Billy Russell Chicago Musical Analysis
Rent. Also can be used to describe something torn. No better description for this musical. Written by Jonathon Larson, Rent is a musical, based on Giacomo Puccini’s italian opera, La Boheme, which centers on a group of friends in New York’s East Village in 1989 when an epidemic of HIV/AIDS was spreading around the US, affecting the whole friend group, whether it be from having it or from having a loved one who has it. In this paper, I will be examining how the themes and genre of this play turned movie shows the belief system of both the time and the belief system held by the creator, Jonathon Larson.
The show’s original run began in 1915 at the Princess Theater on Broadway. It moved several theaters until it’s primary closing date in 1916. There was a revival of the show in 1975, which featured an altered ending. This show ran 304 performances in its year on broadway, and another 411 shows the next year at the Piccadilly Theater. In 1991 an off broadway
The death of Melbourne teen Jake Bilardi who has sacrificed his life in serving the IS. This has triggered feelings of ambivalence and sadness in addition to the outrage. In an opinion piece, “Jake Bilardi: both perpetrator and victim' (The Drum, 13 May 2015), Tim Mayfield, a freelance writer who has previously worked at the Department of Foreign Affairs and Trade and the Department of Defences contends in a assertive, sympathetic tone, that extremists are those who have been abandoned for certain reasons and countries like Australia are able to gain triumph from the battle ideas of the extremist. The writers targeted his writing towards parents and also the Australian government. Tim Mayfield begins his opinion piece with several imageries
In 1943, Richard Rodgers and Oscar Hammerstein’s first collaborative musical production, Oklahoma! grabbed the audience’s attention from its first premiere, making the front page of PM Newspaper: “New Musical Plays Up Homespun U.S.A.” In lieu of World War I and the Depression, the theater-writing team of Rodgers and Hammerstein believed it was the perfect time to revitalize American morale through song, dance, and an entertaining plot. How did Rodgers and Hammerstein’s collaboration on their first musical, Oklahoma!, influence musical theater and entertainment in America? While reviving the American spirit, Rodgers and Hammerstien broke from the traditions of past musical creations and created a new musical comedy communicating American ideals
Give My Regards to Broadway Music brings culture to everyday life, it can be found anywhere at anytime. Music doesn’t have to actually be playing for people to hear it. The rhythm of the city is music in itself, everybody has their own unique sound and way to add into the beat of the city. Music expands in many different ways such as country music, which has it’s own unique sound. Country music can be slow with a love story, fast with a break up story to it, or it could be a moderate speed about a big purple dinosaur.
Chicago, a musical with music by John Kander, lyrics by Fred Ebb and book by Ebb and Bob Fosse contains a range of stylistic and structural elements that further the narrative and influence the audience’s aural experience. ALL THAT JAZZ All That Jazz sung by the vaudevillian Velma Kelly, is the first song in the musical and begins deliberately moderately slow and mezzo forte or moderately loud to assist in introducing the musical to the audience, showcasing the suggestive nature of the lyrics, whilst leaving room to crescendo later in the climax of the song. A tenuto (an accent that holds a note for its full value), is employed on the A chord from bars 1-4 to weigh down the song, furthering the sexualised tone familiar to Vaudeville. Kander implements an E Augmented chord at bar 8 to introduce instability and tension early in the piece, complicating the standard dominant-tonic resolution. Having Eaug consisting of the notes E, G# and B#, gives a notably different feel as it creates a tritone interval as opposed to a straight E-A progression.
Urinetown is the fall musical that our school magnificently performed. It centers about this town in which people have to pay to pee and a love story about two young adults trying to change the way of the town. The musical premiered in 2001 with the music by Mark Hollmann, lyrics by Hollmann and Greg Kotis, and book by Kotis. What interested me was that the musical mocks capitalism, social irresponsibility, populism,and the whole idea of going against the corrupt government. Also, the concept of going to the bathroom is not free is unique to me.
The productions of this play were successful through stage design, lighting crewing, and acting. Those three aspects made the quality of the play stand out to me, as an audience member. The production of the set design of the play was a good effort. The set design for the play staging aims for the sweet spot between feeding adult nostalgia and satisfying a new generation of children.
Roethke’s My Papas Waltz Many literary scholars, researchers and readers in general, driven by intrigue, have tried to dissect, analyze, and interpret the ambiguous meaning of Theodore Roethke’s poem, “My Papa’s Waltz.” Their explications however, result in ambivalent, and sometimes controversial views. Some critics argue that “My Papas Waltz,” portrays the physical violence inflicted by a father to his child.
Integration dominates musicals, with Richard Rogers and Oscar Hammerstein II credited as the most consistent writers of integrated shows. One of the first musicals they wrote together was an example cited most regularly as highlighting integration and that was Oklahoma! It was to be considered in the early 1960’s that within this period it was mostly associated with integration. Within Oklahoma! music, song, instrumental underscore, orchestra and ballet accompaniment magnifies the dramatic narrative and also advances it in the musical; the texture of it clearly defines the characters and fleshes them out.
Painful stories that “force people to confront their most dangerous internalized philosophies” (Weakland). Without the production of West Side Story, other shows like Urinetown and Assassins probably wouldn’t have been produced. Because of Jerome Robbins and West Side Story, musicals could show the ugly side of human nature and plots could be
In the excerpt from Spitzer and Zaslaw’s The Birth of the Orchestra Arcangelo Corelli is portrayed as an innovator in the world of orchestra. First, Corelli’s background is briefly described. Born in a small town he moved to Rome at the start of his violin career. The text then proceeds to show how Corelli rose to fame through his techniques. Although Rome had already implemented many of the techniques and devices that Corelli used, he was still seen as an innovator.
It is officially credited with bridging the gap between musical theatre and pop culture. Rent is a contemporary musical revolving around a group of poor, struggling, young artists, or “Bohemians.” It is set in East Side New York City in the height of the 1990s HIV/AIDS epidemic. Despite obstacles of sickness, financial difficulties, and death, the characters locate the ability to remain optimistic and positive. Rent has proceeded to become extremely successful and iconic in modern day musical theatre.
Wicked is a musical with music and lyrics by Stephen Schwartz based on a book by Winnie Holzman. The musical is told from the perspective of the witches of the Land of Oz. Wicked celebrated its tenth anniversary on Broadway on 30 October 2013. It is the 9th longest-Broadway show, surpassing Beauty and the Beast. A typical performance runs for approximately two hours and thirty minutes.
One of the most influential American composers from the 20th century is Steve Reich. Steve Reich was born in New York on October 3, 1936. It is believed that his mother, a songwriter who also had a connection with music, influenced his affinity towards music. Reich studied philosophy at Cornell University and composition at the Julliard School of Music. He studied with William Bergsma and Vincent Persichetti, while he received his M.A. degree at Mills College (California), and his mentors were Luciano Berio and Darius Milhaud.
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