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Author Topic: BEWARE THE IDES OF MARCH  (Read 34292 times)

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Jrand73

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Re:BEWARE THE IDES OF MARCH
« Reply #60 on: March 09, 2006, 08:55:10 AM »

Hey JMK!
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Ron Pulliam

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Re:BEWARE THE IDES OF MARCH
« Reply #61 on: March 09, 2006, 08:55:58 AM »

From the internet:

The Ides of March
Just one of a dozen Ides that occur every month of the year

by Borgna Brunner  


--------------------------------------------------------------------------------

As far as Caesar knew, the Ides were just another day.
The soothsayer's warning to Julius Caesar, "Beware the Ides of March," has forever imbued that date with a sense of foreboding. But in Roman times the expression "Ides of March" did not necessarily evoke a dark mood—it was simply the standard way of saying "March 15." Surely such a fanciful expression must signify something more than merely another day of the year? Not so. Even in Shakespeare's time, sixteen centuries later, audiences attending his play Julius Caesar wouldn't have blinked twice upon hearing the date called the Ides.

The term Ides comes from the earliest Roman calendar, which is said to have been devised by Romulus, the mythical founder of Rome. Whether it was Romulus or not, the inventor of this calendar had a penchant for complexity. The Roman calendar organized its months around three days, each of which served as a reference point for counting the other days:

Kalends (1st day of the month)
Nones (the 7th day in March, May, July, and October; the 5th in the other months)
Ides (the 15th day in March, May, July, and October; the 13th in the other months)
The remaining, unnamed days of the month were identified by counting backwards from the Kalends, Nones, or the Ides. For example, March 3 would be V Nones—5 days before the Nones (the Roman method of counting days was inclusive; in other words, the Nones would be counted as one of the 5 days).

Days in March

March 1: Kalends; March 2: VI Nones; March 3: V Nones; March 4: IV Nones; March 5: III Nones; March 6: Pridie Nones (Latin for "on the day before"); March 7: Nones; March 15: Ides

Used in the first Roman calendar as well as in the Julian calendar (established by Julius Caesar in 45 B.C.E.) the confusing system of Kalends, Nones, and Ides continued to be used to varying degrees throughout the Middle Ages and into the Renaissance.

So, the Ides of March is just one of a dozen Ides that occur every month of the year. Kalends, the word from which calendar is derived, is another exotic-sounding term with a mundane meaning. Kalendrium means account book in Latin: Kalend, the first of the month, was in Roman times as it is now, the date on which bills are due.
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Jrand73

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Re:BEWARE THE IDES OF MARCH
« Reply #62 on: March 09, 2006, 08:56:38 AM »

Page Three Frances Farmer Dance.
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Jennifer

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Re:BEWARE THE IDES OF MARCH
« Reply #63 on: March 09, 2006, 08:57:09 AM »

My thoughts on last night's IDOL.

I really didn't love most of the performances.  And I"m not sure who will go home tonight.  It's hard to predict, especially when the judges sometimes lobby certain performers, who I suspect the public might not otherwise vote for.

I did like Ace, although not the beginning too much.  All that high stuff was too high for me. But obviously he will sail through.  He is the one of the men who looks most like a typical pop star.

I didn't care for Chris as much as I normally have.   But was anybody else stunned to see what he used to look like before he shaved his head. OMG!  He was really hot.  

I don't care for Gedeon at all. But the judges praise will probably keep him around.  While the judges' brutal attack on Will will most assuredly mean he is bottom 3.

I actually liked Kevin better last night than i have before. He was just so sweet and sincere.  I think he might not only have grannies voting for him, but also a bunch of little girls.

Another one I'm just not crazy about is bucky.

I think with what the judges said, anybody could be in the bottom (well not ace and chris).  But you never know even about someone like elliot. They were very harsh on him.  And i'm not even sure how many fans he has.
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Jrand73

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Re:BEWARE THE IDES OF MARCH
« Reply #64 on: March 09, 2006, 08:57:14 AM »

Crabmeat day?

And Long John Silver is now offering Lobster Nuggets!
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William F. Orr

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Re:BEWARE THE IDES OF MARCH
« Reply #65 on: March 09, 2006, 08:58:27 AM »

vixmom-
Though I have some scenes with the lovely Debbie Rochon that were pleasant to film in Times Square and Central Park, I'm guessing she would no more remember me than the man in the moon. That girl does like a dozen low-budget horror movies every year.

Her imdb bio lists fifteen for 2005 alone.
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Jrand73

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Re:BEWARE THE IDES OF MARCH
« Reply #66 on: March 09, 2006, 08:59:27 AM »

I am an Elliott fan....but not a regular AI viewer.
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William F. Orr

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Re:BEWARE THE IDES OF MARCH
« Reply #67 on: March 09, 2006, 09:01:31 AM »

Well, as Julius Cæsar said,

Up to then I didn't have and Idee
Of what the month of March was comin' to.
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elmore3003

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Re:BEWARE THE IDES OF MARCH
« Reply #68 on: March 09, 2006, 09:06:37 AM »

Hits whose scores I have no use for:
WICKED, CATS, CAROUSEL, LION KING

Flops I can use:
GREENWILLOW, JAMES JOYCE'S THE DEAD, DARLING OF THE DAY

Putting CAROUSEL into the list you did is an insult to composition, Richard Rodgers and God, I tell you!
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Jrand73

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Re:BEWARE THE IDES OF MARCH
« Reply #69 on: March 09, 2006, 09:06:38 AM »

DRJOSE - they did announce the winner of PWOJECT WUNWAY last night.
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Jrand73

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Re:BEWARE THE IDES OF MARCH
« Reply #70 on: March 09, 2006, 09:07:32 AM »

Putting CAROUSEL into the list you did is an insult to composition, Richard Rodgers and God, I tell you!

This is God speaking, don't get me into this argument.  8)
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Jrand73

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Re:BEWARE THE IDES OF MARCH
« Reply #71 on: March 09, 2006, 09:07:59 AM »

Well, as Julius Cæsar said,

Up to then I didn't have and Idee
Of what the month of March was comin' to.

He always was a snappy talker.  ;D

Bet he bid two bits fer Calpurnia's basket.  :P
« Last Edit: March 09, 2006, 09:08:25 AM by JRand55 »
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elmore3003

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Re:BEWARE THE IDES OF MARCH
« Reply #72 on: March 09, 2006, 09:13:16 AM »

I just finished my new section for the editorial notes on Toyland, and here's what I wrote:

The popular musical theatre is a commercial venture; the show is produced to  entertain an audience, and, by maintaining that audience, to provide its creators and investors with a nice bundle of cash.  Because of its need to please an audience, the show is a fluid entity, constantly in flux,  reshaping itself by whatever means it can employ to bring in the crowds.  In previews, the show is under close scrutiny as it plays to an audience: dull spots, poor jokes, and inept performances are all reasons for immediate cuts,  rewrites, and cast replacements.  Much of this can be seen by the creators in performance with an audience, but the reviewers' opinions are equally important in determining what does and does not work.

It was imperative that the show be fixed well enough to attempt a New York run of performances since it was this "New York hit" billing, true or false, that kept the show touring the country for years, and this tour, if successful, was the primary source of income from the piece.  If the show had been a major success in New York, first-class and second-class tours could take to the road and do even better: the Shuberts' Sigmund Romberg hit BLOSSOM TIME toured for years until it became a joke.  Once the show opened in New York, if it were a hit, it was imperative to keep the publicity machinery running and the audiences returning.  Often a cast replacement meant a new number and a bit of publicity.  In one of Townsend Walsh's scrapbooks, an anonymous and undated newspaper clipping has a photo of Bessie Wynn with the announcement that she has a new number, "Our Castle In Spain," in the hit BABES IN TOYLAND.  Come back and see it.

If the show were lucky, it might be picked up by a rental agency for stock and amateur performances, and Victor Herbert's publisher M. Witmark & Sons had formed the Witmark Music Library to represent the shows they published.   The shows were simplified for casting and scenic concerns and the orchestrations were standardized so that all their shows used the same orchestration, usually 5 reeds, 2 horns, 2 trumpets, trombone, percussion, harp, and strings.  Often, Herbert's concerns over how an amateur or pickup orchestra would play his music prompted the removal or simplification of the writing.  Many of his shows for the rental package lost their original overtures in favor of the popular (and published for anyone's use) concert medleys.

After touring for several years, the orchestra parts would have been recopied several times from the constant wear.  Often the part was recopied by the player or music director, accidentally replacing old copy errors with new ones: notes that had originally been cues were now accepted and played, accidentals were missed, and often bars were omitted.   After the tours shut down and the rights reverted to the authors and publisher, the original performance materials were discarded, burned, or lost in the shuffle with the costumes and scenery.

In an era before easy access to multiple copies, the chorus and actors learned their parts by rote, reading from lyric sheets, while the conductor taught the notes.  Until some of these lyric sheets turn up, the lyric for "If I Were A Man Like That" will remain incomplete.    The original chorus parts written by Victor Herbert for BABES IN TOYLAND were copied into the scores Max Hirschfeld used to teach the singers and rehearse the orchestra.  Unfortunately, a number like "Jane" had no choral writing, perhaps because it was still a solo for Jane when Herbert composed it.  By the time the show opened, it was performed by Jane, Alan, and the Piper Children, and Hirschfeld may have written harmonies for the Piper Children since they usually sing in three parts.  We also know, from a Pittsburgh review, that the song had some whistling as well, but any routining today is conjectural, based on what is known.

The loss of original orchestra parts, especially those of the original run, leaves many questions involved in a restoration of a musical theatre piece unanswered:  how were numbers routined? how many verses in a strophic number were performed? how many encores? cuts? utilitiy pieces such as scene change, entr'acte, curtain calls?  Much of this information is not provided in the rental package or any extant libretto to BABES IN TOYLAND.   Luckily, Hirschfeld's notes on his scores provide some answers.  

Herbert has a note on his rescoring of "Floretta" about an Entr'Acte, but there is no date to tell when this rescoring occurred.  The rewrite employs the same paper as that used for the finales to Acts One and Two, so it's possible this rescoring occurred in Chicago, July 1903, to remove the dance to "Floretta" and shorten the number.  Since this is the only source for any information on an Entr'Acte, it was determined that a reconstruction would be impossible.  Nearly everything about a reconstruction, especially when there are no survivors connected with the original production, becomes conjectural, based on the knowledge, experience, and tastes of the person(s) recreating the piece.
« Last Edit: March 09, 2006, 09:18:56 AM by elmore3003 »
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Rodzinski

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Re:BEWARE THE IDES OF MARCH
« Reply #73 on: March 09, 2006, 09:16:07 AM »

Putting CAROUSEL into the list you did is an insult to composition, Richard Rodgers and God, I tell you!

Well, I did say "hits" on purpose. If I had said "classics," only CAROUSEL would have been listed. I cannot help what was popular. Anyways, don't know about God, but Richard Rodgers can take it :)
« Last Edit: March 09, 2006, 09:36:01 AM by Rodzinski »
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Dan (the Man)

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Re:BEWARE THE IDES OF MARCH
« Reply #74 on: March 09, 2006, 09:17:45 AM »

Beware, the Idas March!

[move=left,scroll,6,transparent,100%]



[/move]
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elmore3003

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Re:BEWARE THE IDES OF MARCH
« Reply #75 on: March 09, 2006, 09:19:58 AM »

Well, I did say "hits" on purpose. If I had said "classics," only CAROUSEL would have been listed. I cannot help what was popular. Anyways, don't know about God, but Richard Rogers can take it :)

Well, he is dead, but it's R-O-D-gers! :-*
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elmore3003

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Re:BEWARE THE IDES OF MARCH
« Reply #76 on: March 09, 2006, 09:20:57 AM »

Beware, the Idas March!


I'm not a particular fan, so beware the Idina march!
« Last Edit: March 09, 2006, 09:25:08 AM by elmore3003 »
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Rodzinski

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Re:BEWARE THE IDES OF MARCH
« Reply #77 on: March 09, 2006, 09:24:50 AM »

Well, he is dead, but it's R-O-D-gers! :-*

Curses! (fixed it)
« Last Edit: March 09, 2006, 09:36:30 AM by Rodzinski »
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PennyO

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Re:BEWARE THE IDES OF MARCH
« Reply #78 on: March 09, 2006, 09:25:03 AM »

Wow - Elmo!!!! Heck of a nicely written piece of musical theater history and commentary! I love it.
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elmore3003

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Re:BEWARE THE IDES OF MARCH
« Reply #79 on: March 09, 2006, 09:27:31 AM »

Wow - Elmo!!!! Heck of a nicely written piece of musical theater history and commentary! I love it.

Thank you, DRPennyO!  I just printed out the full report without the Critical Notes; it's around 25 pages of history and method.

I just received an email from DRPanni, who will be in New York the second week of April;  NYC Hainsies/Kimlets, are you available for a small partay?  DRDantheMan, wht don't you come in and join us?
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Ginny

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Re:BEWARE THE IDES OF MARCH
« Reply #80 on: March 09, 2006, 09:33:11 AM »

DR Elmore - I found the text informative and understandable.  Thanks for sharing.
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Re:BEWARE THE IDES OF MARCH
« Reply #81 on: March 09, 2006, 09:33:27 AM »

TOD - Most of Phantom I didn't care all that much for. Couple of great tunes in an otherwise overblown and under-talented score...
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William F. Orr

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Re:BEWARE THE IDES OF MARCH
« Reply #82 on: March 09, 2006, 09:35:48 AM »

I just received an email from DRPanni, who will be in New York the second week of April;  NYC Hainsies/Kimlets, are you available for a small partay?  DRDantheMan, wht don't you come in and join us?

Whoopeee!

Joe and I are currently planning our annual "theatre week" during spring break, which is the second week of April, I do believe.

We hope to see Lestat, Wicked, Dirty Rotten Scoundrels, JoseSPiano, Elmore3003, and other hits.

How nice it would be to get tickets to see Panni (by Harold Rome?) also.
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Ginny

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Re:BEWARE THE IDES OF MARCH
« Reply #83 on: March 09, 2006, 09:41:13 AM »

My workday morning was brightened by a delightful surprise.  A co-worker from my distant past at Miami University-Middletown stopped by the library to visit.  She has retired from the university and is playing in a seniors' symphonic band that rehearses at the University of Dayton every Thursday morning.  We had a lovely time catching up on families and colleagues.
« Last Edit: March 09, 2006, 09:41:50 AM by Ginny »
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elmore3003

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Re:BEWARE THE IDES OF MARCH
« Reply #84 on: March 09, 2006, 09:43:45 AM »

We hope to see Lestat, Wicked, Dirty Rotten Scoundrels, JoseSPiano, Elmore3003, and other hits.

How nice it would be to get tickets to see Panni (by Harold Rome?) also.

And it would be a pleasure to see Bill and Joe!  Of course, I know that she will be here on business and the opening of FESTEN, so we need to co-ordinate things carefully.
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Ginny

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Re:BEWARE THE IDES OF MARCH
« Reply #85 on: March 09, 2006, 09:48:51 AM »

Well, I'm off to a meeting in which one individual is going to take credit for single-handedly pulling of a multi-county project that has really been a collaborative effort to which he has contributed very little.

Some day I will look back fondly on these, my Dilbert Days.

Bye for now.
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William F. Orr

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Re:BEWARE THE IDES OF MARCH
« Reply #86 on: March 09, 2006, 09:50:05 AM »

TOD:  Well, it's a horse race (on a Carousel, no less), so I hope there will be no bloodied noses here.  I do recall when the question on "Opera Quiz of the Week" was "are there any great operas that you do not care for?"  

Oy, did Tony Randall get letters after his honest answer:  "How can you possibly dislike The Magic Flute?  It is Mozart's greatest work."

To which Tony replied, "The question was about great operas, and I admit that is a great work.  Just not to my personal taste, which is a different thing."

So with that disclaimer out of the way, I doubt I will ruffle many feathers here when I say,

Hits:  Although I have really grown to like many of Lloyd-Weber's recent melodies, his recent scores, as musical theatre scores, leave me cold.  Otoh (on the other hand in Internet Lingo), I like all of his Tim Rice work.  Maybe it's just Tim Rice I like?

Rent, from the OBC and seeing it on Broadway:  I still just don't get it.  Although "Seasons of Love" is helpful in my Mathematics of Finance course, when I ask who knows how many minutes there are in a year.

Flops:  The usual suspects.

Flora, the Red Menace
She Loves Me
Candide
Mack and Mable
Tenderloin
Drat! The Cat!
(thanks to DW BK)
I Can Get It for You Wholesale
and say, haven't most of Sondheim's works been, technically, flops:  Follies, Sweeney Todd, Company, Passion, Pacific Overtures,... ?
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William F. Orr

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Re:BEWARE THE IDES OF MARCH
« Reply #87 on: March 09, 2006, 09:52:56 AM »

And it would be a pleasure to see Bill and Joe!  Of course, I know that she will be here on business and the opening of FESTEN, so we need to co-ordinate things carefully.

Was ist das?  FESTEN?
« Last Edit: March 09, 2006, 09:57:15 AM by William F. Orr »
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Re:BEWARE THE IDES OF MARCH
« Reply #88 on: March 09, 2006, 09:54:08 AM »

Thank you, DRPennyO!  I just printed out the full report without the Critical Notes; it's around 25 pages of history and method.

I just received an email from DRPanni, who will be in New York the second week of April;  NYC Hainsies/Kimlets, are you available for a small partay?  DRDantheMan, wht don't you come in and join us?

Why?  Are you falling apart?

It sounds like a time, to me.  Keep us posted on the coordinated dates.  What is FESTEN, BTW?
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Re:BEWARE THE IDES OF MARCH
« Reply #89 on: March 09, 2006, 09:58:13 AM »

I found this on the web:   FESTEN , but it looks like a production in London.  What's the Panni connection?
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