Musical film

March of 2017 brought snow, rain showers, and a great musical to Hillsdale College’s campus. This semester, the Hillsdale College theatre department performed a magnificent rendition of the classic 1950’s play, Kiss Me Kate. Thanks to my core class’s requirements, I was blessed with the golden opportunity to see a marvelous musical that brought me much joy. What is interesting about Kiss Me Kate is that is a very complex play. In fact, there are two striking aspects of the play that stand out. First

to connect classical music with animations. Directed by James Algar and released in 1940, this movie was the first of its kind, using classical music and creating scenes with animations around that music or vice versa. This movie contains eight musical segments all narrated by Deems Taylor with different music and animations like Mickey Mouse, fairies, flowers, dinosaurs, figures from mythology, animals, and spirits for each of the scenes. As

University Department of Performing Arts’ production of No, No, Nanette is a musical comedy originally written, in 1925, by Otto Harbach and Frank Mandel; original music by Vincent Youmans; lyrics written by Irving Caesar and Otto Harbach; and adapted and directed by Burt Shevelove, in 1971. Performed at AU’s Greenberg Theater, No, No, Nanette was directed by Karl Kippola and music director Brandon Adams. By bringing the musical No, No, Nanette to life, Karl Kippola hopes to hare with his audience a form

The actors and actresses did well in their assigned rolls and I wish I could congratulate them on finishing the run. They worked together very well in all of the group musical numbers regardless of how hard they can be to coordinate at times. If I had to rate this performance of the musical it would get a 9/10. The acting, singing, costumes and costume changes, scenery and of course, the plot, are all wonderful and this is a must see. The only thing lacking was the cues and lighting

Chicago is a satire on corruption, manipulation, the media and the concept of the “celebrity criminal”. Choose one or more of these ideas to discuss, making reference to key scenes and lyrics. Chicago is an American musical which has been running for 42 years, making it the second longest running Broadway show of all time. Chicago is set in the fast paced, glamorous era of the 1920’s, and follows the story of Roxie Hart, a young woman whose life-long dream is to be a star, but finds herself imprisoned

discovery: a musical one. Students have found a way to exercise their right of freedom of speech through performing musical numbers during class. Although only a select few are confident enough to perform in front of such an audience, if a student starts playing, the teacher will automatically stop the class so that the rest of the students can focus on what is truly important. The new genre is called gurglespla and the number of followers are growing by the thousands per minute. The musical stylings

history of musicals on stage is broad and extensive. There are many different histories of stage musicals: French operettas, Grecian plays, and Roman comedies are just a few. However, I am going to focus on American musicals. The musical that many Americans are familiar with has its roots in the French and Viennese operettas of the 1800s, but take their comic style from American Variety and Minstrel Shows, which led to Vaudeville and Burlesque shows. Known to be the first American musical, “The Black

The paradoxic realism that defines Jacques Demy’s film The Umbrellas of Cherbourg is evident even in the title sequence. Pastel umbrellas dance over the cold gray sidewalk, falling in and out of perfect symmetry. People walk to work, to school, no doubt grumbling that they are caught in the rain. Life goes on, but a mundanity of life suddenly becomes worthy of Michael Legrand’s sweeping orchestrations. In contrast, Hollywood musicals made it their job, their purpose to make people forget that the

Additionally, the film is a love song to spectacle, to all forms of spectacle, including cabaret, opera, musical comedy, dance, to theater, and, of course, film. As Stuckey points out, “the cabaret acts, especially the (in)famous can-can, but also the drama ‘Spectacular Spectacular’, provide frenetic musical numbers for Moulin Rouge! that serve to amaze the audience.” The can-can dance is a flurry of legs and petticoats thrown up in the air, edited with a fast pace to convey the excitement Christian

assessment of the musical performances on Glee correct? Discuss the interplay of melodrama, irony and intertextuality in Glee. Your essay should contain detailed analysis of at least two scenes from Glee’s 1st season. Your essay should also make reference to your core course readings on television and postmodernism. Due 14 September their true voice; and this one was, to me, ultimately about the series demonstrating its own voice and its space within the world of contemporary musicals. I don’t know