HDTenEightyP/NetNews huggingface dataset:
From: conrad@brahms.udel.edu (Jon Conrad)
Newsgroups: rec.arts.theatre
Subject: Re: Lead Role Salaries
Date: 2 Oct 92 13:53:21 GMT
Distribution: usa
Organization: University of Delaware

In article <j1=p8=f@lynx.unm.edu> bevans@carina.unm.edu (Mathemagician) writes:

>That is, most professional shows run on the "8 shows a week" attitude
>of once a night and a Sunday matinee.

8 shows a week is the Broadway standard, yes, but not the schedule you
described.  The arrangement is
Every night Tuesday through Saturday, (5)
Matinees Wednesday and Saturday, (2)
And EITHER Monday evening or Sunday matinee (1).

A very unusual exception to this is Cats, which is "dark" Thurdays and
does BOTH Monday evening and Sunday matinee.  They changed to this
schedule in the last couple years.

Also, this year The Secret Garden added a Thursday matinee to their
other two.  I believe they dropped Tuesday evening to allow this.  They
probably did this to get more school groups in.  This too is highly
exceptional.

>Nobody works every show.

Actually, as a rule yes everybody works every show.  "Swing" relief is
on hand for chorus members, but shows differ as to whether this is
regularly allotted, or only an emergency measure.  The stars, or indeed
anybody with a named role, are expected to work 8 shows a week, unless
they have a contract that specifies that their role is arduous enough to
require a regular alternate twice a week.  (Roles that have been thus
defined include Evita, Christine in Phantom, Mary in Secret Garden,
maybe a handful of others.)  Many stars pride themselves on never
missing a performance; I believe Keith Carradine did all the shows
during his stint in Will Rogers, never pleading sick or anything like
that.  Ethel Merman also made a point of never missing a show.

It's true that sometimes people are given a week off during their
contracted time, to let them rest or do other work.  Also, sometimes
people sign for only a limited obligation to a show, and everybody knows
this in advance (Bernadette Peters had only 6 months to give Into the
Woods, likewise Mandy Patinkin for Secret Garden).

>It's also rather unusual for a lead to stay with a show for the entire
>year these days 

Can you give an example of someone who left before their contracted
time?  (Which is not always a year; it could be 2, or half a year.)  The
main example I can think of is Sarah Brightman for Phantom, and of
course she was sleeping with the boss at the time.  :-)

>Yes, I realise there is a strain involved, but
>as I said, nobody performs in all shows.  You do get a day off.

Well, you do get a day off even on an 8-show schedule.  This may, in
fact, be too punishing a schedule if people are going to write
"operatically" ambitious shows.  (Opera singers perform twice a week at
most.)  Certainly Len Cariou's voice has been shot ever since his
initial run in Sweeney Todd.  But basically, producers don't care about
preserving their performers' health (especially vocal).

Jon Alan Conrad
Newsgroups: rec.arts.theatre
From: ram@watson.bms.com (Gena Ram)
Subject: Disc tix - London
News-Software: VAX/VMS VNEWS 1.4-b1  
Organization: Bristol Myers Squibb Pharmaceutical Research Institute
Date: Sun, 4 Oct 1992 19:22:00 GMT



This may be a FAQ, if it is I apologize.  Is there anything in London like the 
TKTS booth in NYC, or -- does anyone know of a way to obtain discounted 
theatre tickets in London?

If it matters, I will be there from 20 - 28 Nov. 

Gena
Newsgroups: rec.arts.theatre
id <m0mZ2JS-0000P2C@crash.cts.com>; Sun, 27 Sep 92 10: 21 PDT
	id <ir36819@pro-amber.cts.com>; Sun, 27 Sep 92 10: 13 PDT
From: rsopicki@pro-amber.cts.com (Randy Sopicki)
Subject: Re: Spelling correctly
Organization: ProLine [pro-amber] -- Spring Valley, Ca
Date: Sun, 27 Sep 92 09:45:54 PDT

In <19vueuINN6ns@matt.ksu.ksu.edu> fredh@matt.ksu.ksu.edu (laviathen) writes:

>I don't know who did the spelling or typing for the name of this
>newsgroup.  Theater is spelled T H E A T E R.  Someone spelled it
>T H E A T R E.  I was just wanting to let someone know that it is
>hard to find if it is not spelled correctly.
>
>

I hate to be a wet blanket but according to Webster's either spelling is
correct
                   theater or theatre.
 
There, you've increased your vocabulary.

Newsgroups: rec.arts.theatre
From: hychanil@uxa.cso.uiuc.edu (hchan)
Subject: Looking for Miss Saigon lyrics
Organization: University of Illinois at Urbana
Date: Mon, 28 Sep 1992 20:09:55 GMT

I could not find the lyrics of the musical Miss Saigon at the
ftp site cs.uwp.edu.  I would really appreciate if anyone can
direct me to the proper archive(s), or send me a copy if the 
lyrics is readily available as a file.  Thank you!

/H. Chan      (Internet:   hchan@uiuc.edu)
Newsgroups: rec.arts.theatre
Newsgroups: rec.arts.theatre
Subject: re:  Spelling
From: sweeney@uncavx.unca.edu
Date: 1 Oct 92 12:11:51 -0500
Organization: University of North Carolina at Asheville
Nntp-Posting-User: sweeney

In our university library (UNC Asheville) there are 66 holdings beginning with
the word 'THEATER' and 200 with the word 'THEATRE'.  I'll go with the 
preponderance of publishers.
Newsgroups: rec.arts.theatre
From: andrew@erewhon.Stanford.EDU (Andrew Ku)
Subject: Blue Man Group & Jelly's Last Jam
Organization: Department of Chemical Engineering, Stanford University
Distribution: na
Date: Tue, 29 Sep 92 20:21:03 GMT

I'm inquiring on behalf of some friends who will be visiting NY soon.

1) Does anyone who's visited the TKTS booth recently know if Blue Man
   Group offers 1/2 price tickets?  Are 1/2 off coupons available at
   the table outside The Booth?  What is availability like on weekends?

2) Are student tickets available for Jelly's Last Jam?

Thanks.

Andrew
From: ks57+@andrew.cmu.edu (Kimberly Sewright)
Newsgroups: rec.arts.theatre
Subject: Miss Saigon
Date: 2 Oct 92 19:43:34 GMT
Organization: Masters student, Urban and Public Affairs, Carnegie Mellon, Pittsburgh, PA


A question on the net:
 
>I have lucked out and have been invited to go into New York City and see
>Ms. Saigon while I'm in New Jersey next week.  I can't wait!  I don't 
>want to bug you aficionados but can anyone give me a quick run down on 
>the vital statistics for the show?  
> 
>	Where is the show being performed (what theatre)?
> 
>		- How long has it been running?
>		- How many and which Tony's did it win?
> 
>	What is the basic story line?
>	What are the performances to look for?


I'm sure that quite a few of you have better answers for this question
than I do, but I'll give it a shot.

I haven't seen the N.Y. production.  I saw it is London and I loved it. 

The basic story line is a take-off of Madame Butterfly.  Cameron
Makentosh (sp.) the creator of SAIGON read an article quite a few years
back about the amer-asian children that were fathered by american
soldiers in vietnam and left behind. Many of them orphaned and most of
them outcast because of their American blood. One picture in particular
really touched Macintosh.  It was a photograph of a tearful goodbye
between one such child and its mother. The child had been discovered by
its father who had agreed to sponsor its travel to the U.S. It is quite
possible that mother and child would never see each other again. 
Macintosh was struck by the obvious sacrifice that this woman had made
so that her child would have a better life, and he knew that someday,
somehow he would incorporate the concept into a production. Years later
he began work on Miss Saigon.


A Story Line Follows. If you want to be in suspense don't read the end!!
The musical centers around Kim, an orphaned vietnamese teenager who is
forced to become a prostitute in a bar to survive. There she meets
Chris, an American soldier and they fall in love and plan to marry. 
Tragically, they are seperated during the evacuation of Siagon and Chris
leaves without her.[end of Act I] Act II: It is three years later and
Chris has given up on ever finding Kim. He has fallen in love and
married.  Kim on the other hand is living in poverty in Communist Korea.
 Unknown to Chris, she has had their son and still hopes for his return.
Remember the Childhood relocation prgram I mentioned earlier? Well, Kim
tries to find Chris through this program. The agency finds Chris and he
flies with his wife to meet Kim and her son. When it becomes clear to
KIm that, not only will she and Chris not be together, but that her son
will not go to America, she kills herself so that Chris has no choice
but to take the son back to the U.S. so that he can have a better life.
She dies in Chris's arms.
From: shalese@hpcc01.corp.hp.com (Shalese Huang)
Newsgroups: rec.arts.theatre
Subject: Re: Lea Salonga in Concert (comments)
Date: 6 Oct 92 18:09:06 GMT
Organization: the HP Corporate notes server

Well, I also went to the concert and I think it was _terrible_!!
She was great, I agree but everything else was just SO bad that I had
a hard time concentrating on her performance.
First, civic auditorium is not really a concert hall, the sound was
bouncing all over. The microphone once broke down at "Sun and Moon".
Second, It felt like being in a football game. They let people bring
babies, and food in. Babies crying sound, the straw sipping sound,
.... 8[] 
That "guest star": Christopher Pecaro(spelling?) was incredibly
bad. He was off half a note in some part of "Music of the night". He
was _chasing_ the orchestra during "Why God Why?"(Or the orchestra was
chasing him) since he could not stay on beat. "Why God Why?" was one
of my favorite songs in "Miss Saigon", but he sounded like Michael
Bolton being strangled. 

Well, just my humble opinion. 

Shalese
From: ian.evans@bville.gts.org (Ian Evans) 
Newsgroups: rec.arts.theatre
Subject: Re: Spelling correctly
Date: 29 Sep 92 18:31:00 GMT
Distribution: world
Organization: Baudeville BBS - Toronto, Canada 416-283-0114 2000+ conferences
Reply-To: ian.evans@bville.gts.org (Ian Evans) 

BP>The THEATER is the place where THEATRE is performed.

In Canada, we perform THEATRE in the THEATRE.

Ian Evans - Toronto - SYSOP of Baudeville BBS

 * DeLuxe2/386 1.25 #5896 * Toronto's Medianet node
                                                     
Newsgroups: rec.arts.theatre
From: melzie@wam.umd.edu (mel-zo-rama)
Subject: Re: misc.
Organization: University of Maryland, College Park
Date: Tue, 6 Oct 1992 10:14:50 GMT

In article <22704@galaxy.ucr.edu> stranger@watserv.ucr.edu writes:
>
>From what I understand, the "Phantom" movie is still on hold 
>because they can't seem to find a director.  Joel Schumacher
>was going to do "Phantom," but pulled out because, I believe,
>he claims that he lacks the "artistry" to do such a project.  
>"Les Miz" is having similar problems.  But according to guy
>who was going to do "Les Miz," he's withdrawing from the 
>project because of "artistic differences" with producer
>Cameron Mackintosh.  The "Cats" animation with Steven
>Speilberg is also on hold when Disney (I think that that's
>the company to carry it) found out about the $30 million
>budget ALW is proposing.  So pretty much, everything is 
>on hold.  Hopefully, we'll see the lauching of these 
>projects early in the new year.
>

Have you heard anything on the making of Sweeny Todd [the movie]


				Mel
From: ng@MOE.OPTICS.ROCHESTER.EDU (Baldwin Ng)
Newsgroups: rec.arts.theatre
Subject: NEED LYRICS of "The Phantom of the Opera"
Date: 29 Sep 92 16:46:45 GMT

Hello Everyone,

I am interested to obtain the lyrics of the broadway play
"The Phantom of the Opera".  Could any of you tell me from
what source I could obtain such?

Many Thanks,
Baldwin Ng (ng@moe.optics.rochester.edu)

PS:  If possible I would like to obtain the story lines too.
From: jameskau@aludra.usc.edu (James Kaufman)
Newsgroups: rec.arts.theatre
Subject: Re: Sunset Boulevard
Date: 1 Oct 1992 16:16:33 -0700
Organization: University of Southern California, Los Angeles, CA
NNTP-Posting-Host: aludra.usc.edu

In article <1992Oct1.132427.21238@syma.sussex.ac.uk> sfue5@syma.sussex.ac.uk (Andrew Richards) writes:
>Sunset Boulevard (Music by Andrew Lloyd Webber) is to open here in
>England in May next year. My question is this - does anybody know who
>the lyricist is? Lloyd Webber said about a year ago that he was working
>on it with an American woman - the first time he has used either an
>American or a female lyricist, but I don't know any more than that. If
>anyone can enlighten me I would be grateful...
>
>**************************************************************************
>*  "Brad? What the hell kind of a name is that?"                      *
>*                     From the forthcoming show - Dominic McC : The   *
>*						   American Years     *
>**************************************************************************

If I remember correctly, Webber's lyricists are Christopher Hamption, the
playwright who wrote Les Liasones Dangerous (sp?), and one of the guys
who wrote Aspects of Love, either Don Black or Charles Hart.  I forgot which
one; I think it's Black.
James Kaufman
jameskau@aludra.usc.edu
From: n9041679@henson.cc.wwu.edu (brian h. harper)
Newsgroups: rec.arts.theatre
Subject: Our Country's Good
Date: 6 Oct 92 00:47:05 GMT
Article-I.D.: henson.1992Oct6.004705.29033
Organization: Western Washington University

We're doing OUR COUNTRY's GOOD by Timberlake Wertenbaker here in a month,
and I was wondering if anybody here has been involved in a production of it
before. I'd like to ask a slew of questions, so please mail me if you have.

For those of you who haven't seen or read it- do. This is an incredible
play. I saw an excellent production of it at Seattle's ACT theatre, and I am
overjoyed to be in it here.

Thanks for the help!

-Brian Harper
n9041679@henson.cc.wwu.edu
Newsgroups: rec.arts.theatre
From: markb@cimage.com (Mark Bernstein)
Subject: Re: E.Y. (YIP) HARBURG
Organization: Cimage Corp, Ann Arbor, MI
X-Newsreader: Tin 1.1 PL5
Date: Fri, 2 Oct 92 12:46:18 GMT

Linda Cool (cool@DPW.COM) wrote:
: 
: Miscellaneous note:  Harburg also wrote "Lydia, the Tattooed Lady" for
: Groucho Marx.  (The Film Censorship Board (what was its name?) wasn't going
: to allow the song in the picture, deeming it too immoral -- which is why
: Yip made an honest woman of Lydia in the final lyric -- wedding her to
: Andrew Jackson.
: 
	Well, almost.  Andrew Jackson was one of the tattoos, as in

		When her muscles start relaxin'
		Up the hill goes Andrew Jackson

	The last verse is:

		She once swept an admiral off of his feat
		The ships on her hips made his heart skip a beat
		And now the old boy's in command of the fleet
		'Cause he went and married Lydia!

	I didn't know the background info, though.  Thanks!

Mark Bernstein
markb@cimage.com
From: stranger@watserv.ucr.edu (Katherine T Lim)
Newsgroups: rec.arts.theatre
Subject: ALW's new musical "Sunset Boulevard"
Date: 6 Oct 92 15:15:24 GMT
Reply-To: stranger@watserv.ucr.edu


According to the Calendar section of the Los Angeles Times
on 4 October, "Phantom" star Michael Crawford will _not_ 
star as Norma Desmond in "Sunset Boulevard."  Andrew Lloyd
Webber made the announcement to an audience with Michael
by his side.  The article also reports that ALW is looking
around for a suitable theatre in Los Angeles for the world
premiere of "Sunset."  Among those he has visited are the 
Ahmanson (if "Phantom" ever ends), Pantages, and Schubert.    

After two more cities, I believe, Michael will retire,
either permanently or temporarily, from "The Music of
ALW" concert tour.  Michael is very exhausted from doing
the concert for almost a year and a half now, and is
just going home to England to relax.  Who knows?  He'd
probably go sailing also.

				Stranger@watserv.ucr.edu 
Newsgroups: rec.arts.theatre
From: hudu@well.sf.ca.us (Scott Marley)
Subject: Re: Len Cariou (Was: Lead Role Salaries)
Organization: Whole Earth 'Lectronic Link
Distribution: usa
Date: Sat, 3 Oct 1992 06:40:48 GMT


George Hearn performed Sweeney, too, and for longer than Len Cariou, but
*his* voice wasn't ruined.  Sweeney's a tough role, granted, but I have to
wonder if there aren't other factors involved--insufficient training, or
misusing the voice, or something else.

Scott Marley
hudu@well.sf.ca.us
Newsgroups: rec.arts.theatre
From: murray@aristotle.ils.nwu.edu (Thomas Murray)
Newsgroups: rec.arts.theatre
Subject: Re: Lead Role Salaries
Date: 5 Oct 92 14:39:31 GMT
	<BvHyKy.C2G@news.udel.edu>
Distribution: usa
Organization: The Institute for the Learning Sciences, Evanston, IL

In article <BvHyKy.C2G@news.udel.edu> conrad@brahms.udel.edu (Jon Conrad) writes:

>  Actually, as a rule yes everybody works every show.

How do they insure that understudies are "ready" to go on, if they
don't keep them give them performances every now and then?   Are there
regular understudy rehearsals?

And does the "everybody works every show" rules also hold for people
like the conductor?  I thought I remember one of the conductors of Les
Miz (the first tour, I think) saying that he regularly had two
performances off per week, so the assistant conductor could stay in
show.

-tom 
Newsgroups: rec.arts.theatre
From: ackthpht@leland.Stanford.EDU (Frederik Goris)
Subject: Need dramaturgical info on "God's Country"
Organization: DSG, Stanford University, CA 94305, USA
Date: Mon, 5 Oct 92 01:21:37 GMT

I've got a specific question about the play "God's Country" by Steven
Dietz.  Even if you haven't seen/read the play, you might be able to
help.  There are a couple of lines that the character of Alan Berg has
in the very last scene of the play; they are in quotes, which makes me
think that he's quoting someone/something else.  The lines are:

"Things fall apart.  The center cannot hold."
"Mere anarchy is loosed upon the world."
"And everywhere the ceremony of innocence is drowned."
"The best lack all conviction, while the worst are full of passionate
intensity."

Any idea where this quote is from?  Any help or leads greatly
appreciated.  Please email replies to either of the following:

   matfg@hawk.depaul.edu
   ackthpht@leland.stanford.edu

Thanks!

-Fred
From: shalese@hpcc01.corp.hp.com (Shalese Huang)
Newsgroups: rec.arts.theatre
Subject: Re: Ms. Saigon
Date: 5 Oct 92 16:55:34 GMT
Organization: the HP Corporate notes server

>	Where is the show being performed (what theatre)?

Broadway Theater at Broadway and 53rd St. 
I think somebody already posted the story line, the only difference
between the London version and the Bway version is that Kim went to
Bangkok.
 
Dont _look_ for any scene, just sit back and enjoy. :)

Shalese
From: cz23+@andrew.cmu.edu (Clay R. Zambo)
Newsgroups: rec.arts.theatre
Subject: Re: This whole spelling thing
Date: 5 Oct 92 19:27:52 GMT
Organization: Drama, Carnegie Mellon, Pittsburgh, PA

Oh, let's do get over it, please.  THEATRE, THEATER. . .let's just go,
and get our friends and our enemies and even George and Babs and Dan and
Marilyn to do the same.
From: matt@tredysvr.Tredydev.Unisys.COM (Matthew G. Kile)
Newsgroups: rec.arts.theatre
Subject: Re: Les Miserables 3-CD Deluxe Edition
Keywords: Les Mis, CD, cast recording
Date: 2 Oct 92 19:19:17 GMT
Distribution: na
Organization: Unisys Corporation, Tredyffrin, PA

In article <2621@tredysvr.Tredydev.Unisys.COM>, matt@tredysvr.Tredydev.Unisys.COM (Matthew G. Kile) writes:
> 

Sorry about that, I thought I appended my text. Let me try again:


Would anyone like to give a review of the 3-CD set of Les Miserables?  I am
particularly interested in what is included beyond what is found in the
2-CD Broadway recording and in the relative quality.  The 3-CD set cover says
it has people pulled from all the major productions -- does this lead to 
every part being over-done?  Does this joint recording sound like it flows   
straight from the stage, or is it just a collection of songs? Finally, is
it worth the extra $15-$20 for the extra CD?      

Thanks in advance,

Matt Kile (I do NOT speak for UNISYS Corp.)
Newsgroups: rec.arts.theatre
From: bunnyman@leland.Stanford.EDU (Edwin Chen)
Subject: Re: Ms. Saigon
Organization: DSG, Stanford University, CA 94305, USA
Date: Tue, 6 Oct 92 06:22:14 GMT

In article <3290011@hpcc01.corp.hp.com> shalese@hpcc01.corp.hp.com (Shalese Huang) writes:

>I think somebody already posted the story line, the only difference
>between the London version and the Bway version is that Kim went to
>Bangkok.

Also, the ending scene is slightly changed, I heard to tone it down a little.

>Dont _look_ for any scene, just sit back and enjoy. :)

Right on!  =)

Ed



Organization: Carnegie Mellon, Pittsburgh, PA
Newsgroups: rec.arts.theatre
Date: Sat,  3 Oct 1992 11:43:34 -0400 
From: Jeremy Matthew Toeman <jt3h+@andrew.cmu.edu>
Subject: Re: Les Miserables 3-CD Deluxe Edition
Distribution: na

Also, you can buy the Highlights to the 3-CD Deluxe if you are so inclined,
just to hear their voices in the more "popular?" songs.

Japanese Eponine is fantastic, but the Jean Valjean is pretty bad IMO.

     ---     ---     ---     ---     ---     ---     ---     ---     ---

+=----------------=+=--------------------=+
|  Jeremy Toeman   | jt3h+@andrew.cmu.edu |
+=----------------=+=--------------------=+=-------------------------------=+
| " If something is hard to do - it's not worth doing "  -- Homer Simpson   |
+=------------------------------------------=+=----------------------------=+
                                             |  Carnegie-Mellon University  |
                                             +=----------------------------=+
From: b1hg0jv@kato.BELL-ATL.COM (Benash)
Newsgroups: rec.arts.theatre
Subject: Lead Role Salaries
Date: 29 Sep 92 02:59:43 GMT
Distribution: usa
Organization: Bell Atlantic

I'd like to know of any source of information that would show typical salaries
primarily for lead roles in broadway and off broad way productions.

For example, in a super hit like Phantom, my understanding is that the male
and female lead earn about 10k per week each. I would like to verify this
figure, and also answer the following:

If 10k is the correct weekly figure ( or given any weekly figure for that
matter), would this actually equate to 520k annual salary? My understanding
would be that one couldn't work every week of the year without damaging
one's voice, not to mention being able to muster an exemplary performance
every day, every week.

So, my next question would be what is the typical work habit/schedule
of say a lead role in a continuously running hit on Broadway?

How would this compare to salaries, and work schedules of the touring
production?

What would typical female/male lead roles pay in an of-Broadway hit play?

How do typical salaries of big name actor's/actresses compare with those
in the cinematic arts?

Ray Benash
b1hg0jv@kato.bell-atl.com
From: conrad@brahms.udel.edu (Jon Conrad)
Newsgroups: rec.arts.theatre
Subject: Re: Sunset Boulevard
Date: 6 Oct 92 19:35:05 GMT
Article-I.D.: news.Bvpt2I.6s2
Organization: University of Delaware

In article <1992Oct3.003725.2634@leland.Stanford.EDU> aku@leland.Stanford.EDU (Andrew Chia-Tso Ku) writes:

>Kevin Anderson had the William Holden role.

Is this

Kevin Anderson, the ex- Steppenwolf Theater (Chicago) actor, seen in
movies like Miles From Home and Orphans, and Vanessa Redgrave's costar
in Orpheus Descending?

Or

Kevin Anderson, the tenor, who played Henrik in the NY City Opera
production (and telecast) of A Little Night Music, and appeared in their
subsequent production of Street Scene?

Or someone else entirely??

Jon Alan Conrad