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Books > Arts & Architecture > Performing arts > Theatre, drama > Musical theatre
Those who have lived - not just witnessed - the efflorescence of
a pivotal culture moment never see the world through veiled eyes
again. Jimmy Lyons was there, devising wholly original inventions
of words and music while the Beats, the neo-folk troubadours, the
post-bop jazz shooting stars, and the tie-dyed psychedelic rockers
were scorching through the underbrush and opening new paths of
creativity as alternatives to the increasingly bottom line-driven
mainstream. Lyons, though, wasn't content to find a niche in one
countercultural movement or another. He kept moving, observing, and
writing new poems, stories, and songs. But he never gave up on the
wry sophistication of the classic American popular song. Indeed, he
has dedicated himself to infusing the same hallowed forms perfected
by Irving Berlin, George and Ira Gershwin, Cole Porter, Harold
Arlen, and others, with his singular fantasias of ingeniously
colored and textured wordplay.
These plays have a subtext only Lyons can provide, derived from
what he calls the "rituals of the road" and the "the circular
rhythms" of the race track, the beats and pulses of everyday
American life that rarely raise a ripple on the surface of American
culture. Lyons hears the screams and dreams of his countrymen and
woman; from them he creates new modes of expression. He has been
changed by each of his open-hearted an open-eared encounters, and
this body of work is his way of making those changes sing and
swing. - Derk Richardson
If you love THE PHANTOM OF THE OPERA, MAN OF LA MANCHA, and LES
MISERABLES, you will enjoy this fascinating analysis of how the
three musicals reflect the basic teachings of the Bible. Dr. Jones
is a Harvard PhD and a professor emeritus of Spanish language and
literature, as well as a novelist, humor columnist, biographer, the
author of a widely-adopted textbook, a cartoonist and a graphic
artist. She taught "What is Love?" for several years in the adult
Sunday School program at her church, and claims she is still trying
to get to the bottom of it all. She looks to the ancient Greeks,
the 12th-century troubadours, the 19th century Romantics, C.S.
Lewis, John Stott, Michael Green, and to the rest of God's extended
family to guide her along the way. WHAT READERS ARE SAYING: Sonia
Jones is a gifted author and teacher who beautifully presents and
contrasts the dramatic love stories of Man of La Mancha, The
Phantom of the Opera, and Les Miserables with the greatest love
story of all from the Bible. She explores the various meanings of
love, and gives deep insight into the hearts of the characters
involved and the resulting dramas that unfold. If you love these
classic writings and musicals, this study will add to your
understanding and appreciation. --Roma Angus, choir director,
Halifax, Nova Scotia
Theatre is often said to offer unique insights into the nature of
reality, but this obscures the reality of theatre itself. In Real
Theatre, Paul Rae takes a joined-up approach to the realities of
theatre to explain why performances take the forms they do, and
what effects they have. Drawing on examples ranging from Phantom of
the Opera and Danny Boyle's Frankenstein, to the performances of
the Wooster Group and arthouse director Tsai Ming-liang, he shows
how apparently discrete theatrical events emerge from dynamic and
often unpredictable social, technical and institutional
assemblages. These events then enter a process of cultural
circulation that, as Rae explains, takes many forms: fleeting
conversations, the mercurial careers of theatrical characters and
the composite personae of actors, and high-profile products like
the Hollywood movie Birdman. The result is a real theatre that
speaks of, and to, the idiosyncratic and cumulative experience of
every theatre participant.
Vocal ScoreMusic from Wonderful Town has been out of print for more
than 40 years, so we are very proud to present this new edition of
the brilliant musical comedy currently running in an acclaimed
Broadway revival The music by Leonard Bernstein and lyrics by Betty
Comden and Adolph Green tell the story of two sisters who move from
Ohio to Greenwich Village. After many hardships of adjustment, they
find New York to be a "Wonderful Town." The original run of the
show opened in 1953 and starred Rosalind Russell, and the Broadway
revival, which opened on November 23, 2003, stars Donna Murphy. The
cast recording is being released by DRG Records. Our Vocal Score
includes all of the music from the musical.
Herman Finck (1872 - 1939) was a celebrated musical theatre
conductor of the early 20th century, with a twenty year term as
both musical director and composer at the Palace Theatre in London,
followed and overlapped by sessions at the Queen's Theatre and the
Drury Lane Theatre. He conducted the London premieres of many
romantic musicals including Rose Marie, The Desert Song and
Showboat; composed, arranged and orchestrated a great deal of
music, particularly for revues (including Round the Map and The
Passing Show), wrote around thirty theatre shows including
operettas and ballets, and composed many light orchestral pieces
and popular songs including 'I'll make a man of you' and 'Gilbert
the Filbert'. As conductor he worked with many of the great
luminaries of the period, including Anna Pavlova, Vaslav Nijinsky,
Vesta Tilley, Harry Lauder, Edith Day and Marie Lloyd. Finck was
also a celebrated wit, bon viveur, and clubman, and his
autobiography includes many gems of theatrical anecdotage and
stories of his famous friends, ranging from Dan Leno to Sir Edward
Elgar. It presents a fascinating and wide-ranging picture of life
in London musical theatre in the early part of the twentieth
century.
The Oxford Handbook of The American Musical offers new and
cutting-edge essays on the most important and compelling issues and
topics in the growing, interdisciplinary field of musical-theater
and film-musical studies. Taking the form of a "keywords" book, it
introduces readers to the concepts and terms that define the
history of the musical as a genre and that offer ways to reflect on
the specific creative choices that shape musicals and their
performance on stage and screen. The handbook offers a
9780199973842 of essays written by leading experts in the field,
organized within broad conceptual groups, which together capture
the breadth, direction, and tone of musicals studies today. Each
essay traces the genealogy of the term or issue it addresses,
including related issues and controversies, positions and
problematizes those issues within larger bodies of scholarship, and
provides specific examples drawn from shows and films. Essays both
re-examine traditional topics and introduce underexplored areas.
Reflecting the concerns of scholars and students alike, the authors
emphasize critical and accessible perspectives, and supplement
theory with concrete examples that may be accessed through links to
the handbook's website. Taking into account issues of composition,
performance, and reception, the book's contributors bring a wide
range of practical and theoretical perspectives to bear on their
considerations of one of America's most lively, enduring artistic
traditions. The Oxford Handbook of The American Musical will engage
all readers interested in the form, from students to scholars to
fans and aficionados, as it analyses the complex relationships
among the creators, performers, and audiences who sustain the
genre.
In this welcome addition to the immensely popular Yale Broadway
Masters series, Larry Starr focuses fresh attention on George
Gershwin's Broadway contributions and examines their centrality to
the composer's entire career. Starr presents Gershwin as a composer
with a unified musical vision-a vision developed on Broadway and
used as a source of strength in his well-known concert music. In
turn, Gershwin's concert-hall experience enriched and strengthened
his musicals, leading eventually to his great "Broadway opera,"
Porgy and Bess. Through the prism of three major shows-Lady Be Good
(1924), Of Thee I Sing (1931), and Porgy and Bess (1935)-Starr
highlights Gershwin's distinctive contributions to the evolution of
the Broadway musical. In addition, the author considers Gershwin's
musical language, his compositions for the concert hall, and his
movie scores for Hollywood in the light of his Broadway experience.
Vocal ScoreMusic from Wonderful Town has been out of print for more
than 40 years, so we are very proud to present this new edition of
the brilliant musical comedy currently running in an acclaimed
Broadway revival The music by Leonard Bernstein and lyrics by Betty
Comden and Adolph Green tell the story of two sisters who move from
Ohio to Greenwich Village. After many hardships of adjustment, they
find New York to be a "Wonderful Town." The original run of the
show opened in 1953 and starred Rosalind Russell, and the Broadway
revival, which opened on November 23, 2003, stars Donna Murphy. The
cast recording is being released by DRG Records. Our Vocal Score
includes all of the music from the musical.
The space capsule "Lunar Lady" blasts off from Earth on a voyage to
the moon with Dr. Braun, Percy and Henry Applegate on board. Upon
their arrival on the moon they become aware that there is unrest
between the "Nams" of the light side and the "Nooms" of the dark
side. It just so happens that one bite from one of Henry's apples
causes the both sides to forget their feud and become friends once
again.
To celebrate peace on the moon, King Linus throws a "Galaxy Gala"
and invites all the
planets to attend. Mercury Mercurial gets the speedy invitations
out to "Queen Venus" and her court, the "Kazooties" of Mars, "King
Jupiter," the "Saturnettes," the "Uranus Rockers," "King Neptune"
and his Mermaids, and "Nicky" and his gang from Pluto.
A grand time is had by all but suddenly Percy reminds everyone that
the "Lunar Lady" must return to Earth. Henry asks the Princess
Aurora to marry him and return with him now that peace and
friendship have been restored on the moon and in the galaxy. There
is a happy ending for all, including the little green stow away on
the trip back
From the coming of sound to the 1960s, the musical was central to
Hollywood production. Exhibiting - often in spectacular fashion -
the remarkable resources of the Hollywood studios, musicals came to
epitomise the very idea of 'light entertainment'. Films like Top
Hat and 42nd Street, Meet Me in St. Louis and On the Town, Singin'
in the Rain and Oklahoma!, West Side Story and The Sound of Music
were hugely popular, yet were commonly regarded by cultural
commentators as trivial and escapist. It was the 1970s before
serious study of the Hollywood musical began to change critical
attitudes and foster an interest in musical films produced in other
cultures. Hollywood musicals have become less common, but the genre
persists and both academic interest in and fond nostalgia for the
musical shows no signs of abating. 100 Film Musicals provides a
stimulating overview of the genre's development, its major themes
and the critical debates it has provoked. While centred on the
dominant Hollywood tradition, 100 Film Musicals includes films from
countries that often tried to emulate the Hollywood style, like
Britain and Germany, as well as from very different cultures like
India, Egypt and Japan. Jim Hillier and Douglas Pye also discuss
post-1960s films from many different sources which adapt and
reflect on the conventions of the genre, including recent examples
such as Moulin Rouge! and High School Musical, demonstrating that
the genre is still very much alive.
(Vocal Selections). Now available Our deluxe songbook features
piano/vocal arrangements of 14 songs by Elton John and Tim Rice
from this beloved Tony -winning musical: Be Prepared * Can You Feel
the Love Tonight * Chow Down * Circle of Life * Endless Night *
Hakuna Matata * He Lives in You (Reprise) * I Just Can't Wait to Be
King * King of Pride Rock * The Madness of King Scar * The Morning
Report * Nants' Ingonyama * Shadowland * They Live in You. Includes
a special section of fantastic full-color photos from the Broadway
production
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