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Paris Nights: My Year at the Moulin Rouge opens with a bored twenty-seven-year old Cliff Simon staring out at the ocean from his beachfront house, wishing he was somewhere else. Gavin Mills telephones him from Paris inviting him to join him at the iconic Moulin Rouge. Cliff sells everything he owns, leaving Johannesburg, South Africa for the City of Lights. He learns that his spot at the Moulin is not guaranteed and is forced to audition. Making the grade, he is put into can can school before he is allowed into the company. His adrenaline is pumping from excitement and fear, both of which he has faced before. Taking a look back, we see twelve-year-old Cliff helming a racing dinghy in the midst of a thunderstorm on the Vaal River. His father yells at him not to be a sissy, and he brings the boat back to shore alone. We then travel to London with his family escaping the tumult of Apartheid. He trains for the Olympics, but drops out, enrolling in the South African military where he subjected to harsh treatment and name calling Fokken Jood. After a honorable discharge, he works in cabaret at seaside resorts and is recruited as a gymnast in a cabaret, where he realizes that the stage is his destiny. The memoir fast forwards to Cliffs meteoric rise at the Moulin from swing dancer to principal in Formidable. Off stage he gets into fights with street thugs, hangs out with diamond smugglers, and has his pick of gorgeous women. With a year at the Moulin to his credit, doors open for him internationally and back in South Africa. He earns a starring role in Egoli: Place of Gold, and marries his long-time girlfriend, Colette. On their honeymoon to Paris, Cliff says, Merci Paris for the best year of my life.
Sophocles stands as one of the greatest dramatists of all time, and one of the most influential on artists and thinkers over the centuries. His plays are deeply disturbing and unpredictable, unrelenting and open-ended, refusing to present firm answers to the questions of human existence, or to provide a redemptive justification of the ways of gods to men-or women. These three tragedies portray the extremes of human suffering and emotion, turning the heroic myths into supreme works of poetry and dramatic action. Antigone's obsession with the dead, Creon's crushing inflexibility, Deianeira's jealous desperation, the injustice of the gods witnessed by Hyllus, Electra's obsessive vindictiveness, the threatening of insoluble dynastic contamination... Such are the pains and distortions and instabilities of Sophoclean tragedy. And yet they do not deteriorate into cacophony or disgust or incoherence or silence: they face the music, and through that the suffering is itself turned into the coherence of music and poetry. These original and distinctive verse translations convey the vitality of Sophocles' poetry and the vigour of the plays in performance, doing justice to both the sound of the poetry and the theatricality of the tragedies. Each play is accompanied by an introduction and substantial notes on topographical and mythical references and interpretation. Antigone is an icon of Greek tragedy, and Antigone is herself a tragic icon in world theatre. Sophocles' best-known and most performed play tells a story of defiance and the impossible demands of loyalty. Deianeira, also known as Women of Trachis or Trachinaian Women, wrestles with the anxieties of matrimony and motherhood, following the doomed attempt by the wife of the hero Heracles to assert her dignity. Electra portrays a vengeful daughter's journey through unflagging grief and murderous fury, ending without resolution in uncertainty and suspense.
The extraordinary story of a transformative decade on Broadway, featuring gripping behind-the-scenes accounts of shows such as Rent, Angels in America, Chicago, The Lion King, and The Producers-shows that changed the history of the American theater. The 1990s was a decade of profound change on Broadway. At the dawn of the nineties, the British invasion of Broadway was in full swing, as musical spectacles like Les Miserables, Cats, and The Phantom of the Opera dominated the box office. But Andrew Lloyd Webber's Sunset Boulevard soon spelled the end of this era and ushered in a new wave of American musicals, beginning with the ascendance of an unlikely show by a struggling writer who reimagined Puccini's opera La Boheme as the smash Broadway show Rent. American musical comedy made its grand return, culminating in The Producers, while plays, always an endangered species on Broadway, staged a powerful comeback with Tony Kushner's Angels in America. A different breed of producers rose up to challenge the grip theater owners had long held on Broadway, and corporations began to see how much money could be made from live theater. And just as Broadway had clawed its way back into the mainstream of American popular culture, the September 11 attacks struck fear into the heart of Americans who thought Times Square might be the next target. But Broadway was back in business just two days later, buoyed by talented theater people intent on bringing New Yorkers together and supporting the economics of an injured city. Michael Riedel presents the drama behind every mega-hit or shocking flop, bringing readers into high-stakes premieres, fraught rehearsals, tough contract negotiations, intense Tony Award battles, and more. From the bitter feuds to the surprising collaborations, all the intrigue of a revolutionary era in the Theater District is packed into Singular Sensation. Broadway has triumphs and disasters, but the show always goes on.
Renowned editor Lawrence Harbison brings together approximately one hundred never-before-published women's monologues for actors to use for auditions and in class, all from recently produced plays. The selections include monologues from plays by both well-known playwrights such as Don Nigro, Saviana Stanescu, and Len Jenkin and future stars such as Lia Romeo, Steven Hayet, Lori Fischer, Will Arbery, and Carey Crim. There are terrific comic and dramatic pieces, and all represent the best of contemporary playwriting. This collection is an invaluable resource for aspiring actors hoping to ace their auditions and impress directors and teachers with contemporary pieces.
For well over two hundred years, Joseph Haydn has been by turns lionized and misrepresented - held up as celebrity, and disparaged as mere forerunner or point of comparison. And yet, unlike many other canonic composers, his music has remained a fixture in the repertoire from his day until ours. What do we need to know now in order to understand Haydn and his music? With over eighty entries focused on ideas and seven longer thematic essays to bring these together, this distinctive and richly illustrated encyclopedia offers a new perspective on Haydn and the many cultural contexts in which he worked and left his indelible mark during the Enlightenment and beyond. Contributions from sixty-seven scholars and performers in Europe, the Americas, and Oceania, capture the vitality of Haydn studies today - its variety of perspectives and methods - and ultimately inspire further exploration of one of western music's most innovative and influential composers.
Classical Greek Tragedy offers a comprehensive survey of the development of classical Greek tragedy combined with close readings of exemplary texts. Reconstructing how audiences in fifth-century BCE Athens created meaning from the performance of tragedy at the dramatic festivals sponsored by the city-state and its wealthiest citizens, it considers the context of Athenian political and legal structures, gender ideology, religious beliefs, and other social forces that contributed to spectators' reception of the drama. In doing so it focuses on the relationship between performers and watchers, not only Athenian male citizens, but also women and audiences throughout the ancient Mediterranean world. This book traces the historical development of these dynamics through three representative tragedies that span a 50 year period: Aeschylus' Seven Against Thebes, Sophocles' Oedipus Tyrannus, and Euripides' Helen. Topics include the role of the chorus; the tragic hero; recurring mythical characters and subject matter; Aristotelian assessments of the components of tragedy; developments in the architecture of the theater and their impact on the interactions of characters, and the spaces they occupy. Unifying these discussions is the observation that the genre articulates a reality beyond the visible stage action that intersects with the characters' existence in the present moment and resonates with the audience's religious beliefs and collective psychology. Human voices within the performance space articulate powerful forces from an invisible dimension that are activated by oaths, hymns, curses and prayers, and respond in the form of oracles and prophecies, forms of discourse which were profoundly meaningful to those who watched the original productions of tragedy.
Rachel Watson longs for a different life. Her only escape is the perfect couple she watches through the train window every day, happy and in love. Or so it appears. When Rachel learns that the woman she's been secretly watching has suddenly disappeared, she finds herself as a witness and even a suspect in a thrilling mystery which she will face bigger revelations than she could ever have anticipated.
This opera in four acts is based on an ancient Chinese myth about a snake-shaped spirit that attains human form to experience love. The English libretto by Cerise Lim Jacobs sensitively adapts the story for modern audiences, and Zhou Long's music uses both Western and Chinese sounds to create a pioneering cross-cultural opera. Long was awarded the 2011 Pulitzer Prize for Music for Madame White Snake, and the Pulitzer jury described the work as "a deeply expressive opera that draws on a Chinese folk tale to blend the musical traditions of the East and the West." Madame White Snake was first staged by Opera Boston on 26 February 2010 at the Culter Majestic Theatre, Boston, USA, and received its first Chinese staging at the Beijing International Festival on 10 October 2010, Beijing, China.
Hamilton Easy Piano Selections presents music from the critically acclaimed musical about Alexander Hamilton. The show debuted on Broadway in August 2015 to unprecedented advanced box office sales and has already become one of the most successful Broadway musicals ever. This collection features 9 songs arranged for easy piano from the music penned by Lin-Manuel Miranda. Already a winner of 11 Tony Awards, a Grammy and a Pulitzer Prize, Sir Cameron Macintosh's production opened in London's West End in December 2017.
(Vocal Selections). This outstanding collection features ten top songs from Andrew Lloyd Webber's beloved musical: The Ad-dressing of Cats * Bustopher Jones: The Cat About Town * Gus: The Theatre Cat * Jellicle Songs for Jellicle Cats * The Journey to the Heavyside Layer * Memory * Mr. Mistoffelees * Old Deuteronomy * The Old Gumbie Cat * Skimbleshanks: The Railway.
This succinct authoritative book offers readers an overview of the origins, characteristics, and changing status of tragicomedy from the 17th century to the present. It explores the work of some of the key English and Irish playwrights associated with the form, the influence of Italian and Spanish theorist-playwrights and the importance of translations of Pierre Corneille's Le Cid. At the turn of the 17th century, English dramatists such as John Marston, John Fletcher, and William Shakespeare began experimenting with plays that mixed elements of tragedy and comedy, producing a blended mode that they themselves called 'tragicomedy'. This book begins by examining the sources of their inspiration and the theatrical achievement that they hoped to gain by confronting an audience with plays that defied the plot and character expectations of 'pure' comedy and tragedy. It goes on to show how, reacting to French models, John Dryden, Shakespeare 'improvers' and other English playwrights developed the form while sowing the seeds of its own vulnerability to parody and obsolescence in the eighteenth century. Discussing nineteenth-century melodrama as in some respects a resurrection of tragicomedy, the final chapter concentrates on plays by Ibsen, Chekhov, and Beckett as examples of the form being revived to create theatrical modes that more adequately represent the perceived complexity of experience.
Since the establishment of the Northern Irish state in 1921, theatre has often captured and reflected the political, social, and cultural changes that the North has experienced. From the mid-twentieth century, theatre has played a particularly important role in documenting women's experiences and in showing how women's social and political status has changed with the transformation of the state. Throughout the North's history, women's dramatic writing and performance have often contradicted mainstream narratives of the sectarian conflict, creating a rich and daring trove of counternarratives that contest the stories promoted by the government and media. Moving beyond the better-known women theatre practitioners of the North such as Marie Jones, Christina Reid, Anne Devlin, and the Charabanc Theatre Company, Coffey recovers the lost history of lesser-known, early playwrightsand highlights a new generation of women writing during peacetime. She examines how Northern women have historically used the theatrical stage as a form of political activism when more traditional avenues were closed off to them. Tracing the development of women's involvement in Northern theatre, Coffey ultimately illuminates how issues such as feminism, gender roles, violence,politics, and sectarianism have shifted over the past century as the North moves from conflict into a developing and fragile peace.
This vital resource will steer you through the hugely competitive industry of stage, film and TV acting, offering wise advice on everything from writing an eye-catching resume to finding an agent. It will give you a clear understanding of how acting careers are built and sustained, and how actors must position themselves in an environment overseen by directors, agents, casting directors and acting unions. Praised for its honest and critical understanding of the industry, the text has retained its status as the leading book in its field since the first edition published in 1972. Acclaimed industry professional authors Robert Cohen and James Calleri offer vast insight and experience as professors, directors, playwrights and casting directors, making the text essential reading for all students and lecturers of acting at universities, drama schools and conservatories, as well as anyone interested in pursuing and developing their career in acting.
Adamo is the greatest composer of musicals ever but despite intensive investigations, his/her identity remains unknown. Royalties of more than a billion pounds have amassed over the years. Adamo composes a final musical about the world's youth in revolt and promises to reveal his/her identity. The world's youth identify with the musical "One for a heartbeat, One for Eternity", and from countries far and wide they petition the United Nations for a symbolic holding of hands despite ideological differences. The Adamo enigma is the catalyst for people from diverse backgrounds, from the very cradle of humankind in faraway Swaziland to the sophisticated Western cultures, to be drawn into the fascinating intrigue. Inextricably Merri Fencham from South Africa, Pierre Villeyand - the scion of a French dynasty and famous conductor, sangoma Vusi Dlamini - a Swazi royal prince, and others are drawn into the web of intrigue. And overall, the ancient influences of the ancestors, the "Toothless Ones", confound Western stereotypes.... The drive of destiny cannot be denied as the ancient wisdom of Africa and modern technology meld into an awe-inspiring finale at the Royal Albert Theatre.
This book explores relationships between intermedial theater, consciousness, memory, objects, subjectivity, and affect through productive engagement with the performance aesthetics, socio-cognitive theory, and critical methodology of transversal poetics alongside other leading philosophical approaches to performance. It offers the first sustained analysis of the work of Gilles Deleuze, Felix Guattari, Jean Baudrillard, and Friedrich Nietzsche in relation to the contemporary European theater of Jan Lauwers and Needcompany, Romeo Castellucci and Societas Raffaello Sanzio, Thomas Ostermeier, Rodrigo Garcia and La Carniceria Teatro, and the Transversal Theater Company. It connects contemporary uses of objects, simulacra, and technologies in both posthumanist discourse and postdramatic theater to the transhistorically and culturally mediating power of Shakespeare as a means by which to discuss the affective impact of intermedial theater on today's audiences.
Fired from his skiffle band, Francis Henshall becomes minder to Roscoe Crabbe, a small time East End hood, now in Brighton to collect GBP6,000 from his fiancee's dad. But Roscoe is really his sister Rachel posing as her own dead brother, who's been killed by her boyfriend Stanley Stubbers. Holed up at The Cricketers' Arms, the permanently ravenous Francis spots the chance of an extra meal ticket and takes a second job with one Stanley Stubbers, who is hiding from the police and waiting to be re-united with Rachel. To prevent discovery, Francis must keep his two guvnors apart. Simple. Based on Carlo Goldoni's classic Italian comedy The Servant of Two Masters, in this new English version by prize winning playwright Richard Bean, sex, food and money are high on the agenda.
In January 1856, Margaret Garner-an enslaved woman on a Kentucky plantation-ran with members of her family to the free state of Ohio. As slave catchers attempted to capture the fugitives in Cincinnati, Garner cut the throat of her two-and-a-half-year-old daughter to prevent her return to slavery. Toni Morrison first imaginatively treated Margaret Garner's infanticide in her Pulitzer Prize-winning novel Beloved (1987). In 2004, it became the subject of her libretto Margaret Garner: Opera in Two Acts, a lyrical text designed to be paired with music and sung operatically. Grammy Award-winning composer Richard Danielpour had tapped Morrison to write the libretto for his opera Margaret Garner: A New American Opera, which world premiered in Detroit in 2005. La Vinia Delois Jennings's edited volume records key events, debates, and critical assessments of Morrison's success with Garner's story as a libretto. It also includes essays by individuals who played central roles in bringing the opera to the stage and recovering Garner's story. The collection opens with a foreword by mezzo-soprano Denyce Graves, for whom Danielpour composed the title role. The other contributors range from literary and opera scholars to specialists in American slavery studies and scholars of Toni Morrison's oeuvre. Their essays position her libretto within the African American operatic and libretto tradition, a tradition not fully known to performance scholars and heretofore unexamined.
During a seven-decade career that spanned from 19th century Vienna to 1920s Broadway to the golden age of Hollywood, three-time Academy Award winner Max Steiner did more than any other composer to introduce and establish the language of film music. Indeed, revered contemporary film composers like John Williams and Danny Elfman use the same techniques that Steiner himself perfected in his iconic work for such classics as Casablanca, King Kong, Gone with the Wind, The Searchers, Now, Voyager, the Astaire-Rogers musicals, and over 200 other titles. And Steiner's private life was a drama all its own. Born into a legendary Austrian theatrical dynasty, he became one of Hollywood's top-paid composers. But he was also constantly in debt-the inevitable result of gambling, financial mismanagement, four marriages, and the actions of his emotionally troubled son. Throughout his chaotic life, Steiner was buoyed by an innate optimism, a quick wit, and an instinctive gift for melody, all of which would come to the fore as he met and worked with luminaries like Richard Strauss, George Gershwin, Irving Berlin, the Warner Bros., David O. Selznick, Bette Davis, Frank Sinatra, and Frank Capra. In Music by Max Steiner, the first full biography of Steiner, author Steven C. Smith interweaves the dramatic incidents of Steiner's personal life with an accessible exploration of his composing methods and experiences, bringing to life the previously untold story of a musical pioneer and master dramatist who helped create a vital new art with some of the greatest film scores in cinema history.
It's easy to blame the difficulties theatre now faces on the longest shutdown of stages since the mid-seventeenth century. But these problems began some time before a global pandemic. Decades of free market ideas, ten years of austerity, and the slow encroachment of private space have all worked together to create an industry struggling to define its purpose. The virus was a symptom, not the cause. In Towards A Civic Theatre, director Dan Hutton argues that a theatre which isn't civic in outlook is not worth fighting for. Full of ideas and provocations from a range of theatre practitioners, and drawing on examples from inside and outside of the performing arts, it makes the case for a new kind of theatre fit for purpose in an already tumultuous twenty-first century. It is a toolkit, a guide, an offer to audiences and a call to arms for artistic leaders of tomorrow.
British theatre is booming. But where do these beautiful buildings and exciting plays come from? And when did the story start? To find out we time travel back to the age of the first Queen Elizabeth in the 16th century, four hundred years ago when there was not a single theatre in the land. In the company of a series of well-characterized fictional guides, the eight chapters of the book explore how British theatre began, grew up and developed from the 1550s to the 1950s. The Time-Traveller's Guide to British Theatre tells the story of the movers and shakers, the buildings, the playwrights, the plays and the audiences that make British theatre what it is today. It covers all the great names - from Shakespeare to Terence Rattigan, by way of Oscar Wilde and George Bernard Shaw - and the classic plays, many of which are still revived today, visits the venues and tells their dramatic stories. It is an accessible, journalistic account of this subject which, while based firmly on extensive research and historical accuracy, describes five centuries of British creativity in an interesting and relevant way. It is celebratory in tone, journalistic in style and accurate in content.
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