The Dynamic Partnership Of Richard Rodgers And Oscar Hammerstein

“Native Son” composed by Richard Wright was revolved into an American drama picture in 1986 by director Jerrold Freeman. This piece caused a lot of controversy on whether the protagonist, Bigger Thomas, is guilty or innocent in the unfortunate events that have occurred. The purpose of this argumentative essay is to examine Richard Wright’s film adaptation of Native Son and prove his innocence based on how society deceived and deprived African Americans, his living and social environment, and his fears.

One of the Great Classics of the last 100 years has been The Wizard of Oz. Nearly everyone has seen it and if they haven’t seen it, they’ve heard about it. The Wizard of Oz has been considered a vividly imaginative work of fantasy in both its book and movie form. When the movie came out in 1939 America had its eye turned to the rest of the world as World War 2 unfolded yet it still captured the attention of many with its use of the new technology Technicolor and its fantastic story. At the time no one had ever considered it to be anything more than a work of fantasy, however as the years have gone by people have begun to notice certain aspects of the movie that relate to a time and eventually a movement that developed earlier in American history.

At the end of World War I, an excited America was poised for a cultural renaissance; patriotism was on the rise, the strong concept of Manifest Destiny had passed its peak of influence, and, most importantly, there had not been a clear shift in culture for decades. The Jazz Age of the 1920s was about to dawn, bringing with it youthful, risqué morals and a carefree look on life. From these ideals, a new, strongly American form of entertainment would emerge: musical theatre. Most commonly found in New York City on Broadway even to this day, musical theatre became an escape from reality and an entry into the imagination. The grand and splashy components that make up what is considered a classic Broadway musical can ultimately be traced back to Cole Porter. Porter’s writing, albeit at times controversial or raunchy, was able to harness the frantically beating heart of the Jazz Age and turn it into treasured shows. Using his unique melodies, romantic or idealistic lyrics, and his pioneering of writing about the human experience, Cole Porter shaped American music and theatre from the 1920s through the 1940s.

For this assignment. I will be talking about the original musical performance of 42nd street. I will present the conditions of the stage and setting for the original stage performance. In this, I will talk about the plot and the characters of 42nd street, how the plot progresses and how each character has their own purpose in the story in comparison to each other. I will talk about the underlying themes of 42nd street; how these themes are important

Today, I am seeing “Rodgers and Hammerstein’s Cinderella”, starring Brandy and Whitney Houston. I am viewing this in M.O.T Charter High School’s theater classroom. I am seeing this with my fellow theater classmates. Although I have seen this film before , I am very thrilled to hear Whitney Houston and Brandy sing “Impossible/It’s Possible”! The three elements I am discussing in this piece are costuming, set, and singing.

Theatre has evolved over the many years. As it has grown, it moved to include more diverse performers, crew, producers, and audiences. This is an exploration of the expansion of diverse theatre.

For this music analysis project, I would like to discuss the oral nature of the legacy of Appalachian music. I would like to complete this project to bring attention to the amazing history of Appalachian music and the distinct ways it lives on. I plan to use research to study the different manners in which Appalachian music has continued to survive throughout the years despite the general modernization of the world.

The end of the 1920s was known for the ending of the silent film in Hollywood. With the advancement of sound technology, it has transformed the way we view films in today’s world. It all began with a film called The Jazz Singer, directed by Alan Crosland, starring Al Jolson, Warner Oland, and May McAvoy. The film is about a little boy named Jakie, whose father is a Jewish cantor, and he defied his father by not wanting to follow the family tradition of cantors. He wanted to be a performer, specifically, a jazz singer. One day, he was discovered by his neighbor Moisha and thus he got beat up and kicked out of the house. Jakie vowed to never return home. A decade later, Jackie is a performer with the help of his lover Mary with a new identity by the name of Jack Robin who wears a black face when on stage. One night, his father fell ill and was asked to sing at the synagogue, however, it fell on the same day as his opening show on Broadway. Jakie had to make a tough decision choosing between his family or his career.

the training ground and inspiration for the birth of the American musical. As the primary

Oklahoma! The first collaboration of Rodgers and Hammerstein was entitled Oklahoma! The idea of the musical came from a play called Green Grow the Lilacs, written by Lynn Riggs in 1931. This story is about the state of Oklahoma at the turn of the century, when the Indian Territory joined the United States. It is the story of a girl named Laurey Williams and her (sort of) love triangle with two boys by the names of Curley McClain and Jud Fry. Laurey is in love with Curley, but she attends a dance with Jud instead. At the dance, Curley surprised Laurey by bidding an enormous amount on the basket of food she has prepared. They soon marry, and after the wedding, Jud starts a fight with Curley, but he

musical talent came honestly. His father was a mellophonist and his mother was a pianist.

Goldberg, Isaac. George Gershwin; a Study in American Music. New York: F. Ungar Pub. 1958. Print.

His father kicked him out at the age of thirteen as he father was not approving of who his son was as a person, homosexual. Their relationship was never restored as his father was killed by being shot out in front of a local bar when Richard was only nineteen. Although all of that took somewhat of a halt on Richard’s childhood, he did continue to do things he enjoyed, which was singing and performing. He first started performing at his church, which is where his gospel feel came from. Richard was also adopted at some point in his life and that family owned a club which he would also perform at.

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.

“D.W. Griffith was the first American director to be as well-known as the films he directed, and he was among the very first to insist that filmmaking was an art form” (Lewis 53). This statement is very true. However, the inherent discriminating content in some of his movies also made him one of the hardest to appreciate. One of the most famous examples was The Birth of a Nation (1915), which was in favor of the Ku Klux Klan. After a few more controversial movies, he finally tried to redeem his reputation with Broken Blossoms (1919). Broken Blossoms is Griffith’s attempt at an apology in the portrayal of minorities and the idea of miscegenation within The Birth of a Nation in the midst of a troubling society heading towards the anti-miscegenation law.