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| Walkaround, Olio, 1-act play |
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| a parade of performers coming out onto the stage |
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| variety show of skits and jokes |
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| – usually a vignette of carefree life on the plantation |
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| scathing realistic plays of the horrors and social difficulties brought on by apartheid in South Africa |
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| A dignified master of ceremonies who sat right in the middle, center stage. |
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| Brother or Mr. Tambo and Brother or Mr. Bones – rabble rousing comedians who would cause trouble and dance. |
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Character developed @ the very beginning of minstrel show history, Name tied to the song “Jump Jim Crow”
Portrayed blacks as ignorant and foolish |
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| 1834, Mocked free blacks, spoke in malaprops that made him seem ignorant |
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| blackface temtpress, played by a man |
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| Productions of the play make the stage look like a machine, repetitive dialogue, |
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| blackface performer, created tapdancing |
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| To Be Young, Girfted and Black, A Raisin in the Sun |
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| 1st black director on Broadway, longtime collaborator with August Wilson |
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| large black man, sometimes menacing, interested in white women |
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| Light entertainment that consisted of 10-15 unrelated acts – everything from animal acts, comedy acts, comic scenes, minstrel and musical numbers. |
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| Huge spectacle – spectacular costumes and visual effects, big dance numbers – mostly focused on celebrating women |
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| Apprenticeship under Oscar Hammerstein. He writes a musical, By George, and spends the afternoon with Hammerstein and gets an “assignment” |
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| element of being dramatic, |
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Long collaboration with Sondheim, directing first productions of Company (1970), Follies (1971), A Little Night Music (1973), Pacific Overtures (1976), Sweeney Todd (1979).
Also directed original productions of Andrew Lloyd Weber’s Evita and Phantom of the Opera. He reputedly turned down Cats |
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| play about the murder of a gay student, Matthew shepher |
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| Christians in theatre arts |
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His work grew out of Absurdism into its own form of realism
Emphasizes power of subtext – text on surface is seemingly meaningless or doesn’t connect with what characters are REALLY talking about
Much communication happens when text is missing – he is scrupulous about putting in pauses and silences into his work – those are the moments when things shift
His plays are preoccupied with power shifts in personal relationships |
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He has a keen ear for the rhythms of language and the way people express themselves.
Like Pinter, he relies heavily, especially in his later work, on what gets expressed between words.
Characters often express philosophical constructs through very mundane words.
He is the poet of vulgarity – his work in the mid 70’s captured the way we people spoke and cursed |
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| Has turned to writing, directing, and acting in films – mostly acting |
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| Richard Rogers and Lorenz Hart, wrote Pal Joey |
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Plot may tackle serious subject matter
Music and dance support the plot rather than the plot being a loose devise to string together song and dance numbers
Casting of actors who can sing rather than vice-versa.
Not star-centered |
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a musical of the stage play Green Grow the Lilacs by Lynn Riggs which would later become Oklahoma!
Ushered in the “Golden Age” of American Musicals |
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Richard Rogers and Oscar Hammerstein
Oklahoma, The King and I, Sound of Music |
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| founder of tectonic theatre play, wrote the Laramie Project |
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| lloyd richards, african american death of a salesman, 10 play cycle, |
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