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67 Cards in this Set
- Front
- Back
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Boris Aronson
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Scenic designer for Cabaret
Created mirror for the back of Cabaret Also did scenic design of Company |
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Lotte Lenya
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Actress
Fräulein Schneider Threepenny Opera the late Kurt Veil's wife |
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Tomorrow Belongs To Me
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Nazi anthem sang over a gramophone in
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If You Could See Her Through My Eyes
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"... She wouldn't look so Jewish."
Sang by the emcee to a gorilla in a tutu Sang about Fräulein Schneider and Herr Schultz and about stereotype. Fools you into laughter and then shows you what you're laughing about. Commentary on anti-Semitism |
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Sondheim and Prince
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Collaborated on many works
Friends for 20 years before working together (met at South Pacific West Side Story, Company, Follies |
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the "concept musical" and the increased importance of the director
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Concept musicals don't rely on the writing, but the staging instead
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Company
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Music and lyrics by Sondheim
Uses the crisis in Roberts life as the frame of the musical Started the "modern, plotless musical" Gottrified-- The traditional musical with songs ending plot now seems old fashioned. |
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Company (opening number)
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visual and musical architecture
reoccurring cluster chords Sounds urban, has city feeling to it |
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Original Cast Album documentary
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Shows the specificity that went into making the songs. Shows the actors struggling with the words, getting pointers from Sondheim
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Not Getting Married Today
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Pastiche-- Wedding choral, opera romance, and patter
Pastiche-- combination of different things dialectical |
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The Little Things You Do Together
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Harry and Amy doing karate with each other
Susan comes in and talks about the things you do together |
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Sorry Grateful
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dialectical ambivalence-- describes married life. Maybe sometimes you're sorry about being married, but you're also grateful. It isn't one or the other.
Harry sings it |
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Bobby
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• Turning 35 years old
• Unmarried • Finding himself • Played by famous actors such as Neil Patrick Harris and Raul Esparza and Dean Jones |
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Paul
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Amy’s fiance
Jewish Learned to put up with her neurotic, manic episodes |
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Amy
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• Famous for singing “Getting Married Today” (patter song)
• Neurotic • Gets cold feet on her wedding day and decides not to marry Paul • In certain versions of the show, she and Bobby almost get together; he proposes to her on a whim and she declines |
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Joanne
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• Cynical
• Older than Bobby’s friends • Acerbic • Heavy drinker • Originally played by Elaine Stritch |
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Michael Bennett
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choreographer for Company and Follies
also remembered for choreographing Tick Tock |
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John Doyle
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Directed the 2006 revival of Company
actor-musicians |
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Follies
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• Showgirl reunion with ghosts
• Spectacular financial failure • Legendary status for those who saw it • London revival produced by Cameron Mackintosh • Revival produced by Roundabout Theater Company in 2001 • Encores spring 2007 • Originally, Sondheim worked on it with playwright William Goldman • Entitled The Girls Upstairs, 1965 Putting the “past” and the “present” on stage at the same time Reunion of the Follies girls. |
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cinematic - influence of Fellini’s 8 ½
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Follies inspirations drew from Fellini's cinematic work, especially with the "ghosts" of the older characters onstage.
Concept was taken from Federico Fellini’s non narrative films of he 1960s (e.g., 8 1/2) |
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Waiting for the Girls Upstairs
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From Follies
• Includes the lyric “Everything was possible and nothing made sense” • Illustrates how they’ve matured and how life was much simpler back then |
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“You’re Gonna Love Tomorrow”
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• Featured both couples
• Overlapping duets • Features “switching” partners |
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“Loveland”
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• Idealistic; circus-like, though
• At the peak of passion and confusion, the theatre is transformed into a fantastical “loveland,” where lovers are beautiful and young • Sally, Phyllis, Ben and Buddy show their "real and emotional lives" in "a sort of group nervous breakdown.” • Features a variety of songs in a phony, vaudeville-style presentation • As “loveland” fades out, reality sets back in and the show concludes |
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Losing My Mind
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from Follies
• In the style of the Gershwin torch-song ballad “The Man I Love” • Phyllis is dressed like a torch-singer in a long gown Focuses on subtext |
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Cabaret to Assassins
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the creation of the concept musical
filled a hole that broadway seemed to have, made it seem less boring |
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“create a musical for connoisseurs.”
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• He makes musicals for “masters.” “Historically, the musical has been produced by commercial theatre. It may be a tribute to the musical as a form to find itself in the cultural realm of state- subsidized art, but this distances it from popular culture.”
• The more “high-brow” and thought provoking the work, often times, the more likely the musical is to lose its ability to entertain • Sondheim has mastered the ability to take a metaphoric concept and build an entertaining musical around it. AKA Sondheim had the ability to make highbrow musicals that also cater towards the general audience. The critics thought he wasn't able to do it, but he did. |
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Jack Cole
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• Established a theatrical jazz dance style suitable for the demands of artistic choreography • Sexualized style
• Broadway works: • Kismet • A Funny Thing Happened on the Way to the Forum • Man of LaMancha |
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Bob Fosse
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• Early life
• Started dancing at age 9 • Left formal training at 13 for vaudeville act: ‘The Riff Brothers’ • By age 15, he was working in a burlesque nightclub • Went on to join the Navy —> Studied theatre after being discharged • Started off a chorus dancer in national tours • Broadway debut: Dance Me a Song, 1950 • —> Understudied in Pal Joey and played the role on tour • How to Succeed in Business Without Really Trying, 1961 • Sweet Charity, 1966 • Pippin, 1972 • Cabaret (film), 1972 • Chicago, 1975 Signature Style-- Coiled spring of tension in the body Isolations low to ground Exotic ethnic influences (e.g., Indian, flamenco), Dancing infused by emotion |
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Dance director vs. Hoofer director
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--- Dance Director
• Created dances • Drilled the performers • Worked mostly with ensembles • Did not work equally well in all styles of movement; specific strengths • Ex: Jerome Robbins, Agnes DeMille, Michael Kidd --- Hoofer Director • More at home in the American vernacular • Trained as commercial dancers —> Approached movement through the norms of show business • Incorporated dance into shows that encompassed a variety of styles—not just classical ballet |
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Take Off With Us (Airotica)
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Cabaret film: Liza Minnelli
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Steam Heat
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Damn Yankees
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The "triple crown"
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Gwen Verdon
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T. S. Eliot
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Old Possum's Book of Practical Cats
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Cameron Macintosh
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Produced Les Misérables, The Phantom of the Opera, Mary Poppins, Oliver!, Miss Saigon and Cats.
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Trevor Nunn
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Directed Cats on broadway
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Andrew Lloyd Webber
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Wrote Cats, Phantom of the Opera, Jesus Christ Superstar
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Jesus Christ Superstar
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began as a concept album
No real connection between song and staging |
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Tim Rice
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wrote the lyrics for Jesus Christ Superstar
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Anachronism
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Using references that are ahead of the setting's times.
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Hal Prince
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Directed Evita
used media to show how Evita effected the people |
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Les Miserables
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• Music by Claude-Michel Schönberg
• Lyrics by Alain Boublil and Jean-Marc Natel (French lyrics) • Herbert Kretzmer (English adaptation) |
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Alternative music-theater
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audio, visual arts
Not opera, not broadway has a nonlinear dramaturgy, shown at galleries or destivals Einstein on the beach |
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Einstein on the Beach
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Written by Philip Glass and directed by Robert Wilson
poetic interpretation on Einstein rather than a clear plot or characters. |
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Gertrude Stein
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Poet
has a white poodle named Basket (YEAH THAT'S RIGHT, IT'S IN THE NOTES.) Published an opera "4 Saints in 3 Acts" |
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“Antimusicals”
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musicals that don't have happy or resolved endings
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Chorus Line
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developed workshop process for musicals
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Susan Stroman
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Directed the Producers
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The Scottsboro Boys
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Kander and Ebb musical
used the framework of a minstrel shows |
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Bullets Over Broadway
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• 1994 American crime-comedy film written and directed by Woody Allen
• Broadway musical theatre version opened in previews on March 11, 2014 • Directed and choreographed by Susan Stroman |
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Diane Paulus
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• Director
• Artistic Director of the American Repertory Theater • Nominated for Best Director at the Tony Awards for Hair and won one for Best Director with Pippin |
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Pippin
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• Music and lyrics by Stephen Schwartz and book by Roger O. Hirson.
• Original Broadway production directed by Bob Fosse, revival directed by Diane Paulus. • Lead Player was originally a male (Ben Vereen), in the revival was replaced by a woman, (Patina Miller!!!! <3) |
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Porgy and Bess
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• Opera first performed in 1935, with music by George Gershwin and lyrics and libretto by Dubose Heyward.
• Revival was directed by Diane Paulus • Diane Paulus made changes to the opera’s plot, dialogue and score to make the work more appealing to a !contemporary audience. |
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American Repertory Theater
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• Non-for-profit theater in Cambridge, Massachusetts • Founded in 1980 by Robert Brustein
• Artistic Director is Diane Paulus |
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“Movicals”
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• Musicals based on movies
• Dirty Rotten Scoundrels in 2005, Legally Blonde in 2007, Grand Hotel 1989 |
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Forty Second Street
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• Musical with book by Michael Stewart and Mark Bramble, lyrics by Al Dubin and music by Harry Warren. • 1980 Broadway Production won Tony Award for Best Musical.
• Based on novel by Bradford Ropes • Also based on 1933 film adaptation directed by Lloyd Bacon with choreography by Busby Berkeley. |
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David Merrick
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• Tony Award winning American theatrical producer
• Producer of 42nd Street, Promises, Promises, Hello, Dolly, Oliver, |
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The Lion King
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• Disney on Broadway
• Music Theater meets the Broadway Musical • World Music • Non - western dance and vocal styles • Puppetry, non- traditional spectacle |
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Rent
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• Book, Music and lyrics by Jonathan Larson
• Directed by Michael Greif • First performance at New York Theater workshop on January 26th, 1996 • Musical in Two Acts |
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La Boheme
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• Opera by Giacomo Puccini
• Libretto by Luigi Illica and Giuseppe Giacosa based on novel by Henri Murger, scenes de la Vie de Boheme • First performance Teatro Regio, Turin, on February 1st 1896, under Arturo Toscanini • Opera in Four Acts |
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Mark, Roger, Mimi, Maureen
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• The Main characters in Jonathan Larson’s Rent
• Mark, a filmmaker • Roger, a songwriter • Mimi, a dancer and drug addict • Maureen, Mark’s estranged lover |
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Marcello, Rodolfo, Mimi, Musetta
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• The Main Characters in Puccini’s La Boheme
• Marcello, a painter • Rodolfo, a poet • Mimi, a seamstress • Musetta, Marcello’s ex-mistress |
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Bohemianism
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• A “race of obstinate dreamers for whom art has remained a faith and not a profession”
• It is “not about the money, but the art” • “The great family of poor artists, fatally condemned to the law of incognito” • They “imagine that everything is done that can be when the work is completed, and wait for public admiration and fortune to break in on them by escalade and burglary” |
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HIV/AIDS and TB
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• Consumption (tuberculosis) leads Mimi (opera Mimi) to her death and AIDS leads Mimi (Musical Mimi) to her death
• “White plague” was a leading cause of death until the 1940’s |
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Henry Murger
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• A French Novelist and poet
• Author of Scènes de la vie de bohème • Basis for the opera La Bohème by Puccini. • Librettists Illicia and Giacosa struggled to find a form for the material •!“Scenes and whole acts were written, revised, rewritten, then abandoned completely” |
