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The show is a fund raiser put on by the Little Sisters of Hoboken to raise money to bury sisters accidently poisoned by the convent cook, Sister Julia (Child of God). -- Publisher's description.
Nunsense: The Mega-Musical Version is here! All the fun of the original Nunsense has been super-sized! If you're looking for a large cast musical comedy, this award-winning show is the perfect choice. Mega-Nunsense, starring the original five nuns features five new (male and female) characters, including the never-before-seen infamous convent cook, Sister Julia, Child of God. In addition, there is a large chorus of men, women, and children. Nunsense, the winner of four Outer Critics Circle Awards, including Best Musical, was called "A hail of fun and frolic" by The New York Times. And now it's bigger and better than ever! It would be a sin to pass up the opportunity to present it!
This wide-ranging, two-volume encyclopedia of musicals old and new will captivate young fans—and prove invaluable to those contemplating staging a musical production. Written with high school students in mind, The World of Musicals: An Encyclopedia of Stage, Screen, and Song encompasses not only Broadway and film musicals, but also made-for-television musicals, a genre that has been largely ignored. The two volumes cover significant musicals in easily accessible entries that offer both useful information and fun facts. Each entry lists the work's writers, composers, directors, choreographers, and cast, and includes a song list, a synopsis, and descriptions of the original production and important revivals or remakes. Biographical entries share the stories of some of the brightest and most celebrated talents in the business. The encyclopedia will undoubtedly ignite and feed student interest in musical theatre. At the same time, it will prove a wonderful resource for teachers or community theatre directors charged with selecting and producing shows. In fact, anyone interested in theatre, film, television, or music will be fascinated by the work's tantalizing bits of historical and theatre trivia.
Nunsense, the Magic Word * I've Got Pizazz * Look, Ma, I Made It! * Angeline * We're the Nuns to Come to When You Go * What Would Elvis Do? * I Am Here to Stay * No None Cared Like You * There's Only One Way to End Your Prayers.
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.
Following up his hit 505 Unbelievably Stupid Web Pages, Dan Crowley again takes on the Web's weirdest and wildest in 505 Weirdest Online Stores. This is the ultimate guide to the Internet's strangest stores, where you can spend your time and money in pursuit of dehydrated water, duct tape fashion and a corporate hairball. For all those who love eBay but are tired of products that have actual uses, check out these sites: The Childhood Goat Trauma Foundation (www.goat-trauma.org) Political Talking Action Figures (www.prankplace.com/politics.htm) Lunar Land Owner (www.lunarlandowner.com) Air Sickness Bags (www.airsicknessbags.com) Michael Jackson Artwork (www.helenakadlcikova.com/michael_jackson.htm)
Smack-dab in the middle of America in Winnetka, Illinois, four women enter a Betty Crocker cooking contest in hopes of changing their lives. What they get is much more than they bargained for. Little did they know that it would take a zoologist from Indiana University, Alfred C. Kinsey, to really get them “cooking”! In an age when people believed the way to a man’s heart was through his stomach, the four women discover that the way to a woman’s heart is through her best friends.
Our Musicals, Ourselves is the first full-scale social history of the American musical theater from the imported Gilbert and Sullivan comic operas of the late nineteenth century to such recent musicals as The Producers and Urinetown. While many aficionados of the Broadway musical associate it with wonderful, diversionary shows like The Music Man or My Fair Lady, John Bush Jones instead selects musicals for their social relevance and the extent to which they engage, directly or metaphorically, contemporary politics and culture. Organized chronologically, with some liberties taken to keep together similarly themed musicals, Jones examines dozens of Broadway shows from the beginning of the twentieth century to the present that demonstrate numerous links between what played on Broadway and what played on newspapersÕ front pages across our nation. He reviews the productions, lyrics, staging, and casts from the lesser-known early musicals (the ÒgunboatÓ musicals of the Teddy Roosevelt era and the ÒCinderella showsÓ and Òleisure time musicalsÓ of the 1920s) and continues his analysis with better-known shows including Showboat, Porgy and Bess, Oklahoma, South Pacific, West Side Story, Cabaret, Hair, Company, A Chorus Line, and many others. While most examinations of the American musical focus on specific shows or emphasize the development of the musical as an art form, JonesÕs book uses musicals as a way of illuminating broader social and cultural themes of the times. With six appendixes detailing the long-running diversionary musicals and a foreword by Sheldon Harnick, the lyricist of Fiddler on the Roof, JonesÕs comprehensive social history will appeal to both students and fans of Broadway.