HDTenEightyP/NetNews huggingface dataset:
From: csanoy@bcars689.NoSubdomain.NoDomain (Cynthia Sanoy)
Subject: Acquiring tickets to shows in London
Organization: Bell-Northern Research, Ottawa, Canada
Date: Wed, 16 Dec 1992 21:04:44 GMT

What is the best way to acquire show tickets for London, UK performances?
Is there a British equivalent to TicketMaster/Tickettron phonable from
Canada?

Does anyone out there have any suggestions, phone numbers, fax numbers etc?
-- 
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Dept 0367, DCR Development       |
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PHONE (416) 452-4923             |
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Newsgroups: rec.arts.theatre
From: phytanb@nuscc.nus.sg (Bernard Tan (A/P))
Subject: Les Miz in Singapore
Organization: National University of Singapore
X-Newsreader: Tin 1.1 PL4
Date: Mon, 14 Dec 1992 03:28:58 GMT


I omiited to mention in my post about the launch of Les Miz in Singapore
that the launch at Raffles Hotel is today (Monday, 14 December 1992).  The
launch will be jointly announced by Professor Tommy Koh, Chairman of the
National Arts Council, and John Robertson, Director of Cameron Mackintosh
International (Australia).

B. Tan, NUS
From: moore7004@iscsvax.uni.edu
Newsgroups: rec.arts.theatre
Subject: Company managers
Date: 13 Dec 92 22:04:51 -0600
Organization: University of Northern Iowa

How would one go about finding a business manager and/or tour manager for a
theatrical company?

Sincerely,
Newsgroups: rec.arts.theatre
From: colomon@dip.eecs.umich.edu (Colomon Foster)
Subject: Re: Aspects of Love
Organization: University of Michigan EECS Dept., Ann Arbor, MI
Distribution: na
Date: Sat, 12 Dec 1992 18:31:14 GMT

In article <Qf_CuTy00awEMVsl9g@andrew.cmu.edu> Todd Nicholas Tarantino <tt27+@andrew.cmu.edu> writes:
>1)the love changes everything melody
>2)the mermaid song
>3)seeing is believing (same progression and all as journey of a lifetime)
>4)she'd be far better off with you
>5)there is more to love
>6)parlez vous francais
>7)"it would be hard to find a more capricious mind.." etc. melody
>8) the army type melody
9) "A small theatre in Montpellier"
10) Memory of a Happy Moment
11) Chanson d'enfance
12) Stop, Wait, Please
13) Leading Lady
14) Other Pleasures
15) The Final Stand (I think that's the tune name (from Cricket)
		     --- it's track 5, disc 2)
16) First Man You Remember
17) Falling
18) Hand Me the Wine and the Dice
19) Anything But Lonely

In other words, it has as many tunes as most musicals of comparable
length.  While I haven't seen it yet, IMO the problem with _Aspects_ 
is that it is too long, and certain tunes are repeated too often, while
others pop up, get played for two minutes, and then disappear.  The
music itself is wonderful; far better than any Lloyd Webber since
Evita.

							-Sol
From: forsburg@vax.path.ox.ac.uk
Newsgroups: rec.arts.theatre
Subject: Re: Aspects of Love
Date: 14 Dec 92 17:14:03 GMT
Organization: Oxford University Molecular Biology Data Centre
Nntp-Posting-User: forsburg

In article <1992Dec10.190441.29686@Virginia.EDU>, qtm2w@Virginia.EDU ("Quinn T. McCord") writes:
> 
> 	I am a huge Lloyd Webber fan, but I think Aspects is
> good music even for him.  I not sure that Joe Theatre-goer
> would like it, however, if he didn't know the show.  This is
> what I recommend: go out and by the CD.  Listen to it.  The
> music won't sound very nice at first.  Listen to it a few more
> times. (Be careful, it's 137 minutes!)  You'll start to pick
> out the melodies and really begin to appreciate them.  After a
> while, you'll see that it's some of his best work.  THEN go see
> the show.  If you go in cold turkey, you may be wasting your
> money.
> 						-Quinn

I have to disagree here.  I have seen most Lloyd Webber shows, and
when I saw PHANTOM I enjoyed it immensely, even saw it several times, 
so I looked forward to ASPECTS a great deal.  I bought the CD, which 
disappointed me, but went to see the show anyway.  Saw the original 
London cast a few months after the opening. Hated it.  I found it 
shallow, boring, and incredibly manipulative.  (Yes I *know* PHANTOM 
is accused of the same but I thought ASPECTS much worse.  I have a 
soft spot for PHANTOM, I admit.)

If I were the original post-er, I'd save my money and go to the Lyric 
Stagein Boston, which has (at least it did in the late '80s when I 
lived there) excellent theatrical value for money!

slf
Newsgroups: rec.arts.theatre
From: director@casbah.acns.nwu.edu (Christopher Gaal)
Subject: Re: Dress Circle Catalogue/Address
Organization: Northwestern University, Evanston Illinois.
Date: Sun, 13 Dec 1992 02:17:07 GMT

I was just at the dress circle a few weeks ago.  I had remembered running
accross it when it was closed a few years back (of course not remembering the
name). When I was in London last month, I made a point of wandering around the
West End until I found it....
 
Apart from the amazing variety of cast albums, some of them hard to find, I
picked up a shirt that was rather unusual.  It said something like "Sondheim"
on it, with titles of all of his musicals (each in a different typeface, etc.)
They also had one for Cole Porter, I think, and the same design was on coffee
mugs as well.  
 
I also picked up a CD of highlights from the Manchester cast of Les Miserables
(something not available in the states I imagine)...
 
I don't work for Dress Circle either, but it is a great store to get lost in
(well, actually, since it's not physically that big, but packed with stuff,
it's easier to lose yourself in it).
 
Chris
 
------------------------------------------------------------------------------
Christopher Gaal                           "Sometimes I think the sure sign
Department of Radio/TV/Film                 there's intelligent life in outer
Northwestern University                     space is that none of it has tried
Evanston, IL                                to contact us."
                                                          -- Calvin and Hobbes
From: by248@cleveland.Freenet.Edu (Christine Reynolds)
Newsgroups: rec.arts.theatre
Subject: Re: Chess, & a teeny Phantom question...
Date: 18 Dec 1992 13:44:29 GMT
Organization: Case Western Reserve University, Cleveland, Ohio (USA)
NNTP-Posting-Host: hela.ins.cwru.edu


I've never had the pleasure of seeing a performance of Chess, but
I love the music--Anthem and Pity the Child are two of my favorite
songs.  My 13-year-old son is also a fan--in fact, it's his
second favorite musical ('Cats' is #1).

About the Phantom lyric:  Going from my aging memory (the libretto
isn't at hand), I thought the lyric was 'What a *change*, you're 
really not a bit the etc.'  However, from day one, the aforementioned
son has insisted that Raoul is singing, 'What a change, you're really
not a bitch.'  After some of the things I've heard about Ms. B, 
maybe it *was* a Freudian slip?
-- 
Christine Reynolds             And remember the truth that once
by248@cleveland.Freenet.Edu    was spoken:  To love another
Reynolds@utklib.lib.utk.edu    person is to see the face of God.
					'Les Miserables'
Newsgroups: rec.arts.theatre
Subject: Re: Need a crowd pleaser
From: bcimmet@eagle.wesleyan.edu
Date: 18 Dec 92 01:04:31 EST
Organization: Wesleyan University

> Desiree suggests that maybe plays that have an association with a film
> would be good at bringing in the "butts".  If that's the case, three
> plays that might work would be:
> 
> 	ARSENIC AND OLD LACE
> 	HARVEY
> 	LIFE WITH FATHER
> 
> The movies we all know of these are based on the plays, I think.
> Granted these are older plays (and often appear in community theatre,
> or summerstock), but they are generally good entertainment.  The
> balance between men and women is pretty good (with maybe the exception
> of ARSENIC AND OLD LACE), and I can only think of maybe some potential
> technical problems in HARVEY being that doors and stuff have to open
> "magically", etc.

One techincal thing that is required in "Life With Father" is the fact that six
cast members have to have red hair. Obviously, dye is a must. Findind six
carrot-tops is nearly impossible. I was in two productions of this show (as
CLARENCE), when I was a sophomore in high school, and it was a lot of fun, too.
YOu might consider (shoudl you do this show) using the red-hair thing as a
publicity stunt. We had photos and stuff taken at the hair stylists, and we got
a spread in the local paper. Both productions were quite successful at the
small theater I worked in in Maine in 1989. Good luck!

	- Medford


Newsgroups: rec.arts.theatre
From: fritz@cbnewsg.cb.att.com (frederick.sitter)
Subject: Re: Need a crowd pleaser
Organization: AT&T
Distribution: na
Date: Thu, 17 Dec 1992 20:45:42 GMT

In article <1609@ncrclm.ClemsonSC.NCR.COM> lsnow@ncrclm.ClemsonSC.NCR.COM (Linda Snow) writes:
>Please give me suggestions for a sure-fire audience grabber type play.
>Preferrably a very funny comedy, preferrably NOT a heavily male cast.
>Should have good audience name recognition.  We need to put butts in 
>seats big time.  This is for community theatre.  NOT a musical either,
>and if it has low royalties that would be a big plus.  Thanks.

A couple suggestions...

The female "Odd Couple", by Neil Simon (that name alone could
bring 'em in).  Closely based on the original male version that ran on
Broadway during the mid-60s.  In fact, I would estimate that as
much as two thirds of the dialog is identical.  Six women, two
men.  One set.

I understand that when this version first ran on Broadway with
Sally Struthers and Rita Moreno(?), the women buddies played
poker, as their male counterparts do.  However, the production I
saw several months ago had them playing Trivial Pursuit, which
for me is much more plausible, if a little dated now.

The female version seems a bit contrived in places, but overall,
the play remains very funny.

Potential casting problem:  the two guys have to have Spanish
accents.

"Lend Me a Tenor", by Ken Ludwig.  Hysterically funny farce about
a Cleveland opera company's attempt to put world famous tenor
Tito Merelli - "Il Stupendo" - on the stage for its production of
"Othello".  Philip Bosco won a Tony for his portayal of the
impresario, despite yelling throughout the performance I saw.
Four men, four women.  One set - but it has to be solid because
of six slamming doors.

Potential casting problems:  one man and one woman have to have
Italian accents; two of the men have to sing a short opera
duet.

There are also one or two quick changes and blackface makeup
required.

Good luck!

:):( :):( :):( :):( :):( :):( :):( :):( :):( :):( :):( :):(
Fred Sitter		|
201-984-7164		| "I'm too old to be a young talent."
fritz@cbnewsg.cb.att.com|		- Artie Shaugnessy
attbl!attmail!sitter	|
Newsgroups: rec.arts.theatre
From: tlv@surya.cs.wayne.edu (Tania L. Velinsky)
Subject: Joseph Tour
Organization: Wayne State University, Detroit
Date: Wed, 16 Dec 1992 00:19:57 GMT

I have just read in TheatreWeek magazine that the Joseph..Dreamcoat
  tour is set to open at the Pantages Theater in Los Angeles in February
  with Michael Damian as Joseph.  The show will tour the U.S., ending
  on Broadway in the fall.  The show will be staged by Stephen Pimlott,
  the same guy who staged the latest London and Toronto versions.
I got to see the show in Toronto, and it is definitely a must-see if
  it comes anywhere near where you live.  Boy, I sure hope they hit
  Detroit!!!

Tania


Newsgroups: rec.arts.theatre
From: ssg8898@uxa.cso.uiuc.edu (Sermpan Soontornchat )
Subject: Re: Aspects of Love
Organization: University of Illinois at Urbana
Distribution: na
Date: Sun, 13 Dec 1992 05:46:27 GMT

Todd Nicholas Tarantino <tt27+@andrew.cmu.edu> writes:

>i have to disagree with those who have posted praising "aspects of love"
>as i find it more of a novelty than a truly well done musical. as was
>said it does run over two hours, which i do know, but to me the problem
>rests not in the singing, michael ball is excellent on the album, but
>instead in andrew's choice to use nine or so melodies for the entire
>show, repeated over and over again. of course, it is a joy to sing, just
>because it goes all over the place in terms of range, but so little
>originality. let's see:
>1)the love changes everything melody
>2)the mermaid song
>3)seeing is believing (same progression and all as journey of a lifetime)
>4)she'd be far better off with you
>5)there is more to love
>6)parlez vous francais
>7)"it would be hard to find a more capricious mind.." etc. melody
>8) the army type melody
 - Everybody loves a hero
 - Other pleasures
 - ANYTHING BUT LONELY......

>and i cant seem to remember the rest off hand, any other Aspects bashers
>who would like to help complete this list it might be interesting to see
>a complete list of the melodies in aspects. let's face it im not a big
>andrew lloyd webber fan.  all this though i mean in good fun  :)

>todd
Newsgroups: rec.arts.theatre
From: gwb@cbnews.cb.att.com (gregory.blum)
Subject: What's at TKTS??
Organization: AT&T
Distribution: usa
Date: Mon, 14 Dec 1992 20:26:06 GMT

I'm going on a VERY short trip to NYC between Christmas and New Year's
and was wondering what the Broadway ticket situation is like these days.
We're really trying to make this as much of an economy vacation as
possible so I'm especially interested in what shows up at TKTS.

Also, is that week typically very busy with holiday types, or unusually
dead as everyone stays home to do family things?  We'll probably be there
on Tuesday and Wednesday, if that makes a difference.

And what about the Christmas show at Radio City?  Does it typically
sell out for the after Christamas week?  How much does the darn thing
cost??  Has anyone seen it this year, is it worth the time and money?

And lastly, even though I know this doesn't really belong on r.a.t.,
I was really interested in seeing the Matisse show, but found out from
their recording that it's sold out until it closes....... however, they
say that they release a small number of tickets for each day at 10:00,
and that you can also get tickets by becoming a member of the museum at
various levels.  Does anyone know how many tickets there are released at
10.... and how early the line up for them starts?  How about the membership
angle,  how much will it cost me to get a ticket that way?  Do scalpers/ticket
agencies/motels sell these things?  [I tried finding out from MOMA, but
couldn't get a live person to talk to me on the phone, just one of those
"press 1..." monstrosites, followed by endless ringing when I tried to
pretend to have a rotary phone.]

Any and all information, comments, and recommendations GREATLY appreciated.
Newsgroups: rec.arts.theatre
From: jab55062@uxa.cso.uiuc.edu (The World Reknown Jason Boskey)
Subject: Lloyd Webber Top Ten Results
Organization: University of Illinois at Urbana
Date: Tue, 15 Dec 1992 07:34:38 GMT

OK folks, these are the results from the Top Ten Songs by Andrew Lloyd Webber.
The reason I wanted them in order was I assigned points to them 10 for 1st,
9 for 2nd and so on.  OK, well 19 people responded to me, so here we go.

1.  Music of the Night                       87 pts
2.  Wishing You Were Somehow Here Again      57.5 pts
3.  Love Changes Everything                  47.5 pts
4.  Unexpected Song                          47.5 pts
5.  Phantom Of The Opera                     45.5 pts
6.  Memory                                   42.5 pts
7.  Tell Me On a Sunday                      38.5 pts
8.  All I Ask of You                         29 pts
9.  Don't Cry for Me Argentina               29 pts
10. High Flying, Adored                      25 pts

As you can see, the big winner was the musical "Phantom of the Opera", much
to my chagrin, considering I've always been biased toward Jesus Christ Superstar
Coming soon will be a vote tally of what I've received, and a list of all the
first place votes.  Thanks to all who participated.


_________________________________________________________________________
The World Reknowned Jason Boskey       | Mail:  Bosk@uiuc.edu           |
Known throughout the world as the Bosk |  "Christ you know it ain't easy|
All Rights Reserved, All Lefts Enhanced|   You know how hard it can be  |
                                       |   The way things are going     |
	               		       |   They're gonna crucify me     |
-------------------------------------------------------------------------
From: todd@sdsc.edu (Todd Elvins)
Newsgroups: rec.arts.theatre
Subject: Re: Falsettos
Date: 13 Dec 1992 00:09:24 GMT
Organization: San Diego Supercomputer Center @UCSD.
Distribution: world
Reply-To: todd@sdsc.edu
NNTP-Posting-Host: jessicarabbit.sdsc.edu


_Falsettos_ is scheduled to play at the Old Globe
Theater in San Diego sometime in March or April. 
Is this the road show, or a local production ? 

Todd

-----------------------------------------------------------------
T. Todd Elvins					    todd@sdsc.edu
Advanced Scientific Visualization Laboratory
San Diego Supercomputer Center			   (619) 534-5128	   
P.O. Box 85608				  FAX  	   (619) 534-5113
San Diego, CA 92186-9784		TELEX 	 010+1+619+695065 
-----------------------------------------------------------------
"If you could only see what I've seen with your eyes" Bladerunner

Newsgroups: rec.arts.theatre
From: ijgordon@eniac.seas.upenn.edu (<*Ian J Gordon*>)
Newsgroups: rec.arts.theatre
Subject: Shows in Philadelphia
Date: 20 Dec 92 01:41:25 GMT
Distribution: usa
Organization: University of Pennsylvania


  For those of you who will be in the Philadelphia area sometime befor
the end of January, ASPECTS OF LOVE will be playing at the Merriam Theatre,
250S. Broad St., from Dec. 28 to Jan. 2. The times are: Mon, Tues, & New
Year's Eve (Thurs.) 8PM, Fri 8:30PM, Wed. & Sat. 2PM & 8PM. Tickets range
in price from $25 to $49.50.
   The tour of JESUS CHRIST SUPERSTAR will be playing from Jan 19 to Jan 31.
I don't have prices or times. Also, Robert Moorse(?) will be reprising his
Tony award-winning performance in Tru. I have neither dates nor times.
   For more info, call the theatre at (215) 732-5446. Tickets can be purchased
from TicketMaster locations or charged by calling (215) 338-2000. (Of course
you can buy tickets at the Box Office. Group Sales (215) 732-5997.
   I do not represent the theatre. I am a measly college student making public
information more publicly available, especially to those who live in the 
Philadelphia area and are away at school.
   Enjoy the shows!
                                Ian 


--
Ian J Gordon's quote of the week: Both the jayhawk and the man eat chickens, 
				  but the more jayhawks, the fewer chickens, 
				  while the more men, the more chickens.
					-Henry George, 19th century economist
Newsgroups: rec.arts.theatre
From: conrad@brahms.udel.edu (Jon Conrad)
Subject: Re: Need a crowd pleaser
Organization: University of Delaware
Distribution: na
Date: Tue, 15 Dec 1992 15:17:41 GMT

In article <1609@ncrclm.ClemsonSC.NCR.COM> lsnow@ncrclm.ClemsonSC.NCR.COM (Linda Snow) writes:

>Please give me suggestions for a sure-fire audience grabber type play.
>Preferrably a very funny comedy, preferrably NOT a heavily male cast.
>Should have good audience name recognition.  We need to put butts in 
>seats big time.  This is for community theatre.  NOT a musical either,
>and if it has low royalties that would be a big plus.  Thanks.

For my money, there have been three hilarious comedies written in the
last 10 years.  One, Michael Frayn's NOISES OFF, is probably too
technically complicated for your purposes (LOTS of props, split-second
timing, set changes, British accents, etc.) plus it may be so well known
that its royalties are higher than you'd like.

So consider the other two, both written by the late Larry Shue:  THE
FOREIGNER and THE NERD.  Both are extremely funny farces, I've seen both
of them work brilliantly in community productions, and both are fairly
modest in production requirements.  I'm afraid both do have more men
than women (if my mental tally is correct, FOREIGNER has 5M 2F plus
walk-ons, NERD has 4M 2F).  THE FOREIGNER is the better constructed and
more ingenious, I think.  It would be my first recommendation for your
purposes.

What a shame Larry Shue died right after writing THE NERD (a plane
crash, if I recall right).  He obviously had a gift for turning out
audience-pleasing niftily-constructed entertainments, and could have
given us many more than these two.

Jon Alan Conrad
From: dkodmur@ocf.berkeley.edu (Daniel Kodmur)
Newsgroups: rec.arts.theatre
Subject: New Listening
Date: 15 Dec 1992 11:51:48 GMT
Organization: U.C. Berkeley Open Computing Facility
Distribution: world
NNTP-Posting-Host: planecrash.berkeley.edu

I was inspired by Jon's posting to draw up a list of my own.  So here are
some albums, a few old, most new, that have been spending a lot of time
under my laser beams lately.

1. He Loves and She Loves---Someone on the net originally recommended this,
and Jon seconded it, so I bought it, figuring that the same team which
so successfully recorded Arias and Barcarolles would be a good bet.

I was right.  I do not know which I find more impressive, the accompaniment,
Judy Kaye's versatility, or William Sharp's remarkable phrasing. I have no
technical voice background, but when I heard his slides and his dynamics
on "Little Jazz Bird," I knew I was listening to a great artist. BTW, the
piano arrangements, most of which are original Gershwin, are quite nifty.
(One quibble: The album cover lists George Gershwin's dates as 1896-1987;
this appears to be some bizarre conglomeration of Ira's dates and pure error.
How I wish it were true.........

2. The King and I---Some observations on this new recording:

   1. It makes me remember how solid the score really is.

   2. Ben Kingsley manages to create a characterization which is totally
      distinct from Yul Brynner's but is marvelous in its own right.  Any
      chance we could persuade him to go on tour??:)

   3. Peabo Bryson and Lea Salonga range from good to very good, in thankless
      parts with beautiful songs.



3. The Grass Harp---I was steered to this cast album by Ken Mandelbaum's
book on flop Broadway shows.  It is terrific.  I have not been able to get
some of the tunes out of my head, and the album stands as a great example of
singing with passion, sensitivity, and conviction.  With all due respect
to Mandelbaum, I don't care if the book is weak; a score like this deserves
repeated listening and prolonged appreciation.


4. Regina---I have been mildly obsessed with Marc Blitzstein for several 
years now, even without knowing most of his music.  Since I have great
respect for him, I have always hoped that he and his work could be
brought out of the shadows at last.  Well, if anything does it, this
recording might. Like Jon, I was impressed both with the beauty of some
orchestral moments and with the overall execution of the project.  What
struck me most forcefully, however, was the extent to which Blitzstein's 
opera is a precursor to what we most value in modern musical theatre.

So much of it sounds like Bernstein for one thing. And for another,
Sondheim's sophisticated sense of irony, in which sweet music combines
with evil purpose and harsh lyrics, comes right out of Regina. This
opera is not for everyone, but I think those who give it a serious try
will not be disappointed.

I welcome any further comments, whether in private mail, or posted to the net.




Enjoy!!!

Danny


Newsgroups: rec.arts.theatre