HDTenEightyP/NetNews huggingface dataset:
From: lsnow@ncrclm.ClemsonSC.NCR.COM (Linda Snow)
Newsgroups: rec.arts.theatre
Subject: For Community Theatre administrators
Date: 6 Oct 92 13:40:07 GMT
Reply-To: lsnow@ncrclm.ClemsonSC.NCR.COM (Linda Snow)
Distribution: na
Organization: NCR E&M CLEMSON Liberty, SC

For those of you who are administrators, board members or volunteers
at community theatre organizations:

First of all, I would like to correspond with you on general problems and
issues of running a mostly-volunteer theatre.  Just send me an e-mail and
maybe things you'd like to talk about.

Second, a specific problem:  How do you handle your reservations/ticketing
procedure and also your mailing list.  Right now our ticketing procedure is
very cumbersome (even though we don't have reserved seats), in part because
we're trying to keep track of who comes so we can update/purge our
mailing list.  It needs to be rethought.  Recommendations?  Please tell me
how you do it and whether it works out.

THANKS!
Newsgroups: rec.arts.theatre
From: golds_ss@jhunix.hcf.jhu.edu (Stuart S Goldstone)
Subject: Re: Stephen Schwartz
Organization: HAC - Johns Hopkins University, Baltimore
Date: Sat, 3 Oct 1992 21:17:49 GMT

In article <1akdliINN9ti@usenet.INS.CWRU.Edu> by080@cleveland.Freenet.Edu
(Lynne A. Oconnell) writes:
>
>I'm a sucker for Stephen Schwartz's musicals, but the only ones I've been
>able to find on CD are Pippin, Godspell and The Baker's Wife.  Has anyone
>ever seen CD's of Working or The Magic Show?

	Soundtracks of WORKING are around, though I don't know if they are
on CD.  If you like Stephen Schwartz though, you might want to try the
(expensive!) CD of his last chow, CHILDREN OF EDEN.  It didn't do too well
in London (it never made it to the US), though in the CD booklet they claim
that's because it opened the same time as the Persian Gulf war.  (Yeah,
right.)  Anyway, there are some interesting songs...
-- 
         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          |
From: stranger@watnxt04.ucr.edu (Katherine T Lim)
Newsgroups: rec.arts.theatre
Subject: German recording of  "Phantom"
Date: 30 Sep 92 00:50:42 GMT


Does anyone out there know if there is a Berlin cast of
"Phantom" available?  I heard from someone that there
is a Berlin cast recording, apart from the Hamburg
cast.

				Kathy
From: cool@DPW.COM (Linda Cool)
Newsgroups: rec.arts.theatre
Subject: Re:  E.Y. (YIP) HARBURG
Date: 1 Oct 92 08:25:07 GMT

Newsgroups: rec.arts.theatre

Thomas Murray writes:

>>>Apparently [Harburg's] material tended toward social
>>>consciousness, which can be seen in his 1932 song with Arlen,
>>>"Brother, Can You Spare A Dime."

Yes, his material certainly did  l
				  e
				   a
				    n  in that direction. %*) ("Finian's
Rainbow", "Hooray for What", "Flahooley", etc.)  Bert Lahr said of him,
"Yip, you're just too foi-vuhnt [fervant]."  And re "Brother, Can You Spare
A Dime?" -- Jay Gorney was the composer (rather than Arlen).  Edelaine
Harburg, who was married to both Gorney and Harburg (albeit not
simultaneously), always avowed:  "I could never marry any man who didn't
write "Brother, Can You Spare A Dime".


>>>He eventually combined this with his
>>>sly sense of humor, which propelled him to great success in Hollywood
>>>and on Broadway at the time.

Until he was blacklisted.  Fortunately, Harburg had a continuing income
from song royalties.  Others weren't so fortunate.  Yip helped
quite a few of them.


>>>On a side note: There is an early Irving Berlin show called YIP YIP
>>>YAP HANK, or something like that.  "Yip" doesn't have any connection
>>>to E.Y. "Yip" Harburg, does it?

Yip (Yipper & Yipsel) were nicknames.  (During the 8 years I knew
him, I never heard anyone *ever* call him .... Edgar.)
"Yip" is short for "yipsel" -- the Yiddish word for squirrel.


Miscellaneous note:  Harburg also wrote "Lydia, the Tattooed Lady" for
Groucho Marx.  (The Film Censorship Board (what was its name?) wasn't going
to allow the song in the picture, deeming it too immoral -- which is why
Yip made an honest woman of Lydia in the final lyric -- wedding her to
Andrew Jackson.

Cheers,
Linda Cool


Newsgroups: rec.arts.theatre
From: director@casbah.acns.nwu.edu (Christopher Gaal)
Subject: Re: German recording of  "Phantom"
Organization: Northwestern University, Evanston Illinois.
Date: Wed, 30 Sep 1992 02:59:30 GMT

I'm not sure if there is a Berlin cast recording, but I have the Vienna
cast, if all you are looking for is a German-language recording.  It's 
quite good.
 
Chris Gaal
Radio/TV/Film,
Northwestern University
From: murray@aristotle.ils.nwu.edu (Thomas Murray)
Newsgroups: rec.arts.theatre
Subject: Broadway Bound ... (from Chicago)
Date: 1 Oct 92 14:48:47 GMT
Organization: The Institute for the Learning Sciences, Evanston, IL


Just got word that Steppenwolf Theater (Theatre?) in Chicago will be
sending another production out east, sometime next Spring (in time for
the Tonys, no doubt).  This production is an adaptation by director
Eric Simonson, called THE SONG OF JACOB ZULU.  Set in South Africa,
its a story about the trial of Jacob Zulu, in connection with a
bombing. 

Like GRAPES OF WRATH a few years ago, this show features many members
of Steppenwolf's acting ensemble, and includes music interspersed
throughout the production.  In this case, the music is all provided
ala Greek Chorus by the acapella singing group, Lady Blacksmith
Mombaza, a South African group best known for its collaborations with
Paul Simon.

The production was originally presented last Spring.  There will be a
short return engagement in Chicago in the late winter (February, I
believe), before it hits New York.

I was lucky enough to catch one of the sold-out original performances.
It easily stood out as the best/most powerful thing I saw last season.
I would strongly recommend it to those who might be able to catch it
in Chicago or New York.

-tom
Newsgroups: rec.arts.theatre
Subject: <None>
From: strauss@uncavx.unca.edu
Date: 30 Sep 92 08:38:14 -0500
Organization: University of North Carolina at Asheville
Nntp-Posting-User: strauss

THEATER may be more "correct" in the USA, but every THEATRE I've ever known has
used "re" instead of "er."  So, it is used, and by usage, will become
normalized.

But, I do like the response that it is "theatre" that is performed in
"theaters."

Bob Strauss
UNC-Asheville
Newsgroups: rec.arts.theatre
From: aku@leland.Stanford.EDU (Andrew Chia-Tso Ku)
Subject: Re: Assassins in California
Keywords: Assassins
Organization: DSG, Stanford University, CA 94305, USA
Distribution: na
Date: Tue, 6 Oct 92 04:41:46 GMT

In article <1992Oct6.004237.28553@henson.cc.wwu.edu> n9041679@henson.cc.wwu.edu (brian h. harper) writes:
>
>	Assassins is being done by a California theatre company this year,
>and I would like the theatre and dates, I might want to make a trip to see
>it. Also, if you have any ticket info, it would be appreciated. Thanks!!

It will be presented by the San Jose Civic Light Opera from 
January 15 to 30/93.  When I called several months ago, they said
that tickets would go on sale a month before performances began.

Administration: 408-297-8811
Box office: 408-971-1212

Andrew
From: lsnow@ncrclm.ClemsonSC.NCR.COM (Linda Snow)
Newsgroups: rec.arts.theatre
Subject: Re: directing
Date: 2 Oct 92 17:27:17 GMT
Reply-To: lsnow@ncrclm.ClemsonSC.NCR.COM (Linda Snow)
Organization: NCR E&M CLEMSON Liberty, SC

In article <1992Sep30.162920.2150@bvc.edu> schraderlori@bvc.edu writes:
>Help!  Does anyone know of a feminist one-act play that would be suitable 
>to stage at a small school.  I am an undergraduate in a directing class.  
>The class needs to stage a play for our final project.  The school has a 
>limited number of actors.  We can not use a set, only props.  The play 
>should run approx. 30 minutes.  Thanks.

There's a play called "Talking With" by Jane Martin, that consists entirely
of monologues by women, 11 of them.  It would probably run longer than a
one-act but you could pick out about half of them and just do those, they're
not related to each other plot-wise.  No set, just props.  I've seen it
produced and found it quite moving.
.
.
.
.
From: n9041679@henson.cc.wwu.edu (brian h. harper)
Newsgroups: rec.arts.theatre
Subject: Re: Disc tix - London
Date: 5 Oct 92 07:35:11 GMT
Article-I.D.: henson.1992Oct5.073511.17016
Organization: Western Washington University

ram@watson.bms.com (Gena Ram) writes:



>This may be a FAQ, if it is I apologize.  Is there anything in London like the 
>TKTS booth in NYC, or -- does anyone know of a way to obtain discounted 
>theatre tickets in London?

There is a Half-Price Ticket booth in Leceister Square that sells discount
tickets (day of show only). They don't, of course, offer tickets to the
big-name musicals, big-name star shows, or anything doing well. In other
words, if you want to see any of the above, don't bother with the booth. You
will be happy to know, however, that Theatre tickets are the one (and
possibly only) thing that isn't more expensive than in the U.S. The highest
price I paid while there 2 summers ago was 25# (~ $50) , and that was for
7th row center for Miss Saigon, brand new at the time, and with the original
cast.

Enjoy your trip, we're all jealous!

-Brian Harper



>Gena
Newsgroups: rec.arts.theatre
From: greg.grainger@rose.com (greg grainger)
Subject: Re: Spelling correctl
Organization: Rose Media Inc, Toronto, Ontario.
Date: Sun, 27 Sep 1992 08:06:42 GMT
X-Gated-By: Usenet <==> RoseMail Gateway (v1.70)


Date Entered: 09-27-92 03:01
As a follow-up to an existing thread:

E(><I don't know who did the spelling or typing for the name of this
E(><newsgroup.  Theater is spelled T H E A T E R.  Someone spelled it
E(><T H E A T R E.  I was just wanting to let someone know that it is
E(><hard to find if it is not spelled correctly.

E(>This was reviewed when the newsgroup was in the discussion phase.
E(>Majority feeling was that theatre refered to the art, and theater to
E(>the building, and thus the name was decided as it now exists.

EXCUSE ME!!!

For those of you without dictionaries or any knowlege of the rest of the
world:

'theater' is the *American* spelling, and is correct for either the art or
the building in *that* country;

'theatre' is the *Canadian* and/or *British* spelling, and is correct for
either usage in *those* countries (and others).

HAARRUMMPH!!!

Responses to alt.useage.english

                                                Cheers,
                                                Greg.

Greg Grainger in Toronto, Ontario.
11:14:53 pm on Sat 09-26-1992.
greg.grainger@rose.com
greg.grainger@bville.gts.org

Personal policy statement:
Neither flames nor flame-bait will be be responded to.
---
   OLX 2.2   A verbal contract isn't worth the paper it's written on.
   RM 2.00 : RoseNet<=>Usenet Gateway : Rose Media 416-733-2285
Newsgroups: rec.arts.theatre
From: bevans@carina.unm.edu (Mathemagician)
Subject: Re: Spelling correctly
Date: Thu, 01 Oct 92 21:36:16 GMT
Organization: Society for the Preservation of E. coli

In article <tapestry.717646084@camelot> tapestry@camelot.bradley.edu (Brian Petree) writes:
>Randy Sopicki writes:
>laviathen writes:
>>>I don't know who did the spelling or typing for the name of this
>>>newsgroup.  Theater is spelled T H E A T E R.  Someone spelled it
>>>T H E A T R E.  I was just wanting to let someone know that it is
>>>hard to find if it is not spelled correctly.

>>I hate to be a wet blanket but according to Webster's either spelling is
>>correct
>>                   theater or theatre.

>The THEATER is the place where THEATRE is performed.

Depends on if you're speaking British-derived English or American
English.

Specifically, British-derived English uses the "re" spelling for words
such as "metre," "centre," "litre," and, yes, "theatre."

American English spells these words in a more phonetic manner,
"meter," "center," "liter," and "theater."

My OED, Webster's, and Random House do not make any distinction
between a "theater" being the building and the "theatre" being what is
done in it.

Note, however, that the things done in a "theatEr" are "theatRical."

But that gets into spelling variants when stress changes....

;-)

-- 
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: wab@well.sf.ca.us (Doc Benzene)
Subject: Re: Lead Role Salaries
Organization: Hell Hole, Inc.
Distribution: usa
Date: Fri, 2 Oct 1992 06:22:33 GMT

In article <j1=p8=f@lynx.unm.edu> bevans@carina.unm.edu (Mathemagician) writes:
>In article <BvBKBJ.D6u@kato.BELL-ATL.COM> b1hg0jv@kato.BELL-ATL.COM (Benash) writes:
>>So, my next question would be what is the typical work habit/schedule
>>of say a lead role in a continuously running hit on Broadway?
>
>That all depends upon the contract that the person signed.

No, it depends on the Equity rules primarily.  You've got to
have serious throw-weight as a star to get riders in your
contract over and above Equity minimums.

>That is, most professional shows run on the "8 shows a week" attitude
>of once a night and a Sunday matinee.

Um, I think that's Wednesday and Sunday matinees and dark on
Mondays.  I'm pretty sure Equity requires a day off.

>Nobody works every show.

Some do.  Only the leads have regular understudies (pretty
much every role has emergency understudies, of course).  There
are usually some generic chorus understudies who get rotated
in regularly.  Actors with name roles who don't rate
understudies often work the full week for months at a stretch.
It's a killer load, but these people *want* the work.  The
stars don't get a day off all that often either.  What you get
are really flat mid-week shows, of course.

Newsgroups: rec.arts.theatre
From: sws8n@faraday.clas.Virginia.EDU (Stefan William Sittig)
Subject: Re: directing
Organization: University of Virginia
Date: Fri, 2 Oct 1992 19:27:05 GMT

In article <1992Sep30.162920.2150@bvc.edu> schraderlori@bvc.edu writes:
>Help!  Does anyone know of a feminist one-act play that would be suitable 
>to stage at a small school.  I am an undergraduate in a directing class.  
>The class needs to stage a play for our final project.  The school has a 
>limited number of actors.  We can not use a set, only props.  The play 
>should run approx. 30 minutes.  Thanks.

You should look into the play, "Abingdon Square" by Maria Irene Fornes, a  
well known feminist playwright.  It's about 45 minutes lons I believe.  It can be easily performed with just props and some costumes..if wanted.
				-Stefan
.
From: jliao@aludra.usc.edu (Jason Liao)
Newsgroups: rec.arts.theatre
Subject: Re: Les Miserables 3-CD Deluxe Edition
Date: 2 Oct 1992 22:18:47 -0700
Organization: University of Southern California, Los Angeles, CA
Distribution: na
NNTP-Posting-Host: aludra.usc.edu
Keywords: Les Mis, CD, cast recording

The complete symphphonic recording(3-cd set) of Les Miz is my favorite 
among all Les Miz recordings.  I have 3 other ones- London, NY, and 
French Original concept.

I prefer Garry Morris over Colm Wilkinson in the role of Valjean.  I like 
Kaho Shimada's role of Eponine the most.  Michael Ball's Marius is quite
enjoyable.  All of them appeared in the complete version.  If you don't
want to spend the 3 cd $$$.  Try the highlight of the complete version.
It's only one cd, and it contains the best parts of the complete version.


Jason
From: stranger@watserv.ucr.edu (Katherine T Lim)
Newsgroups: rec.arts.theatre
Subject: Re: misc.
Date: 5 Oct 92 21:40:11 GMT
Reply-To: stranger@watserv.ucr.edu


From what I understand, the "Phantom" movie is still on hold 
because they can't seem to find a director.  Joel Schumacher
was going to do "Phantom," but pulled out because, I believe,
he claims that he lacks the "artistry" to do such a project.  
"Les Miz" is having similar problems.  But according to guy
who was going to do "Les Miz," he's withdrawing from the 
project because of "artistic differences" with producer
Cameron Mackintosh.  The "Cats" animation with Steven
Speilberg is also on hold when Disney (I think that that's
the company to carry it) found out about the $30 million
budget ALW is proposing.  So pretty much, everything is 
on hold.  Hopefully, we'll see the lauching of these 
projects early in the new year.

				Kathy
				Stranger@watserv.ucr.edu

In article <199209221831.AA00300@world.std.com> tm3j+@ANDREW.CMU.EDU (Tariq  
Andre Mahadeo) writes:
> I have a few questions:
>    *1)How can I get a copy of the original Broadway cast recording of
> the musical Song and Dance starring Bernadette Peters?
>    *2)I'd like a list of any/all recordings by, or featuring, Patti
> LuPone.  (I know that she starred in the original American production of
> Evita, the Broadway production of Oliver!, and the London production of
> Les Miserables.)
>     3)I'd also like a list of any recordings featuring Claire Moore.  (I
> know that she was featured in the original london cast recording of Miss
> Saigon and an album titled Andrew Lloyd Webber - Essentials.  She was
> also the original alternate Christine for Phantom of the Opera in
> London.  In addition she replaced Ellen Green, the original star, as
> Audrey in Little Shop of Horrors.)
>     4)I've heard that a few musicals are being taken to the screen. 
> Phantom of the Opera will star Michael Crawford and Sarah Brightman. 
> Cats will become a cartoon by Steven Speilberg.  Les Miserables will
> also become a movie musical.  I'd appreciate any info.
> 
>                                     -- TARIQ
Newsgroups: rec.arts.theatre
From: conrad@brahms.udel.edu (Jon Conrad)
Subject: Nick & Nora -- revision details
Organization: University of Delaware
Date: Tue, 29 Sep 1992 20:33:31 GMT

As the TER "Nick & Nora" recording represents the show's running order
as it was at the official opening (though internal structuring of the
songs has been redone somewhat), and I came upon my Playbill from an
early preview last night, I thought there might be some interest in
comparing the two.  The left column comes from the playbill for the
first Saturday matinee after previews began in early October.  The right
column is what's on the CD.  Items on the same horizontal line
correspond in terms of plot function, characters performing, etc.

EARLY PREVIEWS                           FINAL VERSION
[no overture]                            Overture
Is There Anything Better Than Dancing?   [same]
Now You See Me, Now You Don't            Everybody Wants To Do a Musical
Not Me                                   Max's Story
Quartet in Two Bars                      Swell
As Long As You're Happy                  [same]
People Get Hurt                          [same]
Men                                      [same]
May the Best Man Win                     [same]
Detectiveland                            [incorporated into previous]
Look Who's Alone Now                     [same]
                                         Entr'acte
Class                                    [same]
There's More                             Let's Go Home
Busy Night at Lorraine's                 [same]
Boom Chicka Boom                         [same]
The Second Time We Met
Let's Go Home                            Married Life

Note that some of the numbers I've listed as being the same may actually
have had internal revisions to some extent.  And I honestly can't recall
if "Detectiveland" is any different now that it's simply performed as part
of "May the Best Man Win."  Also, it should be noted that "Married Life"
is a reprise of "Let's Go Home" with different words.

After I saw it, I found "The Second Time We Met" an embarrassment and
figured they'd cut it quickly; they did.  I also thought "Boom Chicka
Boom" was atrocious (even as a spoof of cheesy nightclub acts) and had
to go, but they kept it.  "Look Who's Alone Now" seemed rather weak for
the crucial Act I curtain, and a likely candidate for replacement, but
it's still there (its orchestration still has the half-finished sound I
noticed, with lots of piano, so I guess that's the way they wanted it).
And my favorite number of all, "Quartet in Two Bars," get replaced.  So
what do I know.

Jon Alan Conrad
Newsgroups: rec.arts.theatre
From: aku@leland.Stanford.EDU (Andrew Chia-Tso Ku)
Subject: Re: Sunset Boulevard
Organization: DSG, Stanford University, CA 94305, USA
Date: Sat, 3 Oct 92 00:37:25 GMT

In article <1992Oct1.132427.21238@syma.sussex.ac.uk> sfue5@syma.sussex.ac.uk (Andrew Richards) writes:
>Sunset Boulevard (Music by Andrew Lloyd Webber) is to open here in
>England in May next year. My question is this - does anybody know who
>the lyricist is? Lloyd Webber said about a year ago that he was working
>on it with an American woman - the first time he has used either an
>American or a female lyricist, but I don't know any more than that. If
>anyone can enlighten me I would be grateful...

book: Christopher Hampton
lyrics: Don Black
(the woman lyricist was fired quite some time ago)

I heard awhile ago that Hal Prince would likely be the director.

According to a recent Variety, the two main contendors for the 
Gloria Swanson role are Patti LuPone and Meryl Streep.  LuPone did
the role at ALW's Sydmonton Festival and was reportedly "stunning".
Kevin Anderson had the William Holden role.

Andrew
From: pjm6z@kelvin.seas.Virginia.EDU (Dave Lister)
Newsgroups: rec.arts.theatre
Subject: Re: Les Miserables 3-CD Deluxe Edition
Keywords: Les Mis, CD, cast recording
Date: 3 Oct 92 03:35:58 GMT
Distribution: na
Organization: University of Virginia

In article <2622@tredysvr.Tredydev.Unisys.COM> matt@tredysvr.Tredydev.Unisys.COM (Matthew G. Kile) writes:
>In article <2621@tredysvr.Tredydev.Unisys.COM>, matt@tredysvr.Tredydev.Unisys.COM (Matthew G. Kile) writes:
>> 
>
>Sorry about that, I thought I appended my text. Let me try again:
>
>
>Would anyone like to give a review of the 3-CD set of Les Miserables?  I am
>particularly interested in what is included beyond what is found in the
>2-CD Broadway recording and in the relative quality.  The 3-CD set cover says
>it has people pulled from all the major productions -- does this lead to 
>every part being over-done?  Does this joint recording sound like it flows   
>straight from the stage, or is it just a collection of songs? Finally, is
>it worth the extra $15-$20 for the extra CD?      
>
>Thanks in advance,
>
>Matt Kile (I do NOT speak for UNISYS Corp.)
>

The 3-CD set is one of my favorite CD's I have.  It contains the entire
show except for the now non-existant extended version of Little People.  If you don't mind having the entire show with all the filler songs then it is the 
recording for you.  However, most of my friends who like the show prefer their
London recording versions better because they can get right to the core
songs.  The voices on the 3-CD set are wonderful.  My favorite combination
is the girl from Japan singing as Eponine and Michael Ball singing as Marius.
If you don't want to pay the extra $$$ for the 3-CD set try to pick up the 
London recording as opposed to the Broadway version, there is a significant
difference in quality of voices.  Hope this helps.

Dave Lister
lister@virginia.edu
-- 
"On the one hand we have Holly a computer with the IQ in excess of 12 thousand
 who has a total grasp of astrophysics.  On the other we have Lister, who, and
 let's be fair, is a complete and total gimp."