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boradway > Week 2 > Flashcards

Week 2 Flashcards

1
Q

Come From Away as a
conventional musical

A

This musical uplifts audiences by
celebrating the good sides of human
nature even in the darkest of times
* It employs several traditional song
types:
* Establishing number: “Welcome to the
Rock”
* 11 o’clock spot number: “Me and the
Sky”
* Examples of underscoring and musical
scenes
* The cast includes 2 romantic (albeit
atypical) pairs: Diane & Nick, Kevin
& Kevin

The show is based on oral
histories: in interviews with
the creators of the musical,
real-life people provided
accounts of what happened
when 9/11 diverted 38
planes and 7,000 people to
Gander, Newfoundland. The
show uses the September
11th terrorist attacks as a
backdrop. Is this a musical
about 9/11?

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2
Q

CFA creative duo

A

David Hein and Irene Sankhoff, a
Canadian husband-and-wife
team with relatively little writing
experience

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3
Q

size of CFA cast

A

12

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4
Q

is there a main character/ protagonist in CFA

A

no

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5
Q

is there a central love story in CFA

A

no

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6
Q

musical unconventional parts

A

The score consists of mostly
ensemble numbers and few solos
* The band includes instruments
that are traditional to
Newfoundland
* The musical is performed in one
act with no overture,
intermission or entr’acte and it
lasts only 100 minutes
* There are few opportunities for
applause

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7
Q

What is Come From Away about?

A

This musical is based on a true story about Gander, a
small Canadian community that welcomed strangers in
the days following 9/11
* Caring for the people on these aircrafts was called
Operation Yellow Ribbon
* The idea for the musical came from Michael Rubinoff, a
lawyer, theatre producer, and a past Associate Dean at
Sheridan College. In 2011, he established the Canadian
Musical Theatre Project and is now overseeing
productions of Come From Away around the world and
producing new shows

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8
Q

Who created CFA

A

Rubinoff brought his idea to several
musical theatre practitioners;
David Hein and Irene Sankoff, a
writing team who did My Mother’s
Lesbian Jewish Wiccan Wedding
(2009), decided to take on the
project
* Rubinoff, Hein, and Sankoff visited
Gander in September 2011 for the
10th anniversary commemoration
for the pilots and “Plane People”
and conducted hours of interviews
as part of their creative process

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9
Q

Where is Gander?

A

Gander (population
12,732) lies in the
northeastern tip of the
island of Newfoundland
in the province of
Newfoundland and
Labrador
* Newfoundlanders call
non-Newfoundlanders
“come from aways”

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10
Q

where did CFA start

A

sheridan

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11
Q

What did the road to Broadway
look like for mid-century
musicals?

A
  • The composer, lyricist, and bookwriter create their show
  • Find a producer to finance the show
  • Perform backer’s auditions to raise money
  • Find a director
  • Hold auditions and hire actors
  • Rehearsals
  • Pre-1970s: Out-of-town tryouts for 4-6 weeks in front of an
    audience (popular destinations: New Haven, Boston, Philadelphia);
    period of rewriting and revising
  • Previews in Broadway-designated theatre in NYC
  • Opening night
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12
Q

Composers, lyricists, and bookwriters CFA

A

Irene Sankoff and
David Hein

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13
Q

CFA source

A

Michael Rubinoff proposed Operation Yellow Ribbon as
an idea for a musical

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14
Q

new york fun CFA

A

12 March 2017-2 October 2022

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15
Q

Performances CFA

A

1669 (49th longest-running Broadway musical)

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16
Q

Tony awards CFA

A

Nominated for 7, won 1 for Best Direction of a
Musical

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17
Q

bodhran

A

a
traditional Irish drum
made of goat skin,
provides the heartbeat of
the score

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18
Q

ugly stick

A

is a traditional
Newfoundland
percussion
instrument
made of
household
items

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19
Q

uilleann (“ILL-
in”) pipes

A

are a type
of traditional Irish
bagpipes that
produce a soft sound
suitable for indoor
performances
* Listen for these
instruments and the
rest of the band in
“Heave Away” and
“Screech Out,” which
accompanies curtain
calls

20
Q

Establishing number

A

Conveys the location, introduces main characters, and sets the tone and mood of the show

21
Q

I am/I want” song

A

Establishes something essential to the audience’s understanding of character and situation

22
Q

Charm song

A

Pleases and delights with an optimistic tone and celebrates the positive values and experiences of
life

23
Q

Musical scene

A

An extended piece of music in which dramatic action is set to music; includes underscoring. What’s
underscoring? Speech (rather than song) accompanied by music

24
Q

Production number

A

A number with song, speech, and dance, typically including all or most of the cast

25
Q

Reprise

A

The repetition of a number already heard earlier in the score. A reprise can be sung by different
characters in different situations, even with new lyrics, but it still bears a strong musical
resemblance to the earlier piece of music

26
Q

Rhyme (end rhyme):

A

Correspondence of sound between words or
the endings of words at the ends of lines
“Welcome to the Rock a
If you come from away b
You probably understand c
About a half of what we say” b

27
Q

Internal rhyme

A

Rhyme within the same line
“A simpering, whimpering child again”

28
Q
  • Multi-word rhyme:
A

Two or more successive words rhyme with other
combinations of words
“A pill he is” / “But still he is”

29
Q

Alliteration

A

Repetition of the initial sound of
consecutive (or near-consecutive) words
“Bewitched, bothered, and bewildered am I”
“My mistake, I agree”

30
Q

Consonance:

A

Close repetition of consonant sounds
Bs, Ts, and Ps: “But this half-pint imitation / Put me on
the blink”

31
Q

Assonance

A

Close repetition of vowel sounds
Os: “With no Bromo Seltzer handy / I don’t even
shake”

32
Q

Anaphora

A

Repetition or word(s) at the beginnings of
successive lines
“Someone to hold you too close,
Someone to hurt you too deep,
Someone to sit in your chair
And ruin your sleep

33
Q

Epistrophe

A

Repetition at the ends of successive lines
“A pill he is,
But still he is

34
Q

Onomatopoeia:

A

Words that sound as they mean
“Whoa! You team, and jist keep a-creepin’ at a slow clip clop

35
Q

Lyric motives:

A

Recurring words or phrases saturate a lyric

36
Q

11 o’clock spot number

A

Traditionally, the 11 o’clock spot number was a star vehicle—
a calculated showstopper—positioned close to the end of a
show (“Me and the Sky” falls unusually early in Come From
Away)
* Some 11 o’clock spot numbers feature a star or pair of stars,
whereas others call for a large group or full cast to sing an
energetic, optimistic number. All of these serve the same
purpose: to heighten excitement before the denouement of
the show
* Other 11 o’clock spot numbers: “Oklahoma!,” “Sit Down,
You’re Rockin’ the Boat,” “Rose’s Turn,” “Run, Freedom, Run!”

37
Q

does cfa have overture

A

no

38
Q

what is the focus of cfa if theres no main charcater

A

the themes, the location, thee community

represents a team effort

39
Q

what are bakers audtions

A

when a show is still a work in progress and the creative circle perfomrs selections to potental investors to raise money

40
Q

welcome to the rock song type

A

establishing number

41
Q

type of singing in welcome to the rock

A

unity, hepsinging so it sounds like talking and so it is easy to turn into singing fast

42
Q

music in welcome to the rock

A

it is quick and string

not very tuneful

more like a chant

43
Q

i am here song type

A

i want

44
Q

i am here

A

short solo, a plane person, son is firefighter, wants to hear back from son in nyc

45
Q

hannah melody

A

panic, syclcal, restless, same 3 notes, wide distance from notes repsenting their physical distace

boradway (12 decks)

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