HDTenEightyP/NetNews huggingface dataset:
From: markb@cimage.com (Mark Bernstein)
Subject: Stock theatres
Organization: Cimage Corp, Ann Arbor, MI
X-Newsreader: Tin 1.1 PL5
Date: Wed, 27 Jan 93 15:54:47 GMT

Jon Conrad (conrad@brahms.udel.edu) wrote:
: 
: Most if not all of those are not what I was talking about.  Those are
: all National Companies (i.e., officially sanctioned tours) of fairly
: current shows.  They will play around the country for about a year,
: intact.  Summer stock is one notch down from that, with stars who travel
: from one local theater to another, which supplies the crew, minor
: players, and sets.  These all used to be in arenas or tents, usually in
: the round.  They seem to be on the wane.

Ah, my fault for not reading carefully enough.  I do have some idea of what
"stock" is, but simply skimmed past the word.

I'd have to agree that there's less of it these days.  Of course, I'd be
less likely to see it, given that the Detroit area is now up to five theatres
competing for tours (Fisher, Fox, Birmingham, Masonic, and now the George 
Burns), and Ann Arbor, being a university town, has everything from an 
outstanding Civic (they did a great Sweeney Todd last spring) to numerous 
U of M productions to the experimental Performance Network.  Add in the work 
Jeff Daniels' Purple Rose company is doing out in Chelsea, and no stock 
company has a chance of competing.

There are probably a few stock theatres left in Michigan, but only one comes
to mind immediately.  As far as I know, the Cherry County Playhouse, owned 
and operated by Pat Paulsen, is still going up in Traverse City.

-- 
Mark Bernstein
markb@cimage.com
From: speer@bobcat.lmc.edu (Janet Speer)
Newsgroups: rec.arts.theatre
Subject: Musical version of I Remember Mama
Date: 26 Jan 93 21:25:36 GMT
Organization: Lees-McRae College, Banner Elk, NC

This summer, Lees-McRae College is doing Roger's I Remember Mama.  There is 
no published recording of this music.  We are interested in others who have 
done this show.  How was it received, etc.  Comments on the music, etc.

Janet

Speer@Bobcat.LMC.EDU
Newsgroups: rec.arts.theatre
From: qtm2w@Virginia.EDU ("Quinn T. McCord")
Subject: Re: SUNSET BOULEVARD - THE FULL DETAILS!!!
Organization: University of Virginia
Date: Fri, 22 Jan 1993 22:53:16 GMT


	The troubles between the two (Andrew and Tim) began from
the fact that Andrew is a workaholic and Tim is not, e.g. after
the success of Jesus Christ Superstar, Tim wanted to take a
vacation, but Andrew insisted on churning out tunes.  By the
time Webber was through with the flop Jeeves, Tim was ready to
start work on Evita.  Another problem was that Andrew, to a
large extent, was outgrowing rock, but Tim wasn't.  At any
rate, they still might have gotten back together now and again
except for what happened during Cats.  Andrew needed some
lyrics for Memory and was running around asking lyricists to
come up with something, but no one was producing anything good
enough.  It was coming down to the wire, so he asked Tim to
write something.  Tim refused.  After a few more frantic days,
he repeated his offer and Tim repeated his refusal.  Finally,
the director Trevor Nunn wrote some lyrics which Andrew liked.
Unfortunately, the original Grizabella, Judi Dench, was taken
ill and couldn't open the show.  They replaced her with Elaine
Paige, Tim' mistress.  Not much later, Tim called Andrew back
and asked to have a go at the song.  They now had two sets of
lyrics.  Trevor Nunn didn't know what to do, because he had a
conflict of interest.  Both Andrew and Cameron Mackintosh told
him to do whatever he felt was best, so he chose his own
lyrics, rightfully so.  Tim, however, was pissed, thinking that
Andrew really could have done something if he had wanted to.
This perceived rejection is probably the reason that they will
never work together again.  By the way, in my opinion Andrew
Lloyd Webber is the greatest composer of the 20th century.

							-Quinn
Newsgroups: rec.arts.theatre
From: sears@cello.hpl.hp.com (Bart Sears)
Subject: Re: "Children Will Listen"
Date: Thu, 21 Jan 1993 05:00:01 GMT
Distribution: usa
Organization: Hewlett-Packard Laboratories


I didn't hear the Inaugural Gala, but "Children Will Listen" is the
Finale in "Into the Woods".  The lines "Children Will Listen" are sung
by the Witch at the top of the finale, just before the entire cast
joins in.  Her first verse is:

Careful the things you say,
Children will listen.
Careful the things you do,
Children will see.
And learn.

						Bart
Newsgroups: rec.arts.theatre
Subject: Song And Dance
From: bnelson@chipotle.gac.edu (Brent N Nelson)
Date: 28 Jan 1993 18:19:27 GMT
Organization: Gustavus Adolphus College
NNTP-Posting-Host: chipotle.gac.edu

Does anybody know where one can find a recording of Song and Dance.
Thanks
Newsgroups: rec.arts.theatre
From: zklf0b@gs144.hou.amoco.com (Fergason)
Subject: Re: On a Clear Day You Can See Forever?
Organization: Amoco Production
Date: Fri, 22 Jan 1993 19:29:09 GMT

In article <Jan.22.11.37.46.1993.845@porthos.rutgers.edu> pirmann@porthos.rutgers.edu (David Pirmann) writes:
>
>Some people on alt.quotations were talking about "On a clear day you
>can see forever") and joann@ariadne.SLAC.Stanford.EDU (Jo Ann Malina)
>writes: 
>
>>It's the title of a song. I've heard Barbra Streisand and Robert
>>Goulet sing it. It's from a 1960's musical (well, maybe early 70's)
>>called "The Fantastiks," which had a successful run on Broadway.
>
>It's not from "The Fantasticks."  "The Fantasticks" successful
>run is off-Broadway, and has been running for 30 years. But the song
>you mention is *not* from that show.  Perhaps someone on
>rec.arts.theater can help us out and tell us where it is really from.

The name of the movie that I heard this song from was 
"On a clear day you can see forever".  Amazing.
It was about a girl (psychic?).  She could remember past lives
under hypnosis.  The psychiatrist(hypnotist) was Yves Montand, who
just died last year.  Oh, the girl was Barbara Streisand.
It was a cute movie.  Late sixties/early seventies would be my
guess.  I saw it about 4 years ago.

Where this song came from before this, if it did come from somewhere
other than this movie, I havent the foggiest notion.
The song was definately not from The Fantasticks, which I saw
when it came to College Station a couple of years ago. 


Kelly
From: eliz@world.std.com (Elizabeth Lear Newman)
Newsgroups: rec.arts.theatre
Subject: Re: Song And Dance
Date: 28 Jan 1993 13:11:28 -0600
Organization: UTexas Mail-to-News Gateway
NNTP-Posting-Host: cs.utexas.edu


 bnelson@chipotle.gac.edu (Brent N Nelson):
>Does anybody know where one can find a recording of Song and Dance.

Marti Webb, Bernadette Peters, or Sarah Brightman?

					...eliz

Newsgroups: rec.arts.theatre
From: arndt_w@cubldr.colorado.edu
Subject: Re: On a Clear Day You Can See Forever?
Organization: University of Colorado, Boulder
Date: Sat, 23 Jan 1993 21:35:20 GMT

In article <1993Jan22.192909.9231@hou.amoco.com>, zklf0b@gs144.hou.amoco.com (Fergason) writes:
> 
> The name of the movie that I heard this song from was 
> "On a clear day you can see forever".  Amazing.
> It was about a girl (psychic?).  She could remember past lives
> under hypnosis.  The psychiatrist(hypnotist) was Yves Montand, who
> just died last year.  Oh, the girl was Barbara Streisand.
> It was a cute movie.  Late sixties/early seventies would be my
> guess.  I saw it about 4 years ago.
> 
> Where this song came from before this, if it did come from somewhere
> other than this movie, I havent the foggiest notion.
> The song was definately not from The Fantasticks, which I saw
> when it came to College Station a couple of years ago. 
> 
> 
Shortly after Fritz Loewe died Alan Jay Lerner started looking for new partners
and new projects.  At one point he announed that he was working on a project
about ESP and reincarnation.  I have very dim memories that it was once called
"I Picked a Daisy" and was to star Richard Chamberlain.  (Can anyone confirm
this dusty memory?)

It was eventually produced as ON A CLEAR DAY YOU CAN SEE FOREVER with music by
Burton Lane.  Barbara Harris -- a divine creature who never really achieved the
kind of stardom she should have -- played Daisy, and the psychiatrist who
treated her, and fell in love with her, was played by John Collum.

The original cast album is wonderful.  (This was about 1965? 66?)

There was much excitement when the great Vincente Minelli announced that he
would make the film with Barbra Streisand and Yves Montand.  Unfortunately,
Minelli was still working in a style that was not longer popular, and the film
has serious problems.  The bad news:  much of the score was cut, including
"Aboard the S.S. Bernard Cohn," which would have been a perfect piece for la
Streisand;  the film seems badly edited;  Jack Nicholson (!) has a tiny role
that makes virtually no sense if you weren't familiar with the original play. 
The good news:  Streisand dominates the screen;  there is one good new song
(the name of which escapes me right now);  the flashback sequences were
filmed at the Brighton Pavilion in England and the flashback costumes were
designed by Cecil Beaton.

I saw the movie in September 1970 in Chicago.  I was making a major life change
after college, and was moving to Philadelphia from Boulder.  I took the trip on
the train (yes people took trains across the country in those days).  I got to
Chicago at 8 in the morning, went to the Art Institute and Marshall Field, saw
the movie in the late afternoon, and boarded an overnight bus at 8 p.m.  That's
why the exact  date, and the contents of the film, are so deeply inbedded in my
memory.
From: Scott.A.McElfresh@dartmouth.edu (Scott A. McElfresh)
Newsgroups: rec.arts.theatre
Subject: Re: I wish I had seen...
Date: 21 Jan 93 16:53:45 GMT
Reply-To: scott.mcelfresh@dartmouth.edu
Organization: Dartmouth College, Hanover, NH
X-Posted-From: InterNews1.0b3@newshost.dartmouth.edu

In article <MURRAY.93Jan20205858@aristotle.ils.nwu.edu>
murray@aristotle.ils.nwu.edu (Thomas Murray) writes:

> What are the top ten (if you can name that many) productions (B'way or
> othewise) you wish you had seen.  And why?  This is not limited to
> musicals (for those of us who find plays their principal attraction to
> theatre).  This also isn't limited to recent shows (though maybe we
> should try to stay within the 20th century?).

1.  I, too, would like to have seen the original SHOW BOAT, as well as
many of the later revivals.  

2.  Ethel Merman in Gypsy.  I've  listened to the cast album, but I
wish I could have seen it.  Many people say that the role is still
hers, even though I enjoyed Tyne Daly very much.

3.  Pearl Bailey in Hello, Dolly!   There were a couple of these.  I
would like to have seen her.  (I guess I would have also liked to have
seen Carol Channing in it, as well.  I've at least heard the cast
recording with her.)

4.  Rex and Julie in My Fair Lady.  (Surely I don't need to give their
last names in this group, do I?)  I'm a Julie fan, and this has become
a classic production.

5.  Angela Lansbury in Mame.  I've never seen a production of it, and
it would be nice to be in the theater with her performing.

6.  A Little Night Music.  I've never seen a production of it, but
would like to, and I would have liked to have seen Glynis Johns and
Hermione Gingold.

7.  Robert Preston in the Music Man.  My favorite musical.  I would
have liked to have seen him on stage.

8.  Harve Presnell in Annie. (Of course, I may get something similar
soon.) I've never been able to picture him playing Daddy Warbucks.  

9.  I guess I would have to say the opening of one of the Rodgers and
Hammerstein musicals.  Which one, I couldn't say, perhaps Flower Drum
Song.

10. Paige O'Hara in Evita.  I'm curious as to how she did in the role. 
I don't even know if it was a local production or a tour or what.  (and
I don't have my Show Music issues handy)


-Scott
Newsgroups: rec.arts.theatre
From: conrad@brahms.udel.edu (Jon Conrad)
Subject: Re: On a Clear Day You Can See Forever?
Organization: University of Delaware
Date: Fri, 22 Jan 1993 21:14:46 GMT

The show is "On a Clear Day You Can See Forever."

It was first produced in 1965 or close to that date.

Music by Burton Lane.
Lyrics and book by Alan Jay Lerner.

It starred Barbara Harris and John Cullum.

The movie, released in 1970, starred Barbra Streisand and Yves Montand.

Jon Alan Conrad
Newsgroups: rec.arts.theatre
From: dsy@psych.toronto.edu (Desiree Sy)
Subject: Re: "Children Will Listen"
Organization: Department of Psychology, University of Toronto
Date: Wed, 27 Jan 1993 21:26:47 GMT

In article <1993Jan27.203757.8852@cbnews.cb.att.com> gwb@cbnews.cb.att.com (gregory.blum) writes:
>
>One thing that I noticed in the Gala performance is that the words
>that Streisand used were not the same as those in the stage production.
>
>Does anyone know if she (once again) got Sondheim to write the new
>ones for her?
>
>(I was thinking of transcribing the words from my video tape of the
>Gala and doing a side by side comparison to see how much things changed,
>but never got around to it.  However, I distinctly remember (and have
>since verified on the tape) that Babs sang "Guide them and set them
>free, children will glisten."  This doesn't show up anywhere that I
>could find in my libretto....)

Everything lined up until after she finished her spoken-over- 
instrumental eulogy to Hillary Rodham Clinton.  Then she used the
"glisten" lyrics to close up.  In the show, there is no real
"ending" to the song; The Witch sings "Children will listen... "
as the last line, and then the score moves directly on.
Presumably, the last few lines were added to make the number
"end".  Hasn't someone else recorded "Children will listen" as an
excerpt (Cleo Laine?)?  Is there an "ending" on the other
recording?

-desiree

Newsgroups: rec.arts.theatre
From: conrad@brahms.udel.edu (Jon Conrad)
Subject: Re: "Company" in concert
Organization: University of Delaware
Date: Tue, 26 Jan 1993 21:15:50 GMT

In article <1993Jan26.202855.831@cimage.com> markb@cimage.com (Mark Bernstein) writes:

>Jon Conrad (conrad@brahms.udel.edu) wrote:

>: At least back then, in any given summer, there would be a few tv
>: ex-names that would let it be known to stock packagers that they were
>: "willing" to appear in a show (i.e., not getting much other work).  And
>: the packagers would try to figure out which names would still bring in
>: the $$ from the summer crowd, and what vehicle would be right for them.

>Oh, it's still quite common.  I've had season tickets to the Fisher for the 
>past two years, and the "stars" I've seen have included Barry Williams (Greg
>on "The Brady Bunch") as Stone in City of Angels (OK, but not great), John
>Schneider ("Dukes of Hazzard") in Brigadoon (surprisingly good), Robert
>Goulet as Arthur in Camelot (not as bad as I expected, but both act-ending
>speeches fell flat), and a production of Annie with JoAnne Worley as Miss
>Hannigan and John Schuck as Warbucks (both delightful).  This Saturday we're
>seeing Breaking Legs with Harry Guardino (who just replaced the late
>Vincent Gardenia), Karen Valentine("Room 222" and others), Gary Sandy 
>("WKRP in Cincinnati") and Larry Storch ("F Troop").

Most if not all of those are not what I was talking about.  Those are
all National Companies (i.e., officially sanctioned tours) of fairly
current shows.  They will play around the country for about a year,
intact.  Summer stock is one notch down from that, with stars who travel
from one local theater to another, which supplies the crew, minor
players, and sets.  These all used to be in arenas or tents, usually in
the round.  They seem to be on the wane.

Jon Alan Conrad
From: RJONES@cornell-iowa.edu (Rick Jones)
Newsgroups: rec.arts.theatre
Subject: "Into the Woods" setting
Date: 21 Jan 1993 14:22:58 -0600
Organization: UTexas Mail-to-News Gateway
NNTP-Posting-Host: cs.utexas.edu

Thoughts on when _Into the Woods_ is set:

Let's see:

A fairy-tale romance/wedding ends in separation.

Lying is encouraged if it's not too outrageous and in a good cause.

Governmental leaders seem ineffective at solving the country's real
problems, but are full of ideas for everything else.

1992?

;->

Rick
Newsgroups: rec.arts.theatre
From: jordan@cs.tulane.edu (Grizabella)
Subject: Evita
Organization: Computer Science Dept., Tulane Univ., New Orleans, LA
Date: Thu, 28 Jan 1993 05:54:25 GMT
Nntp-Posting-Host-[nntpd-24700]: thor


Hello again, all!

I just returned from watching Evita... all I can say is WOW! I think in
three hours it vaulted from "musical that I enjoy listening to occasionally"
to "possibly the best thing I've ever seen"! I really enjoyed it. The
players were terrific. The music was terrific. The costumes were terrific.
The scenery was terrific...

I do have one question, though, before I go any further. Who is Che? What
is his relation to Eva? I liked his character, but I don't understand
why he was there. It seems like part of the time he was just observing
and the other characters couldn't see or hear him, then at other times,
he talked to Eva and she responded to him. I don't understand.

Anyway...

The production I saw starred Valerie Perri as Eva, John Herrera as Che,
David Brummel as Peron, Sal Mistretta as Magaldi, and Jennifer Rae Beck
as Peron's mistress. The woman who played Evita was simply enchanting.
I was sitting in row W and could still see the excitement in her when
she was convincing Magaldi to take her to the city. I could see her pain
and despair when she was dying at the end. I could hear how much she
loved what she was doing every time she opened her mouth. I was VERY
impressed.

Chi was a major hunk! :) I had trouble understanding both him and Peron
at times, but I thought that John did an excellent job of portraying
Chi's contempt at the Saintly status that Eva had achieved. I could
both see and hear the disgust in his voice when he was singing at the
funeral, and during many other scenes.

Jennifer (as Peron's mistress) did a wonderful job with my favorite
song from the show. (Another Suitcase In Another Hall). She had a
beautiful voice... in fact, I almost prefer her to whoever it is that
sings on the Broadway version of the tape. She was also a very pretty
woman.

Peron, Magaldi, and all of the other cast members also did a great job.
The choreography-- although not nearly as outstanding as Cats-- was
more than adequate :) and I enjoyed the entire production. In all the
other musicals I have seen, I can pick out at least one scene that
affected me the most-- that is my "favorite" scene. Not so with Evita.
The whole production was awesome, and I will definitely see it again
whenever I get the chance.

Evita gets two thumbs up from me. :)

Thanks for listening... I return you now to your regularly scheduled
newsgroup... :)

Meows and kisses...
-- 
--------------------------------------------------------------------------
"  All the world's a masquerade   ||         /~\   |~\   |   ~~/
	 made up of fools         ||        |  __  |_/   |    /
   and philosophers." --Extreme   ||         \_/   | \   |   /__
 -------------------------------------------------------------------------
----Grizabella---.aka.---Misti D. Jordan-----------jordan@cs.tulane.edu----
 -------------------------------------------------------------------------
From: esa@acpub.duke.edu (EMILY ANGERER)
Newsgroups: rec.arts.theatre
Subject: Re: FAME (please do not hit 'n' now!!)
Date: 23 Jan 93 01:04:46 GMT
Organization: Duke University; Durham, N.C.

In article <1993Jan22.144548.13566@psych.toronto.edu> dsy@psych.toronto.edu (Desiree Sy) writes:
>>In article <1993Jan20.001006.24724@news.cs.brandeis.edu> st923058@pip.cc.brandeis.edu (Jessica Raine) writes:
>>
>>>  Also, in general, any suggestions for a
>>>  non-dancer in a primarily dance show? (I'm in FAME 'cause of my voice, and
>>>  I think I'm literally the worst dancer in the cast.)
>
>
>If you don't want to learn to dance better, and you want to be
>inconspicuous,  then just do exactly what the choreographer tells
>you to -- he or she won't want you to look bad either, and will
>pick something for you to do and some place for you to be that
>will blend well.
>
In every show I have been in, this has been very much the case.  I think
that at the beginning of rehearsals for each show, the choreographer 
thought, "Oh, God, why did they have to cast _her_?" but in the end is 
glad to have worked with me.  After each new dance was taught, I would
go home and rack my brain to remember every step possible and then write
them down using my own notation system.  Then I would go over the
blasted thing until my family got sick of hearing the thumping on the
floor.  To work on form, I got more graceful friends to watch and
critique me -- during these sessions I had to keep an open mind and
remember I _asked_ for criticism.  At any rate, I always knew the dances
cold and fairly precisely, and if you manage to execute the steps
perfectly though less than brilliantly, you will manage to fit right in.

Good luck!

-Emily Angerer
From: stranger@watserv.ucr.edu (Katherine T Lim)
Newsgroups: rec.arts.theatre
Subject: SUNSET BOULEVARD--THE AMERICAN DETAILS!
Date: 26 Jan 93 22:13:26 GMT
Reply-To: stranger@watserv.ucr.edu


If you're one of those fortunate people
who can fly around the world to see 
shows, Ticketmaster accepts American 
bookings for "Sunset Boulevard" 
performances at the Adelphi.  The 
toll-free number is (800)775-2525.

The show is also set to premiere
at the Schubert Theatre in Los
Angeles (Century City more 
specifically) sometime this fall.

		The Stranger
Newsgroups: rec.arts.theatre
From: conrad@brahms.udel.edu (Jon Conrad)
Subject: Re: SUNSET BOULEVARD - THE FULL DETAILS!!!
Organization: University of Delaware
Date: Mon, 25 Jan 1993 20:45:50 GMT

In article <1993Jan24.182941.642@murdoch.acc.Virginia.EDU> sws8n@faraday.clas.Virginia.EDU (Stefan William Sittig) writes:

>In article <1993Jan23.194900.7946@news.cs.brandeis.edu> st923058@pip.cc.brandeis.edu writes:

>>	Does anyone know what Judi Dench has done besides being the first
>>Grizabella and playing Dame Quickly in Kenneth Branagh's phenomenal "Henry
>>V"? I figured she had to have come from the stage, but I didn't know she
>>did musicals.

Dame Judi Dench, like Maggie Smith and Diana Rigg, has managed to
balance her career almost equally between popular and classical theater.
She was London's original Sally Bowles in CABARET, and can be heard on
the first London cast recording.  In movies, you can see her briefly as
Anthony Hopkins' wife in 84, CHARING CROSS ROAD and as the eminent
English novelist who knows her way around Italy in A ROOM WITH A VIEW.
On TV she played Goneril to Olivier's King Lear.  She has done a lot of
Shakespeare with the RSC and elsewhere.

>>	While we're in the subject, does anyone have a list of the actresses
>>who have played Grizabella? The only ones I can come up with offhand are
>>Elaine Page, Betty Buckley and Diane Frantatoni. Others?

>Laurie Beechman
>Liz Callaway 

Also Kim Criswell, in the LA company some years back.  The BEST PLAYS
anthologies that come out every year supply ongoing lists of cast
replacements in shows; they're a good place to look for this sort of
info.

Jon Alan Conrad
Newsgroups: rec.arts.theatre
From: rjwill6@PacBell.COM (Rod Williams)
Subject: Re: Further Thoughts
Organization: Pacific * Bell, San Ramon, California
Date: Thu, 28 Jan 1993 22:59:49 GMT

> dkodmur@ocf.berkeley.edu (Daniel Kodmur) writes:
>
>Speaking of Tony Bennett...

I was awfully disappointed with his most recent recording,
"Frankly Speaking" (is that right?), a tribute to Frank
Sinatra -- not because of Tony Bennett's voice or artistry
at all (to a rabid fan of Sylvia Sims and Julie Wilson,
Bennett's voice is pure, angelic, crystalline :-)), but
because of the cheesy, unvarying accompaniment and hideous
reverb.  What idiot producer was reponsible for this mess,
and doesn't Tony know any better after all these years?

And what's this got to do with rec.arts.theatre?  Sorry
folks... :-)


-- 
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rod williams -=- pacific bell -=- san ramon, ca -=- rjwill6@pacbell.com
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