DOCSLIB.ORG

Broadcast December 23 at 7 Pm & December 25 at 1 Pm on WOWT Channel 6

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Broadcast December 23 at 7 pm & December 25 at 1 pm on WOWT Channel 6 Ernest Richardson, principal pops conductor Parker Esse, stage director/choreographer Maria Turnage, associate stage director ROBERT H. STORZ FOUNDATION PROGRAM The Most Wonderful Time of the Year/ Jingle Bells JAMES LORD PIERPONT/ARR. ELLIOTT Christmas Waltz VARIOUS/ARR. KESSLER Happy Holiday - The Holiday Season IRVING BERLIN/ARR. WHITFIELD Joy to the World TRADITIONAL/ARR. RICHARDSON Mother Ginger (La mère Gigogne et Danse russe Trepak from Suite No. 1, les polichinelles) from Nutcracker PIOTR ILYICH TCHAIKOVSKY from Nutcracker PIOTR ILYICH TCHAIKOVSKY We Are the Very Model of a God Bless Us Everyone from Modern Christmas Shopping Pair A Christmas Carol from Pirates of Penzance ALAN SILVESTRI/ARR. ROSS ARTHUR SULLIVAN/LYRICS BY RICHARDSON Silent Night My Favorite Things from FRANZ GRUBER/ARR. RICHARDSON The Sound of Music RICHARD RODGERS/ARR. WHITFIELD Snow/Jingle Bells IRVING BERLIN/ARR. BARKER O Holy Night ADOLPH-CHARLES ADAM/ARR. RICHARDSON Let It Snow, Let It Snow, Let It Snow JULE STYNE/ARR. SEBESKY We Need a Little Christmas JERRY HERMAN/ARR. WENDEL Frosty the Snowman WALTER ROLLINS/ARR. KATSAROS Hark All Ye Shepherds TRADITIONAL/ARR. RICHARDSON Sleigh Ride LEROY ANDERSON 2 ARTISTIC DIRECTION Ernest Richardson, principal pops conductor and resident conductor of the Omaha Symphony, is the artistic leader of the orchestra’s annual Christmas Celebration production and internationally performed “Only in Omaha” productions, and he leads the successful Symphony Pops, Symphony Rocks, and Movies Series. Since 1993, he has led in the development of the Omaha Symphony’s innovative education and community engagement programs. A recipient of the 2016 Nebraska Governor’s Arts Award for Excellence in Arts Education, Richardson has encouraged and supported countless young musicians. Nationally, Ernest has been at the forefront of symphonic video/live music productions, conducting live-to-movie scores of the Harry Potter series with CineConcerts, and other films includingIndiana Jones and the Raiders of the Lost Ark, Jurassic Park, Star Trek (2009), and Star Wars. May 2020 marked his live-in-concert album debut with indie rock band Guster on OMAHGAH!, featuring their live performance with the Omaha Symphony in February 2019. Richardson also serves as music director and principal conductor of the Steamboat Symphony Orchestra in Steamboat Springs, Colorado, and is the founding artistic director and CEO of the Rocky Mountain Summer Conservatory. He began studying the violin at the age of three with his father, Dr. Vernal Richardson. He continued his string education at Indiana University, later concentrating on the viola at the University of Michigan. He studied conducting with Samuel Krachmalnick and Gustav Meier and composition with William Albright and William Bolcom. An avid fly fisherman, Richardson can be found on trout streams in Colorado and municipal lakes in Nebraska. He has also earned a black belt in tae kwon do and has been known to help his sons build award-winning pinewood derby cars and craft his own batons. He lives in Omaha with his wife and children plus a varied menagerie of cattle dogs, cats, and exotic birds. Parker Esse, stage director/choreographer is a multi-award-winning, dynamic and story-driven director- choreographer. After performing regionally in national tours and being a featured performer on Broadway in the Tony Jingle Bells Award-winning Fosse, which was taped for PBS Great Performances, Parker followed his passion to the other side of the JAMES LORD PIERPONT/ARR. ELLIOTT creative table. He collaborated as associate director and/or choreographer on Broadway’s critically acclaimed and Tony- nominated Finian’s Rainbow and A Tale of Two Cities; five New York City Center Encores! productions of Girl Crazy, Finian’s Rainbow, On The Town, Juno, and Stairway to Paradise; the National Tour of 101 Dalmatians: The Musical; and, regionally, Happy Holiday - The Holiday Season the world premieres of Lucky Guy and Pirates! at Goodspeed Opera House and Paper Mill Playhouse, Dancing in the Dark IRVING BERLIN/ARR. WHITFIELD at The Old Globe, and Mame and the pre-Broadway run of Follies at The Kennedy Center. Parker then exploded onto the scene as choreographer on the groundbreaking Oklahoma! for the grand re-opening of the historic, Tony Award-winning Mother Ginger (La mère Gigogne et Arena Stage at The Mead Center for American Theatre. He then went on to choreograph such shows as Stephen Sondheim and Wynton Marsalis’ A Bed and a Chair: A New York Love Affair directed by John Doyle at New York City Center Encores! les polichinelles) from Nutcracker and Jazz at Lincoln Center. Recently, Parker choreographed the high-octane and critically acclaimed productions of Anything PIOTR ILYICH TCHAIKOVSKY Goes at Arena Stage starring Corbin Bleu and Soara Joye-Ross, La Traviata directed by Francesca Zambello at The Kennedy Center for Washington National Opera, and the world premiere of Jukebox Hero at the Ed Mirvish Theatre in Toronto, and We Are the Very Model of a he was director/choreographer for Lyrics and Lyricists’ Oklahoma! at 75 for the 92nd St. Y. He just choreographed Newsies for Arena Stage. Parker is an eight-time Helen Hayes Nominee for Best Choreography, winning for Oklahoma!, which was Modern Christmas Shopping Pair internationally acclaimed as the first of a generation of reimagined revivals, as well as the star-studdedThe Pajama Game from Pirates of Penzance starring Broadway legend Donna McKechnie at Arena Stage. This past season, Parker received his third Helen Hayes Award ARTHUR SULLIVAN/LYRICS BY RICHARDSON for Best Choreography on Anything Goes starring Corbin Bleu at Arena Stage. Parker also choreographed the new, highly acclaimed “Revisal” of Rags with Stephen Schwartz at Goodspeed Opera House, where he has also choreographed five My Favorite Things from musical revivals. He is a two-time CT Outer Critics Circle nominee for Best Choreography for Fiddler on the Roof and Carousel, which was taped and archived for The New York Public Library of Performing Arts at Lincoln Center. Parker was director/ The Sound of Music choreographer for the pre-Broadway workshop, NYC readings of Hazel: The Musical and Chéri based on the classic French RICHARD RODGERS/ARR. WHITFIELD novel by Colette. Parker received his BFA from New York University’s Tisch School of the Arts. He is also the co-founder and artistic director of The Broadway Master Class Series and a proud member of Actors Equity Association and Stage Directors O Holy Night and Choreographers Society. ADOLPH-CHARLES ADAM/ARR. RICHARDSON We Need a Little Christmas Maria Turnage, associate stage director is honored to be working again with the Omaha Symphony this JERRY HERMAN/ARR. WENDEL season. As a leading performer, Ms. Turnage has toured internationally and regionally in cities such as Paris, Moscow, London, New York City, Los Angeles, San Diego, San Francisco, and Boston. As an associate/assistant director she has worked on Equity showcases, concerts, benefits for Broadway Cares/Equity Fights Aids, world premieres, and classic musical theater Hark All Ye Shepherds productions. Maria was observer to director Molly Smith’s Anything Goes at Arena Stage; creative team assistant for the pre- TRADITIONAL/ARR. RICHARDSON Broadway trial of the new musical Jukebox Hero: The Music of Foreigner at Toronto’s Ed Mirvish Theatre; associate director of Fiorello! at Manhattan School of Music; and associate director for 92nd St Y Lyrics and Lyricists’ Oklahoma! at 75. Most recently she was associate director to Jay Binder’s out-of-town trial Love and Other Fables and associate director for The Full Monty at Casa Mañana. Maria is co-founder/co-artistic/managing director of The Broadway Master Class Series. She partners with international organizations like Destination Imagination’s DI Global Finals, co-directing Tony-winning Broadway stars in the DI Opening Ceremonies and developing Master Artist Workshops for 18,000 international participants. Maria received her BFA from New York University’s Tisch School of the Arts. 3 VOCAL PERFORMERS Siri Howard, soprano is a Broadway actress, recording artist, and concert performer who began her professional career at age 10 and has continued to perform on some of the world’s most prestigious stages. On Broadway Siri has appeared in Les Misérables and The Sound of Music (Broadway Revival cast recording). National Tours include The Phantom of the Opera, Parade, Les Misérables 25th Anniversary Production, and The Sound of Music starring Richard Chamberlain. Regionally Ms. Howard has been seen in The Music Man (Marian Paroo)- IRNE Nomination Best Lead Actress, North Shore Music Theatre; Sweeney Todd starring Emma Thompson, Live from Lincoln Center; South Pacific (Nellie Forbush), Gulf Coast Symphony; Fiddler on the Roof (Hodel), Maine State Music Theatre; A Little Night Music 25th Anniversary Production (Fredrika), with the Philadelphia Orchestra; Les Misérables (Cosette), Maltz Jupiter Theatre, Maine State Music Theatre, and North Shore Music Theatre; Best Little Whorehouse in Texas (Angel), The Rev Theatre; Oklahoma! (Laurey), Gulf Coast Symphony. Siri has also appeared as a soloist with the New Jersey Symphony Orchestra, the Steamboat Springs Symphony Orchestra, and The Florida Orchestra. Ms. Howard has a deep love for classical music, and has performed concerts of Bernstein’s Songfest, Berg’s Wozzeck, Mozart’s Requiem, and operas such as Le Nozze di Figaro, the NY premiere of Orpheus Descending, Dido and Aeneas, and La Bohéme. Ms. Howard has performed with the USO for veterans and active duty military, as well as the Times Square New Year’s Eve Ball Drop in 2016. She has appeared on multiple annual Carols for a Cure Broadway albums, and as a featured artist on the concept album Song of Solomon. She holds a Bachelor of Music degree in vocal performance from University of Maryland College Park, and a Master of Arts in vocal performance from the Aaron Copland School of Music at Queens College.
Recommended publications
  • Stage by Stage South Bank: 1988 – 1996

    Stage by Stage South Bank: 1988 – 1996

    Stage by Stage South Bank: 1988 – 1996 Stage by Stage The Development of the National Theatre from 1848 Designed by Michael Mayhew Compiled by Lyn Haill & Stephen Wood With thanks to Richard Mangan and The Mander & Mitchenson Theatre Collection, Monica Sollash and The Theatre Museum The majority of the photographs in the exhibition were commissioned by the National Theatre and are part of its archive The exhibition was funded by The Royal National Theatre Foundation Richard Eyre. Photograph by John Haynes. 1988 To mark the company’s 25th birthday in Peter Hall’s last year as Director of the National October, The Queen approves the title ‘Royal’ Theatre. He stages three late Shakespeare for the National Theatre, and attends an plays (The Tempest, The Winter’s Tale, and anniversary gala in the Olivier. Cymbeline) in the Cottesloe then in the Olivier, and leaves to start his own company in the The funds raised are to set up a National West End. Theatre Endowment Fund. Lord Rayne retires as Chairman of the Board and is succeeded ‘This building in solid concrete will be here by the Lady Soames, daughter of Winston for ever and ever, whatever successive Churchill. governments can do to muck it up. The place exists as a necessary part of the cultural scene Prince Charles, in a TV documentary on of this country.’ Peter Hall architecture, describes the National as ‘a way of building a nuclear power station in the September: Richard Eyre takes over as Director middle of London without anyone objecting’. of the National. 1989 Alan Bennett’s Single Spies, consisting of two A series of co-productions with regional short plays, contains the first representation on companies begins with Tony Harrison’s version the British stage of a living monarch, in a scene of Molière’s The Misanthrope, presented with in which Sir Anthony Blunt has a discussion Bristol Old Vic and directed by its artistic with ‘HMQ’.
  • Against Expression?: Avant-Garde Aesthetics in Satie's" Parade"

    Against Expression?: Avant-Garde Aesthetics in Satie's" Parade"

    Against Expression?: Avant-garde Aesthetics in Satie’s Parade A thesis submitted to the Division of Graduate Studies and Research of the University of Cincinnati In partial fulfillment of the requirements for the degree of MASTER OF MUSIC In the division of Composition, Musicology, and Theory of the College-Conservatory of Music 2020 By Carissa Pitkin Cox 1705 Manchester Street Richland, WA 99352 [email protected] B.A. Whitman College, 2005 M.M. The Boston Conservatory, 2007 Committee Chair: Dr. Jonathan Kregor, Ph.D. Abstract The 1918 ballet, Parade, and its music by Erik Satie is a fascinating, and historically significant example of the avant-garde, yet it has not received full attention in the field of musicology. This thesis will provide a study of Parade and the avant-garde, and specifically discuss the ways in which the avant-garde creates a dialectic between the expressiveness of the artwork and the listener’s emotional response. Because it explores the traditional boundaries of art, the avant-garde often resides outside the normal vein of aesthetic theoretical inquiry. However, expression theories can be effectively used to elucidate the aesthetics at play in Parade as well as the implications for expressability present in this avant-garde work. The expression theory of Jenefer Robinson allows for the distinction between expression and evocation (emotions evoked in the listener), and between the composer’s aesthetical goal and the listener’s reaction to an artwork. This has an ideal application in avant-garde works, because it is here that these two categories manifest themselves as so grossly disparate.
  • 2019 Silent Auction List

    2019 Silent Auction List

    September 22, 2019 ………………...... 10 am - 10:30 am S-1 2018 Broadway Flea Market & Grand Auction poster, signed by Ariana DeBose, Jay Armstrong Johnson, Chita Rivera and others S-2 True West opening night Playbill, signed by Paul Dano, Ethan Hawk and the company S-3 Jigsaw puzzle completed by Euan Morton backstage at Hamilton during performances, signed by Euan Morton S-4 "So Big/So Small" musical phrase from Dear Evan Hansen , handwritten and signed by Rachel Bay Jones, Benj Pasek and Justin Paul S-5 Mean Girls poster, signed by Erika Henningsen, Taylor Louderman, Ashley Park, Kate Rockwell, Barrett Wilbert Weed and the original company S-6 Williamstown Theatre Festival 1987 season poster, signed by Harry Groener, Christopher Reeve, Ann Reinking and others S-7 Love! Valour! Compassion! poster, signed by Stephen Bogardus, John Glover, John Benjamin Hickey, Nathan Lane, Joe Mantello, Terrence McNally and the company S-8 One-of-a-kind The Phantom of the Opera mask from the 30th anniversary celebration with the Council of Fashion Designers of America, designed by Christian Roth S-9 The Waverly Gallery Playbill, signed by Joan Allen, Michael Cera, Lucas Hedges, Elaine May and the company S-10 Pretty Woman poster, signed by Samantha Barks, Jason Danieley, Andy Karl, Orfeh and the company S-11 Rug used in the set of Aladdin , 103"x72" (1 of 3) Disney Theatricals requires the winner sign a release at checkout S-12 "Copacabana" musical phrase, handwritten and signed by Barry Manilow 10:30 am - 11 am S-13 2018 Red Bucket Follies poster and DVD,
  • INTO the WOODSIN CONCERT Book by James Lapine Music and Lyrics by Stephen Sondheim

    INTO the WOODSIN CONCERT Book by James Lapine Music and Lyrics by Stephen Sondheim

    PRESENTS INTO THE WOODSIN CONCERT Book by James Lapine Music and Lyrics by Stephen Sondheim Directed by Michael Torontow NOVEMBER 14 -16, 2019 Georgian Theatre, Barrie | 705-792-1949 www.tift.ca Presented by | Season Partner Artistic Producer Arkady Spivak INTO THE WOODS Book by James Lapine Music and Lyrics by Stephen Sondheim Director Michael Torontow Music Director Wayne Gwillim Choreographer Lori Watson Set and Lighting Designer Joe Pagnan Costume Designer Laura Delchiaro Production Manager Jeff Braunstein Stage Manager Dustyn Wales Assistant Stage Manager Sam Hale Sound Designer Joshua Doerksen Props Master Vera Oleynikova CAST OF CHARACTERS Cast Baker-------------------------------------------------------------------------------------------------------------------------------Aidan deSalaiz Cinderella’s Prince, Wolf, Lucinda------------------------------------------------------------------------------------Griffin Hewitt Witch---------------------------------------------------------------------------------------------------------------------------------Alana Hibbert Rapunzel’s Prince, Florinda, Milky White-------------------------------------------------------------------------Richard Lam Baker’s Wife---------------------------------------------------------------------------------------------------------------Jamie McRoberts Jack’s Mother, Stepmother, Granny, Giant------------------------------------------------------------------Charlotte Moore Jack, Steward------------------------------------------------------------------------------------------------------------------Justin
  • CAMILLE A. BROWN Choreographer, Performer, Teacher, Cultural Innovator

    CAMILLE A. BROWN Choreographer, Performer, Teacher, Cultural Innovator

    CAMILLE A. BROWN Choreographer, Performer, Teacher, Cultural Innovator FOUNDER/ARTISTIC DIRECTOR/CHOREOGRAPHER/PERFORMER 2006-present Camille A. Brown & Dancers, contemporary dance company based in New York City www.camilleabrown.org FILM/TELEVISION Ma Rainey’s Black Bottom George C. Wolfe Netflix Jesus Christ Superstar Live David Leveaux NBC BROADWAY Disney’s Aida (Fall 2020) Schele Williams Broadway Theatre TBD Soul Train (2021-22) Kamilah Forbes Broadway Theatre TBD Basquiat (TBD) John Doyle Broadway Theatre TBD Pal Joey (TBD) Tony Goldwyn Broadway Theatre TBD Choir Boy Trip Cullman Samuel Friedman Theatre (MTC) *nominee Tony, Drama Desk Awards Once on This Island Michael Arden Circle in the Square Theatre *nominee Chita Rivera, Outer Critics Circle, Drama Desk Awards A Streetcar Named Desire Emily Mann Broadhurst Theatre OFF-BROADWAY/NEW YORK The Suffragists (October 2020) Leigh Silverman The Public Theater Thoroughly Modern Millie Lear DeBessonet Encores! City Center For Colored Girls Leah Gardiner The Public Theater Porgy and Bess James Robinson The Metropolitan Opera Much Ado About Nothing Kenny Leon Shakespeare in the Park *winner: Audelco Award 2019 Toni Stone Pam McKinnon Roundabout Theatre Company This Ain’t Not Disco Darko Trensjak Atlantic Theatre Company Bella: An American Tall Tale Robert O’Hara Playwrights HoriZons *winner: Lucille Lortel Award 2017 Cabin in the Sky Ruben Santiago-Hudson New York City Center (Encores!) Fortress of Solitude Daniel Aukin The Public Theater *nominee Lucille Lortel Award tick, tick…BOOM! Oliver Butler New York City Center (Encores!) The Box: A Black Comedy Seth Bockley The Irondale Soul Doctor Danny Wise New York Theatre Workshop 450 West 24th Street Suite 1C New York New York 10011 (212) 221-0400 Main (212) 881-9492 Fax www.michaelmooreagency.com Department of Consumer Affairs License #2001545-DCA REGIONAL Treemonisha (May 2022) Camille A.
  • “Kiss Today Goodbye, and Point Me Toward Tomorrow”

    “Kiss Today Goodbye, and Point Me Toward Tomorrow”

    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Missouri: MOspace “KISS TODAY GOODBYE, AND POINT ME TOWARD TOMORROW”: REVIVING THE TIME-BOUND MUSICAL, 1968-1975 A Dissertation Presented to The Faculty of the Graduate School At the University of Missouri In Partial Fulfillment Of the Requirements for the Degree Doctor of Philosophy By BRYAN M. VANDEVENDER Dr. Cheryl Black, Dissertation Supervisor July 2014 © Copyright by Bryan M. Vandevender 2014 All Rights Reserved The undersigned, appointed by the dean of the Graduate School, have examined the dissertation entitled “KISS TODAY GOODBYE, AND POINT ME TOWARD TOMORROW”: REVIVING THE TIME-BOUND MUSICAL, 1968-1975 Presented by Bryan M. Vandevender A candidate for the degree of Doctor of Philosophy And hereby certify that, in their opinion, it is worthy of acceptance. Dr. Cheryl Black Dr. David Crespy Dr. Suzanne Burgoyne Dr. Judith Sebesta ACKNOWLEDGEMENTS I incurred several debts while working to complete my doctoral program and this dissertation. I would like to extend my heartfelt gratitude to several individuals who helped me along the way. In addition to serving as my dissertation advisor, Dr. Cheryl Black has been a selfless mentor to me for five years. I am deeply grateful to have been her student and collaborator. Dr. Judith Sebesta nurtured my interest in musical theatre scholarship in the early days of my doctoral program and continued to encourage my work from far away Texas. Her graduate course in American Musical Theatre History sparked the idea for this project, and our many conversations over the past six years helped it to take shape.
  • 2018 Annual Report

    2018 Annual Report

    Annual Report 2018 Dear Friends, welcome anyone, whether they have worked in performing arts and In 2018, The Actors Fund entertainment or not, who may need our world-class short-stay helped 17,352 people Thanks to your generous support, The Actors Fund is here for rehabilitation therapies (physical, occupational and speech)—all with everyone in performing arts and entertainment throughout their the goal of a safe return home after a hospital stay (p. 14). nationally. lives and careers, and especially at times of great distress. Thanks to your generous support, The Actors Fund continues, Our programs and services Last year overall we provided $1,970,360 in emergency financial stronger than ever and is here for those who need us most. Our offer social and health services, work would not be possible without an engaged Board as well as ANNUAL REPORT assistance for crucial needs such as preventing evictions and employment and training the efforts of our top notch staff and volunteers. paying for essential medications. We were devastated to see programs, emergency financial the destruction and loss of life caused by last year’s wildfires in assistance, affordable housing, 2018 California—the most deadly in history, and nearly $134,000 went In addition, Broadway Cares/Equity Fights AIDS continues to be our and more. to those in our community affected by the fires and other natural steadfast partner, assuring help is there in these uncertain times. disasters (p. 7). Your support is part of a grand tradition of caring for our entertainment and performing arts community. Thank you Mission As a national organization, we’re building awareness of how our CENTS OF for helping to assure that the show will go on, and on.
  • The Enduring Power of Musical Theatre Curated by Thom Allison

    The Enduring Power of Musical Theatre Curated by Thom Allison

    THE ENDURING POWER OF MUSICAL THEATRE CURATED BY THOM ALLISON PRODUCTION SUPPORT IS GENEROUSLY PROVIDED BY NONA MACDONALD HEASLIP PRODUCTION CO-SPONSOR LAND ACKNOWLEDGEMENT Welcome to the Stratford Festival. It is a great privilege to gather and share stories on this beautiful territory, which has been the site of human activity — and therefore storytelling — for many thousands of years. We wish to honour the ancestral guardians of this land and its waterways: the Anishinaabe, the Haudenosaunee Confederacy, the Wendat, and the Attiwonderonk. Today many Indigenous peoples continue to call this land home and act as its stewards, and this responsibility extends to all peoples, to share and care for this land for generations to come. CURATED AND DIRECTED BY THOM ALLISON THE SINGERS ALANA HIBBERT GABRIELLE JONES EVANGELIA KAMBITES MARK UHRE THE BAND CONDUCTOR, KEYBOARD ACOUSTIC BASS, ELECTRIC BASS, LAURA BURTON ORCHESTRA SUPERVISOR MICHAEL McCLENNAN CELLO, ACOUSTIC GUITAR, ELECTRIC GUITAR DRUM KIT GEORGE MEANWELL DAVID CAMPION The videotaping or other video or audio recording of this production is strictly prohibited. A MESSAGE FROM OUR ARTISTIC DIRECTOR WORLDS WITHOUT WALLS Two young people are in love. They’re next- cocoon, and now it’s time to emerge in a door neighbours, but their families don’t get blaze of new colour, with lively, searching on. So they’re not allowed to meet: all they work that deals with profound questions and can do is whisper sweet nothings to each prompts us to think and see in new ways. other through a small gap in the garden wall between them. Eventually, they plan to While I do intend to program in future run off together – but on the night of their seasons all the plays we’d planned to elopement, a terrible accident of fate impels present in 2020, I also know we can’t just them both to take their own lives.
  • The Broadway Musical Adaptation of Sean O'casey's Juno and the Paycock

    The Broadway Musical Adaptation of Sean O'casey's Juno and the Paycock

    City University of New York (CUNY) CUNY Academic Works Publications and Research Kingsborough Community College 2002 Broadway and the Paycock: The Broadway Musical Adaptation of Sean O'Casey's Juno and the Paycock Julia M. Furay CUNY Kingsborough Community College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/kb_pubs/45 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] I' . f BROADWAY AND THE P AYCOCK The Broadway Musical Adaptation of Sean O'Casey's Juno and the Paycock By Julia Marguerite Furay In Partial Fulfillment of the Masters of Arts Degree in Modem Drama Studies Under the Supervision ofFinola Cronin Head of Department: Dr. Joseph Long University College Dublin Drama Studies Department August 2002 I " TABLE OF CONTENTS TITLE PAGE ......................................................................................................................... 1 TABLE OF CONTENTS ..................................................................................................... 2 ABSTRACT............................................................................................................................ 3 INTRODUCTION ................................................................................................................. 4 CHAPTER 1: MUSICALITY WITHIN O'CASEY'S JUNO AND THE PAYCOCK 6 O'CASEY'S SONGFUL CHARACTERS 7 SINGING WORDS
  • 1 Slide Per Page

    1 Slide Per Page

    Man from Mars Module 5 of Music: Under the Hood John Hooker Carnegie Mellon University Osher Course September 2018 1 Outline • Biography of George Gershwin • Analysis of Love Is Here to Stay 2 Biography • George Gershwin, 1898-1937 – Born in Brooklyn as Jacob Gershwine (Gershowitz). • Son of Russian-Jewish immigrants. – Began playing piano purchased for brother Ira – Much later, had 10-year relationship with Kay Swift, also an excellent composer. – Died from brain tumor, age 38. George and Ira 3 Biography • Musical career – Studied piano and European classical music, beginning at age 11. – Wrote songs for Tin Pan Alley, beginning age 15. – Moved to Paris to study with Nadia Boulanger • She said he didn’t need her instruction. – Wanted to study with Igor Stravinsky • Stravinsky asked, “How much money do you make a year?” On hearing the answer, he said, “Perhaps I should study with you, Mr. Gershwin.” 4 Biography • Musical career – Band leader Paul Whiteman asked Gershwin to write a piece that would improve the respectability of jazz. • He promised to do so, but forgot about it. • When he saw his piece advertised, he hurriedly wrote something – Rhapsody in Blue. 5 Biography • Musical career – Played and composed constantly. • Annoyed fellow musicians by hogging the piano. – Became known for highly original style • “Man from Mars” musically. • Example: Three Preludes (2nd at 1:22) • Perhaps result of effort to adjust European training to jazz and blues. 6 Biography • Famous compositions – Rhapsody in Blue (1924), for piano and orchestra
  • 2017 Annual Report

    2017 Annual Report

    Annual 2017 Report Our ongoing investment into increasing services for the senior In 2017, The Actors Fund Dear Friends, members of our creative community has resulted in 1,474 senior and helped 13,571 people in It was a challenging year in many ways for our nation, but thanks retired performing arts and entertainment professionals served in to your generous support, The Actors Fund continues, stronger 2017, and we’re likely to see that number increase in years to come. 48 states nationally. than ever. Our increased activities programming extends to Los Angeles, too. Our programs and services With the support of The Elizabeth Taylor AIDS Foundation, The Actors Whether it’s our quick and compassionate response to disasters offer social and health services, Fund started an activities program at our Palm View residence in West ANNUAL REPORT like the hurricanes and California wildfires, or new beginnings, employment and training like the openings of The Shubert Pavilion at The Actors Fund Hollywood that has helped build community and provide creative outlets for residents and our larger HIV/AIDS caseload. And the programs, emergency financial Home (see cover photo), a facility that provides world class assistance, affordable housing 2017 rehabilitative care, and The Friedman Health Center for the Hollywood Arts Collective, a new affordable housing complex and more. Performing Arts, our brand new primary care facility in the heart aimed at the performing arts community, is of Times Square, The Actors Fund continues to anticipate and in the development phase. provide for our community’s most urgent needs. Mission Our work would not be possible without an engaged Board as well as the efforts of our top notch staff and volunteers.
  • Putting It Together

    Putting It Together

    46th Season • 437th Production SEGERSTROM STAGE / September 11 - October 11, 2009 David Emmes Martin Benson Producing ArtiStic director ArtiStic director presents PUTTING IT TOGETHER words and music by Stephen Sondheim devised by Stephen Sondheim and Julia McKenzie Thomas Buderwitz Soojin Lee Steven Young Drew Dalzell Scenic deSign coStume deSign Lighting deSign Sound deSign Joshua Marchesi Jamie A. Tucker* Production mAnAger StAge mAnAger musical direction by Dennis Castellano directed by Nick DeGruccio Dr. S.L. and Mrs. Betty Eu Huang Huang Family Foundation honorAry ProducerS corPorAte Producer Putting It Together is presented through special arrangement with music theatre international (mti). All authorized performance materials are also supplied by mti. 421 West 54th Street, new york, ny 10019; Phone: 212-541-4684 Fax: 212-397-4684; www.mtiShows.com Putting It Together• SOUTH COA S T REPE R TO R Y P1 THE CAST (in order of appearance) Matt McGrath* Harry Groener* Niki Scalera* Dan Callaway* Mary Gordon Murray* MUSICIANS Dennis Castellano (conductor/keyboards), John Glaudini (synthesizer), John Reilly (woodwinds), Louis Allee (percussion) SETTING A New York penthouse apartment. Now. LENGTH Approximately two hours including one 15-minute intermission. PRODUCTION STAFF Casting ................................................................................ Joanne DeNaut, CSA Dramaturg .......................................................................... Linda Sullivan Baity Assistant Stage Manager .............................................................