John Frost and Suzanne Jones Present

Total Page:16

File Type:pdf, Size:1020Kb

John Frost and Suzanne Jones Present JOHN FROST AND SUZANNE JONES PRESENT Follow the yellow brick road, over the rainbow, to see the world’s favourite musical… Developed from the ever-popular MGM screenplay, the Andrew Lloyd Webber London Palladium production of The Wizard of Oz contains the beloved Harold Arlen and E.Y. Harburg songs from the Oscar®-winning movie score, all the favourite characters and iconic moments, plus a few surprises along the way. CHARACTER DOROTHY (Female) 18 to 30 years old. The heroine of our story, whose travels through Oz bring her friendship and adventure. Brave, smart, compassionate, selfless and encouraging to others. Must be no less than 160cm and be able to play 16yo. Dog lovers encouraged! MEZZO AUDITION SELF-TAPE REQUIREMENTS Applicants will be required to submit a video self-tape singing ‘Somewhere Over the Rainbow’, preferably accompanied or to a backing track. Please click here to obtain the score. Please note: this is not for distribution. Email submissions to [email protected] which MUST include the following, to be considered: 1. Pro Forma spreadsheet – completed with all talent submissions. 2. Link to Vimeo, YouTube, or any file sharing platform of the required song. 3. Performance CV (including height and DOB) PDF ONLY 4. Headshot (last 6-12mth) PDF/JPG ONLY APPLICATIONS CLOSE: 12 MIDNIGHT – Sunday 11th June 2017 Successful applicants will receive appointment times no later the 7 days prior to the audition AUDITION DATES Monday 26th June – 7th July 2017 - SYDNEY AND MELBOURNE Rehearsals to commence early October 2017 in Sydney followed by a Brisbane Opening and National Tour. Dates are subject to change at the producer’s discretion Casting requirements for these roles is very specific. Please read the brief carefully when submitting performers – there is no scope for exceptions. The casting brief for further roles will be released at a later date. AUDITIONS ARE AT THE RISK AND THE SOLE FINANCIAL RESPONSIBILITY OF THE AUDITIONEE .
Recommended publications
  • AC/DC You Shook Me All Night Long Adele Rolling in the Deep Al Green
    AC/DC You Shook Me All Night Long Adele Rolling in the Deep Al Green Let's Stay Together Alabama Dixieland Delight Alan Jackson It's Five O'Clock Somewhere Alex Claire Too Close Alice in Chains No Excuses America Lonely People Sister Golden Hair American Authors The Best Day of My Life Avicii Hey Brother Bad Company Feel Like Making Love Can't Get Enough of Your Love Bastille Pompeii Ben Harper Steal My Kisses Bill Withers Ain't No Sunshine Lean on Me Billy Joel You May Be Right Don't Ask Me Why Just the Way You Are Only the Good Die Young Still Rock and Roll to Me Captain Jack Blake Shelton Boys 'Round Here God Gave Me You Bob Dylan Tangled Up in Blue The Man in Me To Make You Feel My Love You Belong to Me Knocking on Heaven's Door Don't Think Twice Bob Marley and the Wailers One Love Three Little Birds Bob Seger Old Time Rock & Roll Night Moves Turn the Page Bobby Darin Beyond the Sea Bon Jovi Dead or Alive Living on a Prayer You Give Love a Bad Name Brad Paisley She's Everything Bruce Springsteen Glory Days Bruno Mars Locked Out of Heaven Marry You Treasure Bryan Adams Summer of '69 Cat Stevens Wild World If You Want to Sing Out CCR Bad Moon Rising Down on the Corner Have You Ever Seen the Rain Looking Out My Backdoor Midnight Special Cee Lo Green Forget You Charlie Pride Kiss an Angel Good Morning Cheap Trick I Want You to Want Me Christina Perri A Thousand Years Counting Crows Mr.
    [Show full text]
  • Full Results of Survey of Songs
    Existential Songs Full results Supplementary material for Mick Cooper’s Existential psychotherapy and counselling: Contributions to a pluralistic practice (Sage, 2015), Appendix. One of the great strengths of existential philosophy is that it stretches far beyond psychotherapy and counselling; into art, literature and many other forms of popular culture. This means that there are many – including films, novels and songs that convey the key messages of existentialism. These may be useful for trainees of existential therapy, and also as recommendations for clients to deepen an understanding of this way of seeing the world. In order to identify the most helpful resources, an online survey was conducted in the summer of 2014 to identify the key existential films, books and novels. Invites were sent out via email to existential training institutes and societies, and through social media. Participants were invited to nominate up to three of each art media that ‘most strongly communicate the core messages of existentialism’. In total, 119 people took part in the survey (i.e., gave one or more response). Approximately half were female (n = 57) and half were male (n = 56), with one of other gender. The average age was 47 years old (range 26–89). The participants were primarily distributed across the UK (n = 37), continental Europe (n = 34), North America (n = 24), Australia (n = 15) and Asia (n = 6). Around 90% of the respondents were either qualified therapists (n = 78) or in training (n = 26). Of these, around two-thirds (n = 69) considered themselves existential therapists, and one third (n = 32) did not. There were 235 nominations for the key existential song, with enormous variation across the different respondents.
    [Show full text]
  • Read Book Just for the Record
    JUST FOR THE RECORD PDF, EPUB, EBOOK Geri Halliwell | 320 pages | 01 Nov 2003 | Ebury Publishing | 9780091888046 | English | London, United Kingdom Just For The Record PDF Book Jeff Randall Kenneth Cope When the Sun Comes Out. Pargiter Olivia Hamnett Ager Arlen Koehler Yellen. Barbra Streisand feat: Don Rickles. The Barbra Streisand Album , Marty Hopkirk Annette Andre Stoney End , Movies I have seen. Liner notes. Energetic Happy Hypnotic. DeSylva Lew Brown. Andre Mallot James Forrest Back to Broadway Halloween Movies for the Whole Family. Miss Marmelstein Harold Rome. Browne ultimately awarded the collection a grade of A- and called it a good representation of the singer's ability to "chang[e the] definition of pop" and "make mainstream adult pop that was strong, elegant, [and] even passionate". Another common usage of the idiom involves clarifying a person's motivation for saying something or engaging in a particular action. Rainy Day Relaxation Road Trip. Barbra Streisand feat: Judy Garland. The Broadway Album , Don't Rain on My Parade. Title: Just for the Record 15 Jan The Best Horror Movies on Netflix. Alternately, someone may use it to explain why he did something that appeared particularly unintelligent. I Can Do It. Other tracks were compiled from various live performances, TV specials, and previous albums from her back catalog. Warm All Over Frank Loesser. Lost Inside of You. My Honey's Lovin' Arms. Lorenz Hart Richard Rodgers. It includes 24 of the songs from Just for the Record The Moon and I. You're the Top Cole Porter. Cryin' Time. Add the first question.
    [Show full text]
  • Accentuate the Positive Unit 1 Lesson 1 & 2
    Accentuate The Positive: Unit 1: Lessons 1 & 2 Lesson #1: “Accentuate the Positive” (1944) by Johnny Mercer & Harold Arlen Lesson Overview These lessons are an introduction to Johnny Mercer, the Great American Songbook, and lyric writing. Classes will receive the original Accentuate the Positive: Guide to Lyric Writing for Kids programming. Students will be exposed to different subject matters and will have opportunities to learn tools for lyric writing and creating personal lyrics, all while fulfilling national core standards. Have fun! Objectives Upon completion of this lesson students will be able to: Know about songwriter Johnny Mercer Understand the definitions of lyricist and composer Have an understanding of songwriting skills: Rhyme, Personification Write lyrics for a song Standards Nat’l Core Arts - Music: Creating. Students will generate musical ideas, rhythms and will be encouraged to create their own melodies. English/Lang Arts Standards: STRANDS--Reading Foundational & Writing. Students will apply phonics and word recognition as well as writing personal opinionated texts using the figurative language concepts discussed in the lessons. Top of Form Bottom of Form Time Required One class period of at least 45-50 minutes Lesson Preparation Ask students what music they like and have them start to investigate who wrote those songs. Materials: Accentuate the Positive: Guide to Lyric Writing for Kids booklet Whiteboard space for teacher/teaching artist Writing paper and pencils Resources: The Johnny Mercer Foundation: www.johnnymercer.org If needed, refer to the video of the educator workshop on the Accentuate the Positive webpage. Johnny Mercer Collections at Georgia State University: http://library.gsu.edu/mercer -1- Accentuate The Positive: Unit 1: Lessons 1 & 2 (con’t) Lesson Procedure Introduce the program and Johnny Mercer.
    [Show full text]
  • Broadway and Tin Pan Alley Introductory Essay
    Broadway and Tin Pan Alley Introductory Essay “Way Down Upon the Hudson River: Tin Pan Alley's New York Triumph” Rachel Rubin, Professor of American Studies, University of Massachusetts Broadway in the 1920s was a showcase for the sweeping changes transforming American culture in the early 20th century, including new roles for women, the mixing of social classes in new settings like Prohibition-era speakeasies and creative innovation by African Americans in jazz clubs and music halls. Sons of immigrants from Europe -- including the Gershwins, Irving Berlin, Jerome Kern and Harold Arlen -- made up a large percentage of the new word and music smiths writing for Tin Pan Alley and Broadway’s musical revues. Their syncopated rhythms borrowed from the jazz craze and their lyrics helped create a vibrant, witty new American argot. Tin Pan Alley and Broadway contributed such classic standards as “Alexander’s Ragtime Band” (Berlin), “I Got Rhythm” (Gershwin and Gershwin), “Ol’Man River,” (Kern and Hammerstein), “Stormy Weather” (Arlen and Koehler), “Ain’t Misbehavin’” (Razaf, Waller, Brooks), “Anything Goes” (Porter) and many more. These songs formed the musical backdrop of an era. The production of these songs also became big business. The first major book written about Tin Pan Alley was published in 1930 by Harvard professor Isaac Goldberg, and it was subtitled “A Chronicle of the American Popular Music Racket.” Goldberg’s humorous use of the word “racket” captured something about the origins of the name “Tin Pan Alley” given to the music composed by poorly-paid songwriters banging away in cubicles in downtown New York City on cheap pianos.
    [Show full text]
  • Commencement Concert 2018
    Commencement Concert 2018 Wittenberg Collegiate Center Auditorium Friday, May 11, 2018 4:00 and 7:30 pm Please turn off cell phones and other electronic devices before the concert. The United States copyright law prohibits audio and/or video recording of this concert by individuals. PROGRAM Wind Symphony Prof. Miles Wurster, conductor In This Broad Earth Steven Bryant Symphonic Suite from Robin Hood: Prince of Thieves Michael Kamen Arranged by Paul Lavender Hosanna Ringers Prof. Craig Hirschmann, conductor The Bare Necessities (from Disney’s The Jungle Book) Arranged by Kevin McChesney Over the Rainbow Music by Harold Arlen Lyrics by E.Y. Harburg Arranged by Tammy Waldrop Audience led in singing by Jennifer Haugen Somewhere Over the Rainbow, way up high, There’s a land that I heard of once in a lullaby. Somewhere Over the Rainbow skies are blue, And the dreams that you dare to dream really do come true. Someday I’ll wish upon a star and Wake up where the clouds are far behind me. Where troubles melt like lemon drops, Away above the chimney tops, that’s where you’ll find me. Somewhere Over the Rainbow bluebirds fly, Birds fly Over the Rainbow, Why then, oh why can’t I? Baby Elephant Walk Henry Mancini Arranged by Sondra K. Tucker An offering designated for student financial assistance will be taken. Thank you for your generous support. Alumni Recognition Mr. Stephen Balza, director of alumni relations Männerchor Prof. Craig Hirschmann, conductor Shenandoah Scottish Lullaby Arranged by Alice Parker and Robert Shaw Oh, Shenandoah, I long to hear you, Oh, Shenandoah, I’m bound to leave you, Way-hay, you rolling river, Way-hay, you rolling river, Oh, Shenandoah, I long to hear you, Oh, Shenandoah, I’ll not deceive you, Away we’re bound to go, Away we’re bound to go, ‘Cross the wide Missouri.
    [Show full text]
  • Greenlight's Complete Song List
    Song List CONTEMPORARY DANCE (The) Middle—-Zedd Moves Like Jagger--Adam Levine 24K Magic—Bruno Mars Need Your Love--Calvin Harris Ain’t It Fun--Paramore No Roots—Alice Merton All About That Bass—Meghan Trainor Only Girl--Rihanna American Boy--Kanye West & Estelle Party Rock Anthem--LMFAO Attention—Charlie Puth Poker Face--Lady GaGa Bang, Bang—Jessie J Raise Your Glass—Pink Blurred Lines--Robin Thicke Rather Be—Clean Bandit Born This Way--Lady GaGa Rock Your Body--Justin Timberlake Bright Lights, Bigger City--Cee-Lo Green Rolling In The Deep--Adele Cake by the Ocean--DNCE Safe and Sound--Capitol Cities California Gurls--Katy Perry Shake It Off—Taylor Swift Call Me Maybe--Carly Rae Jepson Shut Up and Dance—Walk The Moon Can’t Stop the Feeling!—Justin Timberlake Stronger--Kelly Clarkson Chicken Fried—Zac Brown Band Sugar—Maroon 5 Cheap Thrills—Sia feat. Sean Paul Suit & Tie--Justin Timberlake Clarity--Zed Summer--Calvin Harris Classic--MKTO Take Back the Night--Justin Timberlake Counting Stars-One Republic This Is How We Do It--Montell Jordan Crazy In Love--Beyonce The Way You Are--Bruno Mars Cruise--Florida Georgia Line That’s What I Like—Bruno Mars DJ Got Us Falling In Love--Usher There’s Nothing Holdin’ Me Back—Shawn Mendes Despacito—Luis Fonsi & Daddy Yankee, feat. Justin Bieber This Is What You Came For—Calvin Harris feat. Rihanna Domino--Jessie J Tightrope--Janelle Monae Don’t Stop The Music--Rihanna Time of My Life—Pitbull feat. NeYo Don’t You Worry Child--Swedish House Mafia Timber--Pitbull feat.
    [Show full text]
  • Somewhere Over the Rainbow:What a Wonderful World Lyrics and Chords
    Somewhere Over the Rainbow/ What a wonderful world Intro: |C / G / |Am / F / |C / G / | |Am (4) |F (4) | C em F C ooo-ooo ooo-ooo ooo-ooo ooo-ooo F E7 am F ooo-ooo ooo-ooo ooo-ooo ooo-ooo C em F C Somewhere over the rainbow, way up high F C G am F And the dreams that you dream of once in a lullaby... C em F C Oh somewhere over the rainbow, blue birds fly F C G And the dreams that you dream of, dreams really do come am F true... C Someday i'll wish upon a star G am F Wake up where the clouds are far behind me C Where trouble melts like lemon drops G am F High above the chimney tops that's where you'll find me C em F C Oh somewhere over the rainbow, blue birds fly F C G And the dreams that you dare to, oh why, oh why can't am F I?... C em F C Well I see trees of green and Red roses too F C E7 am I'll watch then bloom for me and you F G am (4) F(4) And I think to myself: what a wonderful world C em F C Well I see skies of blue and I see clouds of white F C E7 am And the brightness of day, I like the dark F G C F C And I think to myself: what a wonderful world G C The colors of the rainbow so pretty in the sky G C Are also on the faces of people passing bye F C F C See friends shaking hands, saying 'how do you do?' F C dm G They're really saying, I...I love you C em F C I hear babies cry and I watch them grow F C E7 am They'll learn much more than we'll know F (4) G (4) am (4) F(4) And I think to myself: what a wonderful world C Someday i'll wish upon a star G am F Wake up where the clouds are far behind me C Where trouble melts like lemon drops G am F High above the chimney tops that's where you'll find me C em F C Oh somewhere over the rainbow, way up high F C G And the dreams that you dare to, why, oh why can't Am F I?..
    [Show full text]
  • The Great American Songbook in the Classical Voice Studio
    THE GREAT AMERICAN SONGBOOK IN THE CLASSICAL VOICE STUDIO BY KATHERINE POLIT Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May, 2014 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music. ___________________________________ Patricia Wise, Research Director and Chair __________________________________ Gary Arvin __________________________________ Raymond Fellman __________________________________ Marietta Simpson ii For My Grandmothers, Patricia Phillips and Leah Polit iii ACKNOWLEDGMENTS I wish to express my sincerest thanks to the members of my committee—Professor Patricia Wise, Professor Gary Arvin, Professor Marietta Simpson and Professor Raymond Fellman—whose time and help on this project has been invaluable. I would like to especially thank Professor Wise for guiding me through my education at Indiana University. I am honored to have her as a teacher, mentor and friend. I am also grateful to Professor Arvin for helping me in variety of roles. He has been an exemplary vocal coach and mentor throughout my studies. I would like to give special thanks to Mary Ann Hart, who stepped in to help throughout my qualifying examinations, as well as Dr. Ayana Smith, who served as my minor field advisor. Finally, I would like to thank my family for their love and support throughout my many degrees. Your unwavering encouragement is the reason I have been
    [Show full text]
  • Understanding Music Past and Present
    Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Dahlonega, GA Understanding Music: Past and Present is licensed under a Creative Commons Attribu- tion-ShareAlike 4.0 International License. This license allows you to remix, tweak, and build upon this work, even commercially, as long as you credit this original source for the creation and license the new creation under identical terms. If you reuse this content elsewhere, in order to comply with the attribution requirements of the license please attribute the original source to the University System of Georgia. NOTE: The above copyright license which University System of Georgia uses for their original content does not extend to or include content which was accessed and incorpo- rated, and which is licensed under various other CC Licenses, such as ND licenses. Nor does it extend to or include any Special Permissions which were granted to us by the rightsholders for our use of their content. Image Disclaimer: All images and figures in this book are believed to be (after a rea- sonable investigation) either public domain or carry a compatible Creative Commons license. If you are the copyright owner of images in this book and you have not authorized the use of your work under these terms, please contact the University of North Georgia Press at [email protected] to have the content removed. ISBN: 978-1-940771-33-5 Produced by: University System of Georgia Published by: University of North Georgia Press Dahlonega, Georgia Cover Design and Layout Design: Corey Parson For more information, please visit http://ung.edu/university-press Or email [email protected] TABLE OF C ONTENTS MUSIC FUNDAMENTALS 1 N.
    [Show full text]
  • Capturing That Solid-Gold Nugget
    Chapter 1 Capturing That Solid-Gold Nugget In This Chapter ▶ Gathering song ideas from anywhere ▶ Organizing and tracking your thoughts and inspirations ▶ Documenting your ideas his book is for everyone who shares the dream of harnessing the song- Twriting power we all have within. You’ve come to the right place if your heart keeps telling you to write a song, but your mind is uncertain as to the process of the craft or what’s required to create a really good song. You bought the right book if you’re wondering how to collect and organize your ideas. You have found the right resource if you have pieces of songs lying in notebooks and on countless cassettes but can’t seem to put the pieces together. This book is for you if you have racks of finished song demos but don’t know what to do next to get them heard. When you know the elements that make up a great song and how the pros go about writing one, you can get on the right path to creating one of your own. Unless you’re lucky enough to have fully finished songs come to you in your deepest dreams, or to somehow take dictation from the ghosts of Tin Pan Alley (the publishing area located in New York City in the 1930s and 1940s), most of us need to summon the forces, sources, reasons, and seasons that give us the necessary motivation to draw a song from our heart of hearts. Given that initial spark, you then need the best means of gathering those ideas, organizing them, putting them into form, and documenting them as they roll COPYRIGHTEDin — before it’s too late and they MATERIAL roll right out again! Have you ever noticed how you can remember a powerful dream just after you’ve awakened only for it to vanish into thin air in the light of day? Song ideas can be just as illusive.
    [Show full text]
  • 2020 Broadway in the Park Advertising Tustin Area Council for Fine Arts in Cooperation with Oceanside Theatre Company Presents
    Creating Community Through the Arts 2020 Broadway in the Park Advertising Tustin Area Council for Fine Arts in cooperation with Oceanside Theatre Company presents: August 4 - 8, 2020 Peppertree Park, Old Town Tustin Program Advertising Information Music by HAROLD ARLEN ANDREW LLOYD WEBBER HERBERT STOTHART Broadway in the Park will be produced by the award-winninG Lyrics by Book by production company, Oceanside Theatre Company. Annually the E.Y. HARBURG TIM RICE L. FRANK BAUM show attracts 5,000 residents in the Greater Tustin area durinG its five-day run. Attendees receive a glossy 5.5” x 8.5” show program WIZARD OF OZ highlighting musical numbers, cast members’ bios, production staff is presented by arranGement with TAMS-WITMARK. and more. You can support the Tustin Area Council for Fine Arts’ www.tamswitmark.com efforts to brinG the Arts to the community and capture the attention of the Broadway in the Park audience with your ad in the 2020 proGram! (Staff will work with you on personalized advertisinG.) Contact Name_____________________________________ BLACK AND WHITE PROGRAM ADS: Company_________________________________________ Half-page ad @ $330 Phone____________________________________________ Half-page ad/Non-Profit/Art Related @ $300 Address___________________________________________ Half-page OPPORTUNITY Ad @ $200 City_______________________________________________ (Will also provide 5 gift cards with value of $25) State______________________________________________ E-Mail_____________________________________________ Full-page ad @$600 Full-page ad/Non-Profit @ $540 TACFA Contact______________________________________ Half-Page Advertisement in Program Book. Ad size is 5” x 3.5” Full-Page Advertisement in Program Ads and payments must be Book.Full-Page Ad Advertisement size is 5” xin 7 Program.5” received no later than Book.
    [Show full text]