Night On Broadway

Many years and musicals later, as a junior heavily involved with the musical program, my director came to me with an exciting proposition. She’d heard of a program that was being utilized all throughout the world: the International Thespian Society. As the class representative of the musical, she proposed to me that we look into the possibility of our school creating an official chapter of the organization.This program, which would allow students to win awards for hours put into the theatre arts, push themselves to obtain higher rankings on the thespian scale, travel to theatre competitions, and meet students just like themselves at sponsored conventions, was the perfect way for myself and many other students at my school to pursue their love for theatre year round. Being part of this prestigious program would help the musical program to expand by grabbing the attention of students schoolwide with the countless opportunities it offers. The strength of the International Thespian Society would provide a strong base of support for the future of our school’s musical program in a society that continues to cut funding to arts programs of schools

Professor Wolf is the author of Changed for Good: A Feminist History of the Broadway Musical (Oxford University Press, 2011), A Problem Like Maria: Gender and Sexuality in the American Musical (University of Michigan Press, 2002), and the co-editor of The Oxford Handbook of the American Musical (with Raymond Knapp and Mitchell Morris, 2011). She has published articles on theatre spectatorship, performance pedagogy, and musical theatre. Professor Wolf also oversees the Lewis Center’s Music Theater Lab and has experience as a director and dramaturg. Wolf holds a B.A. in English from Yale and an M.A. in Drama from the University of Virginia. She received her Ph.D. in Theatre from the University of Wisconsin-Madison. Recent publications include

Theatre and Musical Theatre has been a form of entertainment since before North America was “discovered”. Broadway shows have been dated back to the early 1920’s and 1930’s. By 2016, over 25,000 tickets are sold to Broadway shows in a week. Thousands of people enjoy the shows that are featured on Broadway but have no idea the work and process that brought it to life. The process of getting a show on to Broadway can be broken down into three phases: pre-production, staging, and performance/promotion.

The Bucks County School of Performing Arts is preparing to present 2017 Broadway Revue. Tonight was the night-dancers in position, the rest of the cast lined up backstage, band tuned and ready for the top of the show. My director gives the cue, “Lights on stage, open the curtain.”

At the age of eight, my mother took me on a trip to New York City. On it, I saw the Lin Manuel-Miranda show In the Heights. Unlike my eight-year-old self, my mother loved performing arts, and she occasionally played CD’s from musicals in the car, which I groaned about. Given this, it is not hard to imagine I was less excited than the average person to see a broadway show; however, when my mother mentioned, “Chad from High School Musical is in it,” I perked up. As I walked into the theatre, my attitude improved again from the astonishingly vast house, filled with endless rows of red, velvet chairs leading towards an expansive stage trimmed with gold. Nevertheless, I still did not appreciate the opportunity to witness a Tony Award-winning musical, as I would in three hours. When the lights dimmed, the whole theatre fell silent, yet still buzzed with anticipation.

The performance is part of “Seussational,” a year-long study of Dr. Seuss and the arts, funded

Smithville High School presented two winter concerts. I got the opportunity to view both performances. The first show was by the Vocal Music Department directed by Mr. Marcus Duncan and aided by accompanist Emily Rowland, and the second show was by the Jazz Ensemble and Symphonic Band conducted by Mr. Tom Brockman and Ms. Brittany Terwey. There were very similar aspects of the two concerts and very different aspects of the two concerts.

The Tecumseh Center of Arts (TCA) was an anonymous gift to the community in 1981, and since then it has hosted many orchestras, dance performances, and play performed by local actors and performers (KJ Marketing). Among those who use the center’s facility is The Tecumseh High school’s drama club, whom consist of aspiring high school students (KJ Marketing). I identify with these aspiring students and am pleased to assist in funding their place of performance.

Come and see Hinsdale Central’s 2015 freshman play, Just Another High School Play. Directed by Mr. Chris Kostro, opening night is Thursday, Oct. 8 at 7 p.m. in the auditorium.

The Senior Show is a relatively new concept at Pinecrest High School, where the seniors, and only seniors, who are part of the theater department produce, direct, cast, and star in a single play completely by themselves. This year the seniors chose to work on a play called Almost, Maine, by John Cariani. The show was performed on May 12, beginning at 7:00 pm.

Regional Theater – How To Succeed, Les Miserables, 9 To 5 The Musical, Sabellico, GREASE, Baby Case, A Funny Thing Happened, and much more.

If you enjoy theater, or want to help contribute to arts in education, a visit to the Orpheum Theatre is a must. There are usually broadway style shows going

From the Ancient Greeks, to the Romans, and all the way to present day New York City, theatre is a tradition that has been passed down for thousands of years. The art of expression through live performance is something that will never go out of style. The history of Broadway is a rollercoaster with flourishing highs and devastating lows, but they both have significantly contributed to shaping the industry into the prosperous business that it is today.

There I stood a short, chubby eleven year old boy ready to take on the world of professional theatre. Looking back now I realize that I had no clue what I was getting myself into, but at the time I thought of myself as “Broadway Ready.” As I wandered through the densely packed hallways I would brush past all of the equity actors, they would smile at me or make comments such as

has been recognized as a new kind of musical play that denied its Broadway audiences many of their most treasured traditions, says David Ewen in American Musical Theatre. There was no opening chorus line, no chorus until midway through the first act, in fact. There was rather a serious ballet and other serious overtones, including a killing in act two. The story, which was so simple, seemed to engage the audience in more than mere evening diversion. (248) These changes, far from disappointing to viewers, were upheld by a success that had never been seen in the history of musical theatre.