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[Interview with Marvin Hamlisch : raw footage]

著者: Marvin Hamlisch; Michael Kantor; Mead Hunt
出版: New York, 2003.
エディション/フォーマット:   VHS : VHS tape   視覚資料 : English
データベース:WorldCat
概要:
Raw interview footage used for the documentary Broadway, the American musical. Composer Marvin Hamlisch discusses the American musical. Discussion begins on tape one at ca. 30 min. Hamlisch speaks about his first Broadway job as assistant to the vocal arranger for Funny girl. The show starred Barbra Streisand and its music was written by Jule Styne, a composer and mentor who Hamlisch believes understood how to write
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ジャンル/形式: Documentaries and factual works
Musicals
Unedited footage
Interviews
関連の人物: Marvin Hamlisch; Marvin Hamlisch; Marvin Hamlisch; Marvin Hamlisch; Jule Styne; Michael Bennett; Ed Kleban; Stephen Sondheim; Fred Ebb; John Kander; Oscar Hammerstein, II
資料の種類: Videorecording
ドキュメントの種類: 視覚資料
すべての著者/寄与者: Marvin Hamlisch; Michael Kantor; Mead Hunt
OCLC No.: 140496404
注記: Copy of transcript available.
This interview is one of a group of interviews with 90 individuals used in making the documentary Broadway, the American musical. The completed production is available on NCOX 2058.
Credits for completed production from pbs.org: A film by Michael Kantor ; produced by Jeff Dupre, Michael Kantor and Sally Rosenthal ; written by Marc Fields, Michael Kantor, Laurence Maslon, and JoAnne Young ; directed by Michael Kantor.
Time code on frame.
Contains various takes, at occasional brief intervals, audio continues without sound.
著作権: Cameraman: Mead Hunt.
パフォーマー Interviewer: Michael Kantor. Interviewee: Marvin Hamlisch.
注記: Videotaped in New York, N.Y. on May 12, 2003.
物理形態: 2 videocassettes (VHS) (49 min.) : sound, color SP ; 1/2 in.
その他のタイトル: Broadway, the American musical
責任者: [directed by Michael Kantor].

概要:

Raw interview footage used for the documentary Broadway, the American musical. Composer Marvin Hamlisch discusses the American musical. Discussion begins on tape one at ca. 30 min. Hamlisch speaks about his first Broadway job as assistant to the vocal arranger for Funny girl. The show starred Barbra Streisand and its music was written by Jule Styne, a composer and mentor who Hamlisch believes understood how to write music for Broadway. Hamlisch discusses being hired by director/choreopgrapher Michael Bennett to write the music for A chorus line. Interview ends after 15 min. on tape one and resumes on tape two.

Hamlisch examines his working process as the composer for A chorus line; rehearsing with Michael Bennett; what he views as the "genius" of the show, and how Bennett's direction gave the show shape during its workshop process; how he came to write the hit song "What I did for love" with lyrics by Edward Kleban; the two kinds of songs included in A chorus line, and more on how he worked with Kleban; his writing of the song "One," whose melody emulates Germanic music like that of Kurt Weill. Hamlisch also discusses his views on a variety of topics related to Broadway. These include his appreciation of a "classic, blue suit" type of music which endures on Broadway; the current kinds of shows being produced; the shows West Side story and My fair lady; how Broadway musicals adapted after the terrorist attacks of Sept. 11, 2001; Broadway as "the" American art form; the dissemination of Broadway tunes via radio; the importance of retaining Broadway's musical heritage embodied in the work of Alan Jay Lerner and Frederick Lowe, Cole Porter and Richard Rodgers, and the need for new, original shows on Broadway; the experience of seeing a new show and "falling in love with it," as he did with The fantasticks; musicals as a reflection of American "we can do it" optimism; composing for the movies in comparison with writing the music for a stage musical; the "mega-musicals" of Andrew Lloyd Weber; the songwriting of John Kander and Fred Ebb; the role of television and mass media in making the rest of the nation aware of Broadway and its performers; the contributions of composer Stephen Sondheim; lyricist Oscar Hammerstein, who wrote songs designed to integrate fully into the musical; the kinds of musicals he hopes to see on Broadway in the future. Interview concludes with audio only discussion for a few minutes on performer Robert Morris.

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