He composed scores for a number of ballets, including two of the most popular of the time: “Agnes DeMille’s Rodeo” (1942) and Martha Graham’s “Appalachian Spring” (1944), for which he won the Pulitzer Prize. Probably the most important and successful composition from this time was his patriotic “A Lincoln Portrait” (1942). The piece for voice and orchestra presents quotes from Lincoln’s writings narrated over Copland’s musical composition. Throughout the 1950s, Copland slowed his work as a composer, and began to try his hand at conducting. He began to tour with his own work as well as the works of other great American musicians.
His true passion won out, however, and Menken decided to pursue a musical career. Menken's first major professional work was with Ashman for the Off-Broadway 1979 WPA Theatre production of the play God Bless You, Mr. Rosewater, an adaptation of a Kurt Vonnegut novel. In 1983, Menken received the BMI Career Achievement Award for his body of work for musical theater, including Little Shop of Horrors, God Bless You, Mr. Rosewater, Real Life Funnies, Atina: Evil Queen of the Galaxy, Patch, Patch, Patch, and contributions to numerous revues including, Personals and Diamonds. Menken is best known, however, for his work over the past two decades with Walt Disney Pictures scoring numerous
Joe the main character of the story is a young boy living with his parents and much of his extended family in a small house in Brooklyn. At the beginning of the movie Joe says “In those days, the radio was constantly playing at my house” at all times someone in his family would be listening to something on the radio. They all had their favorite shows that would be on at certain times and it was a great way for people to pass the time in those days. Joe even recalls his own favorite show called “The Masked Avenger” this was a person Joe saw as someone who was “a cross between Superman and Cary Grant”. During that time period in life they had a radio program for people of everyone no matter whom or what you liked.
Mr. Horton’s ability to translate ethnic dances into commercially acceptable formats led him to choreographing musical numbers for films from the 1940s through the early 1950s. In order to finance his school, Horton choreographed a number of early Hollywood musicals, beginning with Moonlight in Havana (1942); with the most notable being Arthur Lubin's The Phantom of the Opera (1943). Although based in the West Coast, Horton’s dance techniques also traveled to New York. Modern Jazz dance and Native American dance were the two main styles of dance that Horton incorporated into his very own style of dance (the Horton Technique), which was made popular by one of his students Alvin Ailey. This style of dance consists of a whole body approach to dance that includes flexibility, strength, coordination and body awareness; this is also the main type of dance that we do in class.
It showed his trademark style as a choreographer. He was very influenced by Jack Cole. Fosse staged numbers that were highly stylized; he used staccato movements and an erotic suggestion. “Hey Big Spender” from Sweet Charity and “The Steam Heat” from The Pajama Game became Fosse’s trademark numbers. In 1973 in addition to his Cabaret Oscar he won Tonys for his direction and choreography of the Broadway musical Pippin.
How has the distinctively visual been used in Maestro and one related text to explore themes and ideas? Through an analysis of Maestro, (1989) a novel written by Peter Goldsworthy, and an analysis of the film The Boy in Striped Pyjamas (2008) directed by Mike Herman, it is evident that the composers of these texts allow the audience to understand human experiences that alter childhood innocence and escapism through both mental and visual aspects. Childhood innocence is only lost after suffering, which in turn, allows for maturity. Paul’s pathway to maturity is described through a series of experiences, particularly with an old Viennese music teacher, Eduard Keller, or the ‘Maestro’. The use of reflective narrator in “my youthful arrogance… of course he sounded better: he had the better piano” allows Paul to make judgments on himself and conveys to us his transformation from a spoiled, self-indulged adolescent, to a more compassionate and knowledgeable adult.
He explores the deep love of music throughout the novel and the bonds it creates with relationships between characters, also importantly how music provided another chance for Keller to live, the way music forms a love hate relationship between characters in the novel, and finally the way music expresses character’s feelings. In Maestro music formed many different relationships throughout the novel. Paul’s parents, Nancy and John, shared a common thread of music but that was where there similarities ended because ‘apart from music they had little in common.’ The main relationship formed throughout the novel due to music is the relationship between Paul and Herr Keller. Keller was Paul’s music teacher in the novel, and although Keller teaches Paul more about life than music during their lessons, it’s those music lessons that bind the relationship between Paul and Keller. It’s the relationships formed by music within Maestro that change each other’s lives.
Mr. Gorbachev, tear down this wall! Reagan’s development as a vividly dramatic communicator can be traced to his early interest in drama and public speaking while attending high school and college. Young speakers, especially young actors, draw stark dramatic contrasts as they apply their rudimentary worldview to the events and relationships they observe. An early documented speech at the 1952 William Woods College commencement made heavy use of absolute terms (“always thought of America as a place in the divine scheme” and “Any place in the world and any person from these places; any person with the courage”). He frequently used visualization in making dramatic contrasts.
Many times Iglesias has said that should he ever retire, he wants to write and produce songs for other artists. In 2000, Iglesias co-produced an off Broadway musical called Four Guys Named Jose and Una Mujer Named Maria. In the musical, four Americans of Latin heritage possess a common interest in music and meet and decide to put on a show. The show contained many references and allusions to many classic and contemporary Latin and pop songs by the likes of Carmen Miranda, Selena, Ritchie Valens, Santana, Ricky Martin and Iglesias himself. Iglesias also developed an interest in acting, starring alongside Antonio Banderas, Salma Hayek and Johnny Depp in the Robert Rodriguez film Once Upon a Time in Mexico, in which he played the foul-mouthed gun-wielding Lorenzo.
I believe the Director’s vision of this play was to first create a vision of the average American home to help the audience relate themselves to the setting. I think this really helped gauge the interest of the audience. One thing that I connected with was the desk that Beverley used. This desk reminded me of my father’s desk at home that he worked at when I was a young girl. Once taking a good look at the setting I also realized the way that pieces of setting were cut in half, for example, the front door was cut in half.