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Title: YOU CAN'T STOP THE BEAT: BRINGING MUSICAL THEATRE TO UNDERPRIVILEGED YOUTH.
Creator: Tsurumaki, Megan, Boyd, Belinda, University of Central Florida
Abstract / Description: In an age of standardized testing and quality-controlled classrooms, teachers have lost the freedom to integrate imagination and creativity in their lessons, ultimately cheating todayÃ‚Â's youth. In the classroom, students no longer have the outlets that transport them from the harsh realities of life. This thesis is an attempt to provide a venue for the Orange County Public School System that will engage the imaginations of under-represented or underprivileged students....
Show moreIn an age of standardized testing and quality-controlled classrooms, teachers have lost the freedom to integrate imagination and creativity in their lessons, ultimately cheating todayÃ‚Â's youth. In the classroom, students no longer have the outlets that transport them from the harsh realities of life. This thesis is an attempt to provide a venue for the Orange County Public School System that will engage the imaginations of under-represented or underprivileged students. The thesis will chronicle the development of a script with the intent of producing it in Title I elementary schools located in lower socio-economic areas of Orlando, Florida. The script will be based on Hans Christian AndersonÃ‚Â's fairy tale Ã‚Â"The Ugly Duckling.Ã‚Â" The final product will be a musical theatre piece to take into the school system to be performed by the students. The body of the thesis will contain my prior experiences of bringing musical theatre to underprivileged youth. The document will also include chapters detailing the process of creating the script and composing the music. Research will determine the socio-economic challenges prevalent in the under-represented cultures in the urban schools of Orlando. Finally, the thesis will contain a section of the actual script and will conclude with a chapter summarizing the reactions to the first reading of the play
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Date Issued: 2010
Identifier: CFE0003408, ucf:48397
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0003408

Title: CAN A METHODOLOGY BE DEVELOPED FOR MUSICAL THEATRE CHOREOGRAPHY?.
Creator: Kelly, Kathleen, Weaver, Earl, University of Central Florida
Abstract / Description: Limited training exists for young, aspiring choreographers who wish to work in the realm of musical theatre. University programs turn you away if your focus is not on concert dance and few good books can be found on library shelves to gain knowledge. Most books that do exist are very outdated and lack the practical knowledge and information necessary to become a successful musical theatre choreographer today. This research will help to determine whether a methodology can be developed for...
Show moreLimited training exists for young, aspiring choreographers who wish to work in the realm of musical theatre. University programs turn you away if your focus is not on concert dance and few good books can be found on library shelves to gain knowledge. Most books that do exist are very outdated and lack the practical knowledge and information necessary to become a successful musical theatre choreographer today. This research will help to determine whether a methodology can be developed for training musical theatre choreographers. The research data collected stems from the creative minds of choreographers and performers. A select group of professional musical theatre choreographers completed surveys in regards to the craft. Three of the participants were observed using their creative teaching strategies in rehearsals. Furthermore, selected performers responded to a set of questions in regards to the selected participants' strategies. All of the collected data was analyzed to determine which choreographic methods and strategies result in the most successful rehearsal periods and products. The favored methods and strategies, as well as other information, assisted with recognizing the necessary knowledge that an excellent musical theatre choreographer must possess. That knowledge was divided into elements that will make up the courses within the desired methodology. The conclusion finds that a methodology for training musical theatre choreographers is obtainable, consisting of the study of the determined elements. With the development of a text and a university to pioneer the program, aspiring choreographers will have a way to gain beneficial knowledge and experience in the craft of musical theatre choreography.
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Date Issued: 2007
Identifier: CFE0001713, ucf:47315
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0001713

Title: THE CHALLENGE OF PLAYING MULTIPLE ARTHURIAN CHARACTERS.
Creator: Lowa, Cynthia, Boyd, Belinda, University of Central Florida
Abstract / Description: This thesis examines the portrayal of multiple roles in a production of Camelot, written by Alan Jay Lerner and Frederick Loewe. Performance and content analysis identifies and explores the difficulties and challenges in portraying multiple roles in this production, including the understudying of the leading role of Guenevere. A detailed historical analysis provides background into origin of the Arthurian legend and an examination of its historical development. A social analysis provides...
Show moreThis thesis examines the portrayal of multiple roles in a production of Camelot, written by Alan Jay Lerner and Frederick Loewe. Performance and content analysis identifies and explores the difficulties and challenges in portraying multiple roles in this production, including the understudying of the leading role of Guenevere. A detailed historical analysis provides background into origin of the Arthurian legend and an examination of its historical development. A social analysis provides information on the role of women in medieval society with a discussion of the customs and laws that applied to them. Furthermore, a structural analysis of the script examines the plot and play structure. In addition, in individual sections is formal scene-by-scene analysis of the role of Nimue, Lady Anne, and Guenevere. A comprehensive rehearsal and performance journal also addresses the rehearsal and script development process and challenges faced as well as discoveries, adjustments, and choices made in performance from April 14 to May 30, 2004 at the Orlando Broadway Dinner Theatre. Specific entries include discussion of the challenges of playing minor roles while understudying the role of Guenevere, eventually played in one performance. Belinda Boyd and Christopher Niess, my thesis committee, have each provided a performance analysis of my portrayal of Nimue and Lady Anne. J.J. Ruscella, another committee member, has provided a performance analysis of my performance as Guenevere.
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Date Issued: 2004
Identifier: CFE0000225, ucf:46265
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0000225

Title: STEPHEN SONDHEIM'S GESAMTKUNSTWERK: THE CONCEPT MUSICAL AS WAGNERIAN TOTAL THEATRE.
Creator: Calderazzo, Diana, Listengarten, Julia, University of Central Florida
Abstract / Description: Stephen Sondheim, famous for writing such musicals as Company, Into the Woods, Sweeney Todd, and Assassins, is often referred to as the originator of the modern concept musical. Despite varying definitions of the concept musical, it is generally agreed that the form embodies a specific identity or mood, which it communicates to an audience both emotionally and intellectually. As such it offers audience members a complete experience resembling in theory the idea of "total theatre" proposed in...
Show moreStephen Sondheim, famous for writing such musicals as Company, Into the Woods, Sweeney Todd, and Assassins, is often referred to as the originator of the modern concept musical. Despite varying definitions of the concept musical, it is generally agreed that the form embodies a specific identity or mood, which it communicates to an audience both emotionally and intellectually. As such it offers audience members a complete experience resembling in theory the idea of "total theatre" proposed in the nineteenth century by composer Richard Wagner. My thesis will argue that the similarity between Sondheim's concept musical and Wagner's total theatre is more than purely theoretical; it is practical as well, involving structural parallels such as leitmotif, minor chord development, and intricate lyricism. Congruently, many of Sondheim's choices describing communication with audiences on the emotional and intellectual levels also recall those utilized by Wagner over a century earlier. These similarities not withstanding, Sondheim, as a contemporary artist, creates work that has often been described in terms of theoretical movements that post-date Wagner, including "desconstructionism" and Brechtian theatre. While these terms certainly describe some differences between the work of Sondheim and Wagner, I will argue that their existence with regard to Sondheim does not preclude a Wagnerian approach to the contemporary composer's work. Elements of deconstruction and Brechtian alienation may, in fact, be linked back to Wagner in specific manners. My thesis will explore these connections, concluding that an approach to the work of Sondheim in the vein of Richard Wagner may suggest a successful method of interpreting the contemporary concept musical.
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Date Issued: 2005
Identifier: CFE0000714, ucf:46598
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0000714

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

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

Title: Women in White: my journey into color.
Creator: Tarbox, Madison, Ingram, Kate, Boyd, Belinda, Brown, James, University of Central Florida
Abstract / Description: In many religious circles white is a symbol for purity, cleanliness, and perfection. However, white is also synonymous with empty, blank, and colorless. Women in White: My journey into color is a project centralized around a personal study of the cultural pressures of (")perfection(") presented both in religious cultures and in the every-day life of a performer. Utilizing the catalyst of a cabaret-style performance, Women in White explores the struggles of nine different female characters in...
Show moreIn many religious circles white is a symbol for purity, cleanliness, and perfection. However, white is also synonymous with empty, blank, and colorless. Women in White: My journey into color is a project centralized around a personal study of the cultural pressures of (")perfection(") presented both in religious cultures and in the every-day life of a performer. Utilizing the catalyst of a cabaret-style performance, Women in White explores the struggles of nine different female characters in the musical theatre cannon and aims to draw a personal connection from their journey. Inspired by the wise words of my own mother, this thesis celebrates the color present in our lives.
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Date Issued: 2017
Identifier: CFE0006959, ucf:51656
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0006959

Title: The Revenge of the Second Banana: A Female Sidekick's Survival Guide.
Creator: Mason, Melissa, Weaver, Earl, Ingram, Katelyn, Lee, David, University of Central Florida
Abstract / Description: I returned to school to receive an MFA in Musical Theater for many reasons, but paramount was the need to further explore and develop my range as an actress. Throughout my career, I have played a variety of roles, but none as challenging or possibly as rewarding as the man-hungry secretary "(")Charlie"(") in James Valcq''s Zombies from the Beyond, produced by the Jester Theatre in Winter Garden, FL. Performing this role allowed me to achieve one of my objectives when entering the grad program...
Show moreI returned to school to receive an MFA in Musical Theater for many reasons, but paramount was the need to further explore and develop my range as an actress. Throughout my career, I have played a variety of roles, but none as challenging or possibly as rewarding as the man-hungry secretary "(")Charlie"(") in James Valcq''s Zombies from the Beyond, produced by the Jester Theatre in Winter Garden, FL. Performing this role allowed me to achieve one of my objectives when entering the grad program at UCF: to transition from a classical ing(&)#233;nue or soubrette into a leading lady or character actress; making Zombies from the Beyond the perfect capstone to my graduate experience.During the 1950s, American cinema was filled with sci-fi movies such as Forbidden Planet, The Thing from Another World, and Invasion of the Body Snatchers. Each movie depicted an otherworldly creature as the villain (a metaphor for the relationship between the United States and the USSR) who had only one purpose: total domination. Zombies from the Beyond aptly reveals the absurdity of the hysteria and paranoia surrounding the "(")cold war"(") and the "(")space race"(") that dominated America in the 1950s. The play makes comic use of the "(")double-red agent"(") and presents the belief that the space race and cold war inevitably were tied together, while examining Russia''s dirty tactics in the struggle for power.In addition to the historical ramifications of Zombies from the Beyond, post WWII America saw an explosive growth in female empowerment. Through each female character''s thoughts and actions on stage, Valcq''s musical tackles the struggle many women faced between the new feminist ideals and old-fashioned morals. My character, Charlene "(")Charlie"(") Osmanski, is the iconic man-hungry, working girl with a big heart (aka "(")The Sidekick"(")). She is a woman very much caught between the traditional values of the 1950s and the progressive, more feminist attitudes starting to take hold in the country.After accepting the role in Zombies from the Beyond, I realized my responsibility was to breathe new life into the role of the comedic sidekick while remaining true to the original vision and traditions that had been set forth by such brave comic pioneers as Rose-Marie, Thelma Ritter, and Vivian Vance. Faced with this daunting task and the enormity of creating a role with such a prominent historical and societal lineage, I asked myself, "(")What does an actor need to know in order to become the perfect sidekick?"(")To answer this compelling question and to ensure I did not fail in my task, I researched actresses who play a similar archetype; studied the evolution of the female comedienne; examined the audience''s relationship to the sidekick; and discussed the character''s future as an integral force in contemporary theatre, all in a convenient survival guide.Ultimately, the evolution of the mainstream audience and their shifting requirements for entertainment impact the sidekick''s portrayal on stage; however, since post-modernistic audiences no longer need one definitive stereotype or archetypal character, the ideas I set forth are not finite or absolute in nature. Instead, they create a basic foundation that serves as a guide for the actor when creating a similar character while ensuring the sidekick''s place as a relevant and sustainable character for generations to come.
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Date Issued: 2011
Identifier: CFE0004135, ucf:49110
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0004135

Title: JERRY HERMAN'S LEADING LADIES.
Creator: Mansell, John, Wuehrmann, MFA, Nicholas, University of Central Florida
Abstract / Description: Jerry Herman is celebrated for his ability to showcase strong leading female roles in his canon of work that spans some fifty years. In writing such strong female characters, he must produce strong male counterparts to these women who can communicate on their level and not become overpowered by the womenÃ‚Â's presence. I was cast in the musical revue, ItÃ‚Â's Today: An Evening of Jerry Herman, conceived, directed, and choreographed by Earl D. Weaver...
Show moreJerry Herman is celebrated for his ability to showcase strong leading female roles in his canon of work that spans some fifty years. In writing such strong female characters, he must produce strong male counterparts to these women who can communicate on their level and not become overpowered by the womenÃ‚Â's presence. I was cast in the musical revue, ItÃ‚Â's Today: An Evening of Jerry Herman, conceived, directed, and choreographed by Earl D. Weaver. My portion of the revue explored HermanÃ‚Â's leading male roles of Cornelius from Hello, Dolly!; Mack from Mack and Mabel; Colonel Tadeusz Boleslav Stjerbinsky from The Grand Tour; and Albin from La Cage aux Folles, My analysis of these specific leading male roles uncovers how their relationships with their leading ladies defines their character in each of the musicals for which they were written. It also helped me define multiple characters in the course of a revue with no plot or storyline. Though all these male characters provided me with challenges, my greatest task was defining Albin in La Cage aux Folles. He provides a unique perspective in that he exemplifies a combination of both male/female characteristics. He is a man who regularly portrays a woman onstage in a drag club as well as assuming a female role in a homosexual relationship. He serves as the Ã‚Â"leading ladyÃ‚Â" for La Cage aux Folles though his character is considered a Ã‚Â"leading manÃ‚Â" role. He is the consummate representation of all Jerry Herman leading roles, and embodies many of the themes Herman utilizes in all his work.
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Date Issued: 2010
Identifier: CFE0003017, ucf:48346
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0003017

Title: THE MIND OF A SADOMASOCIST:A THEATRICAL ROLE ANALYSIS OF ORIN SCRIVELLO D.D.S.
Creator: Catlett, Mark, Weaver, Earl, University of Central Florida
Abstract / Description: Mark Catlett will portray the role of Orin Scrivello D.D.S., as well as various other "cameo" roles, at Seaside Music Theater in Daytona Beach, Florida from January 13- February 13 2005. The role of Orin Scrivello will provide me with several acting challenges as well as multiple subjects and themes to research. The most challenging aspect of creating, developing and embodying the character of Orin will be his sadomasochistic nature and his blatant abuse towards Audrey. Sadomasochism is...
Show moreMark Catlett will portray the role of Orin Scrivello D.D.S., as well as various other "cameo" roles, at Seaside Music Theater in Daytona Beach, Florida from January 13- February 13 2005. The role of Orin Scrivello will provide me with several acting challenges as well as multiple subjects and themes to research. The most challenging aspect of creating, developing and embodying the character of Orin will be his sadomasochistic nature and his blatant abuse towards Audrey. Sadomasochism is defined as "the deriving of sexual gratification, from being physically or emotionally abused". It is also defined as "a willingness or tendency to subject oneself to unpleasant or trying experiences". The psychology of sadomasochism is completely foreign to my life experience and will have to be deeply explored to fully realize the inner workings of Orin's behavior. To supplement the exploration of the psychology of sadomasochism, research will be completed on the following topics: • Sadomasochism in regards to the lead characters of Little Shop of Horrors. • The history of Little Shop of Horrors from its roots in the cult horror film of 1960, followed by the 1983 Off-Broadway production, segueing into the 1986 re-make film version, and culminating in the 2003 official Broadway production. Portrayal of Orin Scrivello D.D.S. also demands the creation of several other characters in the second act of the show. This will require me to develop several different characters ranging from the sadomasochistic dentist, to an ambitious entrepreneur, to even dressing in drag to portray a female florist customer. This will give me an opportunity to show versatility as well as research several different character personalities and dramatic structures. These characters come in and out of the florist shop very quickly, so the challenge will be to both perform a quick change of costume and also be able to completely switch characterizations within minutes. These characters should be different enough that the audience does not immediately realize it is the same actor playing all of these roles.
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Date Issued: 2005
Identifier: CFE0000733, ucf:46611
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0000733

Title: ANYTHING BUT CRAZY: HOW AMERICAN MUSICAL THEATRE CAN CHANGE SOCIETAL STIGMAS AGAINST MENTAL ILLNESSES.
Creator: Walton, Benjamin, Weaver, Earl, University of Central Florida
Abstract / Description: There is a societal stigma that villainizes or degrades anyone diagnosed or associated with any mental illness. While many different forms of media have attempted to destroy this stigma through psycho-centric narratives, I wanted to argue that musical theatre has the greatest potential as a live entertainment source to deconstruct and reduce the stigma surrounding mental illness. For my research, I theorized that musical theatre can most effectively change societal stigma about mental illness...
Show moreThere is a societal stigma that villainizes or degrades anyone diagnosed or associated with any mental illness. While many different forms of media have attempted to destroy this stigma through psycho-centric narratives, I wanted to argue that musical theatre has the greatest potential as a live entertainment source to deconstruct and reduce the stigma surrounding mental illness. For my research, I theorized that musical theatre can most effectively change societal stigma about mental illness by communicating a clear understanding of the disease through music, and achieving popularity in the public eye longer than other live forms of theatre. I chose to focus on four of those musicals: Lady in the Dark by Moss Hart, Kurt Weill, and Ira Gershwin which talks about depression and anxiety in the 1940s; Spring Awakening, adapted from Frank Wedekind's original play by Steven Sater and Duncan Sheik, which discusses depression and suicidal tendencies, specifically in students; Next to Normal by Brian Yorkey and Tom Kitt which revolves around bipolar disorder; and Dear Evan Hansen by Steven Levenson, Benj Pasek, and Justin Paul which talks about the prevalence of anxiety disorders in society. With this thesis I wanted to further the progression of destigmatizating mental illnesses through the medium of musical theatre. Through an analysis of these well-known musicals that focus on mental illnesses and the psychological research that follows, I proposed a short song cycle that continues this evolution of mental illness musicals. Through this process, I theorized that musical theatre will decrease the stigma surrounding mental illnesses and will promote treatment and care when dealing with mental illnesses.
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Date Issued: 2018
Identifier: CFH2000321, ucf:45842
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFH2000321

Title: THE CHORUS: A LINE TO CROSS.
Creator: Santiago, Marco, Huaixiang, Tan, University of Central Florida
Abstract / Description: ABSTRACT This thesis project will provide an in depth examination into the musical theater role of Paul, the male Puerto Rican dancer in A Chorus Line, as performed by Marco Antonio Santiago. The performance will take place at Cohoes Musical Theater in Albany, New York. This examination will reveal how the application of Stanislavski's methods on acting and his views in preparing a character can be used on musical theatre roles to achieve well rounded, fully developed and completely...
Show moreABSTRACT This thesis project will provide an in depth examination into the musical theater role of Paul, the male Puerto Rican dancer in A Chorus Line, as performed by Marco Antonio Santiago. The performance will take place at Cohoes Musical Theater in Albany, New York. This examination will reveal how the application of Stanislavski's methods on acting and his views in preparing a character can be used on musical theatre roles to achieve well rounded, fully developed and completely believable characters. The thesis will contain a structural analysis of the script, scene and role analysis, a performance journal to log the growth/challenges of each role, and other vital information charting the application of Stanislavski's methods on acting. In addition to Stanislavski's methods other well known acting teachers and their methods such as Richard Boleslavski and Sanford Meisner, will be viewed and applied throughout the process. Furthermore, a performance critique/analysis will be provided by Lani Harris, Tan Huaixiang, and Nicholas Wuehrmann, who serve as the acting committee members for this thesis project. The role of Paul helps propel the action of the play forward allowing the audience to truly realize the themes provided by the playwright, lyricist, and composer. This thesis project will reveal that an actor's training can be applied in almost any venue of theatre in some form or fashion and successfully make a well-rounded character.
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Date Issued: 2006
Identifier: CFE0001415, ucf:47035
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0001415

Title: TORAH, TRADITION, AND TRINA: ANALYSIS AND DEVELOPMENT OF TRINA IN WILLIAM FINN'S FALSETTOS FROM A FAITH-BASED PERSPECTIVE.
Creator: Jeffreys, Margaret-Ellen, Chicurel, Steven, University of Central Florida
Abstract / Description: When an actor approaches a character, s/he examines many facets of the play--the setting, the time period, the politics surrounding both of the former. S/he also looks into elements of the character--any noted physical attributes in the text, his/her financial and social status, what s/he wants and what obstacles are standing in his/her way. Often the last thing that the actor studies is the character's spiritual and/or religious life. When I was cast as Trina in UCF's production of...
Show moreWhen an actor approaches a character, s/he examines many facets of the play--the setting, the time period, the politics surrounding both of the former. S/he also looks into elements of the character--any noted physical attributes in the text, his/her financial and social status, what s/he wants and what obstacles are standing in his/her way. Often the last thing that the actor studies is the character's spiritual and/or religious life. When I was cast as Trina in UCF's production of Falsettos in the winter of 2005, I knew I wanted to approach the character from an oft-neglected area: her faith. Judaism is a vital element of William Finn's Falsettos, and in an attempt to be true to what I believed was Finn's intentional, prominent inclusion of this religion, its practice, and the stigmas that come along with being a Jew, and especially a Jewish woman, I planned to focus on Trina's Judaism. An historical analysis of the changing role of Jewish women through time, complete with a focus on Jewish rituals, practices, and routines, will provide details of the generations of history that precede Trina and shape her opinions about the world, herself, and what she "should" be. An analysis of the plot and characters of Falsettos will describe the world in which Trina lives; my rehearsal journal from the production will chart my progress of developing my portrayal of Trina, and a comparison between Trina and Sarah in the Torah will indicate Sarah as a possible "role model" for Trina.
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Date Issued: 2009
Identifier: CFE0002546, ucf:47667
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0002546

Title: MOBY DICK! THE MUSICAL: A TRAVESTY IN TRAVESTI.
Creator: Johnson, Rebecca, Weaver, Earl, University of Central Florida
Abstract / Description: Moby Dick! The Musical is a comedic parody based on Herman Melville's 1955 classic novel Moby Dick about a madman who seeks revenge on the great white whale that crippled his body and consumed his spirit. The thesis role I have chosen is "Starbuck", the ship's first mate. If this were a dramatic telling of the classic tale, my role would be considered an absurdity for the sure-known fact that Starbuck is a male character. However, since Moby Dick! The Musical is a spoof that features a play...
Show moreMoby Dick! The Musical is a comedic parody based on Herman Melville's 1955 classic novel Moby Dick about a madman who seeks revenge on the great white whale that crippled his body and consumed his spirit. The thesis role I have chosen is "Starbuck", the ship's first mate. If this were a dramatic telling of the classic tale, my role would be considered an absurdity for the sure-known fact that Starbuck is a male character. However, since Moby Dick! The Musical is a spoof that features a play within a play, many, if not most, of the roles are being played by women (teenage school-girls to be exact). These roles are known as "trouser roles," and this tradition stems back to the 17th Century. The term refers to a male character sung by a woman (mezzo). It is also referred to as a "breeches part" or in Italian, "travesti". This will be my first trouser role experience. Before today, I hadn't given the concept much thought in relation to musical theatre. These roles generally live in works ranging from Shakespeare to early operetta, and most important, Opera. This thesis role will allow me to log a personal experience in journal form and experience those challenges and rewards that transpire from a live performance. My research will include the history of the "trouser role," including famous performers, specific roles in shows, and the effect it has had on audiences over the years. My main concern, however, is when, where, why, and how the concept made its transition to musicals. It will also be interesting to see what genres these roles are generally written for. Are they all parodies like Moby Dick! The Musical or are there a few dramas thrown into the mix? There will surely be a long list of shows that include the "lady in drag". When all is said and done, I will have a wealth of information in an educational thesis that will prove the significance of an ever-transforming concept.
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Date Issued: 2006
Identifier: CFE0000999, ucf:46702
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0000999

Title: THE LAST 2500 YEARS: DEFINING, DISSECTING AND DIRECTING THE LESS LINEAR MUSICAL.
Creator: Lewis, Andrew, Weaver, Earl, University of Central Florida
Abstract / Description: Since the first recorded theatrical events, theatre has been presented in a linear fashion. It is no surprise that the majority of American Musical Theatre also follows a linear plot conception. Musicals that blatantly defy linearity are often called Ã‚Â"conceptÃ‚Â" musicals. However, there is a small portion of concept musicals that do not abandon their linear plot altogether, but instead choose to skew the line in order to give the audience a unique...
Show moreSince the first recorded theatrical events, theatre has been presented in a linear fashion. It is no surprise that the majority of American Musical Theatre also follows a linear plot conception. Musicals that blatantly defy linearity are often called Ã‚Â"conceptÃ‚Â" musicals. However, there is a small portion of concept musicals that do not abandon their linear plot altogether, but instead choose to skew the line in order to give the audience a unique perspective of the story being told. This mass categorization does not accurately take into account the extreme difference in structure of the two types of concept musicals. For this purpose, I explored the notion of a new structural category, the Less Linear Concept Musical, in hopes of identifying the unique characteristics and challenges associated with this type of musical. Beginning with AristotleÃ‚Â's "The Poetics" and ending in modern day Musical Theatre, I examine key events in the shaping of this musical theatre form, as well as define the form itself. The application of this research culminated in a classroom presentation of Jason Robert BrownÃ‚Â's The Last Five Years, which I directed. I pose the question, Ã‚Â"Can sound direction conquer the pitfalls found within the Less Linear Concept Musical?Ã‚Â"
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Date Issued: 2010
Identifier: CFE0003361, ucf:48479
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0003361

Title: MUSICAL AUTODIDACTS, CAN WE DO IT OURSELVES?; EXPLORING THE HISTORIES OF THOSE WHO HAVE.
Creator: Cline, Abigail, Chicurel-Stein, Steven, University of Central Florida
Abstract / Description: Artistry, particularly musical, is subjective and success in artistry can be achieved by more than one route. I consider myself an autodidactic musician by the musical and compositional achievements I have made without formal music training. I chose to research the compositional traits of other autodidacts to see their successes and challenges with their knowledge. George Gershwin, Danny Elfman, and John Bucchino come from a different background, a different time period in music, and each...
Show moreArtistry, particularly musical, is subjective and success in artistry can be achieved by more than one route. I consider myself an autodidactic musician by the musical and compositional achievements I have made without formal music training. I chose to research the compositional traits of other autodidacts to see their successes and challenges with their knowledge. George Gershwin, Danny Elfman, and John Bucchino come from a different background, a different time period in music, and each comes from a different stylistic genre. This research describes each of these composers' influences, approach to composing, and any advantages or disadvantages they have faced because of their lack of formal music and music theory training. I wanted to know what skills and instincts composers possess. As part of my study, I composed a song cycle of 10 original musical theatre-style pieces. Notating the sheet music for the songs was a large portion of the project. During the process, I recognized my level of music theory, patterns and habits in my writing, and engaged in the process of making my music accessible.
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Date Issued: 2015
Identifier: CFH0004883, ucf:45426
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFH0004883

Title: BLACK CATS, BERLIN, BROADWAY AND BEYOND: THE GENRE OF CABARET.
Creator: Tedrick, Deborah, Wuehrmann, Nicholas, University of Central Florida
Abstract / Description: Music and Theatre have always captivated me. As a child, my parents would take me to live performances and cinematic shows and I would sit rapt, watching the theatrical events and emotional moments unfold before my eyes. Movie musicals and live shows that combined music and theatre were my favorite, especially theatrical banter and improvisation or sketch comedy. Some of my favorite youthful memories were my annual family summer trips to Las Vegas to visit my grandparents for six weeks. As a...
Show moreMusic and Theatre have always captivated me. As a child, my parents would take me to live performances and cinematic shows and I would sit rapt, watching the theatrical events and emotional moments unfold before my eyes. Movie musicals and live shows that combined music and theatre were my favorite, especially theatrical banter and improvisation or sketch comedy. Some of my favorite youthful memories were my annual family summer trips to Las Vegas to visit my grandparents for six weeks. As a youngster, I got to experience the "old school" Las Vegas, replete with extravaganza, spectacle, cabaret, circus, lounge and nightclub acts, stand-up comedy, intimate revues, and all things marketed under the guise of entertainment, art, or both. Those summers, while not overtly planned as academic or educational in nature, proved, in retrospect, to be the training ground for what was to become my passion: the art of the cabaret genre. As a person who has always loved theatrical diversity, I am drawn to cabaret as an art form. Anything that fuses other forms interests me, and cabaret amalgamates many of the artistic forms I have grown to love. I come from a unique background of classical, jazz, musical theatre and pop styles, and have studied these styles in both the piano and vocal arena. The cabaret genre allows me to realize fully the stylistic variety of performance techniques with which I excel. My mother is a classical singer and my father a jazz pianist; during my youth they would perform at the piano, "meeting in the middle" so to speak in the world of Musical Theatre, through the fusion of cabaret, classical, jazz, and pop. Growing up hearing a song like "Summertime," from Gershwin's Porgy and Bess, equally artistically rendered as both a classical aria and a jazz tune in my home was rich fodder for the vital informal education I received by being the offspring of musicians. It is due to this musical legacy that was passed on to me through my parents that I learned to explore the myriad of possibilities one can achieve through artistic musical and theatrical interpretation. Beyond the freedom of stylistic variety, cabaret performance also allows conventions such as direct interaction in the form of the proverbial "lowered fourth wall," allowing me to use my improvisational acting and interactive skill set as well as my musical skills. Cabaret is generally more intimate and personal in nature and I enjoy the camaraderie cabaret affords. Cabaret is interactive and intellectual and I am drawn to those aspects; I like the fusion of interactive banter and intellectual artistry. Also appealing to me is the "insider" sense cabaret not only allows but also encourages. Recalling my youthful memories of the Vegas shows in which the performer spoke directly to audience members, I remember the sense of belonging I felt at the recognition of some of the inside jokes. I knew I wanted to be involved with any aspect of music and theatre that would allow me the freedom to go with the moment, to reach people differently on any given day, to change with the times, and adapt to my audience and to the shifting world around me. I knew I had found a home in this intimate, insular, interactive, and intellectual art form known as cabaret. For these reasons and more I have chosen the genre of cabaret to be my intended thesis research project. I will produce, direct, and perform in a cabaret show, which will be the thesis performance. For the performance aspect of my thesis, in collaboration with my thesis partner, Josephine Leffner, I will perform a one-act chronological, historical, and stylistically varied cabaret show. The show will include material garnered from historical research of the cabaret genre, specifically settling on some of the famous women, songs, stories, lives, and important contributions. The cabaret will cover information, music, and spoken-word art from cabaret's inception in the Paris Montmartre district in 1881 to its height in Germany during the Weimar Republic. The show will culminate with cabaret's insurgence into American culture up to and including the state of American cabaret today. While my performance will focus mainly on American cabaret, a portion of the show will explore cabaret's European roots. Creating and performing this show will educate me further on the genre itself, as well as expand my performing skills through the varied styles in which I will perform within the realm of a single evening's entertainment. Creating and performing the show will also challenge me as a producer, director, promotional and administrative coordinator, music director, arranger, vocal director, collaborator, vocalist, pianist, actor, and writer. The show is intended as a kind of "Cabaret 101," in that the intended audience is treated to a night of variety entertainment with some historical background on the genre of cabaret. The audience is not expected to have any prior academic or experiential knowledge of cabaret in order to understand or enjoy the show. The cabaret intellectual will also be able to enjoy the show, as the songs, poems, skits, and sketches are intended to amuse and delight both the novice and the experienced cabaretist. For the research and analysis portion of my thesis monograph document I will provide information on cabaret's roots in France and Germany, as well as include informative research on American cabaret, its history and its current trends. I will have several chapters dedicated to the historical research and to other items such as the formatted libretto, documentation of a performance report from my thesis committee head, and a list of references used throughout the research and libretto chapters. I will include a structural and role analysis of the show itself and my contributions to it as outlined by the parameters of my graduate studies program. Several chapters of appendices will be included as information pertinent to the show such as costume, props, lighting lists as well as band and technical needs for the show itself. An introduction and conclusion will be created to bookend my document solidly and reveal myself as a person as well as a performer. This section will include reflective information on my intentions, triumphs, and tribulations, and will be codified through the opening and concluding perspectives. Through the process of writing the thesis monograph document I will create a public and personal record of the process, research, performance challenges, and decisions made throughout this journey. This document will be used as historical help to me should I need to refer to my thesis for later personal or professional use. The document will also be on record for the UCF theatre department, as I apply not only my performance training (as exhibited through the show itself) but also the research and critical thinking skills required of a masters degree candidate at a conservatory training program such as this one. Beyond its use for myself or for the department, I write this monograph document for others whose love and interest in studying the genre of cabaret match my own.
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Date Issued: 2006
Identifier: CFE0001421, ucf:47043
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0001421

Title: BLACK CATS, BERLIN, BROADWAY AND BEYOND: CABARET HISTORY IN THE MAKING.
Creator: Leffner, Josephine, Wuehrmann, Nicholas, University of Central Florida
Abstract / Description: Cabaret as a genre has influenced and is influenced by musical theatre. As cabaret has evolved throughout history, musical theatre has often paralleled its journey. Cabaret thrived before the term "musical theatre" was coined and suffered hard times during the Golden Age of Musical Theatre. The correlation of the two genres cannot be denied, and exploring cabaret history will reveal how deeply the connection lies. My collaborator Debbie Tedrick and I will attempt to define cabaret through a...
Show moreCabaret as a genre has influenced and is influenced by musical theatre. As cabaret has evolved throughout history, musical theatre has often paralleled its journey. Cabaret thrived before the term "musical theatre" was coined and suffered hard times during the Golden Age of Musical Theatre. The correlation of the two genres cannot be denied, and exploring cabaret history will reveal how deeply the connection lies. My collaborator Debbie Tedrick and I will attempt to define cabaret through a two-woman cabaret show we will write, produce, and perform together. The show, Black Cats, Berlin, Broadway and Beyond, will be a one-act historical look at the genre of cabaret. It will include material garnered from historical research of the cabaret genre, specifically focusing on some of the famous women, songs, stories, lives, and important contributions. The cabaret show will cover information and art from cabaret's inception in the Paris Montmartre district in 1881 to its height in Germany during the Weimar Republic and will culminate with cabaret's insurgence into American culture up to, and including, the state of American cabaret today. American cabaret will be emphasized, but a portion of the show will explore American cabaret's European roots. My thesis will explore the triumphs and tribulations of putting together the show. As the culmination of my UCF studies, this project will test my abilities as a librettist, performer, creative artist, director, and collaborator. This thesis will include the actual show performances as well as a written monograph document recording the project's journey from its inception to conclusion.
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Date Issued: 2006
Identifier: CFE0001422, ucf:47062
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0001422

Title: ...AND THEN, CLAIRE: AN INDIE-ROCK MONOLOGUE; INTEGRATING THE INDEPENDENT MUSIC SCENE INTO AMERICAN MUSICAL THEATRE.
Creator: Bahr, Mickey, Chicurel, Steven, University of Central Florida
Abstract / Description: For more than fifty years, the Independent (indie) Music Scene has existed as an evolving business model, allowing indie artists to develop a wealth of progressive musical ideas while creating a sustainable audience base. American Musical Theatre has an already-established rich history of adapting styles to fit concurrent trends in popular music while maintaining the story as the core of a show. While some indie artists (The Lisps, The Mountain Goats, Stephin Merritt, and Stew) and some...
Show moreFor more than fifty years, the Independent (indie) Music Scene has existed as an evolving business model, allowing indie artists to develop a wealth of progressive musical ideas while creating a sustainable audience base. American Musical Theatre has an already-established rich history of adapting styles to fit concurrent trends in popular music while maintaining the story as the core of a show. While some indie artists (The Lisps, The Mountain Goats, Stephin Merritt, and Stew) and some musical theatre composers (David Yazbek, Doug Crossley, and Michael Friedman) have created crossover works, there is currently an overall dearth of musical theatre pieces infused with the indie style and a lack of indie albums with an actable musical theatre storyline. The intent of this thesis is to prove that although American Musical Theatre and the Independent Music Scene are two vastly different art forms, they can be combined to create a viable and unique form that appeals to both audiences. The indie-rock monologue ...and then, Claire was composed, recorded, and performed to test the viability of this thesis. In addition to presenting research on the history of American Musical Theatre and the Independent Music Scene, an analysis of the already-successful artists mentioned above is presented to provide context for ...and then, Claire. This context along with the original indie-rock monologue proves successful combinations of American Musical Theatre and the Independent Music Scene as well as the potential for more attempts in the future.
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Date Issued: 2012
Identifier: CFH0004202, ucf:44970
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFH0004202

Title: NOT QUITE THE INGéNUE: THE DEVELOPMENT OF THE MIDDLE-AGED FEMALE CHARACTER IN MUSICAL THEATRE.
Creator: Snyder, Tara, Chicurel, Steven, University of Central Florida
Abstract / Description: Not Quite the Ingénue: The Development of the Middle-Aged Female Character in Musical Theatre is an exploration of the influences which have defined the function of middle-aged female characters within the musical theatre genre. This author was cast in the role of Arlene MacNalley, a forty-three year old woman, in the University of Central Florida's fall 2006 production of the musical Baby. Preparation for performance of this thesis role required identification of the traits and...
Show moreNot Quite the Ingénue: The Development of the Middle-Aged Female Character in Musical Theatre is an exploration of the influences which have defined the function of middle-aged female characters within the musical theatre genre. This author was cast in the role of Arlene MacNalley, a forty-three year old woman, in the University of Central Florida's fall 2006 production of the musical Baby. Preparation for performance of this thesis role required identification of the traits and factors which would be vital for a realistic and relevant portrayal of Arlene. This document provides the reader with a working definition of middle age. It also furnishes a sampling of types, or stereotypes, of middle age female characters in musicals. The major thrust of the document emphasizes researching and understanding the importance of key socio-economic events' influence on the creation, direction, or depiction of middle-aged female characters. Three distinct characters are used to develop this theory, Aunt Eller in Oklahoma!, Dolly Levi in Hello, Dolly! and Arlene MacNalley in Baby. Further analysis within the thesis details essential differences between the original version of Arlene and the updated 2006 version of Arlene portrayed in the University of Central Florida's production of Baby. Conclusions drawn from the research, performance and writing processes indicate an increasing significance for the middle age female character as the genre of musical theatre continues to develop.
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Date Issued: 2007
Identifier: CFE0001714, ucf:47300
Format: Document (PDF)
PURL: http://purl.flvc.org/ucf/fd/CFE0001714

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