Musical Theater in Schools: Purpose, Process, and Performance is a comprehensive resource for general classroom teachers, music and drama educators. The book is the first of its kind to provide strategies for including musical theater across the K-12 curriculum, inviting teachers and arts specialists to utilize musical theater as an interdisciplinary art form within their own classrooms, or as collaborative projects throughout the school community. Typically relegated to after-school activities, musical theater can have a strong place both as an avenue for performance, creativity, and self-expression, or as a pathway for student learning about academic subjects. Drawing upon musical theater terminology, the book is organized into three distinct acts. The first section gives an overview of how this popular art form developed and how its stories reflect our culture and community, with descriptions of musical theater as a profession for adults, and for children. This section also discusses musical theater's compromised position within the arts, often relegated to theater departments even though repertoire and songs are available to music teachers, and argues for musicals as a form of interdisciplinary education. The second section outlines ways of integrating musical theater into the curriculum with considerations for the National Core Arts Standards. The third section provides suggestions for auditions, casting, rehearsing, and presenting a complete production, with a specific focus on student-centered performances. Based on the author's own experiences as a professional musical theater performer, coupled with teaching and research in classroom settings, the book reasons that you do not have to be a Broadway star to teach or perform musical theater. This unique and innovative book supports educators through the process of bringing musical theater into the biggest and most important performance space - the classroom stage.

"Musical theatre dance is an ever-changing, evolving dance form, egalitarian in its embrace of any and all dance genres. It is a living, transforming art developed by exceptional dance artists and requiring dramaturgical understanding, character analysis, knowledge of history, art, design and most importantly an extensive knowledge of dance both intellectual and embodied. Its ghettoization within criticism and scholarship as a throw-away dance form, undeserving of analysis: derivative, cliché ridden, titillating and predictable, the ugly stepsister of both theatre and dance, belies and ignores the historic role it has had in musicals as an expressive form equal to book, music and lyric. The standard adage, "when you can't speak anymore sing, when you can't sing anymore dance" expresses its importance in musical theatre as the ultimate form of heightened emotional, visceral and intellectual expression. Through in-depth analysis author Liza Gennaro examines Broadway choreography through the lens of dance studies, script analysis, movement research and dramaturgical inquiry offering a close examination of a dance form that has heretofore received only the most superficial interrogation. This book reveals the choreographic systems of some of Broadway's most influential dance-makers including George Balanchine, Agnes de Mille, Jerome Robbins, Katherine Dunham, Bob Fosse, Savion Glover, Sergio Trujillo, Steven Hoggett and Camille Brown. Making Broadway Dance is essential reading for theatre and dance scholars, students, practitioners and Broadway fans"--

Acting in Musical Theatre remains the only complete course in approaching a role in a musical. It covers fundamental skills for novice actors, practical insights for professionals, and even tips to help veteran musical performers refine their craft. Updates in this expanded and revised second edition include: A brand new companion website for students and teachers, including Powerpoint lecture slides, sample syllabi, and checklists for projects and exercises. Learning outcomes for each chapter to guide teachers and students through the book’s core ideas and lessons New style overviews for pop and jukebox musicals Extensive updated professional insights from field testing with students, young professionals, and industry showcases Full-colour production images, bringing each chapter to life Acting in Musical Theatre’s chapters divide into easy-to-reference units, each containing group and solo exercises, making it the definitive textbook for students and practitioners alike.

This book introduces readers to the world of children's theater by highlighting one specific model, The Oyster River Players, a small children's theater company in New Hampshire. By exploring the history and dynamics of their own theater company, authors Kelly and Walter Eggers apply broader implications, expanding their focus to include children's theaters of other kinds and in different cultural settings. Throughout the book, the Eggers show how children's theater succeeds in helping young people learn in ways that would be otherwise inaccessible. Through forays into philosophy and history, as well as personal testimonies, the authors present a coherent argument for the need for children's theaters in nearly every community.

Musical Theater in Schools: Purpose, Process, and Performance is a comprehensive resource for general classroom teachers, music and drama educators. The book is the first of its kind to provide strategies for including musical theater across the K-12 curriculum, inviting teachers and arts specialists to utilize musical theater as an interdisciplinary art form within their own classrooms, or as collaborative projects throughout the school community. Typically relegated to after-school activities, musical theater can have a strong place both as an avenue for performance, creativity, and self-expression, or as a pathway for student learning about academic subjects. Drawing upon musical theater terminology, the book is organized into three distinct acts. The first section gives an overview of how this popular art form developed and how its stories reflect our culture and community, with descriptions of musical theater as a profession for adults, and for children. This section also discusses musical theater's compromised position within the arts, often relegated to theater departments even though repertoire and songs are available to music teachers, and argues for musicals as a form of interdisciplinary education. The second section outlines ways of integrating musical theater into the curriculum with considerations for the National Core Arts Standards. The third section provides suggestions for auditions, casting, rehearsing, and presenting a complete production, with a specific focus on student-centered performances. Based on the author's own experiences as a professional musical theater performer, coupled with teaching and research in classroom settings, the book reasons that you do not have to be a Broadway star to teach or perform musical theater. This unique and innovative book supports educators through the process of bringing musical theater into the biggest and most important performance space - the classroom stage.

Rock ‘n’ roll is a style that was born out of the great American melting pot. An outgrowth of the blues, rock 'n' roll music combines driving rhythms, powerful chords, and lyrics that communicate the human experience to audiences around the world. Although rock singing was once seen as a vulgar use of the human voice and was largely ignored by the academic community, voice teachers and singers around the world have recently taken a professional interest in learning specialized techniques for singing rock 'n' roll. So You Want to Sing Rock 'n' Roll gives readers a comprehensive guide to rock history, voice science, vocal health, audio technology, technical approaches to singing rock, and stylistic parameters for various rock subgenres. Matthew Edwards, assistant professor of voice at Shenandoah Conservatory, provides easy-to-understand explanations of technical concepts, with tips for practical application, and suggestions for listening and further reading. So You Want to Sing Rock ‘n’ Roll includes guest-authored chapters by singing voice researchers Dr. Scott McCoy and Dr. Wendy LeBorgne, as well as audio and visual examples available from the website of the National Association of Teachers of Singing. This work is not only the ideal guide to singing professionals, but the perfect reference work for voice teachers and their students, lead and back-up singers, record producers and studio engineers. The So You Want to Sing seriesis produced in partnership with the National Association of Teachers of Singing. Like all books in the series, So You Want to Sing Rock 'n' Roll features online supplemental material on the NATS website. Please visit www.nats.org to access style-specific exercises, audio and video files, and additional resources.

Musical Director and arranger David Loud, a legendary Broadway talent, recounts his wildly entertaining and deeply poignant trek through the wilderness of his childhood and the edge-of-your-seat drama of a career on, in, under, and around Broadway for decades. He reveals his struggle against the ravages of Parkinson's and triumphs repeatedly. This memoir is also a remarkable love letter to music. Loud is the 'Ted Lasso' of the theater business, ever the optimist! “‘Music has consequences,’ a wise teacher once told a young David Loud; so does a story well-told and a life fully-lived. I lost count of how many times I laughed, cried, and laugh-cried reading this wonderful, wry, intimate, and inspiring book. David wields a pen like he wields a baton, with perfect timing, exquisite phrasing, and enormous heart.” — David Hyde Pierce, actor, Frasier, Spamalot, Curtains “Beautifully written, filled with vivid details, braided with love and loss and wit and the perspective of someone with an utterly unique story to tell." -- Lynn Ahrens, lyricist, Ragtime, Once on This Island, Anastasia “Luminous and surprising, an extremely honest memoir of a life lived in the world of Broadway musicals, by one of the theatre’s most gifted conductors. I can’t think of another book quite like it.” -- John Kander, composer, Cabaret, Chicago, New York, New York Unforgettably entertaining and emotionally revealing, Loud is pitch-perfect as he describes his path to the podium, from a stage-struck kid growing up at a school devoted to organic farming and mountain climbing, to the searing formative challenges he faces during adolescence, to the remarkable behind-the-scenes stories of his Broadway trials and triumphs. Skilled at masking his fears, Loud achieves his dream until one fateful opening night, when in the midst of a merry, dressing room celebration, he can no longer deny reality and must suddenly, truly, face the music.

Typescript, dated Rehearsal Draft April 7, 2018. Without music. Unmarked typescript of a musical that opened April 8, 2018, at the August Wilson Theatre, New York, N.Y., directed by Casy Nicholaw.

Are you a teacher of musical theatre who struggles to plan and construct lessons? Are you looking for a structured approach to teaching musical theatre to students of all abilities? Do you know your Ivor Novello from your Stephen Sondheim? Despite being one of the most popular forms of performance study, Musical Theatre is often the most difficult to teach due to its part-practical and part-academic approach. With few books on the market directly aimed at teachers, it can be a challenging and daunting task to devise a course of study that takes in the history of the form as well as considering the wider aspects that come together to make a successful musical. A Teacher's Guide to Musical Theatre enables teachers to plan and deliver courses in Musical Theatre with confidence and flair. The unique structure of the chapters guides teachers through key facts and concepts in musical theatre history and offers practical in-class activities for students. From topics for class discussion and essay assignments to journal entries and portfolios to sample test questions, this book is full of practical advice from experienced teachers in the field which make it the idea companion for teachers and instructors on diploma and degree-level courses, as well as those devising courses in part-time performing arts schools. Devised to provide sufficient engaging and inspirational material for an initial term or semester, the book establishes the principles of teaching this relatively new subject and encourages teachers to extend much further into the subject. From The Mikado to Hamilton and everything in between, this book breaks down decades of history into appropriately sized lessons, designed to give students a rounded survey of the subject and an understanding of how musicals work. Offering expert guidance to those with varied fields of expertise and practical experience but limited teaching experience, this book is the only existing guide to structured and stimulating practice.

(Applause Books). In 1943, a wounded soldier aided by a cane limped into the Stage Door Canteen, the American Theatre Wing's fabled New York club created to entertain the Allied forces. Two hours later, he was said to have left with a spring in his step and without the cane. This "miracle" is recounted in the lavish new book, The American Theatre Wing, an Oral History: 100 Years, 100 Voices, 100 Million Miracles . The other 999,999 miracles are more commonplace, if no less remarkable, told by the impassioned artists and theater advocates who created and sustained this preeminent theatrical organization founded in 1917. While the American Theatre Wing is best known as the founder of the Tony Awards, its mission is also dedicated to preserving the past, celebrating the present, and fostering the future of American theater by developing educational programs and distributing national grants and awards each year to performers and theater companies. The organization also recently took under its wing the irreverent OBIE awards, the top honors for off-Broadway that has become a dynamic pipeline for Broadway. This coffee-table book, celebrating the 100th Anniversary of the American Theatre Wing, is a fascinating cornucopia of untold lore and never-before-seen photos as prismatic and unexpected as the theater itself. The oral history traces the American Theatre Wing as a defender of the country's most romantic ideals through two world wars, presciently establishing an interracial policy at the Stage Door Canteen despite being denounced from the well of the United States Senate. In succeeding decades the ATW has burnished those ideals through its unflagging support of artists from Broadway, Off Broadway, and regional theater many of whom vividly tell their own stories in the book, including Angela Lansbury, Patti LuPone, Audra McDonald, Harold Prince, Neil Patrick Harris, James Corden, and Lin-Manuel Miranda.