Huntington Beach Play House Mood

The less there was on stage allowed the audience to focus more on the play. The characters pantomize many of the things they do. The paperboy throws imaginary newspapers and the children eat imaginary food. The pantomizing allows the audience to create their own props. For example, the audience does not know what the mother is cooking.

The original songs in the musical include Magic to Do, Corner of the Sky, Welcome Home, War is a Science, Glory, Simple Joys, No Time at All, With You, Spread a Little Sunshine, Morning Glow, On the Right Track, And There He Was, Kind of Woman, Extraordinary, Prayer for a Duck, Love Song, I Guess I’ll Miss the Man, and Finale. These are the songs Schwartz designed to be catchy, different, and exciting.

Then, it comes out of nowhere. The biggest climax, suddenly brought on like a wave crashing against a cliff’s edge. The oboe melody recurs again, this time less sorrowful than inviting. Come back, it sings. And the flute comes skipping over the sound, the sun rising from behind black clouds. But the melody it plays sounds out of place, lower than and not as bright as what it could be. My fingers twitch, following the flute countermelody as if I were up there playing with them—as I should be.

The beginning of the play starts with a soft, sweet, flute medley that announces Willy’s gradual trek home from Yonkers. This slow tune of confusion ends abruptly as Willy comes

Soon Connie is forced back into reality when she is confronted by a man named Arnold Friend who symbolizes her downfall. Throughout the whole story music is being

In the play, there is no such music or sounds to help portray the emotions of the characters. You only get to imagine how the characters are feeling based on your common

During a later part of Scene Two when the cast is dancing the movements match the music, they appeared to be doing the Waltz, so the music had abrupt changes. In Scene Three: Cadiz, the orchestra plays some sad and somber music at the beginning. As the scene progresses the music goes from dark and dismal to happy and cheerful. During one of the songs of Scene Four: Paris the Old Lady, Cunegonde and Candide were discussing a flight and the music being played by the orchestra matched the lyrics bringing the idea of a flight to life. The Old Lady has a mezzo soprano voice she executes all of her notes well in the song. At the end of scene three Candide, Cunegonde, and the Old Lady leave to go to a new place and in the song they sing there are rounds, which were well executed. It helped change the mood again which brightened up the audience.

Oats portrays this story in a peculiar manner, especially with the lack of consistency that the mood is built upon. The beginning of the story is established with a rather heavy-hearted nature of the mother and Connie’s relationship. Connie describes her mother and explains that she “makes her want to throw up sometimes”, this is following the rude comments that Connie claims her mother makes, “Stop gawking at yourself? Who are you? You think you’re so pretty?” (Oats) This beginning mood is then hastily pushed aside when the story begins to become centered upon Connie and her friends. The mood becomes light, airy, and fun. They are all enjoying the music that was playing, and they were all having an enjoyable time. “They sat at the counter and crossed their legs at the ankles, their thin shoulders rigid with excitement, and listening to the music that made everything so good: the music was always in the background, like music at a church service; it was something to depend upon.” (Oats) These quick and uncalled-for mood swaps create a disconnect from the story due to the abrupt nature of it. This issue could have been fixed had Oats used more concise and fluid transitions. This gives the reader time to understand and adjust to the different settings and moods.

The use of music is a key to determining if a film is in the musical genre. Not only are songs used to further the story along in a musical, but they also have the ability to put the audience in the emotional state of the character singing. Song has always been used as a good conductor for emotional understanding. For example, during the song "You Were Meant for Me" in Singin’ in the Rain, Don Lockwood is able to confess his love to Kathy Selden in a way that feels magical and shows a connection between the two would be lovers. Also, the song “There Are Worse Things I Could Do” in Grease is able to betray the emotional depth of the character Rizzo’s fear, shame, and anger. At the time this film came out, topics such as teen pregnancy were not generally presented in films. By having this character sing her issue, the audiences, who may have dismissed her outright for her actions, are able to sympathize with her plight. Moreover, in Rent, the song "I'll Cover You" by Angel and Collins allow the viewer to get caught up in this young couple's relationship without having to worry or even consider that this is a gay couple.

They set the mood and give you different vibes. In Zeffirelli’s version the music is old timey and there’s a guy singing while Romeo is going up to Juliet which sets the romantic mood than a different vibe. In Luhrmann the music is r and b and there’s also someone singing which sets a more low vibe to it. Zeffirelli doesn’t really adapt Shakespeare’s language but he does reduce some lines and adds. Luhrmann on the other hand adapts Shakespeare’s language alot by cutting it and sometimes it was way different than the book.

The music is suspenseful and the trumpets are very prominent. The dissonant music continues as McPherson walks around Laura’s apartment. During this part, the clarinet can be clearly heard, then the tuba. The dramatic music picks up as McPherson rummages through Laura’s desk. The music crescendos as he gets up from the desk in a uproar.

His frustration becomes evident when he tells a student to give it up (referring to her horrible clarinet playing). Feeling guilt and shame over this statement he then begins a new

Throughout the song, you can only hear a man’s voice, with the piano holding the melody of the song. Due to the audience only hearing two sounds, it allows us to focus on the piano’s melody. The music’s soft sequence of notes, reminds us of the love, sorrow and pain being depicted throughout the scene. However, the slow tempo of the music draws out the feelings of sorrow and pain to contrast the love that is being displayed within this scene. Various places throughout the song an accent can be heard on certain notes that the piano plays.

The use of the flute in the play, Death of a Salesman, by Arthur Miller enhances the work’s meaning and heightens the literature’s level of art. Throughout the play, the flute makes numerous appearances, each time bringing much symbolism to the scene. The flute represents Willy, the protagonist's, memories of his father. As the play begins, flute music plays symbolizing Willy’s overwhelming life as well as his abandonment issues. The flute appears again and portrays Willy’s father’s haunting him. In Act II, the flute resurfaces to portray the hardship Willy faces as a result of his father’s leaving him isolated. As the play comes to a close, the flute music plays for the last time to finish the ongoing theme of desertion that Willy feels. The symbol of the flute in the play greatly enhances the plot and adds another dimension of art to the play.

Tchaikovsky’s climactic music plays in the background as Nina takes out the broken piece of mirror from her stomach. Her fear of disappointment and death has been relinquished as she’s already travelled to her personal hell. Andrew takes initiative and plays the chart he never was able to perform. Thomas looks on in awe. Fletcher initially looks on with