HDTenEightyP/NetNews huggingface dataset:
From: davidf@HQ.Ileaf.COM (David Fristrom)
Subject: Specifying seats on Broadway phone orders
Reply-To: davidf@HQ.Ileaf.COM (David Fristrom)
Organization: Interleaf, Inc.
Date: Wed, 7 Oct 92 15:12:12 GMT

Finally.  According to today's NY Times, starting Oct. 18th
Ticketmaster will tell people ordering tickets for shows at
Nederlander theatres where there seats are.  Previously, if you
ordered tickets by phone you would get "the best seats available," but
would have no idea how good (or bad) the seats were until the ticket
arrived, and if you had a different idea of "best" you were out of
luck.  This made planning a theatre trip to New York a real pain.

The affected shows are the new musical THE GOODBYE GIRL, starring
Berandette Peters and Martin Short and opening at the Marquis Theater
March 4th; SOLITARY CONFINEMENT, a new play starring Stacy Keach
opening Nov. 8 at the Nederlander Theater; and the current shows
CATSKILLS ON BROADWAY, LOST IN YONKERS, OBA OBA '93, and THE WILL
ROGERS FOLLIES.

I hope that this experiment is a success, and the other ticket systems
follow suit.  Given that this kind of service has been available for
years in London and other US cities, theres no reason for it not to
work.

David Fristrom		|
Interleaf, Inc.		|	"If we don't do what Fred and Ginger do,
davidf@ileaf.com	|	 Looks like I will have to injure you."
Newsgroups: rec.arts.theatre
From: hubbarde@infonode.ingr.com (Elaine Hubbard)
Subject: Bay Area Theatre Request
Organization: Intergraph Corporation, Huntsville, AL.
Distribution: usa
Date: Thu, 8 Oct 1992 13:59:15 GMT

To those of you in the San Francisco Bay Area who would know:

   Would you please let me know via e-mail what theatre-going opportunities
   there are between Wednesday October 21 and Sunday October 25 in 
   your area?  Interested in seeing either professional or
   community or university productions.  Also, if you could recommend a
   good source of stage costumes, accessories, stage wear (like second-hand
   shops, thrift stores, rental shops which sell good used costumes,
   theatre groups with an overabundance of items from past shows, etc)

Thanks in advance for your help!!
-- 
Elaine L. Hubbard
ingr!b10!cis15!hubbarde
  "equity aids the vigilant and not those
   who slumber on their rights..."
Newsgroups: rec.arts.theatre
From: murray@aristotle.ils.nwu.edu (Thomas Murray)
Subject: Kevin Anderson (was Re: Sunset Boulevard)
Organization: The Institute for the Learning Sciences, Evanston, IL
	<1992Oct3.003725.2634@leland.Stanford.EDU> <Bvpt2I.6s2@news.udel.edu>
	<1992Oct6.210739.14884@leland.Stanford.EDU>
Date: Wed, 7 Oct 1992 15:04:28 GMT

Does Equity have rules about actors not having the same stage names?
This assume that both Kevin Andersons are Equity.

-tom
Organization: University of Illinois at Chicago
Date: Monday, 12 Oct 1992 02:15:42 CDT
From: <U58288@uicvm.uic.edu>
Newsgroups: rec.arts.theatre
Subject: Re: Sunset Boulevard
 <1992Oct3.003725.2634@leland.Stanford.EDU> <Bvpt2I.6s2@news.udel.edu>
 <1992Oct6.210739.14884@leland.Stanford.EDU>

In article <1992Oct6.210739.14884@leland.Stanford.EDU>, aku@leland.Stanford.EDU
(Andrew Chia-Tso Ku) says:
>
>conrad@brahms.udel.edu (Jon Conrad) writes:
>>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?

Kevin Anderson is not "ex-" Steppenwolf.  He is still a part of
Steppenwolf, most recently in last season's "Earthly Posessions".
From: MR_CA_CBU@OSI.OHIO.GOV
Newsgroups: rec.arts.theatre
Subject: Fundraising - Request for a critique of C.T. package
Date: 8 Oct 92 14:43:00 GMT


8-Oct-1992 09:25

I am the Lighting Designer/electrician/plumber at a small community 
theatre, located in Zanesville Ohio - USA. 

Since I saw a need (and am willing to foot the bill-until they can) to do 
aggressive fund and audience raising (ie: no one else was doing it, just 
complaining about small audiences), I've developed a literature package 
to promo the Theatre. To rebuild the group, I think it will take at least 
5 years. I'm on year 2 now.

I would like to mail my package to any of you who would be willing to 
critique it. A stamped and addressed envelope would be included for your 
reply. In return, I can offer 2 tickets for each respondent to any of our 
shows - however, meals, transportation, lodgings, and calling in the 
reservations are up to you.

Anyone interested in this project can e-mail their address to me at 
MR_CA_CBU@OHIO.GOV or MR_CA_CBU%ODNVMS@MPS.OHIO-STATE.EDU

or - send paper mail to	Carleton Underwood
			ZCT PR Project
			Post Office Box 2633
			Zanesville OHIO 43702-2633 USA

Please share this request with others. This offer has no closing date. 
Thanks very much for your help.

Carl
MR_CA_CBU@OHIO.GOV

CC:	Linda Snow
	Roger Tang
Organization: University of Illinois at Chicago
Date: Monday, 12 Oct 1992 09:33:34 CDT
From: <U30644@uicvm.uic.edu>
Newsgroups: rec.arts.theatre
Subject: Re: theatre behavior?

In article <1992Oct11.145002.7507@iscsvax.uni.edu>, sherwood2840@iscsvax.uni.edu
says:

                                                                               g

                          Have we become so arrogant in our craft that we can
>no
>longer perform with any exterior noise?  Are we only artists under certain
>circumstances, our dircumstances?  So what if someone is eating, maybe they
>are
>hungry!  They have a basic human need to fulfill, can we deny them that?  What
>happend to the days of Shakespeare in the Globe when theatre was for the
>masses?

Unfortunately, we have.  Gone are the days when theatre was as unselfconscious
for the audience as well as the actor.  It's also interesting to learn what
acting teachers teach in regard to the "audience being 'disrespectful' to the
actors.  At LAMDA there is a strong emphasis on "observing" the noise and
letting it go.  Of course, this varies with the type of play being done, but
there seems to be more emphasis on "audience freedom" than with the "method."
Perhaps this is an outgrowth of the days when orange peels were thrown at the
actors? :)

Joel
>






Xref: sparky rec.arts.theatre:2782 rec.music.classical:13939
From: rtut@troi.cc.rochester.edu (Raymond Tuttle)
Newsgroups: rec.arts.theatre,rec.music.classical
Subject: "Crazy for You" - a CD review
Date: 7 Oct 92 20:57:23 GMT
Organization: University of Rochester (Rochester, NY)

One doesn't associate Angel Records with the music of Broadway; that
distinction has belonged primarily to SONY (formerly Columbia and CBS)
and RCA Victor. Now the Angel Broadway label has been created and its
first release is an Original Cast recording of "Crazy for You," "the 'new'
Gershwin musical comedy" (Angel/EMI CDQ 54618). Unsurprisingly, the
recording's producer is Thomas Z. Shepard. 

What is a "new" Gershwin musical comedy, decades after George's
death?  "Crazy for You" (which is still playing on Broadway) has the
torso, in terms of  both plot and music, of the Gershwins' "Girl Crazy,"
with some situations and songs added and others removed.  The
resulting show is neither as clever nor as consistent as "Girl Crazy," or
most other Gershwin shows for that matter.  Each of the Gershwins'
major shows has its own sound and style, and songs cannot be moved
from one show and stuck into another one without detracting from their
effectiveness. 

Having said that, "Crazy for You" is enjoyable in a glitzy and predictable
sort of way (at least on CD - I have yet to see it on stage).  The new
book by Ken Ludwig is as hyperactive as that of his last big hit ("Lend
Me a Tenor"), defining the spirit of Broadway without touching its
heart.  Situations like lovers' mistaken identities and yokels putting on
a show are so worn out that I don't understand what motivated the
creators of "Crazy for You" and what they thought that they could give
George and Ira's work that it didn't already have.  The show does
contain a few songs which never have been done on Broadway, however;
these were among the treasures found in the Warner Bros. warehouse in
Secaucus ten years ago. 

The romantic leads in this production are Harry Groener and Jodi
Benson.  Groener is competent and somewhat bland, but he does sing
well.  Benson has much more personality; her voice has a deliciously
juicy vibrato which reminded me of Conchita Supervia, of all people. 
The cast's other standout is Michele Pawk, who sings the lascivious
"Naughty Baby" in Act II. 

The disc is produced with marked theatrical flair, almost as if the
show were being recorded in front of a live, supportive but absolutely
quiet audience.  The recording itself is brilliant but not brash. 
Although "Crazy for You" is not a total success, it is entertaining and
more substantial than your average Andrew Void, er . . . Lloyd Webber
farrago, even if it is something of a cut-and-paste job. 




--
****************************************   Raymond S. Tuttle
"Dunkel ist das Leben, ist der Tod,"       University of Rochester
but it's nothing to get depressed about!   (still with his two little 
****************************************   white mice).
Newsgroups: rec.arts.theatre
From: murray@aristotle.ils.nwu.edu (Thomas Murray)
Subject: Re: Theatre Behavior [Was: Lea Solanga in Concert] 
Organization: The Institute for the Learning Sciences, Evanston, IL
	<1992Oct7.171339.26944@adobe.com>
Date: Thu, 8 Oct 1992 15:00:34 GMT

Tallk about appalling....

The Auditorium Theatre (Theater for the rest of you) actually has
vendors walk up and down the aisles at intermission, selling ice-cream
bars to audience members who haven't gotten up from their seats.
People are then allowed to eat in their seats.  This just blows my
mind.  What is this?  A baseball game or something?  

Only in Chicago.... (I hope!).

-tom
From: toomsen8928@iscsvax.uni.edu
Newsgroups: rec.arts.theatre
Subject: ACTF 1993
Date: 11 Oct 92 19:05:51 GMT
Organization: University of Northern Iowa

I WILL BE ATTENDING THE AMERICAN COLLEGE THEATER FESTIVAL IN JANUARY IN THE
ACTING COMPETITION. IS ANYONE ELSE OUT THERE WHO IS GOING OR WHO WANTS TO TALK
ABOUT IT OR WHO WANTS TO RAP ABOUT LAST YEAR?
From: ed@wente.llnl.gov (Ed Suranyi)
Newsgroups: rec.arts.theatre
Subject: I finally saw Les Miserables!
Date: 13 Oct 92 01:04:48 GMT
Distribution: na
Organization: UC Davis Dept of Applied Science at LLNL

I just wanted to say that I finally got a chance to see Les Miserables,
this weekend in San Francisco.  (It's at the Curran Theater until mid-
November.)

I thought it was very good.

Ed
ed@wente.llnl.gov
From: slg@slgsun.att.com (The Idealistic Cynic)
Newsgroups: rec.arts.theatre
Subject: Re: Theatre Behaviour
Date: 13 Oct 92 17:04:11 GMT
Distribution: na
Organization: AT&T Bell Labs, Columbus, Ohio

In article <BvtorM.6Cx@ecf.toronto.edu> mckenzi@ecf.toronto.edu (MCKENZIE ROBERT NEIL) writes:
>> As for babies, I'm not against bringing them (well, ok, sort of) but I
>> think the parent should always be seated on an aisle.
>
>  Again, we have a STRICT never-to-be-broken rule about babes in arms.
>
>  If you want to go to the theatre, please leave Junior with a babysitter.
>
>Rob McKenzie
>mckenzi@skule.ecf.utoronto.ca

Well personally, I agree.  However, I thought I'd relate a story
about this..

A few years back, before I had lived in NJ, some friends and I went
to NYC on a sight-seeing trip over new years.  Accidentally, we got
seats for the Jan 1. production of "The Fantastics".  Only problem
was we had a six month old along, and no one to baby-sit.  The
theater managers were sympathetic, and told us that we could take the
baby in, but that the person hold the child had to be on the end of
a row.

Fortunately the child was well behavied, but to be honest it was still
pretty obvious that he was there.  (Even happy babies make noise.)
At one point in the show the leading male character says his line,
then points to a person in the audience.

The baby got pointed to, greatly amusing his parents and the rest of the
audience.  For our group, it was certainly the high point of the evening.

Fun.

(Again, don't take this to mean that I think babies should be allowed in
theaters.  I don't.  I don't even think they should be taken to movie
theaters.. or at least if they are, that they should *immediatly* be
taken out if they start disturbing others.)

Sean.


---
Sean L. Gilley
sean.l.gilley@att.com sgilley@cbnewsl[.cb].att.com
614 236 5031 (h), 614 860 5743 (w)
Futility and senseless war, pit the rich against the poor
while cause is buried long before the fight...
From: welty@buphyd.bu.edu (Daniel Welty)
Newsgroups: rec.arts.theatre
Subject: Gray's Anatomy
Date: 15 Oct 92 18:27:17 GMT

Keywords: 

Hi!  I am new to this group.  I just wanted to inform people of Spalding
Gray's latest monologue.  It is "Gray's Anatomy."  I had the fortune of
seeing it as a work in progress at the Hasty Pudding Theatre in Harvard
Square, Cambridge, MA.  He performed it 3 nights (MTW - 10/12-10/14).
"Gray's Anatomy" is about his ordeal with possibly losing sight in his
left eye.  He describes the many healing procedures he tried before 
having a much needed operation.  Also included was the story of his
marriage to Renee Schfransky, his long time and continuing director.
If you are a Gray fan, you will surely appreciate this piece as much
as the others.  Please reply if you are a fan of Spalding Gray or would
like to know more about his current project.  Thank you.

-Dan
Newsgroups: rec.arts.theatre
From: ostroff@Oswego.EDU (Boyd Ostroff)
Newsgroups: rec.arts.theatre
Subject: Re: Internships
Date: 14 Oct 92 23:09:40 GMT
Article-I.D.: oswego.1992Oct14.230940.17083
Reply-To: ostroff@oswego.Oswego.EDU (Boyd Ostroff)
Organization: Instructional Computing Center, SUNY at Oswego, Oswego, NY

In article <1992Oct14.121745.644@ualr.edu> jakrute@acs.harding.edu writes:
>and I'm looking for an intership for the Spring/Summer of 1994, preferably
>in the theater/film arena.

I'd suggest checking out the following resources:

ArtSEARCH
Theatre Communications Group
355 Lexington Ave
New York, NY  10017
(212) 697-5230

This is THE source for internships and jobs in the performing arts.  It is
published every other week and subscriptions cost $48/year (worth every penny).
Check out the "career development" section which lists internships,
grad assistantships, etc.  If you're on a college campus someone in the
theatre department probably already has a subscription. 

=========================

Opera America
777 14th Street NW
Washington, DC 20005
(202) 347-9262

They are a professional organization promoting opera.  Their monthly
newsletter often lists internships and job opportunities.  Additionally,
they offer fellowships which you may apply for.

=========================

Theatre Directories
PO Box 519
Dorset, VT  05251
(802) 867-2223

They publish the "Summer Theatre Directory", "Regional Theatre Directory"
and more.

=========================

USITT (US Institute for Theatre Technology)
10 West 19th St, Suite 5A
New York, NY  10011-4206
(212) 924-9088

They offer lots of things, including a convention with placement service.
They also list jobs in their magazine and newsletter.  Of particular interest,
though is their "Internship Directory".

=========================

I'm sure there are others, but these come immediately to mind as being the
most useful.

.............................................................................
....Boyd Ostroff / Technical Director / SUNY Oswego Department of Theatre....
...............Voice: (315) 341-2987 /  Fax: (315) 341-3394..................
..............ostroff@oswego.oswego.edu / ostroff@cboard.UUCP................
From: eliz@WORLD.STD.COM (Elizabeth Lear Newman)
Newsgroups: rec.arts.theatre
Subject: Jonathan Pryce
Date: 7 Oct 92 15:28:48 GMT

>	One quick questions--besides "Brazil" and "Something Wicked
>This Way Comes", what other movies featured Pryce?

From the Actor's List:

Pryce, Jonathan         Adventures of Baron Munchausen, The
                        Brazil (1985)
                        Breaking Glass
                        Consuming Passions
                        Doctor and the Devils, The
                        Haunted Honeymoon (1986)
                        Jumpin' Jack Flash
                        Man on Fire (1987)
                        Murder Is Easy (TV)
                        Ploughman's Lunch, The
                        Rachel Papers, The
                        Something Wicked This Way Comes


						...eliz

"I don't mind being in touch with reality, as long as I don't 
have to live there."
From: eliz@WORLD.STD.COM (Elizabeth Lear Newman)
Newsgroups: rec.arts.theatre
Subject: Re: Theatre Behavior [Was: Lea Solanga in Concert]
Date: 8 Oct 92 14:51:44 GMT


 murray@aristotle.ils.nwu.edu says:
<Tallk about appalling....
<The Auditorium Theatre (Theater for the rest of you) actually has
<vendors walk up and down the aisles at intermission, selling ice-cream
<bars to audience members who haven't gotten up from their seats.
<People are then allowed to eat in their seats.  This just blows my
<mind.  What is this?  A baseball game or something?  
<Only in Chicago.... (I hope!).

Ah, reminds me of London.

This sort of thing is very common in England, though admittedly the
vendors usually lean against the stage or stand in the aisles and wait
for you to come to them.

I think this is not common in the US because Americans can really be
messy.  In London, I didn't see any trash left on the floor after the
performance - I doubt an American theater would be so lucky.

Also, some larger British theaters have opera glasses attached to the
backs of the seats.  You 'rent' them for the performance by placing a
coin in the slot, thus releasing the glasses from their holder.
Another neat idea that would have some troubles in the US.

						...eliz
From: deleon@adobe.com (Michael de Leon)
Subject: Re: INTO THE WOODS
Organization: Adobe Systems Incorporated
Date: Wed, 7 Oct 1992 17:29:55 GMT

In article <1atrhcINN730@koh-sun15.usc.edu> jameskau@koh-sun15.usc.edu (James Kaufman) writes:
>
>I just found out that they're definitely making a movie from Sondheim's
>Into the Woods; I spoke with Lowell Ganz (he wrote A League of their Own,
>Splash, City Slickers, Parenthood, etc), and he and his writing partner
>Babaloo Mandel finished the screenplay.  The studio is shipping the screenplay
>around to different directors.  As for casting, nothing's set yet, but Ganz
>said he could definitely see Billy Crystal (he also wrote Crystal's latest
>movie, Mr. Saturday Night) playing the Baker.  
>Anyone have any dream casting choices?
>James Kaufman
>jameskau@aludra.usc.edu

As I recall, and I may be way off, Into the Woods was going to be filmed 
using Muppet characters. Has this idea been dropped (I hope)?

I also recall seeing a short blurb in MacWorld magazine about an Into the
Woods CD-ROM that would be coming out around Christmas 1992. The CD would
incorporate all of the music with some animation. AND another track would
have Stephen Sondheim commenting on the score as it plays. Yep, that does
sound neat! I thought the CD release was supposed to correspond with the
release of the movie version, but I guess I was wrong on that.

Anyone else have inside info?

Michael de Leon
deleon@adobe.com
From: sherwood2840@iscsvax.uni.edu
Newsgroups: rec.arts.theatre
Subject: theatre behavior?
Date: 11 Oct 92 09:50:02 GMT
Article-I.D.: iscsvax.1992Oct11.145002.7507
Organization: University of Northern Iowa

Hello fellow theatre students!

This is my first time posting anything so please bear with me!

I am very distressed by some of the items I have read on this group concerning
"Theatre Behavior".  I was frightened when I read the words "strict rules" being
applied to the audience.  Like everyone, I too have my theatre horror stories
and I used to *really* resent certain audience behavior which I equated with a
lack of repect for my work on stage.  I know realize, however, that as a
theatre artist I am on stage to communicate something and it is the audiences
choice to respond to my communication in any way they feel like.  I think that
inflicting regulations on an audience is a way of monitoring or manipulating
their behavior and this goes against everything I believe as a theatre artist. 
I'd like to hope that the theatre is the one place where we can still go to
explore and rejoice in our humanity.  I can't begin to tell you how often in my
acting classes I am told to go with my impulses, to not hold back, to respond
on a basic human level out of need.  Please do not take this response freedom
away from the audience!  Have we become so arrogant in our craft that we can no
longer perform with any exterior noise?  Are we only artists under certain
circumstances, our dircumstances?  So what if someone is eating, maybe they are
hungry!  They have a basic human need to fulfill, can we deny them that?  What
happend to the days of Shakespeare in the Globe when theatre was for the
masses?  

Please feel free to respond

My address: SHERWOOD2840@iscsvax.uni.edu.

i hope to hear from someone soon!!

Melissa
Newsgroups: rec.arts.theatre
From: Matt Garretson (kaminl@rpi.edu)
Subject: Re: Sunset Boulevard
Organization: Rensselaer Polytechnic Institute, Troy, NY
Date: Sat, 10 Oct 1992 19:10:00 GMT

In article <3jjrb1y@csv.warwick.ac.uk> ecuzq@warwick.ac.uk (Bruce Tseng) writes:
>Does anybody know when the advance booking will start? I might be leaving
>England this year, so I am very eager to see the show! And also, the venue
>for this show please!

Don't stick around England just to wait for SUNSET BOULEVARD, since it will
be opening in the US. LA is one possibility for the location of the premiere,
but it's not definite. Nor is the date set yet.
--
Matt Garretson                    :-)                 temporarily kaminl@rpi.edu
From: tovah@panix.com (Tovah Hollander)
Newsgroups: rec.arts.theatre
Subject: Re: LA: New musical "Hurry! Hurry! Hollywood!"
Date: 14 Oct 92 14:21:53 GMT
Distribution: usa
Organization: PANIX Public Access Unix, NYC

In <ld6bogINNars@news.bbn.com> ahsiung@bbn.com (Anita Hsiung) writes:

>Sam Harris (first male vocalist winner of Star Search) has written and
>directed his first musical, "Hurry! Hurry! Hollywood!".

I saw this show, at least 10 years ago, when Harris (and his co-author,
name lost to the mists of time) presented it as a student project of
the UCLA Music Department (and/or, maybe, Theatre Department -- do other
universities have this kind of bitter Rivalry?).  It had surprisingly
good production values (under those circumstances) and was a lot of fun
(particularly if you already like the kind of 30s Hollywood musical of
which this was a pastiche).

The main flaws were those typical of any "first" oeuvre.  The creators
were brimming with great ideas and reluctant to save any for their next
show (in case they never had one, I guess); ergo, there were far too many
songs, far too many BIG production numbers, far FAR too many subplots, and
an excruciatingly long first act (we knew we were in trouble when the
subplot which featured Harris himself didn't even get started until 10
minutes after Act I should have ended).

There's every reason to hope that the intervening years will have afforded
Harris some perspective, even judgment; sources in LA tell me they've seen
interviews promising "massive reworking" and "major cuts".  If this is so,
I can certainly recommend "Hurry! Hurry! Hollywood!" as an entertaining, if
not terribly original, evening of song and dance.

-- 
Tovah Hollander
tovah@panix.com -or- tovah@onion.salad.mssm.edu
-- 
Tovah Hollander
tovah@panix.com -or- tovah@onion.salad.mssm.edu