Alimta chidzey biography of william shakespeare

The Secret Garden (musical)

1991 Broadway musical

The Secret Garden is a musical based on the 1911 novel of the same name by Frances Hodgson Burnett. The musical's script and lyrics are by Marsha Norman, with music by Lucy Simon. It premiered on Broadway in 1991 and ran for 709 performances.

The story is set in the early years of the 20th century. Mary Lennox, an English girl born and raised in the British Raj, is orphaned by a cholera outbreak when she is ten years old. She is sent away from India to the moors of Yorkshire, England, to live in the manor of a brooding uncle she has never met. There, her personality blossoms among the other residents of the manor as they bring new life to a long-neglected garden.

An entirely different musical version of the novel, book and music written by the team of Jay Turvey and Paul Sportelli, premiered at Canada's Shaw Festival in 2024.

Productions

The musical debuted as a staged reading at Skidmore College in Saratoga Springs, New York, in the summer of 1989, produced by Capital Repertory Theatre. R.J. Cutler directed the summer workshop, and went on to direct the world premiere at the Wells Theatre, Norfolk, Virginia, in a Virginia Stage Company production, running from November 28 to December 17, 1989. The production included scenic design by Heidi Landesman, lighting by Peter Kaczorowski and costumes by Martin Pakledinaz. It starred Victoria Clark as Martha, Michael McCormick as Neville, and William Youmans as Albert and Ben.

The Secret Garden premiered in New York City on Broadway at the St. James Theatre on April 25, 1991, and closed on January 3, 1993, after 709 performances. That production was directed by Susan H. Schulman, with choreography by Michael Lichtefeld. The cast featured Daisy Eagan as Mary Lennox, Mandy Patinkin, Rebecca Luker, Robert Westenberg and John Cameron Mitchell. It won the 1991 Tony Awards for: Bes

  • Mary lennox
  • Canberra CityNews

    “MOULIN Rouge! The Musical” is about to head for Sydney and it’s likely to create a sensation. 

    The film version did so in 2001 when director Baz Luhrmann and Craig Pearce first unleashed it on the world with Nicole Kidman and Ewan McGregor in the romantic lead roles.

    With a winning combination of theatrical spectacle, nostalgia for the can-can era in Montmartre and a saucy book drawn from some of the most recognisable songs of the 20th century, it came from an original concept of Luhrmann.

    But he’s stepped aside from this show, saying: “I knew I wasn’t the right person to re-interpret something I made 20 years ago.” 

    The book has been redeveloped with Luhrmann’s agreement by celebrated American screenwriter and Tony-winner, John Logan and it’s directed by American Alex Timbers. 

    Under the eye of musical supervisor, arranger and lyricist, Justin Levine, who speaks of “the emotional memory I carried from songs”, it uses the same winning combination of pop songs in a period setting, retaining, Elton John’s “Your Song”, the jazz classic “Nature Boy” and David Baerwald and Kevin Gilbert’s tragic song, “Come What May”, originally intended for Luhrmann’s 1996 film, “William Shakespeare’s Romeo + Juliet”. 

    No prizes for spotting the origins of numbers such as “El Tango de Roxanne” and “Only Girl in a Material World”, but you can also expect to hear hints of David Bowie, Offenbach, T. Rex, U2 and Madonna as well as contemporary artists.

    I saw the show in preview in Melbourne and the catchy songs were a highlight for the audience, who were constantly nudging each other in the joy of song-spotting. 

    Americanised to suit its Broadway opening in 2019, the original story of a young English poet cut adrift in Paris has been tweaked slightly to become a boy from the American south.

    With a “La Traviata” meets “Barnum” plot, it’s a spectacular exposé of the manipulations behind the world of stardom under the theme – “Truth,

    Meet The

    Cast

    Satine

    Alinta (She/Her) is one of Australia’s most captivating leading ladies. She recently starred as Velma Kelly in Chicago and Anita in West Side Story (2010), which saw her nominated for several awards, including a Helpmann, Green Room and Sydney Theatre Award, and won the Australian Dance Award for Most Outstanding Performance. She performed alongside Hugh Jackman in his Broadway to Oz tour and was a fixture on The Production Company stage, playing Mary Magdalene in Jesus Christ Superstar, Magnolia in Show Boat, Kathy Selden in Singin’ in the Rain, Svetlana in Chess (Green Room Award), Niki Harris in Curtains and Sibella Hallward in A Gentleman’s Guide to Love and Murder. Other stage credits include; Petra in A Little Night Music for Victorian Opera, Mamma Mia!, Mickey in Leader of the Pack (Green Room Award), Dusty: The Original Pop Diva, The Music of Andrew Lloyd Webber, Demeter in Cats, Alice in Closer, Mary Poppins for Free Rain Theatre and the Netherlands season of Dirty Dancing. Alinta is a concert performer and songwriter. She’s released the albums Jazz and the Silver Screen with Hook Turn Orchestra and her original music with Alinta and the Jazz Emperors, titled I Got You. She performed the national anthem at the Australia Open and the State of Origin. Screen credits include Wentworth, Winners and Losers, The Frontier, The Doctor Blake Mysteries and Neighbours.

    Christian

    Des (He/Him) graduated from the VCA with a Bachelor of Fine Arts (Music Theatre). Since then, he has performed in several musicals, a highlight being West Side Story for Handa Opera on Sydney Harbour under the direction of Francesca Zambello. Des most recently played Thomas in The Beautiful Game with Manilla Street Productions. Other credits include Grease The Arena Experience (Harvest Rain) and The Songs of Pasek and Paul: You Will Be Found. Screen credits include T-Bone in Neigh

      Alimta chidzey biography of william shakespeare

    West Side Story

    History: Duelling factions – does anything ever change?

    I have never seen West Side Story before, be it stage or screen (which is amazing, as I am no spring chicken) so I came to the show last night without any expectations. Actually, this does not mean that I wasn’t singing along with most of the tunes penned by Stephen Sondheim and Leonard Bernstein. With a name like Marika, I have adopted ‘Maria’ as my own theme tune (mind you, the lyrics have been changed on the odd occasion!) and as it is with any great musical, I’m sure others in the packed audience brought along their own memories to relive, with each familiar tune. Many were mentally singing along, and would have loved to voice out loud (my friend included!)

    The fabulous female conductor (Vanessa Scammell, take a bow) stretched out her beautiful arms and heralded the beginning of the magic. Action up and the Jets and Sharks were street-jiving with the beat-cop telling everyone to “settle down, you hoodlums don’t own the streets”.

    From the onset, the dynamics were in motion and the stage set (such an integral part of any production) placed the audience right in the middle of the turf war. Manhattan captured cleverly with grids, girders, smeared windows, imagery and a whole lot of talent from the set designer (Paul Gallis). Hand in hand with clever set design, naturally, goes the master of lighting (Peter Halbsgut) who ‘shone the light’ on many a situation, creating the mood for spellbinding the audience.

    Orchestration being what it is, the music swept us up and carried us away. Nothing beats a live orchestra and every member should take an individual bow. Peering into the orchestra pit at the end of the show, I wanted to jump in there myself and shake everyone’s hand – awesome! Seamlessly, all elements came together and story-telling ensued; orchestration setting the scene, fluidly taking us through foreboding and calm and leading the audience between reality and dream sequences

  • Des flanagan