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| anyone can whistle london: Woman of the Year John Kander, Peter Stone, Fred Ebb, 1984 Lauren Bacall made a triumphant return to Broadway in this Tony(R) Award-winning musical adaptation of the famous Tracy/Hepburn film. Tess Harding is a high-powered anchorwoman of a network TV morning news show. She makes some derogatory remarks about comic strips on the air and comes head-to-head with Sam Craig a famous cartoonist who introduces a lampoon of Tess into his comic strip. The feud turns to romance and marriage but not to harmony in this delightful battle of the sexes between two outsized egos. |
| anyone can whistle london: Road Show Stephen Sondheim, John Weidman, 2009 Stephen Sondheim's first new work in over a decade. |
| anyone can whistle london: Sondheim's Broadway Musicals Stephen Banfield, 1993 The first in-depth look at the work and career of one of the most important figures in the history of musical theater |
| anyone can whistle london: Mainly on Directing Arthur Laurents, 2009 From playwright, screenwriter, and director Laurents comes a mesmerizing book about theater, art and the artist, the insider and the outsider--and the making of two of the greatest musicals of the American stage: Gypsy and West Side Story. |
| anyone can whistle london: Broadway and Economics Matthew C. Rousu, 2018-06-27 Economics has often been described as the dismal science, with TV and movies reinforcing this description. However, economics is a powerful tool that can be used to understand how the world works, helping to answer confusing puzzles and solve the world’s problems. Surprisingly, Broadway musicals are an excellent way to show this. Musicals tell engaging stories through song and many are rich with economic concepts. This book analyzes 161 songs from 90 musicals to explore what they can teach us about supply and demand, monetary policy and numerous other core economic concepts. While some songs have an obvious connection to economics, other connections may seem less apparent. When you hear Let it Go from Frozen, does your mind think about a firm’s production decisions? After reading this book, it will. Whether showing how Hamilton can illustrate concepts of central banking, or how Stars from Les Miserables provides a perfect example of inelastic demand, the author presents complicated topics in an understandable and entertaining way. Featuring classic songs from some of the most popular shows ever produced, along with some hidden gems, Broadway and Economics will be of interest to anybody studying an introductory economics course as well as theatre aficionados. |
| anyone can whistle london: Getting Away with Murder Stephen Sondheim, George Furth, 1997 THE STORY: The esteemed and retired Dr. Conrad Bering has selected, out of countless applicants, several individuals for private as well as Group therapy. It seems this Pulitzer Prize- winning doctor might be writing another book and it further see |
| anyone can whistle london: Do I Hear a Waltz? Richard Rodgers, 1966 |
| anyone can whistle london: Sondheim Stephen M. Silverman, 2023-09-19 Lively, sophisticated, and filled with first-person tributes and glorious images, Sondheim: His Life, His Shows, His Legacy lifts the curtain on a Broadway legend. Aside from Sondheim's own exceptional books...this may be the best coffee-table volume devoted to his work.(Shelf Awareness) Brimming with insights from a veritable Who's Who of Broadway Babies and complemented by more than two hundred color and black-and-white images, Sondheim: His Life, His Shows, His Legacy offers a witty, multidimensional look at the musical genius behind Company, Follies, A Little Night Music, Into the Woods, Sunday in the Park with George, Sweeney Todd, and the landmark West Side Story and Gypsy. Exploring the unique bond between Sondheim and his audiences, author Stephen M. Silverman further examines the challenging Sondheim works that continue to develop devoted new followings: Anyone Can Whistle, Pacific Overtures, Merrily We Roll Along, Assassins, and Passion. The result is a lavish, highly engrossing documentation of the dynamic force who reshaped twentieth-century American musical history. |
| anyone can whistle london: Merrily We Roll Along Stephen Sondheim, 1984 |
| anyone can whistle london: Stephen Sondheim Meryle Secrest, 2011-10-04 In the first full-scale life of the most important composer-lyricist at work in musical theatre today, Meryle Secrest, the biographer of Frank Lloyd Wright and Leonard Bernstein, draws on her extended conversations with Stephen Sondheim as well as on her interviews with his friends, family, collaborators, and lovers to bring us not only the artist--as a master of modernist compositional style--but also the private man. Beginning with his early childhood on New York's prosperous Upper West Side, Secrest describes how Sondheim was taught to play the piano by his father, a successful dress manufacturer and amateur musician. She writes about Sondheim's early ambition to become a concert pianist, about the effect on him of his parents' divorce when he was ten, about his years in military and private schools. She writes about his feelings of loneliness and abandonment, about the refuge he found in the home of Oscar and Dorothy Hammerstein, and his determination to become just like Oscar. Secrest describes the years when Sondheim was struggling to gain a foothold in the theatre, his attempts at scriptwriting (in his early twenties in Rome on the set of Beat the Devil with Bogart and Huston, and later in Hollywood as a co-writer with George Oppenheimer for the TV series Topper), living the Hollywood life. Here is Sondheim's ascent to the peaks of the Broadway musical, from his chance meeting with play- wright Arthur Laurents, which led to his first success-- as co-lyricist with Leonard Bernstein on West Side Story--to his collaboration with Laurents on Gypsy, to his first full Broadway score, A Funny Thing Happened on the Way to the Forum. And Secrest writes about his first big success as composer, lyricist, writer in the 1960s with Company, an innovative and sophisticated musical that examined marriage à la mode. It was the start of an almost-twenty-year collaboration with producer and director Hal Prince that resulted in such shows as Follies, Pacific Overtures, Sweeney Todd, and A Little Night Music. We see Sondheim at work with composers, producers, directors, co-writers, actors, the greats of his time and ours, among them Leonard Bernstein, Ethel Merman, Richard Rodgers, Oscar Hammerstein, Jerome Robbins, Zero Mostel, Bernadette Peters, and Lee Remick (with whom it was said he was in love, and she with him), as Secrest vividly re-creates the energy, the passion, the despair, the excitement, the genius, that went into the making of show after Sondheim show. A biography that is sure to become the standard work on Sondheim's life and art. |
| anyone can whistle london: Pacific Overtures Stephen Sondheim, John Weidman, 1991 Priceless and peerless...a thrilling work of theatricality. --Wayman Wong, San Francisco Examiner For over three decades, Stephen Sondheim has been the foremost composer and lyricist writing regularly for Broadway. His substantial body of work now stands as one of the most sustained achievements of the American stage. Pacific Overtures, originally produced in 1976, combines an unsurpassed mastery of the American musical with such arts as Kabuki theatre, haiku, dance, and masks to recount Commander Matthew Perry's 1835 opening of Japan and its consequences right up to the present. This new edition of Pacific Overtures incorporates substantial revisions made by the authors for the successful 1984 revival. |
| anyone can whistle london: La Bête David Hirson, 1992 THE STORY: The play is set in France in 1654, and revolves around an upheaval in a famous acting troupe. Elomire, the troupe's renowned leader, is furious because Prince Conti, the troupe's patron, is forcing a street performer, Valere, upon them. |
| anyone can whistle london: The Oxford Handbook of Sondheim Studies Robert Gordon, 2014 This handbook presents a comprehensive introduction to all aspects of composer-lyricist Stephen Sondheim's oeuvre. Chapters come from a remarkably wide range of disciplines as they offer new insights into Sondheim's work not only for the stage, but also for film and television, describing in full how Sondheim has re-shaped American musical theater. |
| anyone can whistle london: The Cambridge Companion to the Musical William A. Everett, Paul R. Laird, 2008-05-22 Tracing the development of the musical on both Broadway and in London's West End, this updated Companion continues to provide a broad and thorough overview of one of the liveliest and most popular forms of musical performance. Ordered chronologically, essays cover from the American musical of the nineteenth century through to the most recent productions, and the book also includes key information on singers, audience, critical reception, and traditions. All of the chapters from the first edition remain – several in substantially updated forms – and five completely new chapters have been added, covering: ethnic musicals in the United States; the European musical; Broadway musicals in revival and on television; the most recent shows; and a case study of the creation of the popular show Wicked based on interviews with its creators. The Companion also includes an extensive bibliography and photographs from key productions. |
| anyone can whistle london: Stephen Sondheim and the Reinvention of the American Musical Robert L. McLaughlin, 2016-08-11 From West Side Story in 1957 to Road Show in 2008, the musicals of Stephen Sondheim (1930–2021) and his collaborators have challenged the conventions of American musical theater and expanded the possibilities of what musical plays can do, how they work, and what they mean. Sondheim's brilliant array of work, including such musicals as Company, Follies, Sweeney Todd, Sunday in the Park with George, and Into the Woods, established him as the preeminent composer/lyricist of his, if not all, time. Stephen Sondheim and the Reinvention of the American Musical places Sondheim's work in two contexts: the exhaustion of the musical play and the postmodernism that, by the 1960s, deeply influenced all the American arts. Sondheim's musicals are central to the transition from the Rodgers and Hammerstein-style musical that had dominated Broadway stages for twenty years to a new postmodern musical. This new style reclaimed many of the self-aware, performative techniques of the 1930s musical comedy to develop its themes of the breakdown of narrative knowledge and the fragmentation of identity. In his most recent work, Sondheim, who was famously mentored by Oscar Hammerstein II, stretches toward a twenty-first-century musical that seeks to break out of the self-referring web of language. Stephen Sondheim and the Reinvention of the American Musical offers close readings of all of Sondheim's musicals and finds in them critiques of the operation of power, questioning of conventional systems of knowledge, and explorations of contemporary identity. |
| anyone can whistle london: Gypsy , 1993 |
| anyone can whistle london: "But He Doesn't Know the Territory" Meredith Willson, 2020-09-22 Chronicles the creation of Meredith Willson’s The Music Man—reprinted now as the Broadway Edition Composer Meredith Willson described The Music Man as “an Iowan’s attempt to pay tribute to his home state.” Now featuring a new foreword by noted singer and educator Michael Feinstein, this book presents Willson’s reflections on the ups and downs, surprises and disappointments, and finally successes of making one of America’s most popular musicals. Willson’s whimsical, personable writing style brings readers back in time with him to the 1950s to experience firsthand the exciting trials and tribulations of creating a Broadway masterpiece. Fresh admiration of the musical—and the man behind the music—is sure to result. |
| anyone can whistle london: Skeleton Crew Dominique Morisseau, 2017 At the start of the Great Recession, one of the last auto stamping plants in Detroit is on shaky ground. Each of the workers have to make choices on how to move forward if their plant goes under. Shanita has to decide how she'll support herself and her unborn child, Faye has to decide how and where she'll live, and Dez has to figure out how to make his ambitious dreams a reality. Power dynamics shift as their manager Reggie is torn between doing right by his work family, and by the red tape in his office. Powerful and tense, Skeleton Crew is the third of Dominique Morisseau's Detroit cycle trilogy.--Page [4] of cover. |
| anyone can whistle london: The Works of Arthur Laurents: Politics, Love, and Betrayal John M. Clum, 2014-11-28 Arthur Laurents's career as a playwright, screenwriter, book writer for musicals and director spanned over half a century. His first Broadway play, Home of the Brave, was produced in 1945; his last play, Come Back, Come Back, Wherever You Are, was produced in 2009 when he was ninety-one. Although he is best known for his work on the classic musicals Gypsy and West Side Story and for his screenplays for Rope, The Way We Were, and The Turning Point, Laurents is the author of seventeen full-length plays, numerous screenplays and three volumes of memoirs. Despite the length and distinction of Laurents's career, until now no one has written a full-length critical study of his work. Laurentss' name was associated with a few hit musicals and films, but his best work, the plays he wrote since 1975, are not as well known. One reason is that the economics of the American theatre have changed during the writer's lifetime and Laurents's serious plays were performed Off-Broadway or at regional theatres. Few were published, except in acting editions, until a volume of Selected Plays was assembled in 2005. Moreover, Laurents's highly controversial volumes of memoirs, filled with attacks on people who he felt betrayed him over the years, overshadowed his later work. Ignoring most his own plays in the memoirs did not help to maintain his reputation as a serious playwright This book rectifies the absence of a serious examination of all of Laurents's major work. This first comprehensive study of Laurents's work focuses on the subjects and themes that recur in his work, particularly the interrelated topics of gender politics, homosexuality and the dynamics of marriage. The position of women and gay men changed greatly over the sixty-plus years of Laurents's career and we see those changes reflected in his work, particularly in the shifting power dynamics within a marriage. Laurents was fascinated by the dynamics of marriage. In his plays there is always a tension between love and the difficulty, if not impossibility, of monogamy. In works like The Enclave, we also see a variety of ways in which gay men try to live proud lives in a heteronormative society. In that play and in Two Lives, Laurents examines how gay men negotiate something like a marriage before gay marriages were legally sanctioned. The book also covers the ways in which Laurents's plays reflect his interest in leftist politics from the 1940s through the various liberations of the late 1960s and 1970s. Above all, the study argues that if there is any common theme running through the plays, films and memoirs, it is betrayal-betrayal of marriage partner, friend, artistic collaborator and, most important, betrayal of one's own ideals. The Works of Arthur Laurents will be of particular interest to students and scholarsof American drama, musical theatre, American film, gender studies, gay studies, and Jewish studies. |
| anyone can whistle london: Home Chat Noël Coward, 2016-11-08 I am shirking off the chains that have shackled me for so long – I have suddenly come to realise that I am a woman – a living, passionate, pulsating woman – it never occurred to me before. Janet Ebony and her best friend, Peter Chelsworth, are innocently sharing a sleeping compartment when their train to Paris is involved in a disastrous railway accident. Outrage and scandal ensue as Janet's husband, Paul, and her fearsome mother-in-law accuse Janet and Peter of adultery. Aghast at their families' accusations, Janet and Peter decide to take revenge by inventing an adulterous affair ... Written with Noël Coward's trademark wit and insight, Home Chat is a distinctly modern comedy about female sexuality and fidelity in a society rigidly governed by decorum and reputation. This edition was published to coincide with the first revival of the play since its premiere in 1927. |
| anyone can whistle london: Stephen Sondheim Meryle Secrest, 2011-10-04 The first and only full-scale and definitive biography of one of the the most important composer-lyricists in musical theater. A remarkable portrait of the man, the music, and the genius of Stephen Sondheim: star of his own fascinating life. Drawing on personal conversations with Sondheim himself, as well as interviews with his friends, family, collaborators, and lovers, Secrest offers new insight into the enigmatic and very private Stephen Sondheim. Here, we learn about his childhood on New York’s Upper West Side, his parents’ devastating divorce, and his ascent to the peaks of the Broadway musical. Secrest vividly recreates the energy, passion, and despair that went into each beloved show, from Sondheim’s fabled collaboration with Hal Prince on Sweeney Todd and A Little Night Music, to his disagreements with co-lyricist Leonard Bernstein on West Side Story. |
| anyone can whistle london: Men of Notes Don Walker, 2015-09 For most mortal men, Broadway would always be shrouded in its own mystique of glamour, pomp, endless parade of famous men and women, and the hidden, always larger-than-life aura of glittering public personalities whose daily activities no one has hardly a clue. Men of Notes is an attempt to give flesh and blood to some of those almost ephemeral individuals- composers, lyricists, orchestra conductors, working musicians, orchestrators, music publishers, etc. The attempt in Men of Notes is actually undertaken by one of those people described above. Don Walker is famous for the orchestrations of over 100 Broadway Productions. This memoir of his early years in music was meant to be followed by a second book which would have included Music Man, Damn Yankees, Pajama Game, Cabaret and Fiddler on the Roof to name a few. But he died too soon in 1989, however the publication has fallen into the hands of his daughter, Ann Liebgold. From the outset, readers would feast in the writing style of the author-his lively take on the people he wanted to talk about and the wit and humor he effortlessly delivers, just the type that would give people some inkling how perhaps some brains do work in that often forbidding world. About the Author Don Walker was a native of Lambertville, New Jersey. A professional orchestrator, composer, and conductor, Don enjoyed a brilliant reputation in Broadway. He attended Ryder College in New Jersey and Wharton at University of Pennsylvania Don died in 1989 at the age of 81, leaving behind his wife, Audrey, with whom he had a daughter, Ann Liebgold, and son, David. |
| anyone can whistle london: Off Broadway Musicals, 1910-2007 Dan Dietz, 2010-03-10 Despite an often unfair reputation as being less popular, less successful, or less refined than their bona-fide Broadway counterparts, Off Broadway musicals deserve their share of critical acclaim and study. A number of shows originally staged Off Broadway have gone on to their own successful Broadway runs, from the ever-popular A Chorus Line and Rent to more off-beat productions like Avenue Q and Little Shop of Horrors. And while it remains to be seen if other popular Off Broadway shows like Stomp, Blue Man Group, and Altar Boyz will make it to the larger Broadway theaters, their Off Broadway runs have been enormously successful in their own right. This book discusses more than 1,800 Off Broadway, Off Off Broadway, showcase, and workshop musical productions. It includes detailed descriptions of Off Broadway musicals that closed in previews or in rehearsal, selected musicals that opened in Brooklyn and in New Jersey, and American operas that opened in New York, along with general overviews of Off Broadway institutions such as the Light Opera of Manhattan. The typical entry includes the name of the host theater or theaters; the opening date and number of performances; the production's cast and creative team; a list of songs; a brief plot synopsis; and general comments and reviews from the New York critics. Besides the individual entries, the book also includes a preface, a bibliography, and 21 appendices including a discography, filmography, a list of published scripts, and lists of musicals categorized by topic and composer. |
| anyone can whistle london: On Sondheim Ethan Mordden, 2016 Giving each of Stephen Sondheim's musicals its own chapter, Ethan Mordden applies fresh insights and analysis to consider Sondheim's place in modern art, addressing the newcomer and the aficionado alike. |
| anyone can whistle london: Something Clean Selina Fillinger, 2019 Charlotte has been a mother for nineteen years, a wife for three decades, and a respectable community member her entire life. But when her only child is incarcerated for sexual assault, her once-immaculate world is forever tainted. Selina Fillinger’s intimate new drama follows one woman struggling to make sense of her own grief, love, and culpability. |
| anyone can whistle london: Sondheim and Lloyd-Webber Stephen Citron, 2001 In the third volume of Citron's distinguished series The Great Songwriters, the eminent musicologist has taken on the glorious dual biography of two giants of the modern musical. Includes an exploration of such milestones as Sondheim's lyrics for West Side Story and Gypsy and Lloyd-Webber's contributions from Jesus Christ Superstar to Whistle Down the Wind. |
| anyone can whistle london: Murder For Two Kellen Blair, Joe Kinosian, 2019 Officer Marcus Moscowicz is a small town policeman with dreams of making it to detective. One fateful night, shots ring out at the surprise birthday party of Great American Novelist Arthur Whitney and the writer is killed…fatally. With the nearest detective an hour away, Marcus jumps at the chance to prove his sleuthing skills—with the help of his silent partner, Lou. But whodunit? Did Dahlia Whitney, Arthur's scene-stealing wife, give him a big finish? Is Barrette Lewis, the prima ballerina, the prime suspect? Did Dr. Griff, the overly-friendly psychiatrist, make a frenemy? Marcus has only a short amount of time to find the killer and make his name before the real detective arrives… and the ice cream melts! |
| anyone can whistle london: Stephen Sondheim and Andrew Lloyd Webber Stephen Citron, 2001-09-13 The New York Times called Stephen Sondheim the greatest and perhaps best known artist in the American musical theater, while two months earlier, the same paper referred to his contemporary, Andrew Lloyd-Webber as the most commercially successful composer in history. Whatever their individual achievements might be, it is agreed by most critics that these two colossi have dominated world musical theater for the last quarter century and hold the key to the direction the musical stage will take in the future. Here in the third volume of Stephen Citron's distinguished series The Great Songwriters--in depth studies that illuminated the musical contributions, careers, and lives of Noel Coward and Cole Porter (Noel & Cole: The Sophisticates), and Oscar Hammerstein 2nd and Alan Jay Lerner, (The Wordsmiths)--this eminent musicologist has taken on our two leading contemporary contributors to the lyric stage. His aim has not been to compare or judge one's merits over the other, but to make the reader discover through their works and those of their contemporaries, the changes and path of that glorious artform we call Musical Theater. In his quest, Citron offers unique insight into each artist's working methods, analyzing their scores--including their early works and works-in-progress. As in Citron's previously critically acclaimed books in this series, great significance is given to the impact their youthful training and private lives have had upon their amazing creative output. Beginning with Sondheim's lyrics-only works, West Side Story, Gypsy, Do I Hear A Waltz? through his scores for Saturday Night, Company, Anyone Can Whistle, Follies, Pacific Overtures, A Little Night Music, Sweeney Todd, Merrily We Roll Along, Sunday In the Park, Into the Woods, Assassins, and Passion, all these milestones of musical theater have been explored. Lloyd-Webber's musical contribution from his early works, The Likes of Us and Joseph to Jesus Christ Superstar, Evita, Cats, Starlight Express, Aspects of Love, By Jeeves, The Phantom of the Opera, Song & Dance, Mass, Sunset Boulevard to Whistle Down the Wind are also thoroughly analyzed. The works of these two splendid artists are clarified for the casual or professional reader in context with their contemporaries. Complete with a quadruple chronology (Sondheim, Lloyd-Webber, US Theater, British Theater), copious quotations from their works, and many never before published illustrations, the future of the artform that is the crowning achievement of the 20th century is made eminently clear in this book. Sondheim & Lloyd-Webber is a must-read for anyone interested in the contemporary theater. |
| anyone can whistle london: Broadway Musicals, 1943-2004 John Stewart, 2012-11-22 On March 31, 1943, the musical Oklahoma! premiered and the modern era of the Broadway musical was born. Since that time, the theatres of Broadway have staged hundreds of musicals--some more noteworthy than others, but all in their own way a part of American theatre history. With more than 750 entries, this comprehensive reference work provides information on every musical produced on Broadway since Oklahoma's 1943 debut. Each entry begins with a brief synopsis of the show, followed by a three-part history: first, the pre-Broadway story of the show, including out-of-town try-outs and Broadway previews; next, the Broadway run itself, with dates, theatres, and cast and crew, including replacements, chorus and understudies, songs, gossip, and notes on reviews and awards; and finally, post-Broadway information with a detailed list of later notable productions, along with important reviews and awards. |
| anyone can whistle london: Assassins Stephen Sondheim, John Weidman, 1991 Evokes a fraternity of Presidential assassins across a hundred years of history. Examines success, failure, and the questionable drive for power and celebrity in American society. | Original cast recording; booklet includes lyrics. |
| anyone can whistle london: Performance in America David Román, Paula Court, Richard Termine, 2005-11-23 Performance in America demonstrates the vital importance of the performing arts to contemporary U.S. culture. Looking at a series of specific performances mounted between 1994 and 2004, well-known performance studies scholar David Román challenges the belief that theatre, dance, and live music are marginal art forms in the United States. He describes the crucial role that the performing arts play in local, regional, and national communities, emphasizing the power of live performance, particularly its immediacy and capacity to create a dialogue between artists and audiences. Román draws attention to the ways that the performing arts provide unique perspectives on many of the most pressing concerns within American studies: questions about history and politics, citizenship and society, and culture and nation. The performances that Román analyzes range from localized community-based arts events to full-scale Broadway productions and from the controversial works of established artists such as Tony Kushner to those of emerging artists. Román considers dances produced by the choreographers Bill T. Jones and Neil Greenberg in the mid-1990s as new aids treatments became available and the aids crisis was reconfigured; a production of the Asian American playwright Chay Yew’s A Beautiful Country in a high-school auditorium in Los Angeles’s Chinatown; and Latino performer John Leguizamo’s one-man Broadway show Freak. He examines the revival of theatrical legacies by female impersonators and the resurgence of cabaret in New York City. Román also looks at how the performing arts have responded to 9/11, the U.S. invasion of Afghanistan, and the second war in Iraq. Including more than eighty illustrations, Performance in America highlights the dynamic relationships among performance, history, and contemporary culture through which the past is revisited and the future reimagined. |
| anyone can whistle london: Still Here Alexandra Jacobs, 2019-10-22 A New Yorker Favorite Nonfiction Book of the Year: A “genuinely irresistible” biography of Broadway legend Elaine Stritch (Buffalo News). A New York Times Book Review Editors’ Choice Still Here is the first full telling of Elaine Stritch’s life. Rollicking but intimate, it tracks one of Broadway’s great personalities from her upbringing in Detroit during the Great Depression to her fateful move to New York City, where she studied alongside Marlon Brando, Bea Arthur, and Harry Belafonte. We accompany Elaine through her jagged rise to fame, to Hollywood and London, and across her later years, when she enjoyed a stunning renaissance, punctuated by a turn on the popular television show 30 Rock. We explore the influential—and often fraught—collaborations she developed with Noël Coward, Tennessee Williams, and above all Stephen Sondheim, as well as her courageous yet flawed attempts to control a serious drinking problem. And we see the entertainer triumphing over personal turmoil with the development of her Tony Award–winning one-woman show, Elaine Stritch at Liberty, which established her as an emblem of spiky independence and Manhattan life for an entirely new generation of admirers. Following years of meticulous research and interviews, Alexandra Jacobs conveys the full force of Stritch’s sardonic wit and brassy charm while acknowledging her many dark complexities—and creates a portrait of a powerful, vulnerable, honest, and humorous star of stage and screen. “Studded with juicy anecdotes.” —The Washington Post “Provides a marvelous trip back in time to a Broadway that’s gone forever . . . compulsively readable.” —The Wall Street Journal “A chronicle of one impossible brilliant actor and the community around her, this biography provides a thoroughly entertaining and vividly drawn picture of show business in the 20th century.” —The New York Times Book Review Includes photographs |
| anyone can whistle london: The Stephen Sondheim Encyclopedia Rick Pender, 2021-04-15 The Stephen Sondheim Encyclopedia is the first reference volume devoted to the works of this prolific composer and lyricist. The encyclopedia’s entries provide readers with detailed information about Sondheim’s work and key figures in his career, including his apprenticeship, his early work with Leonard Bernstein, and his work on television. |
| anyone can whistle london: Creating Musical Theatre Lyn Cramer, 2013-09-12 Featuring interviews with top directors and choreographers, Creating Musical Theatre is the first book to give a fascinating insight into the creative processes driving the musical theatre revival. |
| anyone can whistle london: Harold Prince and the American Musical Theater Foster Hirsch, 1989-04-06 A complete look at the career of one of Broadway's most influential producer/directors. The elements of Prince's signature--his convention-challenging subject matter and use of music, the revitalizing theatricality of his production designs--are discussed in detail. Illustrated with photos from the hit shows which show his innovative concepts in decor and state movement. |
| anyone can whistle london: Reading Stephen Sondheim Sandor Goodhart, 2013-10-28 Stephen Sondheim is arguably the most important writer for the American musical stage today, the equivalent in his field of Miller, Albee, O'Neill, and Williams. Yet he has rarely been treated seriously within the academy. Reading Stephen Sondheim: A Collection of Critical Essays is an attempt to remedy that situation. Bringing together scholars and critics from a wide variety of literary and theoretical perspectives, this book undertakes to examine all of Sondheim's major productions and themes. |
| anyone can whistle london: Backstory 2 Patrick McGilligan, 1991 Interviews with screenwriters |
| anyone can whistle london: "No Legs, No Jokes, No Chance" Sheldon Patinkin, 2008-05-20 Traces the American musical from its rich beginnings in European opera. This book talks about the infancy of the musical - the revues, operettas, and early musical comedies, as well as the groundbreaking shows like Oklahoma! and Show Boat, with references to how history, literature, fashion, popular music and movies influenced musical theater. |
| anyone can whistle london: Careful the Spell You Cast Ben Francis, 2023-02-09 Stephen Sondheim is one of the best-known and most-loved musical theatre composers, but also one of the most misunderstood, often being labelled as 'distant' or 'cynical'. Careful the Spell You Cast instead argues that Sondheim firmly belongs to the Broadway aspirational tradition, in that many of his characters are defined by their dreams: to abandon one's dream (as Ben does in Follies, Frank does in Merrily We Roll Along, and Addison does in Road Show) is to lose one's soul. Rather than take the established view of Sondheim as a cynic, this book contends that throughout Sondheim's work, letting go of one's illusions is a process that his characters need to go through, that they must cast off illusions and false dreams, without becoming cynical and destroying their genuine dreams in the process. In turn this view aligns Sondheim's work as being aspirational and a logical continuation from the work of his mentor, Oscar Hammerstein II. Following the trajectory of Sondheim's career, Careful the Spell You Cast shows how Sondheim has dramatized this process throughout his writing life alongside different collaborators. From his work as a lyricist with the musicals Gypsy and West Side Story through to his later collaborations with Hal Prince (Company, Follies) and James Lapine (Into the Woods, Sunday in the Park with George), this book reframes the established view through lyrical and structural analysis in relation to the characters within each of these celebrated works of musical theatre, arguing that Sondheim is, in the popular sense of the word, a romantic within the tradition of the Broadway musical. |
| anyone can whistle london: The Book of Musicals Arthur Jackson, 1979 |
meaning - What is the difference between "anyone" and …
How to use anyone and everyone as they are typically used in English. Everyone means all of the group. Anyone means all or any part of the group. Original example “Everyone is welcome to …
Anyone: ("they" or "he/she") why is it sometimes plural?
Anyone can learn to dance if he or she wants to. Resources online tell me that anyone is a singular indefinite pronoun. Then why is it sometimes acceptable to use the plural 'they' with …
Use "have" or "has" any/anyone/anything in the question?
But anyone is syntactically singular, so. Has anyone seen it? is natural, not *have anyone seen it?. (Anyone is not necessarily singular in meaning, so the answer might refer to one person or …
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Is it correct to use "their" instead of "his or her"?
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Which is correct out of the following two sentences? If you or your colleague have any questions, let me know; If you or your colleague has any questions, let me know
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The indefinite pronouns anyone, everyone, someone, no one, nobody are always singular and, therefore, require singular verbs. Everyone has done his or her homework. Somebody has left …
grammar - "Recommend you to [do something]" or "Recommend …
Feb 5, 2012 · I recommend this book to anyone. I will recommend you to my boss for the open position. recommend sb/sth for/as sth. I will recommend you for this duty. B) If you want to …
Is "Don't Nobody/Anybody/Anyone + verb" a double negative?
I'm quite familiar with slangy statements phrased like questions, such as: Don't nobody care, or Don't anybody want to hear that, or Don't anyone feel like talking to you, but the reversal of the …
meaning - What is the difference between "anyone" and …
How to use anyone and everyone as they are typically used in English. Everyone means all of the group. Anyone means all or any part of the group. Original example “Everyone is welcome to …
Anyone: ("they" or "he/she") why is it sometimes plural?
Anyone can learn to dance if he or she wants to. Resources online tell me that anyone is a singular indefinite pronoun. Then why is it sometimes acceptable to use the plural 'they' with …
Use "have" or "has" any/anyone/anything in the question?
But anyone is syntactically singular, so. Has anyone seen it? is natural, not *have anyone seen it?. (Anyone is not necessarily singular in meaning, so the answer might refer to one person or …
"Anyone has" or "anyone have" seen them? [closed]
So I thought I'm sure about this and my instincts say that: "If anyone has seen them .." would be right but then again when I said it like: "If anyone have seen them .." I started thinking which …
Is it correct to use "their" instead of "his or her"?
Up until very recent times the natural answer would have been "Anyone who loves the English language should have a copy of this book in his bookcase", because "his" was also a gender …
"Has anyone run into the same problem" or "Does anyone run into …
Feb 7, 2012 · "Has anyone run into the same problem?" is more of a query question when we are looking for a solution. It might be followed up by, "If yes, then how was it resolved". It is like …
word choice - "If you or your colleague has" or "If you or your ...
Which is correct out of the following two sentences? If you or your colleague have any questions, let me know; If you or your colleague has any questions, let me know
grammar - "Is there" versus "Are there" - English Language
The indefinite pronouns anyone, everyone, someone, no one, nobody are always singular and, therefore, require singular verbs. Everyone has done his or her homework. Somebody has left …
grammar - "Recommend you to [do something]" or "Recommend …
Feb 5, 2012 · I recommend this book to anyone. I will recommend you to my boss for the open position. recommend sb/sth for/as sth. I will recommend you for this duty. B) If you want to …
Is "Don't Nobody/Anybody/Anyone + verb" a double negative?
I'm quite familiar with slangy statements phrased like questions, such as: Don't nobody care, or Don't anybody want to hear that, or Don't anyone feel like talking to you, but the reversal of the …
