HDTenEightyP/NetNews huggingface dataset:
From: by248@cleveland.Freenet.Edu (Christine Reynolds)
Subject: Re: Phantom of the Opera tour
Organization: Case Western Reserve University, Cleveland, Ohio, (USA)
Date: Wed, 29 Jul 92 12:18:01 GMT


The following information comes from _Phantom Notes_, an amateur
'Phantom of the Opera' newsletter of comment, issue #11, April,
1992.  Reprinted without permission (althought I'm sure the editor
wouldn't mind).

1st U.S. Touring Company--the Raoul Company--Kevin Gray, Teri
Bibb, and Keith Buterbaugh
Schedule:  August 9-Nov. 16, 1992--Boston
           Nov. 25-Feb. 20, 1993--Detroit
           March 2-April 17, 1993--Dallas
           April 27-June 12, 1993--Cleveland
           June 22-Sept. 25, 1993--Washington D.C.
           Fall 1993--Chicago
           Winter 93/94--Philadelphia
           Spring 1994--Boston
           November 1994--Denver
           April 1995--Atlanta

2nd U.S. Touring Comany--the Music Box Company
Schedule:  December, 1992--Seattle
           March, 1993--Portland
           April 1993--St. Paul
           July 1993--Pittsburgh
           October 1993--St. Louis
           November 1993--Cincinnati
           January 1994--Louisville
           February 1994--Tampa
           April 1994--Nashville
           June 1994--Houston
           July 1994--Costa Mesa, NM
           September 1994--Phoenix
           January 1995--Kansas City
           May 1995--Miami Beach
           Juy 1995--Colujmbus (oops--let's try that one again
           July 1995--Columbus

For updated information, send three first class tstamps to Phantom
Notes, 334A N. 71st St., Wauwatosa, WI 53213-3746 ans ad (ohboy!)
and ask for issue #12, which should be out in the next couple of
months.

Hope this helps!
-- 
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
From: nolan@tssi.com (Michael Nolan)
Subject: Re: Evita Recordings
Reply-To: nolan@tssi.com
Organization: Tailored Software Services, Inc.
Date: Tue, 21 Jul 1992 14:58:43 GMT

dehoff@ccscae.Columbia.NCR.COM (Stan DeHoff) writes:

>In article <1992Jul15.152442.27867@tssi.com> nolan@tssi.com writes:
>>morgan@socs.uts.edu.au (David Morgan) writes:
>>
>>>I saw a community theatre production of Evita last night.  I believe that its
>>>the first production in the world for community theatre.
>>     ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
>>I don't think so.  The Lincoln (NE) Community Playhouse staged Evita last
>>season.  It was a smash hit, they even ran a couple of extra performances and
>>STILL had people begging for tickets.
>>---

>I, too, had trouble with this statement.  The Lexington County (South 
>Carolina) Arts Association performed Evita back in 1989.  Could the original
>poster clarify this statement as perhaps I've misinterpretted it? 

I heard from the original poster by e-mail, and perhaps this was the first
community theatre production of 'Evita' in Australia?  It sounds like 'Evita' 
is making the rounds of community theatres, and I only hope that the other
companies can do as good a job as ours did.
---
Michael Nolan, nolan@tssi.com      "Freedom of the press is still alive in    
Tailored Software Services, Inc.    America, at the U. S. Mint"  (Gallagher)   
Newsgroups: rec.arts.theatre
From: scafati@thor.med.ge.com (Victor-charles Scafati 4-6784 MR Srv)
Subject: Re: Cosette vs. Eponine (was Re: Les Mis plot question)
Organization: GE Medical Systems
Date: Wed, 22 Jul 92 16:57:06 GMT

In article <l6ot2hINNjhq@girtab.usc.edu>, jimkelle@girtab.usc.edu (Jim Keller) writes:
|> In article <1992Jul21.021919.12384@dartvax.dartmouth.edu> csquared@coos.dartmouth.edu (Christopher M. Cohen) writes:
|> 
|> >Well, yeah except for the fact that every Eponine _I_ have seen or heard
|> >has WHINED throughout the entire show.  Not too becoming for my tastes.
|> >
|> 

I thought that the original Eponine in the Los Angeles production was quite
good.  I wish I remembered her name now...

-- 
________________________________________________________________________________
                        |     The views expressed herein do not     |    Fear
 Victor-charles Scafati |   necessarily represent the views of the  |     no 
 scafati@mr.med.ge.com  |  author, let alone his employer or client |    Art!
________________________________________________________________________________
Newsgroups: rec.arts.theatre
From: remcke01@ulkyvx.louisville.edu (Richard McKewen)
Subject: Re: Directing Yourself
Organization: University of Louisville
Date: Tue, 28 Jul 1992 19:14:09 GMT

In article <1992Jul27.204512.26429@murdoch.acc.Virginia.EDU>, rad2r@uvacs.cs.Virginia.EDU (Robert DeLine) writes:
> 
> 
> Hmmm... I presume you're limiting this advice to directing for the
> stage?  I for one think "Citizen Kane" is an excellent film and doesn't
> suffer from the fact that Orson Welles both starred in and directed it.
> Or maybe I have my facts wrong?
> 

Directing and acting simulataneously is entirely a different matter for
the film.  A few reasons....

(1)  Almost every frame is story-boarded out to begin with.

(2)  You have the opportunity for multiple takes of the same scene.

(3)  You watch the dailies as they come out.  If you don't like some-
     thing, you push the schedule back a day and reshoot the scene.

(5)  You have cinematographers and assistants galore to tell you if
     you're being stupid.

(4)  You actually do have somebody watching over your shoulder, giving 
     you (sometimes unwanted) feedback.  It's called THE PRODUCER.
 
------------------------------------->
Richard McKewen                                                   
University of Louisville                      
Internet:  remcke01@ulkyvx.louisville.edu  
Bitnet:    remcke01@ulkyvx                         CECI N'EST PAS UNE PIPE
                                     <------------------------------------
Newsgroups: rec.arts.theatre
From: conrad@brahms.udel.edu (Jon Conrad)
Subject: Re: Show Boat recordings?
Organization: University of Delaware
Distribution: usa
Date: Thu, 30 Jul 1992 16:32:46 GMT

In article <1992Jul28.020322.17564@panix.com> jeff@panix.com (Jeff Poretsky) writes:

>A couple of years ago the Paper Mill Playhouse in NJ had a production 
>of Showboat.  It was reccorded for PBS and they also had taped a recording
>session.  Was that ever released.  

The recording session they showed was for the EMI recording.  That was a
separate documentary after (or, in some locales, on a different night
from) the Paper Mill performance, which of course employed a totally
different cast, conductor, and text.

The Paper Mill production itself has not been released on video.  Nor,
in my opinion, should it be.  Its selection of songs from among all the
choices was reasonable, but the performances were broad and stereotyped,
and some of the singing was awful, especially Shelly Burch's Julie.

>I had heard the EMI 3 cd set and didn't care for it.

I'd be very interested to know why (especially as you apparently liked
the film about the recording sessions).  What do you find lacking in
this recording, or bothersome?  I've listened to it probably as often as
any recording I own, and the most negative thing I can say is that Nancy
Kulp's Parthy is unconvincing (but on records that's a minor nonsinging
role).  The rest of the cast seems ideally chosen, the conducting and
interpretations totally convincing.  I'm not meaning to be sarcastic
here -- I believe that yours is a genuine reaction, and I'm always
interested in learning more by understanding reactions opposite to mine.

Jon Alan Conrad
From: rjones@CORNELL-IOWA.EDU ("Rick Jones")
Newsgroups: rec.arts.theatre
Subject: Directing oneself
Date: 23 Jul 92 17:44:00 GMT

Joe Zitt:

I've tried twice to respond directly to you, with no success: messages
get bounced back to me flagged "unknown host".  So
we'll try the network:


>>>I'm in the tricky position of directing a dance/theatre performance that
I appear in (and also wrote, scored, designed, etc, though those aren't
significant to this problem). For those who have done that: How do you do
it? It's difficult to see/hear the scene from the audience point of view 
when you're in the middle of it.

>>>Any tips?

Can't say I've ever done it for quite so expansive a project, but I
have had to direct myself as actor on a couple of occasions.  Best
advice: avoid situations like this!!!  But sometimes it can't be
helped.  So I'd offer three suggestions:  1). work everything out on
paper before rehearsals.  Use models, graph paper, anything that will
help you visualize the stage.  So get blocking worked out early.  2). 
think a lot about how your character responds to what other people are
doing... concentrate even more than usual on staying in the moment and
reacting.  If you find yourself going in a direction you don't want to
go, chances are it's the cues (in the broad sense of that term) you're
getting from the other people on stage.  I know this is true for
acting -- how well it translates to dance, I couldn't say.  3).  find
someone, ANYONE, to sit out front and give you (privately) h/h
comments.  This needn't be someone who knows a lot about
theatre/dance, but it *does* need to be someone who is comfortable
enough with you to say "that scene sucks bilgewater" if in fact it
does.

Best I can do... break a leg.

Rick Jones
From: bevans@carina.unm.edu (Mathemagician)
Newsgroups: rec.arts.theatre
Subject: Re: playwriting
Date: 26 Jul 92 13:15:30 GMT
Organization: Society for the Preservation of E. coli

In article <Z4i5NB4w163w@zitt> joe@zitt (Joe Zitt) writes:
>wab@well.sf.ca.us (Doc Benzene) writes:
>> The intersection of the sets defining, broadly, computer folks
>> and serious, black box theatre types--especially directors,
>> actors, and playwrights--is essentially nil.

>It ain't necessarily so. In the small dance/performance group I have out
>here, half the performers are in the computer field (programmer, sysadmin,
>techwriter). In the group I had in NYC, we did quite a bit of the group
>communications via email.

>You just have to look in the right places.

Agreed.  As a founding member of The Etc. Players of Harvey Mudd
College (Etc. = Extremely Theatrically Confused), I have proof of a
*great*number* of techno-dweebs who actually understand what theatre
is all about.

(For those who don't know, Harvey Mudd is a Scienece/Engineering
school.)

And here at UNM, I was a Theatre Minor (Acting)/Math Major...the guy I
was dating was a CS Major/Theatre Minor (Lighting Design) till he
decided he actually wanted to graduate quickly whereupon he changed
majors to Theatre (and now, he's working for UNM for the computing
services...go figure.)

-- 
Brian Evans                |     "Bad mood, bad mood...Sure I'm in a bad mood!
bevans@carina.unm.edu      |      I haven't had sex...*EVER!*" -- Virgin Mary
Newsgroups: rec.arts.theatre
From: fontana@cis.ohio-state.edu (Mark Fontana)
Subject: Music Masters
Originator: fontana@iguana.cis.ohio-state.edu
Organization: The Ohio State University, Department of Computer and Information Science
Distribution: usa
Date: Thu, 30 Jul 1992 17:47:28 GMT



A few years ago, a friend told me about an outfit in New York called
"Music Masters", which reportedly carries some "hard to find" scores,
recordings, and videotapes.  I've never actually done business with them.

Just curious whether they're still in business and what their address is
(this week :).  Apparently they advertise in the New York Times.


Mark
From: rsopicki@pro-amber.cts.com (Randy Sopicki)
Newsgroups: rec.arts.theatre
Subject: Pia Zadora
Date: 22 Jul 92 23:17:04 GMT
Organization: Crash TimeSharing, El Cajon, CA

Has  anyone out in netland seen her show?
Newsgroups: rec.arts.theatre
From: bevans@carina.unm.edu (Mathemagician)
Subject: Re: Directing Yourself
Date: Sun, 26 Jul 92 13:29:24 GMT
Organization: Society for the Preservation of E. coli

As other people have mentioned, it's difficult to do.  I, too, have
done it three times and, fortunately, I was successful (according to
the reviews I received).

However, I get the feeling that one of the main reasons I was able to
pull it off was the plays I chose:

_Six Characters in Search of an Author_ where I played the Producer.
He doesn't do a lot on stage so it was easy for me to sit in the
audience to see what was going on and what it looked like.  The
character of the Producer is, essentially, that of the director for
the show in and of itself.  Yes, it was difficult and many in the cast
didn't think it would come off, but it did work in the end.

_Ah, Eurydice!_ (by Stanley Taikeff) where I played the part of Pluto.
Here, Pluto has two monologues (one at the beginning and one at the
end) and about 5 minutes of actual scenework with Orpheus, so again, I
could sit in the audience and do actual "directing" of the rest of the
play.  Having done a lot of "individual" scenework and monologues for
acting classes, it wasn't too difficult to get into the part on my own.

_The Duck Variations_ (by David Mamet) where I played the part of
George.  Here, while I am on stage constantly, I played it with very
little movement.  We did a lot of exercises for "getting old" for the
roles and I could spend time watching my opposite.

I might point out that for these last two, I had a friend essentially
"assistant direct" for me.  She gave me comments of "that's not
working" when it wasn't working and "that's great" when it was.

You mention that you're at a lectern reciting text while the bulk of
the movement is by others.  That will help as you can spend time
watching these other people.

One thing I would have greatly appreciated in all of these instances
is a video camera to tape the rehearsal and go over it.  That way, I'd
be able to "let go" a bit and still be able to critique the rehearsal.

-- 
Brian Evans                |     "Bad mood, bad mood...Sure I'm in a bad mood!
bevans@carina.unm.edu      |      I haven't had sex...*EVER!*" -- Virgin Mary
Newsgroups: rec.arts.theatre
From: lim@pecan.cns.udel.edu (Julie Lim)
Subject: Hugo's descriptions of Cosette and Eponine (was Re: Les Mis plot question..
Organization: University of Delaware, Newark
Date: Tue, 21 Jul 1992 07:07:26 GMT

In article <Brq2BD.40D@undergrad.math.waterloo.edu> ylnwai@cayley.waterloo.edu (Newton Wai) writes:
>
>	However, is the Eponine in the original novel as lovely as the one in
>the opera? And how is the original Cosette?


	Eh bien, chacun a` sienne. References are to the unabridged Signet
Classic translation:

	"[Cosette] was a noble, beautiful creature, with all the most
bewitching feminine outlines at the precise moment when they are still
combined with all the most charming graces of childhood-- that pure and
fleeting moment that can only be translated by two words: sweet fifteen.
Beautiful chestnut hair shaded with veins of gold, a brow that seemed
marble, cheeks like roses, a pale bloom, a flushed whiteness, an
exquisite mouth that gave off a smile like a gleam of sunshine and a voice
like music, a head that Raphael would have given to Mary, on a neck that
Jean Goujon would have given to Venus. And so nothing be lacking to this
ravishing form, the nose was not beautiful, it was pretty; neither straight
nor curved, neither Italian nor Greek; it was the Parisian nose; that is,
something sprightly, fine, irregular, and pure, the despair of painters and
the charm of poets." (pp 702-703)

	As for Eponine, she is first described in the eponymous chapter "A
Rose in Misery" as

	"...a pale, puny, meager creature, nothing but a blouse and a skirt
covered her shivering, chilled nudity. A string for a belt, a string for a
headdress, bony shoulders protruding from the blouse, a blond and lymphatic
pallor, dirty shoulderblades, red hands, the mouth open and sickly, some
teeth missing, the eyes dull, bold, and drooping, the form of a misshapen
young girl and the stare of a corrupted old woman; fifty years joined to
fifteen, one of those beings who are both frail and horrible, who make people
shudder or weep.... The most touching thing about it was that this young girl
had not come into the world to be ugly. In her early childhood, she must have
even been pretty. The grace of her youth was still struggling against the
hideous old age brought on by debauchery and poverty. A remnant of beauty was
dying out on this face of sixteen, like the pale sun extinguished by terrible
clouds at the dawn of a winter's day." (pp. 736-737)

	In my own whimsical opinion, I think the Baudelaire poem "A Une
Mendiante Rousse" describes Eponine perfectly. But that's probably just me.

-- 
MUDname: Sidera           "...If I seem to give a damn, please tell me. I would
University of Delaware      hate to be giving the wrong impression."
From: tcsg3046@uxa.cso.uiuc.edu (Timothy C. Sozen)
Newsgroups: rec.arts.theatre
Subject: Re: Directing Yourself
Date: 28 Jul 92 16:42:59 GMT
Article-I.D.: news.Bs3yFo.Mqp
Organization: University of Illinois at Urbana

> bprofane@netcom.com (Gert Niewahr):

>>>Do you see any self-directed
>shows above the semi-professional level?  No.

Rick Jones:
>NO??? Not often, perhaps, but I seem to recall several self-directed
> productions apiece by the likes of John Gielgud, Laurence Olivier,
> and Orson Welles.  I'll settle for being associated with such "amateurish"
>company!

Not to forget Charles Ludlam who wrote, directed, and starred!
From: carsontr@dgp.toronto.edu (Carson T Schutze)
Newsgroups: rec.arts.theatre
Subject: Mini-review of City of Angels tour
Date: 26 Jul 92 01:50:25 GMT
Distribution: na
Organization: CSRI, University of Toronto

The City of Angels tour passed through town this week, so I thought I'd post
a few thoughts, since we've heard that it hasn't been doing so well.  There
was certainly no evidence of that the night I went--the theatre was full,
and I didn't notice significant absenteeism after intermission.  I myself
enjoyed it thoroughly, although I must say that having seen the original cast
on Broadway and listened to the CD about a million times, I was disappointed
with a few aspects of it.

First of all, I was surprised to hear songs in the show that weren't on the
CD, given that it is not full to capacity and includes such things as the
playout.  For instance, near the beginning of act 2 Buddy and his guests sing
about each other.  A more significant difference is that the conductor took
almost every song significantly faster than on the CD, which made many of them
feel rushed to me.  I wonder if they were trying to keep the running time down,
since the show could feel long if one weren't totally engaged by it.

The biggest problem I had, however, was the singing of the leads, Stone
(Barry Williams, a.k.a Greg Brady) and Stine (Jordan Leeds).  I don't believe
I've ever heard two such nondescript (read bland) lead voices in the same show.
They weren't doing anything particularly wrong, just sounding like brown
wallpaper.  Certainly a let-down from Edelman and Naughton.  I suppose people
want to know about Williams' acting, which the Globe & Mail review panned as
wooden.  It didn't bother me, although he was inferior to Naughton in this
regard as well.  The pleasant surprise in the acting department was Charles
Levin as Buddy, who was easily as good as Rene Auberjonois, and sang better.
Unfortunately some of his lines were lost to poor diction.

Another problem was the sound mixing: the Angel City 4 were almost inaudible
most of the time, as was Williams' singing, whereas his voice-over dialogue
was unbearably loud.  The board operator must really be deaf.

Despite these nit-picky complaints, the show overall was fabulous.  The women
singers were all great.  The orchestra was great (lead trumpet in particular
added some nice flips and stuff).  The sets were, well, good, a bit flat
compared to the original.  Still, if you haven't seen it, go see it.

---------------------------------------------------------------------
Carson T. Schutze                 Dynamic Graphics Project
               			  Computer Systems Research Institute
(416) 978-6619			  University of Toronto
				  Toronto, Ontario, Canada   M5S 1A4

Internet:	carsontr@dgp.toronto.edu
UUCP:		...!{uunet, pyramid, watmath, ubc-cs}!utai!dgp!carsontr
From: pam@public.BTR.COM (Pamela T. Pon  pam@btr.com)
Newsgroups: rec.arts.theatre
Subject: Cameron Macintosh, MISS SAIGON, Webber, Sondheim on Bravo
Date: 28 Jul 92 08:06:10 GMT
Organization: BTR Public Access UNIX, MtnView CA.

Next Sunday 8-2-92 Bravo's late-evening SOUTH BANK SHOW profiles Cameron 
Macintosh, including clips of MISS SAIGON and interviews with Webber and
Sondheim.  (This is not to be confused with the early-evening SBS on the 
same night, which profiles Eric Clapton.)

pam@btr.com
From: larry@bradley.bradley.edu (L. D. Stratton)
Newsgroups: rec.arts.theatre
Subject: Re: Show Boat recordings?
Date: 30 Jul 92 17:25:50 GMT
Distribution: usa
Organization: Bradley University

In <Bs7nAM.Fr2@news.udel.edu> conrad@brahms.udel.edu (Jon Conrad) writes:
>In article <1992Jul28.020322.17564@panix.com> jeff@panix.com (Jeff Poretsky) writes:

>>A couple of years ago the Paper Mill Playhouse in NJ had a production 
>>of Showboat.  It was reccorded for PBS and they also had taped a recording
>>session.  Was that ever released.  
>The recording session they showed was for the EMI recording.  That was a
>separate documentary after (or, in some locales, on a different night
>from) the Paper Mill performance, which of course employed a totally
>different cast, conductor, and text.
>The Paper Mill production itself has not been released on video.  Nor,
>in my opinion, should it be.  Its selection of songs from among all the
>choices was reasonable, but the performances were broad and stereotyped,
>and some of the singing was awful, especially Shelly Burch's Julie.
>Jon Alan Conrad

   Jon,
     I totally agree with you on your assessment of Shelly Burch and
     the EMI recording.  In almost every recorded version and stage
     production I've heard the character of Julie is never quite 
     earthy or gutsy enough.  The contrast beween the uptempo "Can't
     Help Lovin Dat Man" and her later "Bill"  have got to be exactly
     that, a contrast.  I seldom hear it sung that way.

     In the Paper Mill production, I fell in love with the actress
     who did Queenie.  Do you know her name?  She was wonderful.

      ld
Newsgroups: rec.arts.theatre
From: golds_ss@jhunix.hcf.jhu.edu (Stuart S Goldstone)
Subject: Ellen Greene sings Peter Allen at THE BOTTOM LINE
Organization: HAC - Johns Hopkins University, Baltimore
Date: Fri, 31 Jul 1992 06:37:16 GMT




	Tonight I was lucky enough to see Ellen Greene at THE BOTTOM LINE in
NYC, singing a tribute to the late Peter Allen.  Actually, it was "Ellen
Greene Sings the Peter Allen Songbook"...  Ellen knew Peter Allen personally
and her singing was truly from the heart.  She was crying at several points
during the performance and the whole thing was very moving.

	If anyone here is from NYC, I suggest seeing her...  She's there
tomorrow (Friday) night too, shows at 8 PM and 11 PM, tickets $15.  THE
BOTTOM LINE is on W. 4th St.  We were almost expecting to see Liza Minelli
there, since she and Ellen Greene are good friends, and Peter Allen was her
ex-husband, but Liza wasn't there.  Ellen was wonderful, she is a great
performer and after seeing tribute tonight I really think she should put out
an album of Peter Allen's music.

	For those who don't recognize the name, Ellen Greene is best-known
for her performance as Audrey in LITTLE SHOP OF HORRORS, both in the
original Off-Broadway production and in the movie.
-- 
         Stuart S. Goldstone	      |      "Christianity is like a shoe;
Internet: golds_ss@jhunix.hcf.jhu.edu |	       if you don't fit into it,
       BITNET: golds_ss@jhuvms	      |	        we cut your toes off!"
         GEnie: S.GOLDSTONE1          |