Ebook Download All His Jazz : the Life and Death of Bob Fosse Pdf

Total Page:16

File Type:pdf, Size:1020Kb

Ebook Download All His Jazz : the Life and Death of Bob Fosse Pdf ALL HIS JAZZ : THE LIFE AND DEATH OF BOB FOSSE PDF, EPUB, EBOOK Martin Gottfried | 512 pages | 18 Sep 2003 | INGRAM PUBLISHER SERVICES US | 9780306812842 | English | New York, NY, United States All His Jazz : The Life And Death Of Bob Fosse PDF Book In his imagination, he flirts with an angel of death named Angelique. Approximately the first third of the book is based on information from secondary or tertiary sources, and is not as strong as the later portion, wherein the author spoke to people who actually knew Fosse. I feel like that could have been a separate book, analyzing those. To ears, it sounds like a serious case of creepitude, but Reinking told the story with a wistful laugh. Slowly, the experience is less about watching a film than witnessing two mirrors reflect and re-reflect a blurring image. Gottfried, Martin. Verdon died in This book is not yet featured on Listopia. The real Iron Throne may be the sort of appointment TV that the show represented. Army Military Intelligence. Fascinating man. Courtney Ozog rated it it was amazing Dec 29, He went into Payne Whitney for a little while. When I mentioned the episode, Reinking thought I had the timeline all wrong, but then gasped. Of the seven home-grown productions currently on display, five are revivals of a time that will come no more. And I think the reason why she liked me—not only could I perform well but she knew I loved Bob and wanted him to be as happy as possible, so he could do what he needed to do. Brand Publishing. The producers realize that the best way to recoup their money and make a profit is to bet on Gideon dying: the insurance proceeds would result in a profit of over half a million dollars. Lerner was married eight times, and had eight creative partners. Joe Gideon is a theater director and choreographer trying to balance staging his latest Broadway musical with editing a Hollywood film he has directed. Robert Kennedy was attorney general during his brother John F. It was interesting, but basically Fosse's life on film, along with dancing and dirty dancing. All That Jazz is in love with itself and with the undiscovered country. This intent is hardly subtle since Death is an actual character in the film. Cancel Save. Leonard Garment was a successful Wall Street attorney when, in , he found himself arguing And what was interesting was after we broke up we actually got even closer. After fulfilling his military requirement, Fosse settled in New York City and continued to pursue dance. Best Production Design. Then again, the American theatergoer always has been an Anglophile, something that Alan Jay Lerner and Fritz Loewe emphatically demonstrated on March 15, But that is what makes this movie such an alluring, and terrifying, romance. Later Career Fosse directed five feature films. All His Jazz : The Life And Death Of Bob Fosse Writer The book has a lot of information piled into it and I did learn a lot of things about him and made some connections to my own self-doubt and self- destruction tendencies. By Lee Kline. His bitter observation seems more valid now than at his death at 67 in Loewe passed on two years later, as old as the century itself. Especially Lees. Reviews were largely positive. Jazz Masters Of The 20s. Called simply Fosse, the three-act musical revue was conceived and directed by Richard Maltby, Jr. The film version of Cabaret won eight Academy Awards. Gottfried began his writing career as the classical music critic for The Village Voice, doubling as an off-Broadway reviewer for Women's Wear Daily , a position that made him the youngest member of the New York Drama Critics Circle in the organization's history. Goodreads helps you keep track of books you want to read. Mar 05, Ilyse rated it did not like it Shelves: wheelock-jazz-class , tried-to-read , abandoned. Joe brushes off his symptoms, and attempts to leave to go back to rehearsal. In honor of the great cinematographer, our technical director shares some memories of encountering the man and his work. It was subsequently learned that he actually died from a heart attack at George Washington University Hospital. Showing So you got better. He collapses in the doctor's office, and is ordered to stay in the hospital for several weeks to rest his heart and recover from his exhaustion. Subscribe to the Biography newsletter to receive stories about the people who shaped our world and the stories that shaped their lives. All That Jazz is in love with itself and with the undiscovered country. Tags: New York Film Festival. As cardiogram readings show no improvement, Gideon dances with death. Refresh and try again. M rated it it was amazing Dec 18, Alan Heim. View Product. As his literal progeny, she will continue his memory with love. Like Fosse, Lerner persisted in the craft that would destroy him. Universal Conquest Wiki. Their matter-of-fact, money-oriented negotiations with the insurers are juxtaposed with graphic scenes of Joe's open-heart surgery. I hope I do it. He decided to take on the role of director as well as choreographer in order to maintain the integrity of his artistic vision in Hollywood as well as on Broadway. Gideon's condition gets progressively worse. All His Jazz : The Life And Death Of Bob Fosse Reviews His next musical, Damn Yankees , was another smash. Bob Fosse is a choreographer, dancer and director best known for Tony Award-winning musicals including 'Chicago' and 'Cabaret. Reinking lip-synched as she danced a bombastic, cheesy rendition marred by fog. There was really a psychiatric issue with him. Martin Luther King Jr. A key to the success of the production is the performance of Roy Scheider as Joe Gideon There's no big revelations, name-dropping, or gossip but it's a well-made biography about a man who made movies about men who were imperfect. Close Menu Search Criterion. Related Searches. Fosse forged a working relationship with leading dancer Gwen Verdon that would span his career. Lerner was made in America, born to wealth, educated at Choate and Harvard, where he was a classmate of John F. Thus the movie takes on both the confessional tone of an unrepentant sinner facing his last call on life, as well as a boastful braggart reminiscing about how many gigs and women he could juggle. Jazz Masters Of The 30s. For Damn Yankees, he took a great deal of inspiration from the "father of theatrical jazz dance", Jack Cole. Emma rated it it was amazing Jul 14, Jazz A Complete Guide to Learning and. Why did you do that? They were friends in the deepest sense of the word. The index proved very handy for a quick scan and read. Learn how to enable JavaScript on your browser. Jazz is a master class of editing by Alan Heim. Mar 05, Ilyse rated it did not like it Shelves: wheelock-jazz-class , tried-to-read , abandoned. His first, Sweet Charity in , starring Shirley MacLaine, is an adaptation of the Broadway musical he had directed and choreographed. Outstanding Foreign Language Film. All rights reserved. Aug 03, Kristen rated it really liked it. He has long been proud of his geek credentials. The innocent teen-ager hoofed and puffed his way into burlesque. In his review in The New York Times , Vincent Canby called the film "an uproarious display of brilliance, nerve, dance, maudlin confessions, inside jokes and, especially, ego" and "an essentially funny movie that seeks to operate on too many levels at the same time In , All That Jazz was deemed "culturally, historically, or aesthetically significant" by the United States Library of Congress and selected for preservation in the National Film Registry. Albert Wolsky. It was the last thing on his mind, or mine. Taken from the book. She even starred in and choreographed the revival of a Fosse show in Chicago. In his imagination, he flirts with an angel of death named Angelique. Paperback , pages. Hugely successful by , Fosse still faced opposition from director and producers who considered his material was too suggestive. Raised on cinema classics that ranged from…. All His Jazz : The Life And Death Of Bob Fosse Read Online Trust me, his real life was jam-packed with plenty of ripe material. And I was right to. The American musical, one of our few native art forms, is shuffling off to extinction. Bob Fosse on All That Jazz In this clip from an extensive interview with Bob Fosse on The South Bank Show in March , the filmmaker-choreographer recalls the idea for All That Jazz springing from one of the darkest periods of his life and discusses the verisimilitude he was…. Author R. Then, in death, it can finally recover its singularity: Throughout all history, no art form will ever have fallen so far so fast. In his work, sex became tinged with guilt and voyeurism. So I think that we in a tacit way understood that in each other, that we cared about Bob. Champagne flows, endless strings of women frolic around his hospital room, and cigarettes are constantly being smoked. Bob Woodward is an American journalist and author who is best known for his reporting on the Watergate scandal for The Washington Post alongside Carl Bernstein. There was really a psychiatric issue with him. M rated it it was amazing Dec 18, On the one hand, there is his daughter for whom everything old is now new again, including the classic Vaudeville style of dance that first enamored Joe and Fosse as a young man.
Recommended publications
  • A Love Affair with Danger
    A Love Affair With Danger Bill Hastings has been in Norway about 20 times. He was first hired by The Norwegian University College of Dance in 1991 to do Dancin’ Man for their 25th anniversary. Now, he’s back at The Norwegian University College of Dance to rehearse The Rich Man’s Frug for the 50th anniversary. Can you tell me about your career as a dancer? - I went to college on a full music scholarship. I was a self-taught percussionist who dreamed of playing in a classical orchestra; however, I graduated with a degree in theatre. While in college, a friend of mine came to me and said there was an audition for a local production of the musical “Paint your Wagon”. He encouraged me to audition, and so I did. Quite surprisingly I was hired for the job. A whole new world opened to me. The combination of music, theatre and dance was thrilling. I was hooked. A lifelong career as dancer, choreographer and teacher was to follow. About the same time, I saw a film of Martha Graham’s Seraphic Dialogue; and I thought, I want to do THAT - the beautiful, powerful movement; the iconic design; and, the theatrical artfulness. However, it was the bright lights of musical theatre that ultimately won me over. You seem like you like what you are doing. Is that right? - I love what I’m doing; but, it also frightens me. It demands much from the heart, the spirit, the intellect and the body (as with most athletes, age is a constant sparring partner).
    [Show full text]
  • European Modernism and the Resident Theatre Movement: The
    European Modernism and the Resident Theatre Movement: The Transformation of American Theatre between 1950 and 1970 Sarah Guthu A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2013 Reading Committee: Thomas E Postlewait, Chair Sarah Bryant-Bertail Stefka G Mihaylova Program Authorized to Offer Degree: School of Drama © Copyright 2013 Sarah Guthu University of Washington Abstract European Modernism and the Resident Theatre Movement: The Transformation of American Theatre between 1950 and 1970 Sarah Guthu Chair of the Supervisory Committee: Dr. Thomas E Postlewait School of Drama This dissertation offers a cultural history of the arrival of the second wave of European modernist drama in America in the postwar period, 1950-1970. European modernist drama developed in two qualitatively distinct stages, and these two stages subsequently arrived in the United States in two distinct waves. The first stage of European modernist drama, characterized predominantly by the genres of naturalism and realism, emerged in Europe during the four decades from the 1890s to the 1920s. This first wave of European modernism reached the United States in the late 1910s and throughout the 1920s, coming to prominence through productions in New York City. The second stage of European modernism dates from 1930 through the 1960s and is characterized predominantly by the absurdist and epic genres. Unlike the first wave, the dramas of the second wave of European modernism were not first produced in New York. Instead, these plays were often given their premieres in smaller cities across the United States: San Francisco, Seattle, Cleveland, Hartford, Boston, and New Haven, in the regional theatres which were rapidly proliferating across the United States.
    [Show full text]
  • Program Notes
    PROGRAM NOTES By Joshua S. Ritter Goodspeed Education & Library Director You don’t have to be a baseball fan to know that the New York Yankees‐Boston Red Sox rivalry bitterly divides colleagues, neighbors, families, and Goodspeed patrons. In fact, according to The Harvard Sports Analysis Collective, East Haddam is located on the frontlines of this legendary baseball feud with slightly more than half the population favoring the Red Sox. What better way for Goodspeed to bring some levity to this divisive situation than with a hilarious musical comedy? Fortunately, Joe DiPietro’s side‐splitting adaptation of Damn Yankees contemporizes the book by replacing the defunct Washington Senators with the Boston Red Sox. We are pleased to have the opportunity to provide a neutral zone where members of the Yankees Universe and Red Sox Nation can forget their bitter differences for a few hours and share some laughs when the curtain goes up. Flashing back to the middle of the 20th century, Douglass Wallop’s 1954 novel The Year The Yankees Lost the Pennant was a best‐selling major league baseball twist on the Faust fable. Damn Yankees’ genesis was set in motion when William Morris agent Albert B. Taylor brought this property to the attention of legendary producer, director, writer, and actor George Abbott. Abbott and his team had just struck gold with the smash hit musical The Pajama Game, a show based on Richard Bissel’s novel 7½ Cents. Perhaps this monumental success gave Abbott the chutzpah to take the idea of a baseball musical seriously, despite the fact that all previous attempts at creating one were unsuccessful.
    [Show full text]
  • Hollywood Pantages Theatre Los Angeles, California
    ® HOLLYWOOD PANTAGES THEATRE LOS ANGELES, CALIFORNIA Hamilton 8/2 Final upload.indd 1 8/2/21 2:41 PM HOLLYWOOD PANTAGES THEATRE August 17-August 31, 2021 Jeffrey Seller Sander Jacobs Jill Furman AND The Public Theater PRESENT BOOK, MUSIC AND LYRICS BY Lin-Manuel Miranda INSPIRED BY THE BOOK ALEXANDER HAMILTON BY Ron Chernow WITH Rubén J. Carbajal Nicholas Christopher Joanna A. Jones Taylor Iman Jones Carvens Lissaint Simon Longnight Rory O’Malley Sabrina Sloan Wallace Smith Jamael Westman AND Sam Aberman Gerald Avery Remmie Bourgeois Amanda Braun Cameron Burke Yossi Chaikin Trey Curtis Karlee Ferreira John Michael Fiumara Tré Frazier Aaron Alexander Gordon Vincent Jamal Hooper Jared Howelton Sabrina Imamura Carina-Kay Louchiey Yvette Lu Taeko McCarroll Mallory Michaellann Candace Quarrels Antuan Magic Raimone Julian Ramos Jen Sese Willie Smith III Terrance Spencer Tommar Wilson Morgan Anita Wood SCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN SOUND DESIGN David Korins Paul Tazewell Howell Binkley Nevin Steinberg HAIR AND WIG DESIGN ARRANGEMENTS MUSIC COORDINATORS ASSOCIATE MUSIC SUPERVISOR Charles G. LaPointe Alex Lacamoire Michael Keller Matt Gallagher Lin-Manuel Miranda Michael Aarons EXECUTIVE PRODUCER PRODUCTION SUPERVISORS PRODUCTION STAGE MANAGER MUSIC DIRECTOR Maggie Brohn J. Philip Bassett Scott Rowen Andre Cerullo Amber White MARKETING & COMMUNICATIONS TECHNICAL SUPERVISION CASTING Laura Matalon Hudson Theatrical Associates The Telsey Office John Gilmour Bethany Knox, CSA ASSOCIATE & SUPERVISING DIRECTOR ASSOCIATE & SUPERVISING
    [Show full text]
  • Plays and Musicals— 1984-1985 Season 10/24
    DRURY LANE THEATRE—OAKBROOK TERRACE PERFORMANCE HISTORY —Plays and Musicals— 1984-1985 Season 10/24 - 1/13 Give My Regards to Broadway Musical 1/16 – 1/31 Phyllis Diller Concert 1/23 – 2/1 Tony Bennett Concert 1/30 - 3/17 Run For Your Wife Play (w/ Ken Berry) 3/20 – 3/24 1985-1986 Season 3/27 - 4/15 The Rooster and The Snow Angel 2 one-acts (w/ Shelley Winters) 4/17 - 5/20 A Little Family Business Play (w/ Cloris Leachman) 5/29 – 7/7 Bob Fosse’s “Dancin’” Musical 7/10 – 9/29 A Chorus Line Musical 10/9 – 12/28 How to Succeed… Musical (w/ Donald O’Connor) 12/31 – 2/23 The Best Little Whorehouse in Texas Musical 1986-1987 Season 2/26 – 4/6 Brighton Beach Memoirs Play 4/16 – 6/1 Noises Off Play (w/ Noel Harrison) 6/1 – 8/17 Joseph… Dreamcoat Musical 8/27 – 9/29 Bob Fosse’s “Dancin’” Musical 10/7 – 11/16 The Laugh’s on Me Play (w/ Mickey Rooney) 11/20 – 1/25 They’re Playing Our Song Musical 2/4 – 3/22 Chapter Two Play (w/ Gavin McLeod) 1987-1988 Season 4/1 – 7/5 42nd Street Musical 7/15 – 9/6 Anything Goes Musical 9/16 – 10/25 I’m Getting my Act Together Musical (w/ Audrey Landers) 11/4 – 1/3 No, No, Nanette Musical 1/20 – 3/13 Sophisticated Ladies Musical 1988-1989 Season 3/13 – 4/10 Everybody Loves Opal Play (w/ Martha Raye) 4/27 – 6/19 The Nerd Play (w/Richard Kline & Alfie Wise) 6/23 – 8/14 Black Patent Leather Shoes Musical 8/17 – 11/06 Gypsy Musical 11/16 – 1/15 Guys and Dolls Musical 1/25 – 4/9 Jesus Christ Superstar Musical TYA-Snow White 1989-1990 Season 4/19 – 7/2 The Music Man Musical (w/ Gary Sandy) 7/12 – 9/10 Mame Musical 9/20
    [Show full text]
  • Hello, Dolly! Carolee Carmello
    2 SHOWCASE Contents 4 Letter from the President 4 Board of Directors and Staff 7 Hello, Dolly! 23 Comprehensive Campaign 24 Institutional and Government Support 25 Individual Support 27 Matching Gifts 27 Honickman Family Society 31 Kimmel Center Staff Carolee Carmello and John Bolton in Hello, Dolly! National Tour. Photograph by Julieta Cervantes 2019 The use of cameras and recording equipment is prohibited during the performances. As a courtesy to the performers and fellow audience members, please turn off all beepers, watch alarms, and cellular phones. Latecomers and those who leave the concert hall during the performance will be seated at appropriate intervals. Showcase is published by the Kimmel Center for the Performing Arts Administrative Offices, 1500 Walnut Street, 17th Floor, Philadelphia, PA 19102 For information about advertising in Showcase, contact Proud Kimmel Center Season Sponsor Onstage Publications 937-424-0529 | 866-503-1966 e-mail: [email protected] www.onstagepublications.com Official Airline of Broadway Philadelphia @KIMMELCENTER #ArtHappensHere KIMMELCENTER.ORG#ArtHappensHere 3 Kimmel Center Cultural Campus KIMMEL CENTER, INC., OFFICERS AND BOARD OF DIRECTORS Michael D. Zisman, Chairman Anne C. Ewers, President and CEO Robert R. Corrato, Vice-Chair Jane Hollingsworth, Vice-Chair Stanley Middleman, Treasurer Jami Wintz McKeon, Secretary David P. Holveck, Immediate Past Chair Bart Blatstein Jeffrey Brown Richard D. Carpenter Dear friends, Vanessa Z. Chan Reverend Luis A. Cortés, Jr. Welcome to the Academy of Music on the Kimmel Center Robert J. Delany Sr. Cultural Campus, the two-week home of this stunning revival James F. Dever, Jr. of Hello, Dolly!. Part of our 2019-20 season, boasting 44 Frances R.
    [Show full text]
  • Determining Stephen Sondheim's
    “I’VE A VOICE, I’VE A VOICE”: DETERMINING STEPHEN SONDHEIM’S COMPOSITIONAL STYLE THROUGH A MUSIC-THEORETIC ANALYSIS OF HIS THEATER WORKS BY ©2011 PETER CHARLES LANDIS PURIN Submitted to the graduate degree program in Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ___________________________ Chairperson Dr. Scott Murphy ___________________________ Dr. Deron McGee ___________________________ Dr. Paul Laird ___________________________ Dr. John Staniunas ___________________________ Dr. William Everett Date Defended: August 29, 2011 ii The Dissertation Committee for PETER PURIN Certifies that this is the approved version of the following dissertation: “I’VE A VOICE, I’VE A VOICE”: DETERMINING STEPHEN SONDHEIM’S COMPOSITIONAL STYLE THROUGH A MUSIC-THEORETIC ANALYSIS OF HIS THEATER WORKS ___________________________ Chairperson Dr. Scott Murphy Date approved: August 29, 2011 iii Abstract This dissertation offers a music-theoretic analysis of the musical style of Stephen Sondheim, as surveyed through his fourteen musicals that have appeared on Broadway. The analysis begins with dramatic concerns, where musico-dramatic intensity analysis graphs show the relationship between music and drama, and how one may affect the interpretation of events in the other. These graphs also show hierarchical recursion in both music and drama. The focus of the analysis then switches to how Sondheim uses traditional accompaniment schemata, but also stretches the schemata into patterns that are distinctly of his voice; particularly in the use of the waltz in four, developing accompaniment, and emerging meter. Sondheim shows his harmonic voice in how he juxtaposes treble and bass lines, creating diagonal dissonances.
    [Show full text]
  • Lin-Manuel Miranda Quiara Alegría Hudes
    Artistic Director Nathaniel Shaw Managing Director Phil Whiteway PREMIER SPONSOR PRODUCTION SPONSOR MUSIC AND LYRICS BY BOOK BY LIN-MANUEL QUIARA MIRANDA ALEGRÍA HUDES CONCEIVED BY SEASON SPONSORS LIN-MANUEL MIRANDA Development of In The Heights was supported by the Eugene O’Neill Theater Center during a residency at the Music Theater Conference of 2005. Initially developed by Back House Productions. Originally Produced on Broadway by Kevin McCollum, Jeffrey Seller, Jill Furman Willis,Sander Jacobs, Goodman/Grossman, Peter Fine, Everett/Skipper E. Rhodes and Leona B. IN THE HEIGHTS is presented through special arrangement Carpenter Foundation with R & H Theatricals: www.rnh.com STAGE MANAGEMENT SOUND DESIGN Christi B. Spann* Derek Dumais COSTUME DESIGN LIGHT DESIGN SET DESIGN Sarah Grady Joe Doran+ Anna Louizos+ MUSIC DIRECTION CHOREOGRAPHY Ben Miller Karla Garcia DIRECTION Nathaniel Shaw^ SARA BELLE AND NEIL NOVEMBER THEATRE | MARJORIE ARENSTEIN STAGE CAST MUSICAL NUMBERS AND SCENES Usnavi ...............................................................JJ Caruncho* ACT I Vanessa ............................................................ Arielle Jacobs* In The Heights ................................................... Usnavi, Company Nina ................................................................. Shea Gomez Breathe ........................................................... Nina, Company Benny ................................................................. Josh Marin* Benny’s Dispatch .....................................................
    [Show full text]
  • HBL 2021 COURSEBOOK Week
    LIVE DIGITAL WEEKEND day 1 Sat jan 30 ramone owens BROADWAY'S BEETLEJUICE, MOTOWN THE MUSICAL rodrick covington BROADWAY’S ONCE ON THIS ISLAND, FOUNDER OF CORE RHYTHM FITNESS leandra ellis gaston BROADWAY'S TINA: THE TINA TURNER MUSICAL joshua burrage BDISNEY'S NEWSIES ON BROADWAY ramone owens BROADWAY'S BEETLEJUICE, MOTOWN THE MUSICAL max clayton ahmad simmons BROADWAY'S MOULIN ROUGE, BROADWAY'S WEST SIDE HELLO DOLLY! STORY, HADESTOWN Eva Noblezada BROADWAY'S MISS SAIGON, desi oakley HADESTOWN BROADWAY’S WICKED, NATIONAL TOUR OF WAITRESS benton whitley harold lewter BROADWAY TALENT STEWART/WHITLEY CASTING MANAGER, CLA PARTNERS cody renard RICHARD BROADWAY STAGE MANAGER erika henningsen BROADWAY'S MEAN GIRLS, FLYING OVER SUNSET ROBERT HARTWELL FOUNDER + ARTISTIC DIRECTOR OF THE BROADWAY COLLECTIVE + FULL TBC TEAM day 2 sun jan 31 zakiya young brandon logan BROADWAY'S THE LITTLE BROADWAY'S MERMAID, STICK FLY BOOK OF MORMON andy jones BROADWAY'S CINDERELLA, CATS sydney morton BROADWAY'S AMERICAN PSYCHO, MOTOWN erika dorfler BROADWAY’S THE GREAT COMET, MEMPHIS laura osnes BROADWAY'S CINDERELLA, BONNIE + CLYDE solea pfeiffer NATIONAL TOUR OF HAMILTON, SONGS FOR A NEW WORLD, EVITA (CITY CENTER) ben tyler cook BROADWAY'S NEWSIES, MEAN GIRLS tyler mckenzie cynthia westphal BROADWAY’S HAMILTON, BROADWAY’S COME FROM AWAY, LECTURER OF DANCE + ASSOCIATE PROFESSOR OF MUSICAL THEATRE AT PENN MUSICAL THEATRE AT THE STATE UNIVERSITY UNIVERSITY OF MICHIGAN julio matos katie ann BROADWAY’S FOSSE, DIRECTOR OF MUSIC THEATRE JOHANNIGMAN AT ELON UNIVERSITY NATIONAL TOUR OF OLIVER!, ASSISTANT PROFESSOR OF MUSICAL THEATRE AT CCM andy jones ramone owens BROADWAY'S BROADWAY'S BEETLEJUICE, CINDERELLA, CATS MOTOWN THE MUSICAL ROBERT HARTWELL FOUNDER + ARTISTIC DIRECTOR OF THE BROADWAY COLLECTIVE + FULL TBC TEAM.
    [Show full text]
  • Another Roll of the Dice 2019 Extension Release FINAL 7-12
    CONTACT: Nancy Richards – 917-873-6389 (cell) | [email protected] Tim Choy, Davidson & Choy Publicity 323-954-7510 | [email protected] MEDIA PAGE: www.northcoastrep.org/press FOR IMMEDIATE RELEASE, PLEASE: EXTENDED BY POPULAR DEMAND THROUGH AUGUST 11th NORTH COAST REP HAS A SURE-FIRE WINNER WITH DAMON RUNYON-INSPIRED WORLD PREMIERE MUSICAL, ANOTHER ROLL OF THE DICE Book by Mark Saltzman Music and Lyric by Frank Loesser Directed by Larry Sousa Solana Beach, Calif. – North Coast Repertory Theatre has extended through August 11th its highly successful World Premiere of ANOTHER ROLL OF THE DICE, a rollicking musical with book by Mark Saltzman, reuniting the talents of songwriter Frank Loesser and author Damon Runyon, creators of the legendary Guys and Dolls. In Dice, three classic Runyon stories are intertwined with hits from the Loesser songbook, including “Heart and Soul,” “I Hear Music,” “Two Sleepy People,” and “Let’s Get Lost,” performed by iconic Damon Runyon gangland characters. Audiences who may be familiar with Nathan Detroit and Miss Adelaide from "Guys and Dolls" are delighting in meeting some of their colleagues-in-crime from Runyonland: Joey Uptown, Baseball Hattie, Tobias the Terrible, nightclub song bird Georgia St George and the much-in- demand safecracker, Touch Feely. Larry Sousa directs Lance Carter,* Sarah Errington,* Elliot Lazar, Jason Maddy,* Allison Spratt Pearce,* and Darrick Penny* in ANOTHER ROLL OF THE DICE. The design team includes Marty Burnett (Scenic Design), Matthew Novotny (Lighting), Aaron Rumley (Sound Design/Projections), Elisa Benzoni (Costumes), and Phillip Korth (Props). Cindy Rumley* is the stage manager. (*The actor or stage manager appears through the courtesy of Actors’ Equity Association, the union of professional actors and stage managers in the United States).
    [Show full text]
  • Spamalot the Talent Behind the Show
    Summer 2007 CAMP BROADWAY LLC CAMP BROADWAY ® NEW YORK SSttaaggeeNNOOTTEESS A FIELD GUIDE FOR TEACHERS Table of Contents Welcome from Dallas Summer Musicals . .3 Using the Field Guide . .4 A Brief History of the Broadway Musical . .5 Spamalot The Talent Behind the Show . .8 Spamalot: A Production History . .8 Spamalot: Synopsis . .9 Spamalot: Background Information . .10 Spamalot: Lesson Ideas . .12 The Broadway Guide to Theatergoing Etiquette . .14 The Dallas Summer Musicals School of Musical Theatre and Kids Club . .16 2 WelcomeDallas from Summer Musicals Summer 2007 Welcome to Dallas Summer Musicals! We’re so glad you could join us! Musical theater is a unique American creation. It’s also a joyful mixture of song and story, and, since 1945, Dallas Summer Musicals has brought the finest musicals to Dallas. Want to know what goes into making a musical? Just two simple ingredients: singing and acting (song and story). There’s just something about a song that makes a story mean more than just regular speech. It touches us in a different way. Whether a show uses classical music or rock, a musical uses music to tell its story, to suggest feelings, emotions, and attitudes. As long as it mixes song and story, musical theater can be about literally anything, and this season’s shows are great examples of the wide range of subjects. From the blockbuster musical Wicked to the sweeping epic of Camelot, each production reveals a different aspect of what makes musical theater so special. The story of Dallas Summer Musicals is a long and honored one, and by learning about and attending one of our shows, you are now part of that story too! Sincerely, Michael A.
    [Show full text]
  • Boulos, Daniel
    UC Santa Barbara UC Santa Barbara Electronic Theses and Dissertations Title Fortresses of Culture: Cold War Mobilization, Urban Renewal, and Institutional Identity in the Repertory Theatre of Lincoln Center and Center Theatre Group Permalink https://escholarship.org/uc/item/8n50d91d Author Boulos, Daniel Publication Date 2018 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Santa Barbara Fortresses of Culture: Cold War Mobilization, Urban Renewal, and Institutional Identity in the Repertory Theatre of Lincoln Center and Center Theatre Group A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Theater Studies by Daniel Boulos Committee in charge: Professor W. Davies King, Chair Professor Leo Cabranes-Grant Professor Simon Williams June 2018 The dissertation of Daniel Boulos is approved. _____________________________________________ Leo Cabranes-Grant _____________________________________________ Simon Williams _____________________________________________ W. Davies King, Committee Chair March 2018 Fortresses of Culture: Cold War Mobilization, Urban Renewal, and Institutional Identity in the Repertory Theatre of Lincoln Center and Center Theatre Group Copyright © 2018 by Daniel Boulos iii VITA OF DANIEL BOULOS EDUCATION Bachelor of Fine Arts in Theater, Montclair State University, May 1997 Master of Arts in Theater History and Criticism, Brooklyn College, June 2012 Doctor of Philosophy in Theatre
    [Show full text]