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ANTHONY NEWLEY: AN ACTOR'S ANALYSIS OF A MUSICAL THEATRE LEGACY
Title
ANTHONY NEWLEY: AN ACTOR'S ANALYSIS OF A MUSICAL THEATRE LEGACY.
Creator
Layton, Christopher, Bell, John, University of Central Florida
Abstract / Description
Letters of Life, Lust, and Love: The Music of Anthony Newley will be focused entirely on the writing, performance, and private life of Anthony Newley. The show's book will connect each of the musical numbers through a series of letters written to his mother, Frances "Gracie" Newley. This will serve as the dramatic through-line correlating both his professional and private lives. The actor in this piece will be performing as "Mr. Newley," and will intensely focus on his mannerisms and...
Show moreLetters of Life, Lust, and Love: The Music of Anthony Newley will be focused entirely on the writing, performance, and private life of Anthony Newley. The show's book will connect each of the musical numbers through a series of letters written to his mother, Frances "Gracie" Newley. This will serve as the dramatic through-line correlating both his professional and private lives. The actor in this piece will be performing as "Mr. Newley," and will intensely focus on his mannerisms and personality. Costume and make-up will also be used to augment his physicality. The actor will be accompanied by a pianist. Newley's unusual and innovative writing and performance abilities are often ones that are underestimated due to a smaller body of work. Further study would reveal the autobiographical inspiration behind his unique librettos, mastery of performance, and scope of abilities extending into both commercial and artistic areas of theatre. The writing is filled with social and economic issues, religious references, and metaphorical concepts inviting audiences to think. These productions were holding their own during the period of Styne, Bernstein, and the beginnings of Sondheim. Before and after the performance, observers will have a chance to peruse through a display consisting of posters, articles, photos, and other Newley memorabilia to supplement further understanding of the subject. Observers will leave with a fresh (if not entirely new) idea of the experiences that drove this remarkably talented showman to contributing his part in the American musical theatre spotlight.
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Date Issued
2006
Identifier
CFE0000950, ucf:46759
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0000950
A 16 BAR CUT: THE HISTORY OF AMERICAN MUSICAL THEATREAN ORIGINAL SCRIPT AND MONOGRAPH DOCUMENT
Title
A 16 BAR CUT: THE HISTORY OF AMERICAN MUSICAL THEATREAN ORIGINAL SCRIPT AND MONOGRAPH DOCUMENT.
Creator
Sansom, Rockford, Bell, John, University of Central Florida
Abstract / Description
Believing that a thesis should encompass all aspects of a conservatory training program, I will write and perform--in collaboration with my classmate Patrick John Moran--a new musical entitled A 16 Bar Cut: The History of American Musical Theatre as the capstone project for my Master of Fine Arts in Musical Theatre. A 16 Bar Cut will be a two-man show that tells the entire history of American musical theatre from the ancient Greeks to today in a tongue-in-cheek manner. The goal of the project...
Show moreBelieving that a thesis should encompass all aspects of a conservatory training program, I will write and perform--in collaboration with my classmate Patrick John Moran--a new musical entitled A 16 Bar Cut: The History of American Musical Theatre as the capstone project for my Master of Fine Arts in Musical Theatre. A 16 Bar Cut will be a two-man show that tells the entire history of American musical theatre from the ancient Greeks to today in a tongue-in-cheek manner. The goal of the project is to pay homage to an original American art form in a night of zany silliness and hilarity. The show will feature an informative perspective on the rise and current status of American musical theatre, several new songs, complete irreverence, and grown men singing, dancing, and making utter fools of themselves. Creating my thesis show will test and stretch my knowledge base of the musical theatre art form and virtually every skill that I have developed in my course of study. Since A 16 Bar Cut centers on the historical journey of musical theatre, constructing the new work will demonstrate my understanding of musical theatre history and literature. Performing the show will also challenge my ability and craftsmanship as an actor, singer, and dancer. Not only will I create a through-line character--a heightened, silly, professorial version of myself, but I will also create approximately fifty additional characters used throughout the show. The vocal and dance requirements for my track will also be numerous and demanding. And since the show travels through the major movements of musical theatre history, I will have to dance, sing, and act in the various styles and qualities of each movement and time period. Other significant challenges will center on script development. The first obstacle will be synthesizing music theatre into a single evening while maintaining an arc, storyline, and Patrick and my specific point of view about the genre. Another complexity to the show will be accessibility to the audience--how to be respectful to and informative about musical theatre, while at the same time being entertaining and funny to a wide array of audience members who will vary in musical theatre knowledge. In addition, developing a two-man thesis will require a complete collaboration with Patrick Moran. Since musical theatre is rarely--if ever--a solo art, working as a team will expand and exercise my collaborative abilities. And producing the show with Patrick will test supplementary skills such as marketing, resourcefulness, design and technical elements, etc. The Research and Analysis portion of my monograph document will be structured according to the M.F.A. Thesis Guidelines as applicable to my specific project. The (A) Research section will consist of a biographical glossary on all of the composers and lyricists referenced in A 16 Bar Cut. Librettists' information will be included when their work is pertinent. Additionally, each composer, lyricists, and librettists will be discussed in regards to their significance in musical theatre history. The (B) Structural Analysis section will describe the show's organization and construction and how the structural problems mentioned above are solved. The (C) Role Analysis section will have three sub-sections focusing on my different roles in the production as a playwright, producer, and actor.
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Date Issued
2006
Identifier
CFE0001178, ucf:46875
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0001178
A 16 BAR CUT:THE HISTORY OF AMERICAN MUSICAL THEATREAN ORIGINAL SCRIPT AND MONOGRAPH DOCUMENT
Title
A 16 BAR CUT:THE HISTORY OF AMERICAN MUSICAL THEATREAN ORIGINAL SCRIPT AND MONOGRAPH DOCUMENT.
Creator
Moran, Patrick, Bell, John, University of Central Florida
Abstract / Description
A final thesis for my Master of Fine Arts degree should encompass every aspect of the past few years spent in the class room. Therefore, as a perfect capstone to my degree, I have decided to conceive, write, and perform a new musical with my classmate Rockford Sansom entitled The History of Musical Theatre: A 16 Bar Cut. The History of Musical Theatre: A 16 Bar Cut will be a two-man musical that will capsulate all of musical theatre history in a single evening. Starting with the Greeks and...
Show moreA final thesis for my Master of Fine Arts degree should encompass every aspect of the past few years spent in the class room. Therefore, as a perfect capstone to my degree, I have decided to conceive, write, and perform a new musical with my classmate Rockford Sansom entitled The History of Musical Theatre: A 16 Bar Cut. The History of Musical Theatre: A 16 Bar Cut will be a two-man musical that will capsulate all of musical theatre history in a single evening. Starting with the Greeks and finishing in the present, the show will comedically inform the audience, while paying homage to, the astonishing art form called musical theatre, using several outrageous conventions such as a game show, spoof, mimicry, and most importantly, drag. The show will also pose the question to everyone: with all the great literature already created, where is musical theatre headed, and who is going to bring us there? Writing A 16 Bar Cut will test the training I have received and my mastery of musical theatre as an art form. The show will demonstrate my understanding and passion for several components used by authors and actors alike to create a musical. Being that the show is a capsulation of all musical theatre, A 16 Bar Cut will show my true mastery of the history and literature of musical theatre. I will be forced to hone my skills of the collaborative process at a new level, as never having to truly execute them with such intensity before. The challenges that lay ahead will be seen not only in the performance aspect, but also in the creation of A 16 Bar Cut. Since musical theatre has an immense range in genre and style, the ability to technically master these styles and genres will prove to challenge me as a performer, as well as a writer. In the performance, there will be three main challenges: vocal qualities, dance techniques, and my acting craft. The vocal styles used in A 16 Bar Cut will test my capabilities as a singer to meet the demands needed to convey the original material used as it was initially intended. As a dancer, the specific movements and "signatures" of the many choreographers will challenge me to understand and be able to re-create these "specifics" for an audience. The character building will test me as an actor, starting with one through-lined character--a heightened half-brained juvenile form of myself--along with building approximately fifty auxiliary characters throughout the show. As a writer, there are two major challenges that I foresee. The first challenge is the arc of the show--needing to keep a steady through-line that will let the audience understand what is happening and follow the history. The second obstacle is making sure the audience understands the show. I may be finishing an M.F.A. in Musical Theatre, but not everyone will be. In fact, some audience members may not know anything about musical theatre. This challenge arises trying to make the show funny to everyone, not just musical theatre dorks. The Research and Analysis portion of my monograph document will follow the course of action laid out in the M.F.A. Thesis Guidelines. The (A) Research section will include the biographical information pertaining to the composers and lyricists involved in the selected materials. Librettists of specific book shows that we choose to utilize as it pertains to our show will also be included in this section. I will also include a brief subsection of each composer, lyricist, and librettist's significance to musical theatre history. The (B) Structural Analysis section will discuss the structure and dramatic organization of how we choose to create A 16 Bar Cut. The (C) Analysis of the Role section will reveal how we employ the stock characters/ comedic duo of the straight man and funny man (i.e., Laurel & Hardy and Abbot & Costello). All other components outlined in the M.F.A. Thesis Guidelines will be included in my document.
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Date Issued
2006
Identifier
CFE0001179, ucf:46865
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0001179
Examining Gender in Pharmaceutical Rhetoric Through a Cultural Studies Lens: A Case Study on the Gardasil Vaccine
Title
Examining Gender in Pharmaceutical Rhetoric Through a Cultural Studies Lens: A Case Study on the Gardasil Vaccine.
Creator
Fickley, Jennifer, Bowdon, Melody, Scott, John, Bell, Kathleen, Delorme, Denise, University of Central Florida
Abstract / Description
On June 8, 2006, Merck announced the debut of Gardasil, the world's first vaccine found successful in preventing human papillomavirus (HPV) infections, a sexually transmitted infection that is one of the main causes of certain cancers in men and women, including cervical, vulvar, penile and anal cancers. To promote the vaccine's release, Merck launched Gardasil's (")One Less(") advertising campaign that included television commercials, print ads and a consumer-focused website (www.Gardasil...
Show moreOn June 8, 2006, Merck announced the debut of Gardasil, the world's first vaccine found successful in preventing human papillomavirus (HPV) infections, a sexually transmitted infection that is one of the main causes of certain cancers in men and women, including cervical, vulvar, penile and anal cancers. To promote the vaccine's release, Merck launched Gardasil's (")One Less(") advertising campaign that included television commercials, print ads and a consumer-focused website (www.Gardasil.com), each promoting the message that (")you(") could now be (")one less woman(") affected by cervical cancer ((")One Less(") campaign). The vaccine, tested and approved only for females age 9-26, was advertised to this age group, as well as parents or guardians responsible for making medical decisions for female minors. As the campaign launched, commercials depicted females laughing and enjoying hobbies while mentioning the positive decision they made to receive the Gardasil vaccine. Many commercials also included portrayals of mothers talking happily about their decision to get their young daughters vaccinated. Interestingly, male figures were completely left out of Gardasil's (")One Less(") campaign ads, despite the fact that in reality, males administer the vaccine as medical professionals, transmit the infection as sexual partners, and suffer cancers as HPV-infected patients. Males were even left out of the ads as parents, who were always portrayed by women in the ad campaign. Informed consumers may have expected all this to change on Oct. 16, 2009 (-) three years after Gardasil's debut (-) when the Food (&) Drug Administration (FDA) approved the vaccine for use in males age 9-26 to protect against HPV-caused genital warts. Though Merck's vaccine was now accessible to more consumers than ever, the advertising that surrounded this medical breakthrough changed very little. Television commercials for the vaccine still promoted Gardasil primarily to women for the purpose of preventing HPV-related cervical cancer. Again, men were not featured in commercials as medical professionals, parents, guardians, romantic partners, or even as patients able to get the vaccine. Males did begin appearing on the vaccine's official website, however these depictions were limited to showing only young boys, who appeared standing with a mother's protective arm around them. Males that represent the older age range (up to age 26) were never shown. What effect does the lack of male representation have on the verbal and nonverbal message these ads are sending consumers about who fits in the target consumer group, as well as who is at risk for an HPV infection? On a broader level, how does gender representation as a whole affect pharmaceutical advertisements and the adoption of the potentially life-saving products they promote? How does a pharmaceutical technology become (")gendered(")? How do specific gender portrayals impact the educational aspects of pharmaceutical ads, which may shape a consumer's opinion of who is at risk for an illness, and who is responsible for its treatment or prevention? And how do these gender portrayals connect with, reflect or reinforce dominant cultural beliefs about the roles males and females play in protecting themselves and others from disease? In this study, I investigate these questions using a blended cultural studies/social sciences research perspective, first looking at the controversial history of direct-to-consumer pharmaceutical advertising and the gender stereotypes that traditionally exist in this form of rhetoric. I then test the affect Merck's gender portrayals has on its ad message in a blind study done with a small sample population, which provides evidence that Merck's ads are confusing and exclusive of certain populations, particularly men. I then investigate how Merck's existing gender portrayals, and strong focus on women, reflect larger historical beliefs on the roles that males and females play in health care and in the family. I show how, through advertising, Gardasil has become (")gendered(") as a pharmaceutical technology for female children. From here, I will show how pharmaceutical companies, such as Merck, have both reflected and reinforced the belief that women are the primary caregivers to children, how this stereotype is both damaging and statistically incorrect, and how using it targets Gardasil ads to a very narrow population of consumers, miscommunicating the message of who is at risk for illness contraction and perhaps even damaging sales in addition to prevention. I later provide evidence that Merck's current Gardasil ad series and other actions in the marketplace are dangerously misleading certain populations regarding the nature of the HPV virus, the protective abilities of the vaccine, and the populations responsible for accessing Gardasil. I then provide the argument that gendering Gardasil as a (")women's technology(") is done intentionally by Merck, which has a history of making profits a priority over responsibly treating patient health. I conclude by providing detailed suggestions on how Merck can augment their current ad series to de-gender Gardasil to become more medically responsible, and break out of the cycle of portraying men and women using damaging and outdated stereotypes. Instead, my suggestions for changes to Gardasil's advertising approach would make the vaccine's messages appeal to all audiences at risk.
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Date Issued
2012
Identifier
CFE0004304, ucf:49486
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0004304