closed access collection. Please ask at the enquiry desk if you would like to use it. Please note that all items are reference only and in most cases it is necessary to obtain permission from the relevant copyright holder before they can be photocopied. Box Title Artist/ Singer/ Popularized by... Lyricist Composer/ Artist Language Publisher Date No. of copies Afrikaans, Czech, French, Italian, Swedish Songs Dans met my Various Afrikaans Carstens- De Waal 1954-57 1 Afrikaans, Czech, French, Italian, Swedish Songs Careless Love Hart Van Steen Afrikaans Dee Jay 1963 1 Afrikaans, Czech, French, Italian, Swedish Songs Ruiter In Die Nag Anton De Waal Afrikaans Impala 1963 1 Afrikaans, Czech, French, Italian, Swedish Songs Van Geluk Tot Verdriet Gideon Alberts/ Anton De Waal Afrikaans Impala 1970 1 Afrikaans, Czech, French, Italian, Swedish Songs Wye, Wye Vlaktes Martin Vorster/ Anton De Waal Afrikaans Impala 1970 1 Afrikaans, Czech, French, Italian, Swedish Songs My Skemer Rapsodie Duffy
    [Show full text]
  • Cultural Memory in Localized Pop Music(Al) I Am from Austria (2017) –
    ISSN 1347-2720 ■ 西洋比較演劇研究 Vol.18 No.1 March 2019 A Jukebox Musical, or an »Austro-Musical« ? – Cultural Memory in Localized Pop Music(al) I am from Austria (2017) – Rina TANAKA Abstract I am from Austria (2017) is an Austrian jukebox musical by United Stages Vienna. The performances of this musical—inside and outside of the theater—were concerned with cultural and identity politics as well as the history of the musical with pop music in Vienna. This paper gives a picture of the local prerequisites for I am from Austria in terms of the actual and historical settings of musicals in Vienna, where the imported concepts of the “musical” and later the “jukebox musical” have been indigenized. Looking at the process of production, performance and reception, I am from Austria was the culmination of the attempts to launch an original musical from Vienna together with the financial support of the municipal government, where the cultural-political mission of musical was discussed. Meanwhile, musicals in Vienna were driven by two motivations: (1) to hybridize this genre with European music theater to reactivate Viennese musical theater, and (2) to interpret it in the contemporary context on site for broader and younger audience, following the nature of popular musical theater that the performing style and form are constantly forced to keep up with the rapid transformation of popular culture on site. The latter perspective is crucial to understanding the growth of the potential audience for I am from Austria as a result of the simultaneous and interactive localization of pop music and musical since the 1960s in Austria.
    [Show full text]
  • Musicals in Post-Globalization: the Case of “Ever-Growing” Musicals from Vienna Via Japan
    ReVisions Musicals in Post- Globalization: the Case of “Ever-Growing” Musicals from Vienna via Japan Rina Tanaka Published on: Mar 14, 2017 Updated on: Jan 04, 2018 ReVisions Musicals in Post-Globalization: the Case of “Ever-Growing” Musicals from Vienna via Japan 1. Introduction The end of the globalization era meant the beginning of new methods, regardless of regional predominance. Today, a new style of performances is coming from non-English-speaking countries even in the genre of musical, which is originally from English-speaking countries. However, it has been overlooked due to the commercial or even mass productive nature of musicals (McMillin 2006, pp. 28- 29), which has been a dominant pattern in musicals for decades[1]. How have musicals been changing in the post-globalization era? This paper analyzes the interactions established between Vienna and Japan by musicals since the 1990s as a possible illustration of the post- global theater. It consists of the following four parts. Section 1 presents two key concepts of this paper, “post-global” and “interweaving cultures in performances” as well as the current situation regarding musicals. Section 2 deals with the short history of musicals in Vienna in the post-war era until the launch of the first successful “Wiener [Viennese]” musical Elisabeth. As Vienna started taking its musical productions to the world, Japan was the first importer of Elisabeth. Section 3 considers two adaptations of Elisabeth in Japan as examples, indicating the reactions of other countries as well as Vienna, including the “re-import” phenomenon. After the great popularity of the Wiener musicals in Japan and the successive adaptations in the world, a new type of co-production developed in Japan.
    [Show full text]
  • The Inventory of the Fred Astaire Collection #767
    The Inventory of the Fred Astaire Collection #767 Howard Gotlieb Archival Research Center /' Astaire, Fred July, 1980 #767 I. SCRAPBOOKS (All include tearsheets and newsclippings of advertisements; reviews and related stories; newsclippings on Adele Astaire, then Lady Charles Cavendish, and correspondence, Most printed items from U,S, newspaperst some English and AustralianJ Package //1 A. Black leather scrapbook: "Flying Down to Rio" and "Dancing Lady" 1933 0 7 telegrams, 1 TLS incl,: Berman, Pandro telegram Dec, 8, 1933 Brock, Louis (screenwriter) 2 telegrams Nov, 28, Dec. 23, 1933 TLS Nov, 13, 1933 Hayward, Leland (agent, producer) 2 telegrams Nov. 10, Dec. 29, 1933 "Hollywood on the Air". Mimeo typescript. Nov. 4, 1933. 16 p. Schwartz, Arthur (producer, composer) telegram Dec. 25, 1933 Package /12 B. Black scrapbook with tan leather spine: "Follow the Fleet" 1936 Package #3 C. Black leather scrapbook: "Gay Divorce" 1932-1933 (stage production) includes publicity clippings, reviews, photos of theatres (Wilbur in Boston and Ethel Barrymore in New York), box office statement, sheet music, playbills, Theatre World magazine December, 1933, news- clippings on FA's marriage and correspondence. 21 telegrams, 6 TLS, 2 CTL, 1 ALS, incl.: Astaire, Ann (mother) telegram July 13, 1933 Dietz, Howard (librettist) telegram July 12, 1933 Ephraim, Lee 12 telegrams ~fuy 3, May 11, May 23, May 29, May 31, June 3, June 6, June 10, June 19, June 27, July 4, July 11, 1933 5 TLS April 18, May 2, May 12, June 1, June 10, 1933 Fred Astaire Page 2 Package /13 c. "Gay Divorce" 1932-1933 correspondence (cont.) Ephraim, Lee To Claire Luce telegram May 26, 1933 FA to Lee Ephraim CTL May 18, 1933 with Luce, Claire CTL to Fred Astaire May 16, 1933 Hayward, Leland telegram May 18, 1933 Po~ter, Linda (Mrs.
    [Show full text]
  • Bakalářská Práce Michael Kunze a Jeho Dramamuzikály
    MASARYKOVA UNIVERZITA FILOZOFICKÁ FAKULTA KABINET DIVADELNÍCH STUDIÍ PŘI SEMINÁŘI ESTETIKY Ludvík Brouček BAKALÁŘSKÁ PRÁCE MICHAEL KUNZE A JEHO DRAMAMUZIKÁLY Vedoucí práce: PhDr. Margita Havlíčková BRNO 2007 Prohlašuji, že jsem svoji bakalářskou práci vypracoval zcela samostatně, pouze za pomocí pramenů a literatury uvedených v závěru práce. 2 Děkuji především PhDr. Margitě Havlíčkové za její obětavou pomoc při vzniku práce a Prof. Peteru BackVegovi a Mag. Monice Bjelik za poskytnutí materiálů. 3 OBSAH ÚVOD ....................................................................................................... 5 I. MICHAEL KUNZE – BIOGRAFICKÉ HESLO ............................. 6 II. TEORIE DRAMAMUZIKÁLU ...................................................... 17 III. DRAMAMUZIKÁLY ..................................................................... 20 A, Elisabeth ............................................................................................. 20 B, Tanz der Vampire ............................................................................... 31 C, Mozart! – das Musical ........................................................................ 40 D, Rebecca ............................................................................................... 48 E, Marie Antoinette ................................................................................. 56 ZÁVĚR ................................................................................................... 58 PŘÍLOHA .............................................................................................
    [Show full text]
  • The Drink Tank
    Cover—A Tribute to Sweeney Todd by Maurine Starkey!!! Page 3—Editorial by Alissa McKersie Page 4—My Favorite Musicals by Chris Garcia Art from Sheryl Birkhead Page 6—How a Boy from Albuquerque Came to Love Musicals by Ron Oakes Art by Sheryl Birkhead Page 10—Theatrical Problems by Bernadette Durbin Art by Chris Page 12—Jubilee: Around the World with Cole Porter and Moss Hart by Laura Frankos Page 18—First Broadway: First Date by Steven H Silver and Melanie Silver Photo courtesy Steven H Silver Page 22—The Rocky Horror Picture Show by Juan Sanmiguel Page 24—Regina Love Victorious by Jay Hartlove Photos courtesy Jay Hartlove (And remember to nominate The Mirror’s Revenge for Best Dramatic Presentation Short Form in 2019!) Page 25—Two Shades of Musicals by Richard von Busack Art by Michele Wilson Page 34—Musicals on the Far East End of Broadway by Kurt Erichsen Page 45—Teaneck Tanzi by Chris Page 47—Some Quick Shots from Ron Oakes Page 49—Galavant by Espana Sheriff Page 51—Musicals by Graham CHarnock Page 53—Gilbert & Sullivan & Murder: 10 Mysteries Set around G&S Productions By Petrea Mitchell When I was four-years-old, my mum took me to audition for my first musical, The Sound of Music. I knew the song I was supposed to sing, and we practiced in the restroom be- forehand. When it came time to sing in front of people, I really did NOT want to sing “Do-Re -Mi”. I wanted to sing “Twinkle, Twinkle”, and they let me.
    [Show full text]
  • Deutsches Musicalarchiv: Sammlung Klaus Baberg, SMA 0002 Stand: 19.09.2017
    Albert-Ludwigs-Universität Freiburg, Zentrum für Populäre Kultur und Musik Titelblat Deutsches Musicalarchiv: Sammlung Klaus Baberg, SMA 0002 Stand: 19.09.2017 Deutsches Musicalarchiv: Sammlung Klaus Baberg SMA 0002 Umfang: 5 kleine, 7 große Archivboxen; eine Archivbox in Übergröße; ca. 15 Regalmeter mit Programmheften, Leitz-Ordnern und Einzelmappen; ca. 8 Regalmeter mit Tonträgern. Inhalt: Material zu Musicalaufführungen, v. a. deutschsprachige, der 1970er- bis 2010er Jahre: gut 1000 Programmhefte, Werbeflyer und Presseberichte, 1117 Plakate, rund 200 Fachbücher, Musik- und Filmaufnahmen (362 CDs, 13 DVDs, 26 + 89 Tonkasseten, 32 Videokasseten, 409 Langspielplaten, 23 Singles), Texthefte, Fotos, PR-Material, einzelne Fachzeitschriften. Herkunft: Klaus Baberg hate seine ersten Berührungen mit dem Musical durch die Opereten- und Musical- Fernsehfilme in den 1960er Jahren. Seit 1979 sammelte er intensiv Programmhefte und Programme von Musicals. Verschiedene Exponate aus seiner Sammlung waren auf Ausstellungen zu sehen. Klaus Baberg ist Vorstandsmitglied im 2011 gegründeten Förderverein des Deutschen Musicalarchivs „Freunde und Förderer des Deutschen Musicalarchivs e.V.“ Baberg ist seit 1980 bei der Sparkasse Iserlohn beschäftigt. Hinweis: Der größte Teil der Bestände ist in diesem Dokument erschlossen. Die Bücher und das Notenmaterial der Sammlung sind im Bibliothekskatalog des ZPKM nachgewiesen (Recherche: Eingabe "abl: sbab" in den Suchschlitz). Die Musicalplakate der Sammlung Baberg wurden separiert und werden mit anderen Graphiken aufbewart.
    [Show full text]
  • Veranstaltungshinweis Stand: 02.10.2021 12:43
    Veranstaltungshinweis Stand: 02.10.2021 12:43 Tell Me on a Sunday (Bleib noch bis zum Sonntag) Wann? Beginn: Do, 07.11.2019 21:00 Ende (ca.): Do, 07.11.2019 21:00 Wo? Pfalztheater Kaiserslautern Grosses Haus Willy-Brandt-Platz 4+5 67657 Kaiserslautern Altersstufe? keine Beschränkung Mein Programm-PDF ist ein Service von miadi Stand: 02. Oktober 2021, 12.43 Uhr Seite 1 von 2 Veranstaltungshinweis Stand: 02.10.2021 12:43 Beschreibung Tell Me on a Sunday (Bleib noch bis zum Sonntag) Musical von Andrew Lloyd Webber Text von Don Black Deutsch von Michael Kunze Musikalische Leitung: N.N. Inszenierung: Astrid Vosberg Bühne und Kostüme: Thomas Dörfler Mit dir bin ich froh und verrückt. Ich will die beste Frau sein, die es für dich gibt. Sheldon Bloom, lass mich’s tun! Mit Welterfolgen wie „Jesus Christ Superstar“, „Evita“, „Cats“ und „Das Phantom der Oper“ wurde der englische Komponist Andrew Lloyd Webber zu einem Großmeister des modernen Musicals. Neben diesen spektakulären West End- und Broadway-Shows schrieb er mit „Tell Me on a Sunday“ ein überraschend intimes One-Woman-Musical, das auch leise, nach innen gekehrte Töne kennt. Ursprünglich war das Stück als ein Fernseh-Special für die englische Sängerin Marti Webb konzipiert, bevor es, ergänzt um zusätzliche Songs, auf die Bühne kam. Nummern wie „Take That Look Off Your Face“ und „Tell Me on a Sunday“ stürmten auch die Charts. In deutscher Sprache nahm Gitte Haenning als Erste Webbers Songzyklus als Konzeptalbum auf und landete mit „Freu dich bloß nicht zu früh“ einen großen Hit. In einer kleinen, aber feinen Instrumentalbesetzung ist „Tell Me on a Sunday“ ein großes Musicalereignis für einen kleinen Theatersaal.
    [Show full text]
  • The Aesthetics of Takarazuka: a Case Study on Erizabēto – Ai to Shi No Rondo
    The aesthetics of Takarazuka: a case study on Erizabēto – ai to shi no rondo A thesis submitted in partial fulfilment of the requirements for the Degree of Master of Arts in Japanese Department of Japanese University of Canterbury By Daniela Florentina Mageanu 2015 1 Contents Acknowledgements .......................................................................................................... 4 Abstract ............................................................................................................................. 5 Introduction ...................................................................................................................... 6 Chapter 1 ............................................................................................................................ 1.1 Takarazuka brief background .................................................................................. 8 1.2 Elisabeth – an introduction ..................................................................................... 9 1.3 Methodology .......................................................................................................... 11 1.4 Literature review ................................................................................................... 14 Chapter 2 ............................................................................................................................ 2.1 Early beginnings of the Takarazuka Revue ........................................................... 29 2.2 Takarazuka – war
    [Show full text]
  • Examining the Careers and Artistic Contributions of Fred Astaire's
    Western Kentucky University TopSCHOLAR® Honors College Capstone Experience/Thesis Honors College at WKU Projects Fall 12-14-2015 Backwards in High Heels: Examining the Careers and Artistic Contributions of Fred Astaire’s Female Dance Partners Fiona Mowbray Western Kentucky University, [email protected] Follow this and additional works at: http://digitalcommons.wku.edu/stu_hon_theses Part of the Dance Commons, Other Theatre and Performance Studies Commons, and the Performance Studies Commons Recommended Citation Mowbray, Fiona, "Backwards in High Heels: Examining the Careers and Artistic Contributions of Fred Astaire’s Female Dance Partners" (2015). Honors College Capstone Experience/Thesis Projects. Paper 591. http://digitalcommons.wku.edu/stu_hon_theses/591 This Thesis is brought to you for free and open access by TopSCHOLAR®. It has been accepted for inclusion in Honors College Capstone Experience/ Thesis Projects by an authorized administrator of TopSCHOLAR®. For more information, please contact [email protected]. BACKWARDS IN HIGH HEELS: EXAMINING THE CAREERS AND ARTISTIC CONTRIBUTION OF FRED ASTAIRE’S FEMALE DANCE PARTNERS A Capstone Experience/Thesis Paper Presented in Partial Fulfillment of the Requirements for the Degrees Bachelor of Fine Arts and Bachelor of Science with Honors College Graduate Distinction at Western Kentucky University By Fiona Mowbray ***** Western Kentucky University 2015 CE/T Committee: Approved by Dr. Michelle Dvoskin, Advisor Dr. Julie Lyn Barber ______________________ Advisor Dr. Dana Bradley Department of Theatre & Dance Copyright by Fiona Mowbray 2015 ABSTRACT This project examines the careers and contributions of three of Fred Astaire’s female dancing partners during the golden age of movie musicals: Ginger Rogers, Vera- Ellen, and Cyd Charisse.
    [Show full text]