Richard Rodgers & Oscar Hammerstein II
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Kert, Larry (1930-1991) Larry Kert and Carol Lawrence Performing on by Craig Kaczorowski the Ed Sullivan Show in 1958
Kert, Larry (1930-1991) Larry Kert and Carol Lawrence performing on by Craig Kaczorowski the Ed Sullivan Show in 1958. Encyclopedia Copyright © 2015, glbtq, Inc. Film still from a YouTube video. Entry Copyright © 2010 glbtq, Inc. Reprinted from http://www.glbtq.com The gay actor and singer Larry Kert originated the lead romantic role of Tony in the landmark 1957 Broadway musical West Side Story. With his expressive, vibrant tenor, he introduced some of the most memorable songs in the Leonard Bernstein-Stephen Sondheim score, including "Maria," "Tonight," and "Something's Coming." In 1970, Kert triumphed again on Broadway in another Sondheim musical, Company, as Robert, a New York bachelor observing the strains and tensions in the marriages of his best friends, as well as struggling to commit emotionally to each of his three girlfriends. Other Broadway shows involving Kert were unfortunately short-lived, and his later career was devoted mainly to cabaret, television, and regional theater. He was born Frederick Lawrence Kert in Los Angeles, California on December 5, 1930 into a comfortably middle-class family. His father was a jeweler and his mother an actress. He had a brother, Morton, and two sisters, Evelyn and the singer later known as Anita Ellis. He initially attended Hollywood High School but transferred to the Hollywood Professional School in Los Angeles. While still in school, Kert performed as an extra and stunt double in several movies, including Lassie Come Home (1943), where he was a stand-in for the film's star Roddy McDowell. After graduation, Kert took some classes at Los Angeles City College but soon dropped out and moved to New York City where he studied with the celebrated acting teacher Sanford Meisner. -
Brianne Moore AEA
Brianne Moore AEA 760-889-2657 Height: 5’5’’ [email protected] Hair: Brown www.BrianneMoore.com Eyes: Green Range Legit Soprano/Mezzo with Belt Regional The Sound of Music Maria Rainer Theatre By The Sea dir. Amiee Turner The Visit Ensemble u/s Ottilie Signature Theatre dir. Frank Galati Starring Chita Rivera and George Hearn Helen Hayes Nomination-Best Ensemble Jekyll and Hyde Emma Carew The Glove Theatre dir. Christine O’Grady Carousel Julie Jordan The Highfield Theatre dir. Tony Howarth Into the Woods Baker’s Wife The Highfield Theatre dir. Corin Hollifield Big River Mary Jane Wilkes Moonlight Stage Productions dir. Kirby Ward Songs For a New World Woman 1 Mechanicals Theatre Group Ragtime Chorine/Ensemble Musical Theatre West dir. Paul David Bryant West Side Story Maria Schoenberg Hall dir. John Hall A Day in Space Faith Danny Feldman Presents dir. Brian-Paul Mendoza Fiddler on the Roof Ensemble/Daughter The Highfield Theatre Once Upon a Mattress Lady Larken Carlsbad Cultural Arts Center New York The Visit Ensemble The Actor’s Fund Benefit Concert Starring Chita Rivera and John Cullum Choreographed by Ann Reinking Ambassador Theater My Man Godfrey- Reading Glenda East of Doheny Productions dir. Matthew August Mrs. Sharp- Reading Kimberly Sharp NYU Tisch GMTWP by: Ryan Scott Oliver Einstein’s Dreams-Concert Reading Ensemble La Vie Productions dir. Jen Bender The Debbies- Reading Debbie NYU Tisch GMTWP by: Ryan Scott Oliver New York City Master Chorale Soloist Lincoln Center- Alice Tully Hall Recordings Vocalist, Alive at Ten music and lyrics by Ryan Scott Oliver and book by Kirsten Guenther Principle Vocalist, Mercy, Those American Boys music and lyrics by Ryan Scott Oliver Daughter, New Cast Recording: Songs From the Tall Grass music and lyrics by Randy Hale Training and Education B.A. -
Audience Insights Table of Contents
GOODSPEED MUSICALS AUDIENCE INSIGHTS TABLE OF CONTENTS JUNE 29 - SEPT 8, 2018 THE GOODSPEED Production History.................................................................................................................................................................................3 Synopsis.......................................................................................................................................................................................................4 Characters......................................................................................................................................................................................................5 Meet the Writer........................................................................................................................................................................................6 Meet the Creative Team.......................................................................................................................................................................7 Director's Vision......................................................................................................................................................................................8 The Kids Company of Oliver!............................................................................................................................................................10 Dickens and the Poor..........................................................................................................................................................................11 -
April 1 & 3, 2021 Walt Disney Theater
April 1 & 3, 2021 Walt Disney Theater FAIRWINDS GROWS MY MONEY SO I CAN GROW MY BUSINESS. Get the freedom to go further. Insured by NCUA. OPERA-2646-02/092719 Opera Orlando’s Carmen On the MainStage at Dr. Phillips Center | April 2021 Dear friends, Carmen is finally here! Although many plans have changed over the course of the past year, we have always had our sights set on Carmen, not just because of its incredible music and compelling story but more because of the unique setting and concept of this production in particular - 1960s Haiti. So why transport Carmen and her friends from 1820s Seville to 1960s Haiti? Well, it all just seemed to make sense, for Orando, that is. We have a vibrant and growing Haitian-American community in Central Florida, and Creole is actually the third most commonly spoken language in the state of Florida. Given that Creole derives from French, and given the African- Carribean influences already present in Carmen, setting Carmen in Haiti was a natural fit and a great way for us to celebrate Haitian culture and influence in our own community. We were excited to partner with the Greater Haitian American Chamber of Commerce for this production and connect with Haitian-American artists, choreographers, and academics. Since Carmen is a tale of survival against all odds, we wanted to find a particularly tumultuous time in Haiti’s history to make things extra difficult for our heroine, and setting the work in the 1960s under the despotic rule of Francois Duvalier (aka Papa Doc) certainly raised the stakes. -
View Full Issue As
VOLUME EIGHT, NO. 1--Jamuary 5, 1995--January 18, 1995--Issue 170 FREE Give the People Light and they will find their own way. V The Wisconsin Light Government PrideFest to Remain at Veterans' Approves Test for Park HIV Using Saliva for 1995 June Celebration Instead of Blood Washington, D.C.-AP- The first AIDS vi- Negotiations With Summerfest Continue for 1996 rus test that uses saliva instead of blood has (Milwaukee, WI)-- PrideFest announces that calendar includes events on all but one week- In been approved by the Food and Drug Admini- November, the Summerfest Board ap- it will remain at its Veterans Park site in 1995. end of June. proved a stration (FDA). plan to upgrade the grounds. In The organization is planning to negotiate a The Summerfest grounds will host four December a Board The test, called Orasure, is made by the Task Force decided that move to the Summerfest grounds in 1996. events in June 1995. PrideFest asked to use the amount of time biotechnology company Epitope Inc., in Bea- needed to complete the PrideFest had been negotiating to move the the grounds on June 10th and 11th. In Octo- upgrade meant that no verton, Oregon, and will cost about $2 to $4, a events could be sched- celebration to the Summerfest grounds begin- ber, PrideFest negotiators were told that uled on the fraction of the price of blood tests. grounds for the weekend of the ning in June, 1995. However, the Summerfest weekend was open. 10th and 11th. Although the test isn't as accurate as blood tests, Epitope expressed the hope following the Summerfest Staff and December 23 FDA approval that the test will Board members said they help more people learn whether they have needed to keep that weekend HIV. -
2018–2019 Annual Report
18|19 Annual Report Contents 2 62 From the Chairman of the Board Ensemble Connect 4 66 From the Executive and Artistic Director Digital Initiatives 6 68 Board of Trustees Donors 8 96 2018–2019 Concert Season Treasurer’s Review 36 97 Carnegie Hall Citywide Consolidated Balance Sheet 38 98 Map of Carnegie Hall Programs Administrative Staff Photos: Harding by Fadi Kheir, (front cover) 40 101 Weill Music Institute Music Ambassadors Live from Here 56 Front cover photo: Béla Fleck, Edgar Meyer, by Stephanie Berger. Stephanie by Chris “Critter” Eldridge, and Chris Thile National Youth Ensembles in Live from Here March 9 Daniel Harding and the Royal Concertgebouw Orchestra February 14 From the Chairman of the Board Dear Friends, In the 12 months since the last publication of this annual report, we have mourned the passing, but equally importantly, celebrated the lives of six beloved trustees who served Carnegie Hall over the years with the utmost grace, dedication, and It is my great pleasure to share with you Carnegie Hall’s 2018–2019 Annual Report. distinction. Last spring, we lost Charles M. Rosenthal, Senior Managing Director at First Manhattan and a longtime advocate of These pages detail the historic work that has been made possible by your support, Carnegie Hall. Charles was elected to the board in 2012, sharing his considerable financial expertise and bringing a deep love and further emphasize the extraordinary progress made by this institution to of music and an unstinting commitment to helping the aspiring young musicians of Ensemble Connect realize their potential. extend the reach of our artistic, education, and social impact programs far beyond In August 2019, Kenneth J. -
An Empirical Study of the Determinants of the Run-Times of Broadway Musicals
AN EMPIRICAL STUDY OF THE DETERMINANTS OF THE RUN-TIMES OF BROADWAY MUSICALS A THESIS Presented to The Faculty of the Department of Economics and Business The Colorado College In Partial Fulfillment of the Requirements for the Degree Bachelor of Arts By Katie Ferguson May 2011 AN EMPIRICAL STUDY OF THE DETERMINANTS OF THE RUN-TIMES OF BROADWAY MUSICALS Katie Ferguson May 2011 Mathematical Economics Abstract With an economic impact of $9.8 billion in the 2008-09 season alone, Broadway as an industry which should be economically studied. Currently there is a large gap in scholarly literature about Broadway with only three quantitative studies having been performed. This thesis aims to help fill this gap by building off of these three studies to determine which factors influence the success- measured as total days on Broadway from opening to closing night- of a Broadway musical. This thesis focuses specifically on musicals as they have been shown in all three empirical studies to have longer runs and a larger economic impact than Broadway plays. The econometric analysis finds many variables- such as a movie version of the musical being released, and winning the Tony for Best Musical- that are predictive of loner run times. Revivals are found to have substantially shorter run times than original runs and over time, musicals are lasting longer. KEYWORDS: (Broadway, Musical, Theatre, Run-time) TABLE OF CONTENTS ABSTRACT 1 INTRODUCTION 1 2 LITERATURE REVIEW 5 Characteristics of the Film Industry..................................................... 5 Live Theatre................................................. ..................................... 7 Modern Day Broadway..................................................................................... 9 Empirical Studies................................................ ..................................... 12 18 3 THEORY 4 DATA & METHODOLOGY 32 5 RESULTS AND CONCLUSION 52 APPENDIX A 65 WORKS CONSULTED 67 CHAPTER I INTRODUCTION Broadway makes an enormous impact on the local economy of New York City. -
Production Images Released for Hadestown at the National Theatre Click Here to Download
12 November 2018 Production images released for Hadestown at the National Theatre Click here to download Music, lyrics and book by Anaïs Mitchell Developed with Rachel Chavkin Olivier Theatre Press Night 13 November, in rep until 26 January Following record-breaking runs at New York Theatre Workshop and Canada’s Citadel Theatre, Hadestown comes to the National Theatre prior to Broadway. In the warmth of summertime, songwriter Orpheus and his muse Eurydice are living it up and falling in love. But as winter approaches, reality sets in: these young dreamers can’t survive on songs alone. Tempted by the promise of plenty, Eurydice is lured to the depths of industrial Hadestown. On a quest to save her, Orpheus journeys to the underworld where their trust in each other is put to a final test. Celebrated singer-songwriter Anaïs Mitchell and director Rachel Chavkin have transformed Mitchell’s acclaimed concept album into a genre-defying new musical that mixes modern American folk music with vintage New Orleans jazz to reimagine a sweeping ancient tale. ‘Inventive. Beguiling. Luminous. Spellbinding.’ – New York Times The cast includes Sharif Afifi, Reeve Carney, André De Shields, Rosie Fletcher, Amber Gray, Beth Hinton-Lever, Carly Mercedes Dyer, Eva Noblezada, Seyi Omooba, Gloria Onitiri, Patrick Page, Aiesha Pease, Joseph Prouse, Jordan Shaw and Shaq Taylor. Directed by Rachel Chavkin, with set design by Rachel Hauck, costume design by Michael Krass, lighting design by Bradley King, sound design by Nevin Steinberg and Jessica Paz, choreography by David Neumann, musical direction and vocal arrangements by Liam Robinson, orchestrations and arrangements by Michael Chorney and Todd Sickafoose, with Ken Cerniglia as dramaturg. -
What's the Use of Wondering If He's Good Or Bad?: Carousel and The
What’s the Use of Wondering if He’s Good or Bad?: Carousel and the Presentation of Domestic Violence in Musicals. Patricia ÁLVAREZ CALDAS Universidad de Santiago de Compostela [email protected] Recibido: 15.09.2012 Aceptado: 30.09.2012 ABSTRACT The analysis of the 1956 film Carousel (Dir. Henry King), which was based on the 1945 play by Rodgers and Hammerstein, provides a suitable example of a musical with explicit allusions to male physical aggression over two women: the wife and the daughter. The issue of domestic violence appears, thus, in a film genre in which serious topics such as these are rarely present. The film provide an opportunity to study how the expectations and the conventions brought up by this genre are capable of shaping and transforming the presentation of Domestic Violence. Because the audience had to sympathise with the protagonists, the plot was arranged to fulfil the conventional pattern of a romantic story inducing audiences forget about the dark themes that are being portrayed on screen. Key words: Domestic violence, film, musical, cultural studies. ¿De qué sirve preocuparse por si es bueno o malo?: Carrusel y la presentación de la violencia doméstica en los musicales. RESUMEN La película Carrusel (dirigida por Henry King en 1956 y basada en la obra de Rodgers y Hammerstein de 1945), nos ofrece un gran ejemplo de un musical que realiza alusiones explícitas a las agresiones que ejerce el protagonista masculino sobre su esposa y su hija. El tema de la violencia doméstica aparece así en un género fílmico en el que este tipo de tratamientos rara vez están presentes. -
Finding, Reclaiming, and Reinventing Identity Through DNA: the DNA Trail
The Japanese Journal of American Studies, No. 23 (2012) Finding, Reclaiming, and Reinventing Identity through DNA: The DNA Trail Yuko KURAHASHI* The DNA Trail: A Genealogy of Short Plays about Ancestry, Identity, and Utter Confusion (2011) is a collection of seven fifteen-to-twenty minute plays by veteran Asian American playwrights whose plays have been staged nationally and internationally since the 1980s. The plays include Philip Kan Gotanda’s “Child Is Father to Man,” Velina Hasu Houston’s “Mother Road,” David Henry Hwang’s “A Very DNA Reunion,” Elizabeth Wong’s “Finding Your Inner Zulu,” Shishir Kurup’s “Bolt from the Blue,” Lina Patel’s “That Could Be You,” and Jamil Khoury’s “WASP: White Arab Slovak Pole.” Conceived by Jamil Khoury and commissioned and developed by Silk Road Theatre Project in Chicago in association with the Goodman Theatre, a full production of the seven plays was mounted at Silk Road Theatre Project in March and April 2010.1 On January 22, 2011, Visions and Voices: The USC Arts and Humanities Initiative presented a staged reading at the Uni- versity of Southern California, Los Angeles, using revised scripts. The staged reading was directed by Goodman Theatre associate producer Steve Scott, who had also directed the original production.2 San Francisco–based playwright Gotanda has written plays that reflect his yearning to learn the stories of his Japanese American parents, and their friends and relatives. His plays include A Song for a Nisei Fisherman (1980), The Wash (1985), Ballad of Yachiyo (1996), and Sisters *Associate Professor, Kent State University 285 286 YUKO KURAHASHI Matsumoto (1997). -
Hart, Lorenz (1895-1943) Lorenz Hart (Standing, by Raymond-Jean Frontain Right) with Richard Rodgers in 1936
Hart, Lorenz (1895-1943) Lorenz Hart (standing, by Raymond-Jean Frontain right) with Richard Rodgers in 1936. Encyclopedia Copyright © 2015, glbtq, Inc. Library of Congress Prints and Photographs Entry Copyright © 2002, glbtq, Inc. Division. Reprinted from http://www.glbtq.com Barely five feet tall, balding early, and possessing a disproportionately large head, Larry Hart was the first to disparage his own attractiveness. His jokes, however, masked a deeply-rooted inability to accept the possibility of romantic happiness or sexual gratification. Hart impulsively proposed marriage to several women friends, none of whom thought his offer serious. And when he allowed himself to act upon his desire for other men, he seems to have had difficulty performing sexually. (Biographer Frederick Nolan quotes one unidentified male partner's shock at discovering Hart cowering in the bedroom closet after sex, suggesting that the songwriter was unable actively to pursue homosexual pleasure without being overcome by guilt.) The result of such emotional imbroglio is that, despite having written lyrics as witty as any sung on the Broadway stage before or since, Hart is best remembered for his songs of unfulfilled desire and failed romance. Born Lorenz Milton Hart on May 2, 1895, to an immigrant Jewish family, Hart learned from his entrepreneur father that self-assertion allows survival. Never without a business venture, many of which were dishonest, Hart's father provided Larry with a lasting model for the cycles of impulsive free-spending and resulting impecuniosity that characterized Hart's own life. Hart entertained both friends and strangers lavishly, often living far beyond his means, but with a (sometimes unfounded) optimism that something would turn up. -
Would You Believe L.A.? (Revisited)
WOULD YOU BELIEVE L.A.? (REVISITED) Downtown Walking Tours 35th Anniversary sponsored by: Major funding for the Los Angeles Conservancy’s programs is provided by the LaFetra Foundation and the Kenneth T. and Eileen L. Norris Foundation. Media Partners: Photos by Annie Laskey/L. A. Conservancy except as noted: Bradbury Building by Anthony Rubano, Orpheum Theatre and El Dorado Lofts by Adrian Scott Fine/L.A. Conservancy, Ace Hotel Downtown Los Angeles by Spencer Lowell, 433 Spring and Spring Arcade Building by Larry Underhill, Exchange Los Angeles from L.A. Conservancy archives. 523 West Sixth Street, Suite 826 © 2015 Los Angeles Conservancy Los Angeles, CA 90014 Based on Would You Believe L.A.? written by Paul Gleye, with assistance from John Miller, 213.623.2489 . laconservancy.org Roger Hatheway, Margaret Bach, and Lois Grillo, 1978. ince 1980, the Los Angeles Conservancy’s walking tours have introduced over 175,000 Angelenos and visitors alike to the rich history and culture of Sdowntown’s architecture. In celebration of the thirty-fifth anniversary of our walking tours, the Los Angeles Conservancy is revisiting our first-ever offering: a self-guided tour from 1978 called Would You Believe L.A.? The tour map included fifty-nine different sites in the historic core of downtown, providing the basis for the Conservancy’s first three docent-led tours. These three tours still take place regularly: Pershing Square Landmarks (now Historic Downtown), Broadway Historic Theatre District (now Broadway Theatre and Commercial District), and Palaces of Finance (now Downtown Renaissance). In the years since Would You Believe L.A.? was created and the first walking tours began, downtown Los Angeles has undergone many changes.