* 2007
Generation without Parents
Theatre Theory Pages
Importance of Being Earnest play online

From lul

stagematrix & directing


... 2009 and

2006 Random Page:

TOP : Chorus Line, bottom - runaways

Read Runways files, but how many of original songs for CL will be developed I do not know.

There are many elements of the show I still do not see.

How the process will be recorded?

Lul-Group -- online [ for members ] and LUL-ONLINE for visitors.

Interactive -- forum?



Runaways & CHORUS, Ethiopia * musical theatre @ amazon *
2009 Lul

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Stage Directing Theory
Directing Theory: pre-text, text and super-text
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ShowCases: 3 Sisters, Mikado, 12th Night, Hamlet, The Importance of Being Earnest, Dangerous Liaisons, Don Juan
prof. Anatoly Antohin Theatre UAF AK 99775 USA (907)474-5253
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Runaways (Original Broadway Cast) [SOUNDTRACK] B00008XERJ


* A musical is a play composed of acted scenes called the book, vocal and instrumental music, and dance.


RUNAWAYS is composed by Elizabeth Swados and premiered at the Public Theather NYC, 1978. This excellent show which spans multiple musical styles featured such performers as Diane Lane, Trini Alverado, Jossie de Guzman, and Karen Evans. RUNAWAYS is great for anyone who likes shows in the style of HAIR, THE ME NOBODY KNOWS and INNER CITY (another AMAZING AMAZING musical available on LP from Footlights Records NYC) For people who like urban musicals and rock music (RUNAWAYS even has a full rap, pretty advanced for 1978, this is an album to have. The script is available from Samuel French, NYC

by Elizabeth Swados:
Runaways is a musical theatre piece which was in the works for a year. When I went to Joseph Papp in May of 1977 I had no script, no songs, no storyline - just an idea and an intuition about the potential of adolescents and how they have been grossly underestimated. I wanted to make a collage about the profound effects of our deteriorating families. I wanted to explore the substitutes people find to deal with the loss of family and how these substitutes are sometimes effective and sometimes self-destructive.I wanted to tap the energy of young people. I have seen them excel professionally in athletics, pop and classical music and I knew there was a real possibility for the same kind of dedication in the theatre - beyond cuteness, beyond cliche...


... Dance numbers: Western and Traditional


6 Characters will be left for act 2; do we see others? How many?

6 monologues

3 boys, 3 girls

How do we know about the two? -- leads [names]

Interaction between the Director and actors is different every night, as in Commedia's scripts.

Different leads [two casts] -- repertory principle.

"Love Story" -- without words, mise-en-scenes only.


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[ 0 ] [ 2009 ]


Director's Notebook

Shakespeare -- My Shows I am using the Runaways webpages, because there are similarity in methods of originating of two shows.

Improvisational script development

Age -- first young adult steps

Being different

How does it relate to the original Broadway show?

... see lul-blog : antohin.wordpress.com

I thought that I could use this show as an example of directing a musical.

"The musical is the least realistic form of popular drama. After all, do people really break into song at intimate moments, or dance down the street after a date? To me it is no wonder, then, that musicals would find a home in the least realistic of all the modes of dramatic arts: the stage. There was a time when Hollywood had its own golden age of musicals. In the thirties and forties there were Busby Berkeley dance extravaganzas, the water ballets of Esther Williams, Fred Astaire and Ginger Rogers, and Gene Kelly's Singin' In The Rain, clips of which were shown extensively on TV upon the occasion of his death in 1998. Since then, the only musicals you are likely to see on the movie screen are adaptations of Broadway hits such as Grease and Evita. Musicals produced for television are the rarest bird of all. Steven Bochco's brave attempt, Cop Rock, a kind of musical NYPD Blue died quickly during the 1983 season. Television simply cannot sustain that degree of serious non-realism. On the other hand, there are many examples of films being made into stage musicals. Sunset Blvd. and Big both started out as films before ending up on Broadway with music added. This trend seems to be accelerating as within the next year or so Broadway will host musical versions of Saturday Night Fever (Tony Manero may be inarticulate, but he can sing) and Footloose (no, not with Kevin Bacon!)." http://homepage.mac.com/roberthuber/school/1delec13.html


Music and dance in theatre has a long history. Earlier forms of musical theatre include opera and operetta. Opera by definition contains no dialogue scenes. What it does have are recitative in which characters chant/sing conversations; arias, or songs; and dance. Operettas differ from opera in that they feature lighter themes and more popular musical styles. Musicals were commonly called Musical Comedies from the forties to the sixties. At that point, the arrival of musicals with serious or dark themes made the name inaccurate. Today we know them simply as: Musicals. One way to categorize musicals is by the proportion of their elements. Book musicals are those in which the acting scenes clearly dominate; having a strong and coherent story. Since the seventies the dance musical, usually directed and written by a choreographer such as Bob Fosse, Jerome Robbins, Michael Bennett and Tommy Tune have became popular. One could even say dance musicals are the most popular form inasmuch as the top two longest running shows in Broadway history, A Chorus Line and Cats, are both of this ilk. A third type emphasizes music, particularly the sung-through musicals of Stephen Sondheim.

If you were to ask most Americans if they have ever gone to the theatre, the majority who have would've seen a musical. There is no question that musicals are the most popular and commercially successful of all genres of theatre today. Why is this so? One part of the answer is that they are heavily marketed. Chances are, if you've seen a television commercial for a play, it was probably for a musical. But marketing alone does not explain their popularity. I believe that musicals are popular because they connect to people in ways that straight plays do not.


"Music is the most ubiquitous of all the performing arts. Music surrounds us in restaurants and elevators, it accompanies commercials, we listen to it in the car on the way to school or work, and some carry it wherever they go with a Walkman. The simple fact is that we have been exposed to more music in our lives than any other art form. Why is this important? Because one can develop a kind of expertise in any subject just by massive exposure to it. If a college theatre arts major had seen as many plays as she had heard songs, she would have a greater knowledge base than her professors! But that isn't all. Most people have gone beyond the passive listener role to have actually made music. Some have attempted with varying degrees of success to play an instrument, and everybody has sung--even if only in church or the shower. The point is this: one develops a greater depth of appreciation of an art by having tried to do it. We appreciate the mastery of Michael Jordan because most of us have tried to dribble down the court and shoot a basket at some time in our lives. When it comes to appreciating music, we are all pretty sophisticated." Robert C. Huber

"But musicals contain more than just music; dance is the other point of connection. We may not have been exposed to as much dance as music, but we are more likely to have tried to do it in front of other people--an audience. Americans are more likely to have participated in social dance than to have attended a dance concert. If we have watched dance it has probably been on television: either American Bandstand, Soul Train, or as music videos on MTV. Whether we move like Michael Jackson or are "dance-dyslexic," we all know how difficult it is to do really well. This is another point of contact. When an audience watches skilled professional dancers in the big production numbers of Chicago, Rent, or Bring In Da Noise, Bring In Da Funk, they appreciate the degree of difficulty from first-hand experience."




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