Re: Video No Musical Con Mas Likes De Youtube
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The Likes of Us is musical with music by Andrew Lloyd Webber, lyrics by Tim Rice, and a book by Leslie Thomas. It is based on the story of Thomas John Barnardo, a philanthropist who founded homes for destitute children.
Although the musical, the first for both Rice and Lloyd Webber, was composed in 1965, it failed to find backing and was not performed until it was staged at Lloyd Webber's Sydmonton Festival on 9 July 2005.[1]
At the Edinburgh Castle Gin Palace, a drinking establishment in the East End of London, a local girl, who is on very familiar terms with the male clientele, sings of her exploits ("Twice in Love"). The intellectual and driven Barnardo finds himself out of place with the Cockneys of the Edinburgh Castle, and a row among them ensues ("A Very Busy Man"). As a result, Barnardo is thrown out of the tavern, as is Syrie Elmslie, who was attempting to collect money for charity. Outside the tavern, Johnny Farthingay, the son of the landlady, assures his girlfriend Jenny that although he can't buy her expensive presents, their love will keep them together. Jenny is a bit more cynical ("Love Is Here").
Barnardo reflects on the course his life is taking ("A Strange and Lovely Song"). While wandering London's streets, he encounters two homeless children who take him to the rooftops where they live, and it is there Barnardo learns of their struggle to survive ("The Likes of Us"). Barnardo is troubled by the conditions in which the children live. He decides he is needed far more in his own country than in China and resolves to stay in London to help the poor children ("How Am I to Know"). Unfortunately, his efforts to help only serve to stir a sense of outrage in the local populace who feel he is meddling in their affairs ("We'll Get Him").
Undaunted, Barnardo seeks the aid of Lord Shaftesbury. He accepts that his chosen mission will isolate him spiritually from those around him ("A Man on His Own"). Lord Shaftesbury is hosting a party in his home, at which Barnardo's fellow pub evictee Syrie also is a guest. Everyone joins in to sing the praises of England ("Lion-Hearted Land"). Lord Shaftesbury is won over by Barnardo and visits the children with him. Syrie also joins Barnardo's cause, and he is able to set up his first children's home, where he and Syrie care for the children ("You Can Never Make It Alone").
The tide turns, and Barnardo becomes overwrought with financial worries when he is sued for fraud. To make matters worse, a boy he was unable to help dies. Barnardo is in a state of despair, not knowing what will become of him ("Where Am I Going"), and the East End denizens hold an anti-Barnardo demonstration ("Hold a March"). Johnny and Jenny argue about their differing views of Barnardo. Johnny abandons Jenny, and Syrie attempts to console her ("You Won't Care About Him Anymore").
Barnardo's fortunes take a dramatic turn for the better. When the Edinburgh Castle is placed up for auction, he decides to buy it, as his ownership will serve to silence his detractors, and the building can be converted to further his cause ("Going, Going, Gone!"). Barnardo and Syrie marry ("Will This Last Forever?"). Their union provides the spark for two of the children to pretend they too will be a couple ("Man of the World"). The wedding reception is held in Barnardo's new property, which has been converted into a tea and coffee establishment ("Have Another Cup of Tea"). Barnardo and Syrie put the children to bed.
In 2005, a special performance to mark 40 years since Lloyd Webber and Rice's collaboration on this show, their first together, was staged at Lloyd Webber's annual Sydmonton Festival, where he tries out new works for a specially-invited audience. Stephen Fry narrated the piece, with Rice as Auctioneer. Hannah Waddingham and Adam Brazier also appeared. The performance was recorded live and released as a double album by Really Useful Records and Polydor.
I started writing this article way back in April 2020, but I knew I was saving it in the cyberspace drawer for a special moment. With everyone sharing their Best of 2020 on social media, now seems like the perfect time to get us all thinking about why we like and dislike certain music. Who said there was no such thing as coincidences?
There is some research out there on musical preferences and their connection to the brain and personality. But, as with many things involving the mysterious brain, there is still much to be discovered.
In another study, published in 2015, participants were asked to take a personality assessment clarifying their levels of empathetic and systematic thinking. They then had to rate their preference for various music excerpts. The results indicated that people scoring high in empathy gravitated towards mellow and reflective types of music such as folk, country and R&B. People who were found to be more systematic preferred music with higher degrees of complexity and intensity.
Likes made his Broadway debut this past fall in another musical adaptation of a cult classic movie: Almost Famous. There, he starred as teenage journalist William Miller. Likes is also set to star as Gene Simmons in the upcoming biopic Spinning Gold, starring Jeremy Jordan.
In the Back to the Future musical, Likes joins previously announced cast members Roger Bart as Doc Brown and Hugh Coles as George McFly, both of whom originated these roles in the show's world premiere in London's West End.
Back to the Future follows teenager Marty McFly on a journey from 1985 to 1955, with the help of scientist Doc Brown and his time-traveling DeLorean. Back in time, Marty accidentally disrupts his parents' first meeting, and he has to get them to fall in love again to save his own future life.
Bob Gale adapted the book for Back to the Future on Broadway from the screenplay he wrote with Robert Zemeckis. Alan Silvestri and Glen Ballard wrote original songs that appear alongside film hits like "Johnny B. Goode" and "The Power of Love." John Rando (Mr. Saturday Night) directs.
However, the attrition has already started. KPOP died a rather quick death and Almost Famous recently announced it would be closing in January. Of the rest, A Beautiful Noise and & Juliet are middling jukebox tuners, although they seem to be attracting decent crowds, at least for now. Hopefully, Kimberly Akimbo, easily the best musical of the lot, will be able to hold on through the notoriously difficult winter months and gain some momentum when it picks up what will likely be a raft of Tony Awards. (Read my review of the Off-Broadway production.)
What Shaiman and Whitman have done, in tandem with librettists Amber Ruffin (comedian and writer on Late Night with Seth Meyers) and Matthew Lpez (Tony-winner for the lauded but short-lived The Inheritance), is to concoct a good old-fashioned musical comedy, but with a decidedly modern sensibility.
Like most of the new musicals this season, Some Like It Hot has been struggling to gain traction at the box office. Hopefully, as harsh postpandemic economics force weaker shows to close, things will pick up at the Shubert and make Some Like It Hot the feel-good hit it deserves to be.
Christopher Caggiano is a freelance writer and editor living in Boston. He has written about theater for a variety of outlets, including TheaterMania.com, American Theatre, and Dramatics magazine. He also taught musical-theater history for 16 years and is working on numerous book projects based on his research.
And what a trip it is! With its irresistible combination of heart and laughs, song and dance, SOME LIKE IT HOT won more theatre awards than any show this year, including 4 Tony Awards (Best Actor, Best Costumes, Best Orchestrations, and Best Choreography), the Grammy Award for Best Musical Theater Album and was named Best Musical by the Drama Desk, The Drama League, and the Outer Critics Circle. No wonder Deadline calls it a tap-dancing, razzle-dazzling embrace of everything you love about musical theater.
The closed-session workshop, directed by McCarter Artistic Director Sarah Rasmussen, continues through March 15 and features Casey Likes (Back to the Future The Musical) as Anthony and Salena Qureshi (The Society, Madame Secretary) as Caroline.
I and You: A Musical, with a book by Gunderson and music and lyrics by Ari Afsar, sets the teenage angst and aspirations of its protagonists, Caroline and Anthony, against the poetry of Walt Whitman. The original play premiered at California's Marin Theatre Company in 2013, winning the 2014 Harold and Mimi Steinberg/American Theatre Critics Association New Play Award and earning recognition as a finalist for the 2014 Susan Smith Blackburn Prize.
The creative team also includes music director Sujin Kim-Ramsey, stage manager Danielle Ranno, dramaturg Julie Felise Dubiner, and artistic assistant Jaimee Harmon-Taboni with casting by Daryl Eisenberg.
Set in the Roaring '20s, the musical follows eccentric millionaire Jay Gatsby, who will stop at nothing in his tragic pursuit of Daisy Buchanan, a wealthy young woman whom he loved in his youth.
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Subverting assumptions that American musical theater is steeped in nostalgia, cheap sentiment, misogyny, and homophobia, this book shows how musicals of the 1950s and early 1960s celebrated strong women characters who defied the era's gender expectations. A Problem Like Maria reexamines the roles, careers, and performances of four of musical theater's greatest stars-Mary Martin, Ethel Merman, Julie Andrews, and Barbra Streisand-through a lesbian feminist lens. Focusing on both star persona and performance, Stacy Wolf argues that each of her subjects deftly crafted characters (both on and offstage) whose defiance of the norms of mid-twentiethcentury femininity had immediate appeal to spectators on the ideological and sexual margins, yet could still play in Peoria.
Chapter by chapter, the book analyzes the stars' best-known and best-loved roles, including Martin as Nellie in South Pacific, Merman as Momma Rose in GypsyAndrews as Eliza in My Fair Lady and Guinevere in Camelot, and Streisand as Fanny Brice in Funny Girl. The final chapter scrutinizes the Broadway and film versions of The Sound of Music, illuminating its place in the hearts of lesbian spectators and the "delicious queerness" of Andrews's troublesome nun. As the first feminist and lesbian study of the American Broadway musical, A Problem Like Maria is a groundbreaking contribution to feminist studies, queer studies, and American studies and a delight for fans of musical theater.
Stacy Wolf is Associate Professor of Theatre and Dance, University of Texas, Austin.