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Playbill and the History of Broadway Theater, 2002.
The paper analyzes the role the reference guide, Playbill, has played in Broadway's history, focusing specifically on the musical "Showboat" and its accompanying Playbill.
1,343 words (approx. 5.4 pages), 3 sources, MLA, $ 45.95
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Abstract
The paper explains the nature of a Playbill, a kind of reference guide to the show of the evening, summing up the cast list, the cast biographies, and also giving theatergoers a bit of advice about places to go in New York before and after the show. The paper examines the role the playbill plays in encapsulating the consumerist, capitalist nature of Broadway theater. It also explores the influence wielded by Showboat's playbill.
From the Paper
" ?Show Boat,? originally produced in 1926, and later revived at the Gershwin theater in 1994, has often been called the first modern Broadway musical. The image on the cover of the show?s Playbill during its most recent incarnation on Broadway is a sentimental picture of a turn of the century family of three waving at a large, smoking Riverboat show boat ship. This Playbill artifact encapsulates, perhaps more than any other example of the modern, New York Broadway theatre, the nature of Broadway?s form of theatrical, musical entertainment. The Playbill is a nostalgic commodity that reduces the show to a singular theme, and attempts to encapsulate within its covers, in as non-threatening a fashion as possible, the nature of a show that has proved disturbing to many viewers."
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"Annie", 2002.
Reviews and analyzes this 1982 musical-movie directed by John Huston.
990 words (approx. 4.0 pages), 5 sources, MLA, $ 35.95
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Abstract
This paper discusses and reviews the 1982 musical , "Annie", based on the successful Broadway production. It examines the choice of John Huston as director and discusses the characterization in the film. The paper examines several of the more successful characters such as Carol Burnett as Miss Hannigan. Finally, the paper looks as the songs and music in the film.
From the Paper
"Characterization may be one of the film's most successful qualities. Carol Burnett is brilliant as the drunken Miss Hannigan, who runs the orphan's home with an iron hand, usually grasping a bottle of booze. She may not be politically correct today, but she is certain hilarious in the film, which is probably why writers gave her some of the film's best lines, including: "Why anyone would want to be an orphan is beyond me" ("Annie"). Albert Finney as Daddy Warbucks is perfect as the millionaire with a heart of gold, who at first doesn't want anything to do with the little orphan who eventually charms him. By the end of the film, he truly becomes her "father," when he tells her, "You are special. Never stop believing that" ("Annie"). Rooster, played by veteran actor Tim Curry is one of the strangest characters in the play. Curry is excellent as the demented villain who only wants Annie for the reward money offered to locate her "real" parents. His continual crowing is an amusing touch to a character that could become a little too scary for younger children."
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?Hippolytus?, 2002.
A review of the play ?Hippolytus? by the Greek playwright Euripides.
1,040 words (approx. 4.2 pages), 3 sources, MLA, $ 36.95
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Abstract
This paper examines the play "Hippolytus" by the Greek playwright Euripides which explores classical Greek religion. It discusses how throughout the play, the influence of the gods on the actions of the characters is evident, especially when Aphrodite affects the actions of Phaedra and also how central to the plot is the god-god interactions between Artemis and Aphrodite. It attempts to determine whether the Greek view of their gods was governed in a frame work of forgiveness and mercy or whether they believed that they, the Greeks, were only pawns to be pushed in and out of life?s joys and sorrows. It evaluates whether the characters concern themselves with the reaction of the gods to their behavior as well as what they expect from the gods and what the gods expect of the human behavior.
From the Paper
"The thoughts and actions of Hippolytus and Phaedra are irrational at times. After all, a stepmother falling in love with her stepson is unlikely, but probably even less acceptable. This is directly related to the gods. What Aphrodite does to Phaedra causes her to do some strange things. For instance, first Phaedra seems to go crazy, and then she decides to hide her new-found love for Hippolytus from the nurse. Later, though, she decides to tell the nurse, and when she finds that the nurse has told Hippolytus, decides that the only logical course of action is to kill herself. This action is certainly related to the gods because Aphrodite makes it look as if Phaedra?s suicide is really the fault of Hippolytus. Some of Hippolytus? actions are related to the gods as well. When Theseus discovers that Phaedra is dead and decides to exile Hippolytus, Hippolytus does object to his banishment, but eventually he stops arguing with his father."
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"Cyrano de Bergerac", 2002.
Analyzes the main character, de Bergerac, in Edmond Rostand's play.
1,035 words (approx. 4.1 pages), 4 sources, APA, $ 36.95
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Abstract
The play "Cyrano de Bergerac", by Edmond Rostand, centers on a tragic comedy of errors, about a man who actually lived in France during the 1600s and was one of the first writers of science fiction. The paper shows that in the play, de Bergerac lives during a time where too much emphasis is put on both appearance and superficial behavior. De Bergerac has a comically ugly nose and, because of this physical flaw, cannot bring himself to tell his cousin, Roxane, that he loves her. The paper describes how, instead, he loves her by proxy, writing beautiful love letters and speeches for someone in his regiment who courts Roxane, wins her love based on de Bergerac?s words and feelings, and eventually marries her. The paper discusses both the play and the movie version of the text.
From the Paper
"The reader gets the feeling, however, that de Bergerac gets more than a little pleasure from being the center of attention, even if it is because of something he sees as grotesque about himself (staff writer, 1995). He repeatedly brings attention to his nose, and as he is very witty, he does it in extreme ways. One gets the feeling that he revels in his own suffering. When given the choice of sabotaging or enabling his friend?s courtship of Roxane, the woman de Bergerac loves desperately, he makes it impossible for Roxane to do anything except fall in love with his rival. Perhaps de Bergerac prefers to love from afar: she cannot mock him for his nose."
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Acting in Theatre, 2002.
A comparison of "Hamlet" by William Shakespeare and its spinoff Tom Stoppard?s play "Rosencrantz and Guildenstern are Dead" with an emphasis on the theme of acting.
889 words (approx. 3.6 pages), 0 sources, $ 31.95
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Abstract
This paper discusses how in both Tom Stoppard?s play "Rosencrantz and Guildenstern are Dead" and the play it was based on, Shakespeare?s "Hamlet", acting is a major theme and motif. It examines how especially in "Rosencrantz and Guildenstern are Dead", acting signifies the falsity, absurdity and superficiality of life and therefore, acting and the staging of plays is a metaphor for living. It analyzes how both plays use acting to portray the futility and tragedy of life, but how "Rosencrantz and Guildenstern are Dead" does so in an almost slapstick way. It looks at how Stoppard?s play is a comedy that grossly exaggerates two minor characters in Shakespeare?s "Hamlet". While Shakespeare shows how acting and drama can evoke deep emotional responses in people, as with Claudius? reaction to Hamlet?s play in Act II, scene ii, Stoppard proves that plays can be purely meaningless.
From the Paper
"The Players, or Tragedians in Shakespeare?s Hamlet first appear in Act II, scene ii. Hamlet speaks to the troop of performers about staging a drama for the King so that Hamlet can entrap him. The general association of plays and emotionality is conveyed in this scene. Hamlet?s main objective in staging ?The Murder of Gonzago? is to show Claudius that he is aware of his murderous act. Hamlet hopes to evoke in Claudius an incriminating response and to inspire fear in him. The players and Hamlet speak of the efficacy of the Classical Greek tragedies. This conversation emphasizes how significant great works of drama are in providing archetypes and universal metaphors. Even the characters within a play, in this case within Shakespeare?s play Hamlet notice the importance of play-acting. Hamlet, however, is caught up in the melodrama. In his soliloquy at the end of Act II, scene ii, he wonders how actors can feign emotion so well."
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?The Glass Menagerie?, 2002.
A review of the play ?The Glass Menagerie? by Tennessee Williams.
1,837 words (approx. 7.3 pages), 8 sources, MLA, $ 58.95
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Abstract
This paper examines how Tennessee Williams is a playwright who makes strong use of symbolism and how he makes good use of symbolism in "The Glass Menagerie", a play that recalls Williams' own family situation. It looks at how in the play, the brother, Tom, is a budding writer who leaves home, much as Williams himself did and how the family structure also mirrors his own, with the aristocratic mother trying to hold onto her youth and expecting more of the lame daughter than she can ever achieve. It analyzes how the play itself is presented as a memory, something that Tom as narrator emphasizes at the outset as well as the emphasizing the symbolic nature of the play itself by describing the characters to be presented and indicating that one of them is more realistic than the others. It discusses how the play uses projections to evoke certain symbols in a more direct manner and how this symbolism always links back in some manner to Williams' own earlier life.
From the Paper
"Laura is a fragile creature, as fragile as the glass figures in her collection of the title. The glass menagerie therefore is a symbol for her fragility. The glass menagerie and the phonograph records Laura plays are also a means of escape for the girl: "Through her timidity, her suffering from the friction between Tom and Amanda, and her retreat into a world of dreams, Laura evokes genuine sympathy; she is the one who must be cared for, loved, and understood" (Falk 49). The fragile glass creatures are just like Laura, and yet it is when the Gentleman Caller accidentally breaks one of the figures when he is dancing with Laura that Laura is suddenly set free from her dream world. In a larger sense, this also sets Tom free, allowing him to escape from the home after a fight with Amanda because the Gentleman Caller is already engaged. The broken glass figure is a symbol of the break with the past, though that break is always incomplete because memory, almost as fragile as the glass figures, keeps the past alive."
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?Death of a Salesman?, 2002.
Discusses the failure of both father and son in Arthur Miller's play.
907 words (approx. 3.6 pages), 3 sources, MLA, $ 32.95
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Abstract
In "Death of a Salesman" by Arthur Miller, Willy Loman finally realized that he had been living a life of illusion and self-deception. The paper shows how his son Biff has seen the truth about his father?s self-delusions much earlier then Willy. This causes clashes between the two, as Willy still believes that Biff will amount to something and Biff finally confronts his father about his low station in life and the fact that the two of them will always be nobodies. The paper examines the relationship between Willy and Biff Loman based on Willy's self-delusions.
From the Paper
"Willy developed the theory that if a person is well liked and is very good looking then doors, i.e. opportunity, will automatically be opened for him. In essence Willy believes in style over substance. Willy Loman, raised his two boys to embrace the same illusions about life and the keys to success that he has. Both boys, in their 30?s in the play, grow up to be failures as well. Hap, like his father, is blind to this fact; Biff on the other hand has had those illusions removed a long time ago. Biff, unlike his brother and mother, sees the truth about his father and feels a compulsion to seek the truth about himself. This conflict between Biff and Willy is the central conflict in the play that the story revolves around."
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"Killings" by Andre Dubus, 2002.
This paper looks at the play "Killings" by Andre Dubus, focusing on the way in which Dubus has inserted his own point of view about murder.
1,214 words (approx. 4.9 pages), 2 sources, MLA, $ 41.95
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Abstract
The writer interprets the stylistic elements in Dubus' writing that reveal his position about the social and individual consequences of murder. According to the paper, this is done through the title, plot, and the characters of the play which strengthen the connection between the story and its reader.
From the Paper
"The play?s title also points to the suffering of Frank?s loved ones. The victim?s death was so disturbing for his parents that the father?s heart was dying to kill Strout. Matt tells his friend ?(Ruth) can?t even go out for cigarettes and aspirin? without seeing Strout, ?it?s killing her? (Dubus 64). The constant daydreaming of Frank?s murder killed Matt and Ruth from inside until they took out their revenge on Strout and calmed their emotions. Simultaneously, the playwright also reflects through the thoughts of Matt Fowler, how the loved ones of Richard Strout would be killed inside by his murder. Thus, the writer builds on a deeper meaning for the play?s title by depicting how the emotions of families are killed on the deaths of their beloveds."
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"The Piano Lesson", 2002.
A review of the play "The Piano Lesson" by the African-American playwright August Wilson.
990 words (approx. 4.0 pages), 0 sources, $ 35.95
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Abstract
This paper examines the play "The Piano Lesson" by August Wilson set in 1936 which looks into the worldly affairs of a black family that struggles to maintain the family heritage. It analyzes how the piano ,which is central to the story, serves as a potential metaphor for the history of the past pertaining to the enslavement of those ancestors that were chained in slavery. It looks at how the play is based on the legacy of the piano and what the protagonists Boy Willie and Berniece decide to do with it.
From the Paper
"From the title of this learned victory by August Wilson, it is evident that there comes a profound understanding of the sense of family values, morals and cohesiveness of the black Americans along with the title of the play. Every scholarly effort is geared towards conveying a message appended with an insightful moral and The Piano Lesson is no exception. The soul-searching lesson that we have learned all along is that past injustices and tormenting experiences leave a strong adverse impact on the lives of the people who suffer the blow of racial discrimination and other prejudices. "
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Shakespeare's ?Measure for Measure? and Shaw's ?Major Barbara?, 2002.
This paper compares the many parallel images in the comedies William Shakespeare's ?Measure for Measure? and George Bernard Shaw's ?Major Barbara".
2,405 words (approx. 9.6 pages), 10 sources, MLA, $ 73.95
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Abstract
The author believes that Shaw quite consciously modeled some portions of ?Major Barbara? on Shakespeare's ?Measure for Measure?. The paper discusses the many similarities such as the religious overtones in both plays and the characterization of the female main characters Isabella and Barbara. The author points out that both plays make the same philosophical point: The need to let something go in order to achieve or gain something else, perhaps of greater value.
From the Paper
""Measure for Measure" is gloomy in the beginning; but Shakespeare, as does Shaw, is able to work out the transition from potential tragedy to comedy. Unfortunately, in the transition, Shakespeare, unlike Shaw, does not always make his characters behave consistently. Like Shaw, however, he does order everything that happens in "Measure for Measure" on the principle that the play must be kept a comedy. That was his given reason for making his heroine Isabella a novice nun and for bringing Lucio into her first scene with Angelo (II. ii.); every detail must play its part in intensifying the effect of comic irony. Once used though, such a detail may later be ignored by Shakespeare. Isabella is found to be not too nun-like after all. She is not squeamish or sanctimonious and can be intensely practical, as her "0, let him marry her!" (I. iv. 49) reveals. During the play she develops into a vociferous, ironical nun?almost a Major Barbara."
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Deception in John Webster's "Duchess of Malfi", 2002.
The paper looks at the play "Duchess of Malfi" by John Webster, suggesting that through the characters we learn that one's only chance for survival in a hostile world is through the deception of others.
843 words (approx. 3.4 pages), 4 sources, MLA, $ 30.95
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Abstract
The writer analyzes the drama, in particular the title character of the duchess. According to the paper, the duchess learns only at her death that the perils of life cannot be masked by deceit. The writer notes that Webster has the ability to create characters evocative of pathos in a way that is similar to Shakespeare.
From the Paper
"Following the Duchess's self-deception that an ideal existence for her and her lover is possible is the aforementioned deception of her brothers, the act which leads to her downfall at their merciless hands. In addition to her marriage to Antonio, she must conceal the births of her children from Ferdinand and the Cardinal (She must go so far as to accuse her husband of being a thief!), all the while refusing to acknowledge the danger involved in her actions (Mahaney 167). In response to Antonio's asking "But for your brothers?" (Abrams 1254), the Duchess says, "Do not think of them./All discord without this circumference/Is only to be pitied, and not feared;/Yet, should they know it, time will easily/Scatter the tempest" (1254). Such a reply gives evidence both to her lack of perception of her brothers' intentions, as well as to her lack of introspection in recognizing her own impossible ideals. Only when she is confronted by Bosola, who harshly denies all she believes herself to be (Whitman 154), does the Duchess realize her fallacies of life. She asks Bosola, "Dost know me? Who am I?" (Abrams 1294)."
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Conventions of Tragedy in "Oedipus Rex", 2002.
Examines the components of Greek tragedy upon which Sophocles' "Oedipus Rex" are based.
2,283 words (approx. 9.1 pages), 5 sources, MLA, $ 70.95
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Abstract
By 500 B.C., Greek tragedy had reached a high point of popularity and was celebrated in religious festivals honoring Dionysus, god of wine and fertility. The paper shows that, taking it for granted that their audiences were familiar with the characters and themes, writers during this time based their dramatizations on myth and ritual. It discusses how, in addition to being familiar with the stories acted out on stage, the audience was aware of the workings of a Greek tragedy: how it progresses, what constitutes a tragic hero, what kinds of conflicts characters face, what moral statement or observation is being made. The paper shows that these four components provide the foundation for "Oedipus Rex" by Sophocles and its enduring success as one of the greatest tragedies of all time.
From the Paper
"As does the plot, the characterization of the main character Oedipus revolves around situation more than interaction with other characters. Oedipus is the epitome of tragic heroes, doomed by the excess of some good quality within himself and willing to take responsibility for his ensuing actions (Richards 742). This quality in Oedipus, his hamartia, or tragic flaw, is an unquenchable desire for truth no matter what the cost, a desire that stems from his pride of intellect. Initially, Oedipus, still basking in the glory of having solved the riddle of the Sphinx, exhibits great selfconfidence in his wisdom, oblivious to the fact that his own identity remains concealed from himself. It is this ignorance of the adage "Know thyself," combined with Oedipus' quest for truth, that constitutes tragic character. In terms of Greek tragedy, Oedipus' suffering from hybris, an arrogance resulting from excess (pride, in Oedipus' case), leads to hamartia, the aforementioned tragic flaw that brings about his downfall (Brown 96). The chorus recognizes that "the tyrant is a child of Pride/Who drinks from his great sickening cup/Recklessness and vanity/Until from his high crest headlong/He plummets to the dust of hope" (Sophocles 57)."
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