The Rest of the Herbert/Ziegfeld Story
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Advance Program Notes New York Gilbert & Sullivan Players H.M.S
Advance Program Notes New York Gilbert & Sullivan Players H.M.S. Pinafore Friday, May 5, 2017, 7:30 PM These Advance Program Notes are provided online for our patrons who like to read about performances ahead of time. Printed programs will be provided to patrons at the performances. Programs are subject to change. Albert Bergeret, artistic director in H.M.S. Pinafore or The Lass that Loved a Sailor Libretto by Sir William S. Gilbert | Music by Sir Arthur Sullivan First performed at the Opera Comique, London, on May 25, 1878 Directed and conducted by Albert Bergeret Choreography by Bill Fabis Scenic design by Albère | Costume design by Gail Wofford Lighting design by Benjamin Weill Production Stage Manager: Emily C. Rolston* Assistant Stage Manager: Annette Dieli DRAMATIS PERSONAE The Rt. Hon. Sir Joseph Porter, K.C.B. (First Lord of the Admiralty) James Mills* Captain Corcoran (Commanding H.M.S. Pinafore) David Auxier* Ralph Rackstraw (Able Seaman) Daniel Greenwood* Dick Deadeye (Able Seaman) Louis Dall’Ava* Bill Bobstay (Boatswain’s Mate) David Wannen* Bob Becket (Carpenter’s Mate) Jason Whitfield Josephine (The Captain’s Daughter) Kate Bass* Cousin Hebe Victoria Devany* Little Buttercup (Mrs. Cripps, a Portsmouth Bumboat Woman) Angela Christine Smith* Sergeant of Marines Michael Connolly* ENSEMBLE OF SAILORS, FIRST LORD’S SISTERS, COUSINS, AND AUNTS Brooke Collins*, Michael Galante, Merrill Grant*, Andy Herr*, Sarah Hutchison*, Hannah Kurth*, Lance Olds*, Jennifer Piacenti*, Chris-Ian Sanchez*, Cameron Smith, Sarah Caldwell Smith*, Laura Sudduth*, and Matthew Wages* Scene: Quarterdeck of H.M.S. Pinafore *The actors and stage managers employed in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. -
“The Cuckoo School” Humor and Metropolitan Culture in 1920S America
1 “The Cuckoo School” Humor and Metropolitan Culture in 1920s America April Fool’s Day, 1923: The Palace Theatre at 47th and Broadway is hosting National Vaudeville Artists’ Week, a fundraiser for the Keith-Albee Organization performers’ union. On the bill are such luminaries as singer Sophie Tucker, Ben Bernie and His Orchestra, musical comedy two-act Herb Williams and Hilda Wolfus, contortionists the Luster Brothers, “nut” comedians Sam Dody and Sam Lewis, and others.1 It is Dody and Lewis, we will imagine, who will make a particular impression on one member of the audience that night. No description of Lewis and Dody’s performance that night has been located. But we know from extant reports and phonograph recordings that their act from this period typically consisted of a single song—“Hello, Hello, Hello!”— extrapolated to include a variable number of stanzas, each one ending with the triple salutation and interrupted with absurdist asides. They come onto the stage, lifelessly grunt a gibberish refrain, introduce themselves with deadpan affect— “I’m Mike,” says one, “I’m Ike,” the other—and launch into a verse, delivered less as a song than as a matter of fact. Just the other night Right near from here, We saw a funny sight: A couple they were dispossessed; The wife stood there in tears. That’s the first time they’d been out together in twenty years. Hello, Hello, Hello! Hello, Hello, Hello! You can’t milk a herring. Hello, Hello, Hello! 21 22 Chapter 1 Sticking to their toneless voices, they reintroduce themselves “(“I’m Mike,” “I’m Ike”) and commence another verse: We filed our income tax. -
The Fortune Teller the OHIO LIGHT OPERA STEVEN BYESS STEVEN DAIGLE Conductor Artistic Director the Fortune Teller
VICTOR HERBERT The Fortune Teller THE OHIO LIGHT OPERA STEVEN BYESS STEVEN DAIGLE Conductor Artistic Director The Fortune Teller Music......................................Victor Herbert ENSEMBLE: Book and Lyrics......................Harry B. Smith Jacob Allen, Natalie Ballenger, Sarah Best, Lori Birrer, John Vocal Score Reconstruction........Adam Aceto Callison, Ashley Close, Christopher Cobbett, Mary Griffin, Anna-Lisa Hackett, Geoffrey Kannerberg, Andy Maughan, Ohio Light Opera Olivia Maughan, Evan McCormack, Geoffrey Penar, Will Perkins, Madeline Piscetta, Zachary Rusk, Mark Snyder, Raina Thorne, Artistic Director........................Steven Daigle Angela Vågenes, Joey Wilgenbusch. Conductor.................................Steven Byess Stage Director.......................Ted Christopher Sound Designer..........................Brian Rudell PROGRAM NOTES ...............................Michael D. Miller Choreographer.....................Carol Hageman Victor Herbert, acknowledged as Costume Designer.................Whitney Locher the Father of American Operetta, Scenic Designer...............................Erich Keil was born in Dublin in 1859, the Lighting Designer.....................Krystal Kennel grandson of Irish novelist-artist- Production Stage Manager...Katie Humphrey composer Samuel Lover. The family eventually moved to Stuttgart where CAST: Victor’s initial studies toward a Musette / Irma...........................Amy Maples career in medicine or law were soon Sandor...........................David Kelleher-Flight replaced -
PINAFORE BOOK.Pmd
GILBERT SULLIVAN H.M.S. Pinafore THE OHIO LIGHT OPERA J. Lynn Thompson Steven Daigle CONDUCTOR ARTISTIC DIRECTOR H.M.S. PINAFORE Music...............................Sir Arthur Sullivan PROGRAM NOTES ...................Raymond McCall Libretto.....................................W.S. Gilbert H.M.S. Pinafore has been the most frequently OHIO LIGHT OPERA performed work at The Ohio Light Opera and an audience favorite on both sides of the Atlantic Artistic Director....................Steven A. Daigle Conductor.........................J. Lynn Thompson since 1878. Its initial run in London prompted Stage Director..................Julie Wright Costa numerous unauthorized productions in this Choreographer.................... Carol Hageman country where Sullivan’s melodies were played by Costume Designer................Adrienne Jones organ grinders and Gilbert’s lyrics became tag lines Scenic Designer...............Kimberly V. Powers for would-be comedians. Meanwhile, the creators Lighting Designer...................Michael Banks earned not one penny in royalties! Sound Designer..........................Andy Kauff To counter this piracy and to demonstrate Production Stage Manager..Katie Humphrey the superiority of the authentic version, London CAST: producer Richard D’Oyly Carte decided to bring a Sir Joseph Porter..................Ted Christopher company to New York. On December 1, 1879, at Ralph Rackstraw.....................Stephen Faulk the Fifth Avenue Theatre, Sullivan conducted the Josephine...........................Natalie Ballenger score -
Inside Facts of Stage and Screen (February 28, 1931)
1! A STAGE PRICE 10 CENTS RADIO SCREEN MUSIC Only Theatrical Newspaper on the Pacific Coast EDITED BY JACK JOSEPHS ESTABLISHED 1924 Entered as Second Class Matter, April 29, 1927, at Published Every Saturday at 6253 Hollywood Boulevard, Vol. XIII ’ office, Los Angeles, Calif., under Act of March 3. Saturday, February 28, 1931 Hollywood, Calif. •No. 8 BIGGER STAGE SHOWSTO MEET H-F PRICE SLASH Tie-Up Of Plunkett Coin Hits On Coast Production For Meet “The only studio departments San Francisco, Feb. 27.— •working at anything like full swing meeting here between Joseph at present are the publicity depart- Plunkett and execuive chiefs on the west coast for R-K-O ments—and they’re working over- decided to continue stage time alibying for the slump in pro- shows in all R-K-O coast duction.” houses, and to build them up This statement was made confi- . to a more elaborate scale. dentially this week by a big picture Lines of girls will be added, exec., who was addressing a group and there will also be orches- of exhibitors’ representatives who tral pit shows, with both men were in town to find out what’s and women entertainers work- what for the coming year. ing in them. The exhibs, the stock market and Entry into the exhibition field of the inhabitants of Hollywood are the new Hughes-Franklin combina- | being fed with big stories regarding tion is not going to be taken ly- production, making one judge by ing down by the already establish- these stories that the town is even ed circuits. -
Florenz Ziegfeld Jr
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE ZIEGFELD GIRLS BEAUTY VERSUS TALENT A thesis submitted in partial fulfillment of the requirements For the degree of Master of Arts in Theatre Arts By Cassandra Ristaino May 2012 The thesis of Cassandra Ristaino is approved: ______________________________________ __________________ Leigh Kennicott, Ph.D. Date ______________________________________ __________________ Christine A. Menzies, B.Ed., MFA Date ______________________________________ __________________ Ah-jeong Kim, Ph.D., Chair Date California State University, Northridge ii Dedication This thesis is dedicated to Jeremiah Ahern and my mother, Mary Hanlon for their endless support and encouragement. iii Acknowledgements First and foremost I would like to express my deepest gratitude to my thesis chair and graduate advisor Dr. Ah-Jeong Kim. Her patience, kindness, support and encouragement guided me to completing my degree and thesis with an improved understanding of who I am and what I can accomplish. This thesis would not have been possible without Professor Christine Menzies and Dr. Leigh Kennicott who guided me within the graduate program and served on my thesis committee with enthusiasm and care. Professor Menzies, I would like to thank for her genuine interest in my topic and her insight. Dr. Kennicott, I would like to thank for her expertise in my area of study and for her vigilant revisions. I am indebted to Oakwood Secondary School, particularly Dr. James Astman and Susan Schechtman. Without their support, encouragement and faith I would not have been able to accomplish this degree while maintaining and benefiting from my employment at Oakwood. I would like to thank my family for their continued support in all of my goals. -
Precious Nonsense
Precious Nonsense NEWSLETTER OF THE MIDWESTERN GILBERT AND SULLIVAN SOCIETY June 2002 -- Issue 64 When but a maid of fifteen year, Unsought -- unplighted-- Short-petticoated -- and, I fear, Still shorter--sighted My, that sounds ominous! It isn't meant to be, any more than the use of plain return address labels, instead of the usual M GS heading. (I just w ound up with a stack of them, and hated to let them go to waste. We'll probably have another mailing with them: there's still a big stack!) No, it just means that seventeen years ago, when the Midwestern Gilbert and Sullivan Society started, I didn't realize putting together a newsletter could take so long. (It also means that about twelve years of yard work and house repair are catching up with me: thank you, as always, for your patience! And does anyone know any quick and effective way to clean a wooden deck that doesn't require renting a pressure sprayer? I shou ldn't be sorry to learn it!) Let me know if you're interested: I'll be glad to write you a Christmas letter about what all's been going on (a Christmas-in-July letter, maybe). And if you aren't, I don't blame you. But before we go further, have we (or more accurately, The American Concert Band / Detroit Concert Band) got something for you (if you have a record player)! Several months ago, Mary Lou Hornberger of the Concert Band sent the MGS a boxful of LP recordings of their album Through the Years with Sousa, Volume 10 of their series of recordings of all the marches of John Philip Sousa. -
Gemze De Lappe Career Highlights
DATE END (if avail) LOCATION SHOW/EVENT ROLE (if applicable) COMPANY NOTES 1922/02/28 Portsmouth, VA Born Gemze Mary de Lappe BORN Performed during the summer - would do ballets during intermission of productions of 1931/00/00 1939/00/00 Lewisohn Stadium, NY Michael Fokine Ballet dancer Michael Folkine recent Broadway shows. 1941/11/05 1941/11/11 New York La Vie Parisienne Ballet 44th St. New Opera Company 1943/11/15 1945/01/00 Chicago Oklahoma! Aggie National Tour with John Raitt Premiere at the old Metropolitan Opera House - Jerome Robbins choreographed Fancy Free, which was later developed into 1944/04/18 New York Fancy Free [Jerome Robbins] dancer Ballet Theatre On the Town 1945/01/08 St. Louis Oklahoma! Aggie 1945/01/29 1945/02/10 Milwaukee Oklahoma! Aggie 1945/03/05 Detroit Oklahoma! Aggie 1945/04/09 Pittsburgh Oklahoma! Aggie 1945/06/18 Philadelphia Oklahoma! Aggie National Tour 1946/01/22 Minneapolis Oklahoma! Ellen/Dream Laurey National Tour Ellen/Dream Laurey 1946/08/19 New York Oklahoma! (replacement) St. James 1947/04/30 London Oklahoma! Dream Laurey Theatre Royal Drury Lane with Howard Keel Melbourne, Victoria, Recreated 1949/02/19 Australia Oklahoma! Choreography Australia Premiere 1951/03/29 New York The King and I King Simon of Legree St. James 1951/10/01 Philadelphia Paint Your Wagon Yvonne Pre-Broadway Tryout 1951/10/08 Boston Paint Your Wagon Yvonne Pre-Broadway Tryout 1951/11/12 1952/07/19 New York Paint Your Wagon Yvonne Shubert The Donaldson Awards were a set of theatre awards established in 1944 by the drama critic Robert Francis in honor of W. -
Joel Andrew Weiss
OperaManager.com - Joel Andrew Weiss JOEL ANDREW WEISS Tenor This season tenor JOEL ANDREW WEISS made his international debut as Alredo in LA TRAVIATA with Polish National Opera conducted by Jacek Kaspszyk. He also sang his first Edgardo in LUCIA DI LAMMERMOOR with the Vermont International Opera Festival, and Eisenstein in DIE FLEDERMAUS with Maine Grand Opera. Upcoming performances include Don Ottavio in DON GIOVANNI and Rev. Parris in THE CRUCIBLE with Opera Company of North Carolina, Nemorino in L'ELISIR D'AMORE, DON GIOVANNI with Cedar Rapids Opera Theater, and Handel's Messiah at St. John's Lutheran in New York. Previous seasons have included THE MIKADO and Beppe in PAGLIACCI with Eugene Opera, IL RE PASTORE with New York Chamber Opera, LA BOHEME with Opera Shawnee and Maine Grand Opera, AMAHL and the NIGHT VISITORS with Lyric Opera of New York as well as performances of ELIJAH and Rossini's STABAT MATER at St. John's. Hailed by Opera News as having "a commanding presence and a powerful voice," Joel's work in contemporary opera includes ALBERT HERRING, THE SEAGULL, STREET SCENE, THE BALLAD OF BABY DOE, SUSANNAH and Louis Gruenberg's one-man opera THE CREATION. Joel also created the role of Tameem in the world premier of Martin Halpern's THE SATIN CLOAK. Early in his career Joel performed leading roles in lighter repertoire including PIRATES OF PENZANCE, EILEEN, THE GRAND DUKE and ROSE MARIE with Ohio Light Opera, Opera Theater of Northern Virginia, and Liederkranz Opera. Having grown up on the musical theater stage, Joel appeared in regional theaters in THE FANTASTICKS, KISMET, GEORGE M! and ONCE UPON A MATTRESS, as well as the hit off-Broadway musical MANY A GOOD HANGING PREVENTS A BAD MARRIAGE at the Manhattan Playhouse. -
Factbook201112.Pdf
New York Philharmonic Contents 2 2011–12 Season: The Big Picture Stats Alan Gilbert Conducts Artistic Partners Onstage Guests Principals, Center Stage 24 Learning Around the Globe For Kids and Teens Stand-Outs Lectures and Discussions Media Leonard Bernstein Scholar-in-Residence Online 20 The Players For Schools 22 Leadership 26 Premieres and Commissions Music Director 2011–12 Season Chairman Notable 21st Century President and Executive Director Notable 20th Century Notable 19th Century 28 The Legacy The Story Memorable Moments Former Music Directors and Advisors 32 Behind the Scenes Archives Volunteer Council nyphil.org The Philharmonic-Symphony Ticket Information Society of New York, Inc. Online: nyphil.org By phone: (212) 875 - 5656 Alan Gilbert, Music Director, In person: Avery Fisher Hall Box Office The partnership between the New York Philharmonic and The Yoko Nagae Ceschina Chair For group sales: (212) 875 - 5672 Credit Suisse — the Orchestra’s exclusive Global Sponsor Gary W. Parr, Chairman Accessibility Information: since 2007 — has led to inspiring performances both at Zarin Mehta, President (212) 875 - 5380 home and abroad through acclaimed tours across the and Executive Director United States, Europe, and Asia. In the 2011–12 season, Avery Fisher Hall Box Office Hours Credit Suisse’s dynamic support of the Orchestra’s Avery Fisher Hall Opens 10:00 a.m., Monday through programs helps to forge the Philharmonic’s central role in 10 Lincoln Center Plaza Saturday, noon on Sunday. the cultural life of New York, and to share Music Director New York, NY 10023 -6970 On performance evenings Alan Gilbert’s vision with the world. -
The Concerts at Lewisohn Stadium, 1922-1964
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2009 Music for the (American) People: The Concerts at Lewisohn Stadium, 1922-1964 Jonathan Stern The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2239 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] MUSIC FOR THE (AMERICAN) PEOPLE: THE CONCERTS AT LEWISOHN STADIUM, 1922-1964 by JONATHAN STERN VOLUME I A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2009 ©2009 JONATHAN STERN All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the Dissertation requirement for the degree of Doctor of Philosophy. Professor Ora Frishberg Saloman Date Chair of Examining Committee Professor David Olan Date Executive Officer Professor Stephen Blum Professor John Graziano Professor Bruce Saylor Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iii Abstract MUSIC FOR THE (AMERICAN) PEOPLE: THE LEWISOHN STADIUM CONCERTS, 1922-1964 by Jonathan Stern Adviser: Professor John Graziano Not long after construction began for an athletic field at City College of New York, school officials conceived the idea of that same field serving as an outdoor concert hall during the summer months. The result, Lewisohn Stadium, named after its principal benefactor, Adolph Lewisohn, and modeled much along the lines of an ancient Roman coliseum, became that and much more. -
Oscar Levant: Pianist, Gershwinite, Middlebrow Media Star
Washington University in St. Louis Washington University Open Scholarship Arts & Sciences Electronic Theses and Dissertations Arts & Sciences Spring 5-15-2020 Oscar Levant: Pianist, Gershwinite, Middlebrow Media Star Caleb Taylor Boyd Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/art_sci_etds Part of the Film and Media Studies Commons, Music Commons, and the Sociology Commons Recommended Citation Boyd, Caleb Taylor, "Oscar Levant: Pianist, Gershwinite, Middlebrow Media Star" (2020). Arts & Sciences Electronic Theses and Dissertations. 2169. https://openscholarship.wustl.edu/art_sci_etds/2169 This Dissertation is brought to you for free and open access by the Arts & Sciences at Washington University Open Scholarship. It has been accepted for inclusion in Arts & Sciences Electronic Theses and Dissertations by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS Department of Music Dissertation Examination Committee: Todd Decker, Chair Ben Duane Howard Pollack Alexander Stefaniak Gaylyn Studlar Oscar Levant: Pianist, Gershwinite, Middlebrow Media Star by Caleb T. Boyd A dissertation presented to The Graduate School of Washington University in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 2020 St. Louis, Missouri © 2020, Caleb T. Boyd Table of Contents List of Figures ................................................................................................................................