It was on March 31st, I went to see The Forbidden Broadway starting at 8pm at the Seminole Theater, located in Homestead Florida. Forbidden Broadway is a parody of classical movies and Disney cartoons. Therefore, it tells you it is going to be a comedy show. This shows was written in 1982 by Gerard Alessandrini and it is performed every year. This musical comedy is also updated every year. And some of the performers, who are excellent and well know performers were Gina Kreiezmar, Kevin McGlynn, Jeanne Montano and Graid Laurie. The one thing that I did not like with the performance note is because it did not list any of the plays that were going to be played or gives any summary about the plays. And I did not really like that and I was like maybe because it is a popular show, so people might know what it is going to be about. Anyway, it should have a kind of summary to let people know what will be performed. …show more content…
Because I came a little bit earlier around 7:25,so I went in the waiting room where I started to scan the program notes just to get an idea what was going to be performed and when the time has come for us to get in.The room looks okay and the decoration was simple. The theater stage design was uncomplicated. The large size of the words: Forbidden Broadway was written in a part of the curtain. The only thing that made me feel weird, but not uncomfortable is that because I was the only black around all of these white people and this feeling of weirdness went away when I saw only three other back people in the room, so in total we were only four black
The production had many elements which for the most part formed a coalition to further the plot. The characters, the three part scenery and costumes represented well the period of time these people were going through. As far as the performers entering and exiting the stage, it could have been more organized. There were a few times when the performers exited at the wrong times or it seemed so due to the echo of the music. At certain moments the music was slightly loud and drowned the performers. Many of the songs dragged on, so the pacing could have been more effectively executed. Though the music was off at times, the director's decision to have most of the songs performed center sage was a wise one. Also the implementation of actual white characters that were competent in their roles came as a great surprise to the audience and heightened the realism.
Walking into the Grieb Theatre with both skepticism and little knowledge of the play that I was about to see, I exited with a little connection to some of the actors and a sense of mild disappointment from the play, although I thought to myself how difficult it must have been for the actors and the director to constantly feel the pressure about bringing up a topic of racism and discrimination to the community audience.
On Saturday, December 21 at 8:00 p.m., I saw the play Wicked in Chicago at the Ford Center for the Performing Arts with my family. I had always heard how spectacular the play was. My parents even saw it on Broadway in New York years ago and absolutely loved it and wouldn’t stop talking about it. Well let me tell you, describing Wicked as being a spectacular show is dead on, maybe even an understatement. Wicked was by far one of the best plays I’ve ever seen! Between the actors, lighting, scenery, and music, it was an amazing show and grabbed your attention at all times. I would highly recommend seeing this phenomenal production to all ages!
The classic film 42nd Street (1933), directed by Lloyd Baken, follows the coming-of age story of breakout Star Peggy Sawyer in Julian Marsh 's Pretty Lady musical production at the height of the Great Depression. Marsh needs to make enough money for retirement and is on the edge of another nervous breakdown. According to Chapter 3 entitled "Musicals," classical Hollywood Musicals are a form of escapist entertainment, coping with war, depression, and re-building. Most importantly, they were constructed to be pleasurable for film viewers and thus it was vital that the narrative resolved. In the lecture, Gillian states that the classical narrative counters verisimilitude, the appearance of realism. The ideological subtext of the Hollywood Musical
The audience, for the most part, seemed to be made up of college students attending for the same reasons as myself. However, there were some audience members who are part of older age groups in the audience. They were there only seeking a good performance and a great time. These older age group audience members were located mostly in the center section of the theatre seated in the first few rows. The dress was more casual among the students but dressier for the older people. Some people were in jeans and a T-shirt, including myself, while some wore nice clothes. The audience rewarded each soloist with a warm ovation of applause after their turn was finished. This led me to believe the audience enjoyed the performance and was very respectable to the performers.
Chicago is an American musical with music by John Kander, lyrics by Fred Ebb and a book by Ebb and Bob Fosse. Set in Prohibition-era Chicago, the musical is based on a 1926 play of the same name by reporter Maurine Dallas Watkins about actual criminals and crimes she reported on. The story is a satire on corruption in the administration of criminal justice and the concept of the "celebrity criminal." Fred Ebb explains: “So I made it [Chicago] a vaudeville based on the idea that the characters were performers. Every musical moment in the show was loosely modeled on someone else: Roxie was Helen Morgan, Velma was Texas Guinan, Billy Flynn was Ted Lewis, Mama Morton was Sophie Tucker,” (Kander, Ebb, and Lawrence 127). Velma indeed is a reincarnation of Texas Guinan who “acted as hostess…for the entertainment…she was also a born press agent, constantly inventing stories and promoting herself,” (Slide 218). Roxie’s “Funny Honey” Amos is eerily reminiscent of Helen Morgan’s “Bill” from Kern and Hammerstein’s 1927 classic Showboat. Amos, too, in his “Mr. Cellophane” number, imitates Ziegfeld Follies star Bert Williams’ iconic hit “Nobody” “right down to Williams’ famous costume of oversized clothes and white gloves,” (Miller).
This 1950's theatrical presentation was directed by Elia Kazan and written by Tennessee Williams. It is about a southern bell by the name of Blanche Dubois who loses her father's plantation to a mortgage and travels to live in her sister's home in New Orleans by means of a streetcar called Desire. There she finds her sister living in a mess with a drunken bully husband, and the events that follow cause Blanche to step over the line of insanity and fall victim to life's harsh lessons.
When I went, I had gotten there just in time. There were three women there that had an extra ticket, and to top it off their tickets/seats were in the front row center. So I had a very good view. As I sat down, I noticed on the stage one of the actors. He was Jack for "Jack in the Bean Stalk." Jack is one of the teachers at Ursuline Academy, Dale Mason. He was not my teacher, but I did know him. I thought that that was pretty cool.
Human conflict is ever-present in sex and desire. But, not until the streetcar named Desire was first shown in 1947 had the corporeal act of sex been so openly depicted on stage as a basis of dominance and power. The streetcar in the New Orleans Street, Elysian Fields, is an urban harsh world, where the laws of nature are the enduring rules of engagement. As the wild sex and violence are intimately connected, Intercourse is a product of aggressive dominance, competition and submission to a certain extent than romance. Although Williams repeatedly claimed that his piece cautioned against the world where brutes were permitted to reign, the play 's end, shows the sexually imposing dominance placed upon Blanche by Stanley, whom demolished her illusions
A Streetcar Named Desire written by Tennessee Williams is about a women named Blanche who goes to live with her sister Stella and her husband Stanley. Blanche has begun to mentally deteriorate due to all the stress, sadness and disappointment she has dealt with throughout her life. Blanche had lost her husband, lost Bella Reave which was a place the family had owned since they were young girls and has lost in a sense self-respect for herself. Tennessee Williams was born in Columbus, Mississippi in 1911. A Streetcar Named Desire was written when America was going through the Depression and World War II. It was Tennessee’s way of showing realism into the play. In this paper, I am going to talk about the symbolism, theme and the characters of
In Tennessee Williams’, A Streetcar Named Desire, Blanche represents the Old South while Stella and her husband Stanley represent the New South. Throughout the play, we see how Blanche of the rich plantation in Mississippi Belle Reve is the complete opposite of Stella’s husband Stanley. Blanche representing the Old South, is used to her lavished lifestyle of living with money, she is legitimate and is constantly asking about her appearance. She shows off her wealth and is very serious about her manners. While Stanley is vulgar and judges women based off of their looks, using his own perception to decide how he should smile at the woman. Blanche’s last name is Dubois, her name shows specifically why she is grouped under or represents the Old South. The Old South, which was racist, Blanche’s name and appearance segregates her faint idea that whites are greater than blacks. Stanley has an “animalistic” attitude and he is disturbing to Blanche. The Old South and New South are very similar but they also contrast each other in many ways.
Musical theatre is a type of theatrical performance combining music, dance, acting and spoken dialogue. West Side Story is a classic American musical based on the classic story "Romeo and Juliet". The through-composed score and lyrics are used to portray different characters and their cultures, the rivalry between the Jets and Sharks, and the emotions felt as the story progresses. However, we should inspect how the musical film through its music, its dances, its romantic melodrama, and its exoticism of cultural differences distracts from the racism in it. How does it attract, interpellate, and position ideologically the perceiving spectator — whose social construction of reality and racial differences belong to the U.S.A. — by spatially dividing
In literature, texts often allow the reader to escape from a world of reality. However, as I will explore in this essay, many texts explore actual characters and their conflict with the imagined. It is evident that such themes are strongly present in The Great Gatsby, A Streetcar named Desire, and from selected works of John Keats. One reason why these texts are so effective is due to their cultural and historical context in which they are set. Whether it is Keats’s work in an era of romanticism, or The Great Gatsby set at the height of the Jazz Age and American dream, they share a common theme; ages of high passion, dreams and hopes. And as later on explored, these can be the driving forces to the failure of many. However, there is evidence
West Side Story came out in 1961 as a melodramatic musical that took place in New York. It takes the same theme as Shakespeare's, Romeo and Juliet, in that it is about two lovers whose relationship is not accepted by others because of conflicting backgrounds.
In this paper, I will be focusing briefly on my knowledge and understanding of the concept of Applied theatre and one of its theatre form, which is Theatre in Education. The term Applied Theatre is a broad range of dramatic activity carried out by a crowd of diverse bodies and groups.