HDTenEightyP/NetNews huggingface dataset:
From: pape@rd1.interlan.com (Donna Pape)
Newsgroups: rec.arts.theatre
Subject: One more Phantom I have seen...
Date: 23 Nov 92 15:16:48 GMT
Organization: Racal-Datacom, Sunrise, FL

Okay, I just got home from seeing Phantom in Toronto...

Colm Wilkinson was wonderful - it was heartbreaking.  

Now if I could only add Michael Crawford to the list of Phantoms I have 
seen...

Donna
From: jholstei@scott.skidmore.edu (jeremy holstein)
Newsgroups: rec.arts.theatre
Subject: Re: Tony Kushner's A BRIGHT ROOM CALLED DAY
Date: 19 Nov 92 03:55:24 GMT
Article-I.D.: scott.1992Nov19.035524.9470
Organization: Skidmore College, Saratoga Springs NY

aku@leland.Stanford.EDU (Andrew Chia-Tso Ku) writes:

> BTW, Kushner wrote BRIGHT ROOM as a formal experiment and as a
> response to Brecht's FEAR AND MISERY IN THE THIRD REICH as well as to
> Reagan's visit to Bitberg.
-- 
This is my sig file.
Organization: Drama, Carnegie Mellon, Pittsburgh, PA
Newsgroups: rec.arts.theatre
Date: Mon, 23 Nov 1992 14:19:13 -0500 
From: "Clay R. Zambo" <cz23+@andrew.cmu.edu>
Subject: Re: MY FAVORITE YEAR

Thanks for the early reviews of MFY.

Fall before last, when I was teaching musical theatre skills at a
private arts high school in southern California, Tim Curry visited us
for a day to chat with theatre students (this was right before his
Stephen King-clown TV movie played, whatever its name was).

Tim was extraordinarily polite and lovely to us, not at all a star-snob.
 (He came because his hairdresser on the film was a student's mother;
she talked him into it.)

The students were properly awed, and, as predicted, enjoyed most his
ROCKY HORROR-on-stage anecdotes..  I asked if he'd ever consider doing
another musical; he said he didn't rule it out, but it would be tough
for him to imagine a project that he found inspiring enough.

I'm glad he has.  I can't wait to see MY FAVORITE YEAR.

-Clay
Newsgroups: rec.arts.theatre
From: aku@leland.Stanford.EDU (Andrew Chia-Tso Ku)
Subject: Re: JELLY'S LAST JAM
Organization: DSG, Stanford University, CA 94305, USA
Date: Mon, 16 Nov 92 12:51:17 GMT

In article <0hv1n1k@rpi.edu> kaminl@rpi.edu (Matt Garretson) writes:

>As for the show, all the singing and dancing "numbers" were great. But
>things really slowed down through all the extended dramatic pauses
>they had in there.  Sure, some drama is fine, but there seemed to be
>quite a few long, awkward periods of silence.

I thought that the book scenes (by the director, George C. Wolfe) were
among the strongest elements of the show.  The book wasn't standard
musical comedy filler between production numbers; it was raw,
hard-edged and pungent (but entertaining nonetheless) and more than
held my interest.  I certainly don't recall any silences that weren't
germane to the drama taking place on stage.

Seeing the Great Performances documentary/advertisment of JLJ has
really rekindled my enthusiasm for the show.  It's certainly the ideal
show for people who think that Broadway musicals (aside from Sondheim)
can only be frivolous and irrelevant entertainments.

Andrew
Newsgroups: rec.arts.theatre
From: law30056@nusunix1.nus.sg (TAN KEN HWEE)
Subject: Re: Phantom Costume
Organization: National University of Singapore
X-Newsreader: TIN [version 1.1 PL6]
Date: Mon, 16 Nov 1992 19:09:18 GMT

Which costume?
Newsgroups: rec.arts.theatre
From: dmnhieu@sobolev.math.purdue.edu (Duy-Minh NHIEU)
Subject: Showboat CD recording recommendation wanted
Reply-To: dmnhieu@sobolev.math.purdue.edu (Duy-Minh NHIEU)
Organization: Purdue University
Date: Tue, 17 Nov 1992 20:23:43 GMT

I am planning to buy the Showboat (just the songs) on CD.  There are many 
different ones out there.  I would like some comment from you guys out there.
Thanks
Newsgroups: rec.arts.theatre
From: u9227164@cc.uow.edu.au (Neil P Dillon)
Subject: A Christmas Carol in Wollongong!!!!!!!
Summary: A Christmas Carol in Wollongong
Keywords: Christmas Carol
Organization: University Of Wollongong
Date: Mon, 16 Nov 92 10:56:34 GMT

Theatre South in Coniston is showing Chales Dickens' A Christmas
Carol from Nov 27-Dec 13.  Theatre South (also known as The Bridge Theatre)
is located right next to the Coniston train station.

Anyone interested can E-mail me for details (I'm in it) or call 
(042) 296 144 to book tickets.  

Thanks !!!!!

Neil P. Dillon
u9227164@cc.uow.edu.au

Newsgroups: rec.arts.theatre
From: gwangung@carson.u.washington.edu (Roger Tang)
Subject: Re: Lady Be Good
Organization: University of Washington, Seattle
Date: Mon, 16 Nov 1992 22:31:59 GMT

In article <1992Nov16.185317.19093@cbfsb.cb.att.com> burt@cbnewsb.cb.att.com (burton.d.fried) writes:
>Hooray! Tommy Krasker and Roxbury Records have done it again. They've
>given us another great recording of a vintage Gershwin musical.

	Damn right.

	'Bout the only thing that was missing (IMAO) was a Jon Conrad article.


>it is terrific. The leads Lara Teeter and Ann Morrison (Fred & Adedle Astaire)
>do splendid job, but the best was (my personal favorite) John Pizzarelli
>who sang Fascinatin' Rhythm and Little Jazz Bird ala Cliff Edwards (and with
>a ukelele).

	Seconded again.

>I can't wait to see which Gershwin score they record next!

	Ah, more, more!
-- 
Roger Tang, gwangung@u.washington.edu
Producer Emeritus, Asian Theatre at the UW
	"The definition of balls is for a non-singer to go karaoke singing
with the cast of a musical revue."
Newsgroups: rec.arts.theatre
From: aku@leland.Stanford.EDU (Andrew Chia-Tso Ku)
Subject: Re: MY FAVORITE YEAR
Organization: DSG, Stanford University, CA 94305, USA
Date: Thu, 19 Nov 92 08:32:12 GMT

In article <1992Nov16.174608.13609@HQ.Ileaf.COM> davidf@HQ.Ileaf.COM (David Fristrom) writes:

>The songs are written by Stephen Flaherty and Lynn Ahrens, who also
>wrote the wonderful ONCE ON THIS ISLAND.  They have written several
>good songs for the show, including the tone-setting opening number,
>"Twenty Million People," sung by the panicked company as they prepare

>use of multiple voices, duets and quartets.  The songs in MFY are much
>lighter, and are pretty much all written for a single voice (sometimes
>with an accompanying chorus).  Even when touching on more emotional
>subjects (one theme of the show is how Benjy compensated for
>abandonment by his father through lossing himself in the movies, with
>Alan Swann as a substitute father figure), the songs never pack much
>of an emotional punch -- which may be appropriate, given the lightness
>of the book.

I've heard some of the score of MFY and it's very similar in style to
Flaherty's and Ahrens's show LUCKY STIFF, which they wrote before ONCE.
I was sort of disappointed that MFY isn't as melodically rich as
ONCE.

>The sets were quite nice, and the direction may have been fine.  I
>couldn't tell.  The Vivian Beaumont has a thrust stage, and my seat
>was way at one end.  The acting was entirely to the front, ignoring
>the sides, so I didn't have a very good view.  This staging will make
>it easy to transfer the show to another theatre if it is a hit, but
>for now it's damned annoying for about a third of the audience.  Best
>available seat, my eye.

Hopefully, they will get enough complaints that they modify the
staging, or at least warn ticket buyers (not very likely, I admit).
This summer Lincoln Center spent $$$ building an orchestra pit
underneath the Beaumont's stage. I doubt they would go to the expense
of transferring the show downtown, provided MFY is a hit, especially
with the high union costs of moving a show.  My guess is that the
Mitzi Newhouse will get plenty of use, and if Lincoln Center thinks a
show has strong commercial possibilities, they will open directly on
Broadway, like they did with Speed-the-plow and Our Town.  I
understand that with LCT's non-profit status, they have been able to
negotiate union rates lower than what commercial producers have to
pay.

Andrew
From: sfue5@syma.sussex.ac.uk (Andrew Richards)
Newsgroups: rec.arts.theatre
Subject: Re: "Tell Me On A Sunday" soundtrack
Date: 22 Nov 92 17:33:04 GMT
Organization: University of Sussex

From article <1992Nov21.173621.19421@murdoch.acc.Virginia.EDU>, by sws8n@faraday.clas.Virginia.EDU (Stefan William Sittig):
> In article <By27up.10B@news.cso.uiuc.edu> jab55062@uxa.cso.uiuc.edu (The World Reknown Jason Boskey) writes:
>>finkelde@vax.sonoma.edu writes:
>>
>>>I am desperatly trying to find a sound recording of Andrew 
>>>Lloyd Webers "Tell Me On A Sunday"  This show went up with "Song And 
>>>Dance" but I am unable to find a copy of it anywhere.  I would 
>>>prefer it on tape but anything would do now. If anyone knows were I 
>>>can find a copy please let me know.   
>>>					Laura
>>> 					finkelde@sonoma.edu
>>
>>I sorta have a copy.  It's not the original "Tell Me on a Sunday", but it
>>is the Songs part to Song & Dance.  Bernadette Peters sings the part of Emma.
>>Even if this isn't what you're looking for, I recommend listening to it.  
>>Bernadette Peters is pretty good, but the songs themselves stand out.
>>
>>Bosk--jab55062@uxa.cso.uiuc.edu
>>
> 
> I BEG TO DIFFER!!!  Bernadette Peters is FANTASTIC in SONG & DANCE!!  The songs
> I consider quite weak...especially "Married Men" and "Tell Me On a Sunday".  
> Bernadette makes most of the songs for me.  You can always tell if a song is
> actually good on it's own, when no matter who sings it, you still enjoy something of it.  "Tell Me On A Sunday" is soooo boring, and long...unless BErnadette
> Peters sings it!  I would recommend the album for Ms. Peters and if you like
> ALWebber's music!
> 					-Stefan
> 

And I too beg to differ!!! Tell Me On A Sunday is BORING?????!!!!! It is
generally reckoned to be one of Lloyd Webber's most memorable melodies!
Anyone who has seen or heard Michael Crawford sing this will know how
moving it can be when well-sung. Liike all songs, it varies in quality
according to who's singing it (I've heard some lousy recordings of
Puccini, yet noone suggests that the OPERAS are at fault!) but I always
find it a beautiful song, no matter who's singing it (and I've heard
various versions - Michael Crawford, Sarah Brightman, Marti Webb,
Stephanie Lawrence). 

Andrew
Newsgroups: rec.arts.theatre
From: lschmers@magnus.acs.ohio-state.edu (Lawrence S Schmersal)
Subject: Sondheim Celebration Recording
Summary: When will the CD be out?  When will they air the concert on PBS?
Organization: The Ohio Living Room
Date: Fri, 20 Nov 1992 13:40:56 GMT

I was wondering if anyone knew when that Sondheim tribute recorded a few months
ago was going to be released on CD (_I_ heard a Christmas release date).  Also,
any news for if/when PBS might carry the damn thing on TV--outside of Autralia,
I mean.


Thanks,

Steve
From: njs@mrtoad.lahabra.chevron.com (n.j.spera)
Newsgroups: rec.arts.theatre
Subject: Re: Donny Osmond in "Joseph"
Date: 17 Nov 92 16:00:46 GMT
Reply-To: njs@mrtoad.lahabra.chevron.com
Organization: Chevron, La Habra, CA

In article <1623.827.uupcb@bville.gts.org>, ian.evans@bville.gts.org (Ian Evans) writes:
|> 
|> Rumour has it that Sherman Chen said to All:
|> 
|> SC>Heard that Joseph will be going to broadway soon.
|> 
|> But not with Donny.  ALW doesn't want the LIVENT production there as he
|> wants to produce it himself.
|> 
|> The LIVENT's Canadian Production of Joseph will leave the Twin Cities and
|> return home to Toronto from Dec 12 to May ??.  From there the next destina-
|> tion is Vancouver, with Chicago rumoured to follow after that.
|> 

A pre-Broadway run of Joseph (new ALW production) is to open Feb 25 in LA 
at the Pantages with Michael Damian as Joseph - subscribers to LA theatre 
can order tickets now - tickets to the public go on sale Dec 13.
No mention of how long it is to run - but LA theatre subscribers get 
priority seating thru April 4.
-- 
 Nancy J. Spera, Earth Model Division   # "If I didn't know for a fact that   P
 Chevron Petroleum Technology Co.       G  Elvis was working in a donut shop  E
 P.O. Box 446, La Habra, CA 90633-0446  O  in Beaver Falls, I'd swear he was  N
 Tel: (310) 694-7761  njs@chevron.com   # driving this truck." Scotty Baldwin S
Newsgroups: rec.arts.theatre,alt.stagecraft
From: hubbarde@infonode.ingr.com (Elaine Hubbard)
Subject: Source needed for dialect studies
Keywords: dialects, bibliography,
Organization: Intergraph Corporation, Huntsville, AL.
Distribution: na
Date: Thu, 19 Nov 1992 19:30:57 GMT

Help please.  I'm looking for resources (text or audio/video tapes)
for dialect studies.  I'm refining a community theatre audition
workshop and wish to include a bibliographical section on regional
accents and dialects from around the world for use by actors.

Any ideas?  Thanks!  e-mail or post.

-- 
Elaine L. Hubbard
hubbarde@cis15.b3.ingr.com

"Life is a play with a badly written third act"
Newsgroups: rec.arts.theatre
From: kaminl@rpi.edu (Matt Garretson)
Subject: Re: Lost in Yonkers
Organization: Rensselaer Polytechnic Institute, Troy, NY
Date: Mon, 16 Nov 1992 02:00:02 GMT

In article <4764@moscom.com> acb@moscom.com (Amy Bourquin) writes:
>I am going to see Lost in Yonkers in NYC on November 25th, does anyone
>have any comments about this play?

I saw it just last week. It was entertaining, though some of the humor seemed
a little obvious. Lucie Arnaz's performance impressed me, and the little kid
(Arty) had a few killer lines. I didn't much care for the actor who played Jay,
though. The themes were well-executed, but for some reason seemed to lack
emotional power, IMHO.

The only other Neil Simon I've seen on stage is JAKE'S WOMEN, which I found
much more enjoyable. But maybe this is because I had a third-row seat and am
a big fan of Alan Alda. Who knows?
Newsgroups: rec.arts.theatre
From: jab55062@uxa.cso.uiuc.edu (The World Reknown Jason Boskey)
Subject: Re: "Tell Me On A Sunday" soundtrack
Organization: University of Illinois at Urbana
Date: Sat, 21 Nov 1992 09:32:48 GMT

finkelde@vax.sonoma.edu writes:

>I am desperatly trying to find a sound recording of Andrew 
>Lloyd Webers "Tell Me On A Sunday"  This show went up with "Song And 
>Dance" but I am unable to find a copy of it anywhere.  I would 
>prefer it on tape but anything would do now. If anyone knows were I 
>can find a copy please let me know.   
>					Laura
> 					finkelde@sonoma.edu

I sorta have a copy.  It's not the original "Tell Me on a Sunday", but it
is the Songs part to Song & Dance.  Bernadette Peters sings the part of Emma.
Even if this isn't what you're looking for, I recommend listening to it.  
Bernadette Peters is pretty good, but the songs themselves stand out.

Bosk--jab55062@uxa.cso.uiuc.edu

Newsgroups: rec.arts.theatre
From: Scott Richardson <SM0777%SPRINGB.bitnet@CUNYVM.CUNY.EDU>
Subject: Meet Me in St Louis - HELP!
Organization: The World Public Access UNIX, Brookline, MA
Date: Mon, 16 Nov 1992 20:26:15 GMT

I am at wit's end. I am desperately seeking the sheet music/ vocal
score/anything! for the song "Things That Go Bump in the Night" from
the new Broadway version of Meet Me In St. Louis.

I have hit dead end after dead end: I am told that no vocal selection
book was published for the show; The music copying company (Chelsea
Music Sevice) was very nice, but said that they had turned over all of
those materials to the licensing house when they were finished; The
licensing house (Tams-Witmark) with its usual rudeness told me that
they only offer the licensing rights to the OLD version of the
musical, (which does not contain this song) and would not help me. I
am presently trying to get Hugh Martin's (the composer) address from
ASCAP. As you can tell, obtaining this stupid song has become a
mission.

Any assistance would be appreciated.

Scott

-- 
   tongue - a variety of meat, rarely served because it clearly crosses
            the line between a cut of beef and a piece of dead cow.
                                                    (Bob Ekstrom, Pitt, MN)
Newsgroups: rec.arts.theatre
From: lme@frame.com (Lisa Eldridge)
Subject: Re: Audition Preparation
Organization: The World Public Access UNIX, Brookline, MA
Date: Thu, 19 Nov 1992 19:53:58 GMT


Grizabella writes:

...How long should these monologues be?  Should you research the play
specifically to see what type of play it is (comedy, drama...  etc.)
and prepare a monologue of that type?



It's always a good idea to have read the play you're auditioning
for...it gives you the best shot at a role if you understand the plot
and are familiar with the characters (and have practiced reading the
part(s) you're interested in, obviously).  Also, it's best if your
monologue shows you're capable of acting in the type of show for which
you're auditioning.  I'd recommend finding a piece that shows some of
the qualities of the character you're interested in playing in the
show.  For college auditions, monologues should be no longer than two
minutes (shorter for professional auditions).

However, something I think is terribly important and that is often not
stressed is that it's imperative that you read the play from which you
take your audition piece.  I've auditioned actors who clearly had
talent and who interpreted their monologues well in some respects, but
who clearly had not read the plays and so did not mine the pieces for
all their richness.  (For example, I've seen people do comic pieces
that came from tragic plays, and the actors played the pieces as if
they were doing Mel Brooks...  not, I think, a good choice: if the
author has written a more complex character, you should take advantage
of that.)  Most auditioners will be familiar with the monologues they
hear and the plays they're taken from.  If it's clear you don't know
the play, the auditioner may think you're lazy or don't know enough to
read the play.  I have known actors to take monologues and
deliberately interpet them differently than the author intended, and
some people have great success with this; but it's risky in the same
way that performing a monologue using an accent other than your own is
risky: you may think you're doing something wonderful and unique, but
chances are it won't go over as well as you think.

Organization: Drama, Carnegie Mellon, Pittsburgh, PA
Newsgroups: rec.arts.theatre
Date: Mon, 23 Nov 1992 14:26:10 -0500 
From: "Clay R. Zambo" <cz23+@andrew.cmu.edu>
Subject: _WSS_lyric alterations

See Arthur Laurents' comments on the subject of language; they're
available many places, perhaps most appropriately to the subject at hand
in Craig Zadan's _Sondheim & Co._.

If my memory of that discussion serves, Laurents was conscious of not
using "real" slang, so as not to date the show.  It seems likely to me
(since Sondheim, Bernstein, and Laurents worked so closely together)
that S. and B. would have taken the same tack.

Also possible, since theatre songs still got airplay in those days, is
that the collaborators were thinking of radio standards.  I know that
was the case with earlier shows (cf. the lyrics of "Bewitched, Bothered,
and Bewildered" from sheet music and original versions).

-Clay
From: kaminl@rpi.edu (Matt Garretson)
Newsgroups: rec.arts.theatre
Subject: JELLY'S LAST JAM
Date: 16 Nov 92 02:14:22 GMT
Article-I.D.: rpi.0hv1n1k
Organization: Rensselaer Polytechnic Institute, Troy, NY

Well, my worries about viewing the show from seat AA-1 were unfounded. In fact,
I'd venture to say that my seat partially accounted for my enjoyment of the
show. The sound was nice and clear, and I could feel the drums beating at my
feet and shaking my seat. 

I guess I missed some on-stage action because of my close-up seat, but I really
felt more involved in what was going on up there since it was happening
right in front of me. It was also kind of neat to have Gregory Hines & the other
performers looking right down at me as they performed. I guess they couldn't
really see into the audience, but it was neat all the same.

As for the show, all the singing and dancing "numbers" were great. But things
really slowed down through all the extended dramatic pauses they had in there.
Sure, some drama is fine, but there seemed to be quite a few long, awkward
periods of silence. 

Have you seen the show? What did you think?
Newsgroups: rec.arts.theatre
Subject: Re: Theatre funding
From: eclipse@netlink.cts.com (David Gallo)
Date: Sun, 15 Nov 92 17:53:57 PST
Organization: NetLink Online Communications, San Diego CA

The things that are a must are:

 1) Fly gallery - at least an extra story above the stage

 2) Make sure the scene shop is connected to the stage with an area big 
enough that you can put LARGE doors so the erection of the set doesn't 
have to be done on stage. ( at least 20' high by a little smaller than 
your stage is wide)

 3) A large costume storage area

 4) Depending on the money you have - try putting in an understage area 
with trap doors and all.... they come in handy when you least expect it.

 If I think of anything else I'll let you know...later.

                                             David Gallo
                                     eclipse@netlink.cts.com

--                    
INTERNET:  eclipse@netlink.cts.com (David Gallo)
UUCP:   ...!ryptyde!netlink!eclipse
NetLink Online Communications * Public Access in San Diego, CA (619) 453-1115
Xref: sparky rec.arts.theatre:3193 soc.culture.europe:9615 soc.culture.french:8554
From: croth@scott.skidmore.edu (catherine roth)
Subject: monlogues wanted
Organization: Skidmore College, Saratoga Springs NY
Date: Wed, 18 Nov 1992 21:07:12 GMT

well, it's november.  that time of year that every theatre major on
every college campus worldwide dreads: time to find an audition piece
for next semester.  that is where you, the avid readers of
recarts.theatre, come in.  i am searching high and low for a monologue
to audition with for next semester.  i'm looking for something
contemporary and fun, something powerful yet not too flashy.
something for a female, but not too frail and frilly (i hate playing
frail and frilly).  any suggestions?  i need you!
                                               cathy
Newsgroups: rec.arts.theatre
From: murray@aristotle.ils.nwu.edu (Thomas Murray)
Subject: Re: King and I redux (was Re: Barbara Cook...)
Organization: The Institute for the Learning Sciences, Evanston, IL
Date: Mon, 16 Nov 1992 18:56:47 GMT

Ken Mandelbaum also recently reviewed the KING AND I recording in
Theater Week.  His opinions pretty much seem to match those of us
netters, with the exception that he was not very crazy about Ben
Kingsly, and he was extremely enthusiastic about Lea Salonga.  I must
admit, I too am entranced by her voice, especially in "My Lord and
Master".  It sounds so innocent and young.  

Enjoy!

-tom
From: larryw@lclark.edu (Larry Westdahl)
Newsgroups: rec.arts.theatre
Subject: Re: Theater grad schools
Date: 20 Nov 92 02:58:34 GMT
Article-I.D.: lclark.1992Nov20.025834.14122
Organization: Lewis & Clark College, Portland OR

In article <1992Nov19.092904.6088@cheshire.oxy.edu> ac@cheshire.oxy.edu (Aileen Cho) writes:
>
>  Could somebody give me some info on theater graduate programs? I am
>considering eventually getting a BFA or MA in Playwriting or Performance.
>What good schools offer grad studies in theater arts? Would I still be
>able to take courses in more technical areas as well? At Oxy we have a
>general theater arts BA, where you get a sampling of performance, writing
>and technical, but being a double major I haven't gone very far into any
>one area. I interned for Oxy's theater festival last summer, and, neat as
>it was, I only got really good at follow spotting and lifting flats. Heh.
>                                                   --ac


Carnegie Mellon, UC San Diego, USC, and Northwestern all have good 
programs.  I would guess that a strong program in technical theater or 
acting might not be strong in playwriting also.  If you want to write 
for the theater, you should probably go where the strong writing 
programs are, like Iowa, Denver, or Arizona.

-- 

_____
larryw@lclark.edu | *L.Westdahl is a caring nurturer, a member of several
writer, musician  | twelve step programs, but not a licensed therapist.