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

You can learn from "Notes Compared With Charles" why you'll want to pursue sitting in an opera house for four evenings to experience the Wagner Ring of four operas.If you already know the value of experiencing the Ring operas, you can buy "Notes Compared With Charles" for someone who will be a first-timer.There is no other live performance like Wagner's Ring cycle: no stage play, no other opera, no rock concert, no IMAX film, no tour through a theme park, no home entertainment center sensory flood.The Wagner Ring is a profoundly complex work on its face and can become even more interesting depending on who is interpreting what Wagner wrote. As long as individuals approach the Ring with their own senses, it can remain a mighty portrait of passionate characters, available for identification, empathy and awe, regardless of the production.Buy this companion book to go with the Ring stories that you'll find inside the opera program describing the saga in full.

From its Broadway debut to the Oscar-winning film to countless amateur productions, West Side Story is nothing less than an American touchstone an updating of Shakespeare located in a vividly realized, rapidly changing postwar New York. That vision of postwar New York is at the heart of Julia L. Foulkes's A Place for Us. A lifelong fan of the show, Foulkes became interested in its history when she made an unexpected discovery: parts of the iconic film version were shot on the demolition site of what would ultimately be part of the Lincoln Center redevelopment a crowning jewel of postwar urban renewal. Foulkes interweaves the story of the creation of the musical and film with the remaking of the Upper West Side and the larger tale of New York's postwar aspirations. Making unprecedented use of Jerome Robbins's revelatory papers, she shows the crucial role played by the political commitments of Robbins and his fellow gay, Jewish collaborators, Leonard Bernstein and Arthur Laurents: their determination to evoke life in New York as it was actually lived helped give West Side Story its unshakable sense of place even as it put forward a vision of a new, vigorous, determinedly multicultural American city. Beautifully written and full of surprises for even the most dedicated West Side Story fan, A Place for Us is a powerful new exploration of an American classic.

By Fiona Whelpton

ISBN: 9781847471253
Published: 2007
Pages: 184
Key Themes: conversion syndrome disorder, anxiety, abuse, activism, christianity

""After reading The Cycle Path I came away with a better understanding of the issues sufferers face and of the opportunities."" - Sir Nigel Crisp, Former NHS Chief Executive

""Delightful and full of expression and pathos."" - Sheila Johnson, Christian Herald

Description

The remarkable story of a woman who suffers from and overcomes Conversion Syndrome Disorder (CSD), a rare, crippling and extremely frightening condition which causes physical paralysis bought on by anxiety. This real life story describes how Fiona experienced domestic abuse, family problems and how she managed somehow to overcome all this not knowing for years what her illness was. She is now a successful journalist and activist. The Cycle Path is an admirable story of hope and empowerment and is essential reading for all health workers and sufferers of similar conditions - particularly as CSD is so unknown and widely misunderstood.

About the Author

Fiona Whelpton was born in London on in 1957 and now lives in Nottingham. As a youngster Fiona wanted to become a professional musician, but she couldn't because it caused her too much stress - something that her condition dictates she must avoid. Instead she became interested in writing and read English Literature and Media at Nottingham Trent University. She is an accomplished poet having had an anthology of sketch work and poetry called 'Patchwork Windows' published with the 'Lost Artists' group. In 2004 Fiona received the Snowden award which will allow her to pursue her dream of being a top journalist, she is currently working on several projects including a film version of 'The Cycle Path'.

With this book, the many wonderful musicals that played the small theaters and cabarets of Off Broadway are finally given the spotlight they deserve. Little Musicals for Little Theatres is a comprehensive reference guide to over 150 small musicals that any theater or school can produce with limited resources. Each entry includes writing credits, synopsis, cast size, musical numbers, production notes, and licensing information. The book also includes the few Broadway musicals that have small casts and can be performed in almost any circumstances. Photos give the reader a look at production requirements, and statistics on the number of performances indicate how successful a show's original production was.

Think about it. Think what you could achieve without women in your life. If all the time you spent on them, you spent on yourself. Think how much money you could save. Think how much aggravation you could avoid. Journeying over from the West Indies to England, Ferdy, Lennie, Dennis and Bernie are all eager to make successes of themselves and take full advantage of what they think The Big Life has to offer. So they pledge to abstain from women for three years. But Mary, Kathy, Zuleika and Sybil have other ideas. They know that man cannot live by bread alone! Will the men stick with their idea of The Big Life, or will Cupid have the final say? The Big Life is a brand new musical, a wonderfully upbeat story of unrequited love and a great comedy all rolled into one.

For Ethan Mordden, the closing night of the hit musical, "42nd St." sounded the death knell of the art form of the Broadway musical. After that, big orchestras, real voices, recognizable books and intelligent lyrics went out the window in favor of cats, helicopters, yodeling Frenchmen, and the roof of the Paris Opera. Mordden takes us through the aftermath of the days of the great Broadway musical. From the long-running "Cats" to "Miss Saigon," "Phantom," and "Les Miserables," to gems like "The Producers," he is unsparing in his look at the remains of the day. Not content to scold the shows' creators, Mordden takes on the critics, too, splaying their bodies across the Great White Way like Sweeney Todd giving a close shave. Once more, it's "curtain going up," but Mordden is not applauding.

In the 1960s, the Broadway musical underwent a revolution. What was once a form of entertainment characterized by sentimental standards, such as Camelot and Hello, Dolly! became one of brilliant and bittersweet masterpieces, such as Cabaret and Fiddler on the Roof. In Open a New Window, Mordden continues his history of the Broadway musical with the decade that bridged the gap between the fanciful shows of the fifties, such as Call Me, Madam, and the sophisticated fare of the seventies, including A Little Night Music and Follies. Here in brilliant detail are the decade and the people that transformed the Broadway musical--from the writer who knows it best.

To see a Broadway musical is to experience how a drama, using melody, harmony, and rhythm, evokes the emotion needed to perpetuate a story line. Without music, many of these plays would not succeed, failing to convey the intended message. This new edition of Swain's classic text, winner of the 1991 ASCAP Deems Taylor Award, reveals how a musical drama achieves plot movement, character development and conflict through strategic placement of song and music in 20 musical plays. Unlike critical literature that has simply explored theatrical style and production histories, this survey focuses mainly on the power of music. Illustrated with more than 150 musical excerpts and essays, Swain includes the latest research and viewpoints of contemporary critics, offering insight into dramatic expression and how renowned composers including Jerome Kern, George Gershwin, Jerry Bock, Stephen Sondheim and Andrew Lloyd Webber influenced the Broadway musical. This provides insights into the many impressive musicals to hit the stage between the years of 1927 and 1987, illuminating how specific revisions to productions such as Showboat and, Oklahoma forever changed their popularity. Learn how music is used as a symbol for psychological or emotional action from Shakespearean drama's such as Kiss Me, Kate and West Side Story, to more current dramas including Godspell, A Chorus Line, and Jesus Christ Superstar. Replete with a never seen before essay on Les Miserables, this edition also includes an expanded epilogue highlighting the phenomena behind Miss Saigon and Phantom of the Opera, "megamusicals" that changed the direction of the Broadway tradition. For professors of dramatic arts and people interested in Broadway musicals, theater, popular music and opera.

'Musical arts in Africa: theory, practice and education' is the collabrative result of 31 African music scholars who draw on the multidisciplinary perspectives of musicology, compositions, performing practice, ethnomusicology and education.

(Applause Libretto Library). "Full of brilliance It's a blockbuster and a mold-breaker. A one-of-a-kind Broadway musical. I loved it " Clive Barnes, The New York Post "A delightful salute to the human spirit " David Hinckley, The Daily News " Monty works on every level and is the kind of audience-pleaser that Broadway desperately needs." Frank Scheck, The Hollywood Reporter

Oklahoma! opened nearly sixty years ago and instantly made musical theatre history. It was a daring ahead-of-its-time piece of dazzlingly inventive theatre that exploded every myth about what constitutes a successful musical. Revised and updated to include a special section on the Roayl National Theatre's production that Cameron Mackintosh is presenting on Broadway in spring of 2002, OK! The Story of "Oklahoma!" celebrates this watershed work that has taken its place in the pantheon of American musical theatre.

Turnaround Creek, outback Australia, Boxing Day, 1945. The dust and inertia settle on the town as Harold Slocum of Slocum's Travelling Tent Show becomes stranded in the town, emotions run high and the sedentary life of the town is distributed into wakefulness by the remembrance of an illicit affair. In this bittersweet musical, new life is breathed into the town with both humour and sensitivity. This is a lyrical story of rejuvenation and self-acceptance by acclaimed authors Nick Enright and Terence Clarke. (5 male, 7 female).

It used to be a secret that, in its postwar heyday, the Broadway musical recruited a massive underground following of gay men. But though this once silent social fact currently spawns jokes that every sitcom viewer is presumed to be in on, it has not necessarily become better understood.

In "Place for Us, "D. A. Miller probes what all the jokes laugh off: the embarrassingly mutual affinity between a "general" cultural form and the despised "minority" that was in fact that form's implicit audience. In a style that is in turn novelistic, memorial, autobiographical, and critical, the author restores to their historical density the main modes of reception that so many gay men developed to answer the musical's call: the early private communion with original cast albums, the later camping of show tunes in piano bars, the still later reformatting of these same songs at the post-Stonewall disco. In addition, through an extended reading of "Gypsy," Miller specifies the nature of the call itself, which he locates in the postwar musical's most basic conventions: the contradictory relation between the show and the book, the mimetic tendency of the musical number, the centrality of the female star. If the postwar musical may be called a "gay" genre, Miller demonstrates, this is because its regular but unpublicized work has been to indulge men in the spectacular thrills of a femininity become their own.

Tony and Olivier Award-winning Bob Avian's dazzling life story, Dancing Man: A Broadway Choreographer's Journey, is a memoir in three acts. Act I reveals the origins of one of Broadway's legendary choreographers who appeared onstage with stars like Barbra Streisand and Mary Martin all before he was thirty. Act II includes teaching Katharine Hepburn how to sing and dance in Coco and working with Stephen Sondheim and Michael Bennett while helping to choreograph the original productions of Company and Follies. During this time, Avian won a Tony Award as the cochoreographer of A Chorus Line and produced the spectacular Tony Award-winning Dreamgirls. For a triumphant third act, Avian choreographed Julie Andrews's return to the New York stage, devised all of the musical staging for Miss Saigon and Sunset Boulevard, and directed A Chorus Line on Broadway. He worked with the biggest names on Broadway, including Andrew Lloyd Webber, Carol Burnett, Jennifer Holliday, Patti LuPone, Elaine Stritch, and Glenn Close. Candid, witty, sometimes shocking, and always entertaining, here at last is the ultimate up-close and personal insider's view from a front row seat at the creation of the biggest, brightest, and best Broadway musicals of the past fifty years.

It is hard to believe that over 25 years have passed since A Chorus Line first electrified a New York audience. The memories of the show's birth in 1975, not to mention those of its 15-year-life and poignant death, remain incandescent - and not just because nothing so exciting has happened to the American musical since. For a generation of theater people and theatergoers, A Chorus Line was and is the touchstone that defines the glittering promise, more often realized in lengend than in reality, of the Broadway way. This impressive book contains the complete book and lyrics of one of the longest running shows in Broadway history with a preface by Samuel Freedman, an introduction by Frank Rich and lots of photos from the stage production.