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    FAWKES: History of the Musical (The)
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• • 福克斯: 音乐剧史 / FAWKES: History of the Musical (The)
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  • RICHARDFAWKESThe Historyof The MusicalREAD BY KIMCRISWELL 4 Cassettes/ 4 Compact DiscsNON-FICTIONUNABRIDGEDAUDIO-ORIGINALNA422714 /NA422712 THE MUSICAL – A SINGER’S PERSPECTIVEKim Criswell I can’tremember a time when I wasn’t in love with musical theater. Mind you, it wasn’ta particularly easy obsession to acquire, growing up as I did in the AmericanDeep South. It was to be many years before I made it to New York to see myfirst Broadway show, but nevertheless, by the time I was five years old, I washooked. Like many others, I fell in love with musical theater through filmmusicals, recordings, television specials, and the yearly school play. I can stillremember how excited I was the first time I saw the film version of ‘The Soundof Music’ (and what I would have given to be one of those Von Trapp children!).That LP never left the turntable, unless it was to put on my other favorite:‘Mary Poppins’. I had never seen anyone as extraordinary as Julie Andrews; Ispent most of my formative years trying to sound exactly like her. This wasjust great by my parents – she was a terrific role model for a little girl, youcould just tell she was ‘nice’, and what lovely diction she had! It didbecome a little strange, however, when I finally got to play my dream role(Maria Von Trapp) in the school play when I was 15. Although my Julieimpersonation was pretty darn good when I was singing, it was alarming to hearme segue to a thick Tennessee twang for all the spoken lines. It was apeculiarly schizophrenic interpretation, and a performance that only a mothercould love. By that ageI had of course found many other fabulous stars to admire and emulate. JudyGarland, Barbra Streisand, Ethel Merman, Fred Astaire and Ginger Rodgers, MaryMartin, Jimmy Cagney, Cyd Charisse, Gwen Verdon, Chita Rivera, Gene Kelly,Shirley MacLaine, Gordon MacRae, Shirley Jones: they all kept me spellboundwhen they were on the silver screen or TV. For some reason I didn’t notice howridiculous it was to dream of a career in musical theater – I figured,everybody has to come from somewhere, and why can’t a Broadway star come fromChattanooga, Tennessee? At 15, Ihad my first big break – I was hired to sing and dance in a theme park show atSix Flags Over Georgia in Atlanta. As it turned out, it was a wonderfultraining ground. Not only was I singing show tunes, surrounded by othermusical-theater-mad kids like myself, I was also introduced to the disciplineof doing the same show over and over again – we regularly did five half-hourshows a day, and sometimes did as many as ten. I couldn’t help developing someof the skills that I would later need when I found myself playing the same roleeight times a week for a year and a half. I also found out, the hard way, thatmy vocal cords were not made of cast iron, and there is always a price to bepaid when you push yourself too far. That lesson turned out to be extremelyimportant in later years. By the timeI was ready to make decisions about college, my mind was absolutely made up: Iwanted to study musical theater. I was accepted into one of the first, andbest, degree programs in the US for such training: the CincinnatiCollege-Conservatory of Music’s Opera-Musical Theater program. It turned out tobe four years of musical theater saturation: acting, voice, piano, dance(ballet, jazz, tap), stage crew, costume crew, makeup, theater history, musictheory, sight singing, and vocal coaching. Coaching was the most beneficialclass of all for me, because it was where we were taught (forced, sometimes) tosing and act at the same time, and were encouraged to stop imitating others andfigure out what we had that was unique and special. This was where I had to saygood-bye to Miss Andrews, which was just as well – I was starting to lookrather more like Miss Merman, with a personality to match. It was an incredibleenvironment to learn in, and was probably the most competitive situation I haveever encountered. We did two major and several minor productions every year,and the audition process was much more nerve-wracking than any Broadway or WestEnd audition I can remember. Duringspring break of my senior year, I finally made it to New York and my firstBroadway show. A group of us went up from school, and we saw nine shows inseven days. It’s all a blur now (it was even a blur then) but I do remember thethrill of seeing ‘Sweeney Todd’ in previews – and Angela Lansbury in person! Iwas in heaven. Upon graduation, there was really no choice to be made – it wasNew York or bust. Afterspending the summer in the chorus at Pittsburgh Civic Light Opera (where we didsix musicals in seven weeks), I was a member of Actor’s Equity and couldn’twait to head for New York. My friend George and I packed our things and drove arented truck to the Big Apple, where he already had an apartment and needed aroommate. Then came the business of trying to get a job. Of course we didn’thave agents yet, so we had to go to the dreaded open calls. That meant gettingin line at some hideous morning hour, just to sign a list, which then meant youcould come back and audition a few hours later. They also had a particularlybarbaric system called ‘typing out’. When you finally got in the door, oftenthey would line up a group of you and go down the line saying, ‘Yes, yes, no,no, no, yes, no, no!’ – based on nothing other that what you looked like. Ifound out the hard way that I was not the chorus type: I was never, never typedin. Still, it was always a thrill to walk into an audition room and see, behindthe table, the very people that I had studied in college – Hal Prince, TommyTune, Bob Fosse, Jerome Robbins, Stephen Sondheim, Jule Styne, Jerry Herman,Andrew Lloyd Webber! Despite myapparent lack of chorus suitability, I managed slowly but surely to getauditions and work. My first job was a dinner theater production of ‘Kismet’,where I was in the chorus but understudied the lead. Then I found myself castin the chorus of ‘Annie’ in the 3rd National touring company (the show was sosuccessful that there were five US companies at that time). One thing led toanother, I found an agent, I did my first Broadway show (‘The First’- a flop),then my second Broadway show (‘Nine’- a hit!). Things have continued from there until I find myself whereI am today: living in London, sometimes doing eight shows a week in the WestEnd, sometimes recording yet another musical theater album, most commonlysinging musical theater music in concert in venues the world over. This musicis finding new fans every day – I have found myself doing concerts in places asfar flung as Iceland, Italy, Israel and Brazil, and the reception is alwaysenthusiastic for what is to many of them a new kind of music. It has certainlystood the test of time, and continues to change almost daily in a multitude offascinating ways. I can’t wait to see what this millennium of musical theaterwill bring! KIM CRISWELL is one of the most excitingperformers of our time. She has appeared extensively in musicals on Broadway,Los Angeles and London’s West End. She won a Helen Hayes Award for Side bySide by Sondheimand an Olivier nomination for Annie Get Your Gun. She has made over 25 recordingsincluding Annie Get Your Gun, Wonderful Town (with Simon Rattle), TheLorelei, Anything Goes, On the Town, The Slow Drag and her TER solo album Back toBefore. Her recitalduo with Wayne Marshall is internationally acclaimed through performancesthroughout Europe including La Scala, Milan. RICHARDFAWKES is afreelance writer and film director. He wrote the multiple award winning TheHistory of Classical Music and The History of Opera for Naxos AudioBooks and is a regular contributor to OperaNow, BBC Music Magazine and Classical Music. He has written several books on opera, including a historyof opera on film. He has also written the librettos for two operas one ofwhich, Survival Song, was nominated for an Olivier Award. His credits as a film directorinclude The Original Three Tenors, a documentary about Caruso, Gigli and Bjorling.
  • • 作品列表
    • • CD01
      • 作品编号：38607  The History of the Musical

      • Memory - Cats

      • The origins of The Musical - The Beggars Opera (John Gay) 1728

      • Were I laid on Greenland's Coast - The Beggars Opera (John Gay) 1728

      • Vaudevilles, Burlesques in Europe - Adolphe Adam

      • Oh Qu'il Etait Beau, Le Postillon de Longjumeau (Adolphe Adam) 1836

      • Opera-bouffes in Paris - Herve (Florimond Roger) and Jacques Offenbach

      • Can Can - Orpheus in the Underworld (Offenbach) 1858

      • Andre Messager and Charles Lecoq - Brussels and Paris

      • La Diuspute - La Fille De Madame Angot (Charles Lecoq) 1872

      • Vienna - Franz von Suppe

      • Overture - Die Schone Galathee (Franz von Suppe)

      • Vienna - Johann Strauss

      • Overture Die Fledermaus (Johann Strauss) 1874

      • England - Sir Arthur Sullivan and W.S. Gilbert

      • The Moon and I - The Mikado (Gilbert and Sullivan) 1885

      • London - George Edwardes and The Gaity Theatre

      • And Her Golden Hair was Hanging Down Her Back - The Shop Girl (Ivan Caryll/Felix McGlennon) 1894

      • Ivan Caryll and Lionel Monckton

      • The Girl With a Brogue - The Arcadians (Lionel Monckton) 1909

      • Sydney Jones - The Geisha

      • The Amorous Goldfish - The Geisha (Jones/Hall/Greenbank) 1896

      • Edward German - complete's Sullivan's last opera and writes Merrie England

      • Dan Cupid Hath a Garden - Merrie England (Edward German) 1902

      • USA and London - Ivan Caryll and Gustave Kerker

      • Teach me How to Kiss - The Belle of New York (Gustave Kerker) 1897

      • Vaudeville - George M. Cohan

      • Give My Regards to Broadway - Little Johnny Jones 1904 (George M. Cohan)

      • USA - Victor Herbert

      • Ah, Sweet Mystery of Life - Naughty Marietta (Victor Herbert) 1910

      • Viennese operetta - Franz Lehar

      • Vilja - The Merry Widow (Lehar) 1905

      • USA - Sigmund Romberg

      • Will You Remember - Maytime (Sigmund Romberg) 1917

      • London - Chu Chin Chow by Frederic Norton: 2,235 performances

      • The Cobbler's Song - Chu Chin Chow (Frederic Norton) 1916

      • USA - The end of World War I and the Jazz Age

      • I'm Just Wild About Harry - Shuffle Along (Eubie Blake) 1921

      • USA - Vincent Youmans

      • Tea for Two - No No Nanette (Vincent Youmans) 1923

      • Broadway - Rudolf Friml

      • Indian Love Call - Rose Marie (Rudolf Friml) 1924

      • USA - George Gershwin: Lady Be Good (1924), The Song of the Flame (1925)

      • Cossack Love Song - The Song of the Flame (George Gershwin) 1925

      • USA - American operetta and musical comedies: Gershwin, Friml, Romberg, Herbert - and Jerome Kern

      • They Didn't Believe Me - The Girl From Utah (Kern/Reynolds) 1913

      • USA - Jerome Kern and Show Boat

      • Make Believe - Show Boat (Kern/Hammerstein) 1927

      • Why was Show Boat so differenet?

      • Ol'man River - Show Boat (Kern/Hammerstein) 1927

      • CD02
      • 作品编号：38607  The History of the Musical

      • Bill - Show Boat (Kern/Hamerstein) 1927

      • Hollywood and film musicals

      • Softly as in a Morning Sunrise - The New Moon (Romburg/Hammerstein) 1928

      • Dance Spectaculars - Busby Berkeley; George Gershwin and the American sound

      • The Man I Love - Lady Be Good (Gershwin/Gershwin) 1924

      • George Gershwin: Strike Up The Band & Girl Crazy

      • I Got Rhythm - Girl Crazy (Gershwin/Gershwin) 1930

      • George Gershwin: Of Thee I Sing

      • Love is Sweeping the Country - Of Thee I Sing (Gershwin/Gershwin/Kaufman/Ryskind) 1931

      • George Gershwin: Porgy and Bess

      • Summertime - Porgy and Bess (George Gershwin) 1935

      • USA - Cole Porter

      • Let's Do It - Paris (Cole Porter) 1928

      • Cole Porter - Anything Goes 1934

      • I Get a Kick Out of You - Anything Goes (Porter) 1934

      • USA - Marc Blitzstein and The Cradle will Rock 1937

      • Art for Art's Sake - The Cradle Will Rock (Marc Blitzstein) 1937

      • USA - Irving Berlin

      • Easter Parade - As Thousands Cheer (Irving Berlin) 1933

      • USA - Richard Rodgers and Larry Hart

      • Here in My Arms - Dearest Enemy (Rodgers/Hart) 1925

      • Rodgers and Hart: Songs

      • Ten Cents and Dance - Simple Simon (Rodgers/Hart) 1930

      • Rodgers and Hart: Babes in Arms

      • The Lady is a Tramp - Babes in Arms (Rodgers/Hart) 1937

      • Europe - Franz Lehar and Richard Tauber

      • You are My Heart's Delight - The Land of Smiles (Franz Lehar) 1929

      • England - Noel Coward

      • I'll See You Again - Bitter Sweet (Noel Coward) 1929

      • England - Ivor Novello

      • Shine Through My Dreams - Glamorous Night (Novello/Hassall) 1935

      • England - Vivian Ellis

      • Spread a Little Happiness - Mr Cinders (Vivan Ellis) 1929

      • England - Cole Porter

      • How Could We be Wrong? Nymph Errant (Cole Porter) 1933

      • Berlin - Im Weissen Rossl (The White Horse Inn)

      • Your Eyes - The White Horse Inn (Benatsky/Stolz) 1930

      • Hitler's Germany: Jewish composers, including Kurt Weill, leave

      • Moritat (Mack The Knife) - The Threepenny Opera (Weill/Brecht) 1928

      • USA - Kurt Weill and Lotte Lenya in New York, 1935

      • September Song - Knickerbocker Holiday (Weill/Anderson) 1938

      • England - Noel Gay: Me and My Girl 1937

      • The Lambeth Walk - Me and My Girl (Gay/Furber/Rose) 1937

      • Europe - War. Ivor Novello: The Dancing Years

      • I Can Give You The Starlight - The Dancing Years (Ivor Novello) 1939

      • CD03
      • 作品编号：38607  The History of the Musical

      • Falling in Love with Love - The Boys from Syracuse (Rodgers/Hart) 1938

      • USA - Escapist musicals - Dubarry was a Lady, Cabin in the Sky (Vernon Duke)

      • Taking a Chance on Love - Cabin in the Sky (Duke/Latouche) 1940

      • Rodgers and Hart: Pal Joey (1940)

      • I Could Write a Book - Pal Joey (Rodgers/Hart) 1940

      • USA - Seill and Gershwin: Lady in the Dark

      • My Ship - Lady in The Dark (Weill/Gershwin) 1941

      • USA - Kurt Weill teams up with Ogden Nash for One Touch of Venus

      • West Wind - One Touch of Venus (Weill/Nash)

      • USA - Rodgers and Hammerstein: Oklahoma!

      • People Will Say We're in Love - Oklahoma! (Rodgers/Hammerstein) 1943

      • USA - Rodgers and Hammerstein: Carousel

      • What's the Use of Wonderin' - Carousel (Rodgers/Hammerstein) 1945

      • USA - Leonard Bernstein

      • Lonely Town - On the Town (Bernstein/Comden/Green) 1944

      • USA - Irving Berlin: Annie Get Your Gun (1946)

      • Anything You Can Do - Annie Get Your Gun (Berlin) 1946

      • USA - Forrester and Wright...and Grieg

      • Strange Music - Song of Norway (Wright/Forrester/Grieg) 1944

      • And This is My Beloved - Kismet (Wright/Forrest/Borodin)

      • My Heart and I - Old Chelsea 1943

      • England - Ivor Novell: Perchance to Dream (1945)

      • We'll Gather Lilacs - Perchance to Dream (vor Novello) 1945

      • England - Vivian Ellis: Bless the Bride (1947)

      • USA - Cole Porter: Kiss Me Kate (1948)

      • Brush Up Your Shakespeare - Kiss Me, Kate! (Porter) 1948

      • USA - Rodgers and Hammerstein: South Pacific

      • Some Enchanted Evening - South Pacific (Rodgers/Hammerstein) 1949

      • USA - Lerner and Loewe: Brigadoon (1947)

      • The Heather on the Hill Brigadoon (Lerner/Loewe)

      • USA - Lerner and Loewe: Paint Your Wagon (1951)

      • They Call the Wind Maria - Paint Your Wagon (Lerner/Loewe) 1951

      • USA - Lerner and Loewe: My Fair Lady (1956)

      • I Could Have Danced All Night - My Fair Lady (Lerner/Loewe) 1956

      • England - Julie Andrews; Sandy Wilson/The Boyfriend (1954)

      • I Could Be Happy with You - The Boyfriend (Wilson) 1954

      • England - Julian Slade: Salad Days (1954)

      • We Said We Wouldn't Look Back - Salad Days (Slade/Reynolds) 1954

      • USA - Frank Loesser: Guys and Dolls (1950)

      • Sit Down You're Rockin' The Boat - Guys and Dolls (Loesser) 1950

      • USA - Anna and the King of Siam

      • Shall We Dance? - The King and I (Rodgers/Hammerstein) 1951

      • USA - The Film Musical

      • Singin' in The Rain - Singin' in The Rain (Brown/Freed) 1952