Trish Causey: Play Analysis

“Mr. Burns a post-electric play” is an American dark comedy play written by Anne Washburn. It first premiered in May 2012 at the Woolly Mammoth Theatre in Washington, D.C. This play has three acts. The First Act takes place in the woods seven years after an unspecified apocalyptic event had happened. The survivors of this apocalyptic event gather around and talk about the episode “Cape Feare” from the television show The Simpsons.

When an audience watches a play there are countless observations to be made, therefore it becomes unfeasible for every last detail to be noticed. While the audience quickly examines the backdrops and set pieces or the actors’ overall appearance, they often do not immediately notice the minute details which later prove to be vital to the play’s plot. For example, in August Wilson’s Ma Rainey’s Black Bottom, upon entering the stage for the first time, Levee reveals the new shoes which he has just purchased, but it does not become clear until much later just how important these shoes are. I feel that in order to maximize the impact the shoes have on the play, they must set Levee apart and look different than any other shoes seen on stage. In

Painful stories that “force people to confront their most dangerous internalized philosophies” (Weakland). Without the production of West Side Story, other shows like Urinetown and Assassins probably wouldn’t have been produced. Because of Jerome Robbins and West Side Story, musicals could show the ugly side of human nature and plots could be

Miranda draws from this modern American history, and by using these modern storytelling techniques in this medium not only appeals to a broader audience that has never before had a home in Broadway musicals, but also makes a statement about the significance of the impact of minority cultures. This is just one way in which Hamilton reshapes the historical narrative to cater to a modern audience and reclaims a sense of ownership in that history, for people of all ethnicities, through

Patricia Villani Patricia “Trish” Villani-Bugg was known for infectious smile and laugh. While she was not adapted at what some may consider” small talk” those close to her could count on her quick wit to brighten up any situation. Trish also was always the first to lend aid to those in need and was a constant support and cheerleader for those whom she was closest to. Part of Trish’s spirituality took form in musical notes. Those of us who knew her well, knew that she expressed herself through the love of music and that music was the catalyst for much of her written works.

This shines through in the eminently clear attitudes of characters and the relationships between the characters on stage, as previously mentioned before through blocking. For example, when Joshua and Lily, interacted on stage; the contrasting experiences of the time between whites and people of color was immensely evident. The quixotic ignorance of Lily playing against the affable precaution of Joshua, illustrated the privilege of the time given to whites despite the intimate history between both characters. Likewise, the comprehensive research is evident through attention to small details within the production. For example, when the recreation of the green book appears on stage, though it is not called for in the script, it brings a historical weight to the moment that may have not been present otherwise.

West Side Story is one of the darkest musical dramas of its time. It changed the face of musicals forever with its dark themes and social commentary. Opening in 1957, on September the 26th at the Winter Garden Theatre in New York, no one in the audience could have predicted the heartache and social cognizance they would be taking away from this modern day musical. Set in an ethnic, working class neighbourhood of New York in the 1950’s, West Side Story elaborates on issues such as racism, sexism and blue collar frustration, all of which are still evident today. It was the simmering aggression of a society affected by the ever-consuming depression of the Cold War.

By doing this Mackintosh ensures the growth of anticipation for a production of the show in America. When an “exact replica” of the original show is opened on Broadway, Americans who have fallen in love with the cast album will flock to see the show they have listened to. In turn, this boosts the local economy by promoting tourism back into Broadway. However, to further ensure audience building anticipation for the musical, Mackintosh employs the use of “spectacle -- whether it be singing cats, a waif on the barricades, a falling chandelier or, lately, a helicopter landing on stage -- in attracting a thrill-seeking

Things that resonate with me positively- The few things are 1) How sarcastic the characters in the play are. They trash talk and are so aggressive in the play with cruel jokes. Throughout the play you see everyone trying to get someone to get there hand off the truck. Here is an example Kelli “ I’ve seen people take their hands off so’s Greg.

West Side Story/Romeo and Juliet Comparison Thesis Ah, young love. The feeling and emotion driving two hormonal teenagers to do questionable things. The thought that it 's only the two lovers who matter. The belief in fairytale endings. Young love, when forbidden, perhaps forges bonds between the lovers, allowing them to grow closer.

Chicago was a well preformed musical directed by Stephen Kopel. Each and every artist that crossed that stage was electric! I wouldn’t be surprised if I would see anyone of them in a Broadway performance. The costumes were unique because it’s not the usual day to day inmate attire. The props really set the mood.

The direction and acting of the play show that the success of any production relies heavily on the director and the actors. The director should work closely with the actors to create believable and nuanced performances and to ensure that the pacing and tone of the play are consistent. The actors should be able to convincingly portray teenage girls and bring their unique personalities and struggles to life on stage. For example, the actors should focus on creating naturalistic dialogue that overlaps and reflects the way that real people

The productions of this play were successful through stage design, lighting crewing, and acting. Those three aspects made the quality of the play stand out to me, as an audience member. The production of the set design of the play was a good effort. The set design for the play staging aims for the sweet spot between feeding adult nostalgia and satisfying a new generation of children.

“The Play That Goes Wrong” required a very detailed strategic plan of the arranged props and set design that actors need to follow in their performance. I believe the performers did a marvelous job in following the detailed choreography of the show. One of the most memorable cast members was Nancy Zamit. She played Annie the stage manager, who took the spotlight when she was forced into playing Charles’ fiancée named Sandra because the original female lead got "knocked unconscious” in the middle of the play. As terribly shy as she was, Zamit intensified the enjoyment of the audience as her character was reading off lines from pages of the script very awkwardly and awfully in an unfitted red dress and wig.

Musical theatre performance, which presents fictional plots and impresses audiences with show-stopping dance and song, unites dramatic works across the globe. American musical theatre, specifically, draws inspiration from European straight plays, burlesques, and operas, while dramatizing American topics. Nineteenth-century musical comedies use entertaining situations, rather than plot, to frame performances involving song, dance, and humor. For example, George M. Cohan’s works, although inspired by European musical theatre, fail to please audiences as its unified music and book neglect the plot. By the twentieth century, however, pioneers such as Oscar Hammerstein II create musical theatre shows, such as Show Boat, where the plot holds the