The Phantom of the Opera, November 27 – December 13, 2018

Theatre Sheridan is thrilled to be presenting our own unique staging of one of the most popular, most seen musicals ever. Enter the Paris Opera House where lurks a masked Phantom hidden from society, tortured & disfigured, and witness the transformation unconditional love can make. Music by Andrew Lloyd Webber. Lyrics by Charles Hart. Additional lyrics by Richard Stilgoe. Book by Richard Stilgoe & Andrew Lloyd Webber. Based on the novel “Le Fantôme de l’Opéra” by Gaston Leroux. Director: Corey Agnew Choreographer: Jeff Dimitriou Musical Director: David Terriaulthttps://source.sheridancollege.ca/faad_visu_uniq_theatre/1171/thumbnail.jp

Studio E217, An evening of musical theater

Richard Rogers & Oscar HammersteinFrank Wildhorn & Nan KnightonHolt Marvell, Jack Strachey, & Harry LinkGeorge Gershwin & Ira GershwinNacio Herb BrownStephen SondheimRichard Maltby & David ShireClaude-Michel Schonberg & Herbert KretzmerWilliam FinnSigmund Romberg & Oscar HammersteinMaury YestonJule Styne & Bob MerrillMaurice YvainLeonard Bernstein, Betty Comden, & Adolph GreenJohn Kander & Fred EbbGina GoldrichMarshall Barer & Mary RodgersAndrew Lloyd Webber, Don Black, & Richard Maltby J

The Empire Brass, April 30, 1992

This is the concert program of the Empire Brass performance on Thursday, April 30, 1992 at 8:00 p.m., at the Tsai Performance Center, 685 Commonwealth Avenue. The performance featured works by Samuel Scheidt, Anthony Holborne, Tomaso Albinoni, Gioachino Rossini, Bedřich Smetana, Gabriel Faure, Isaac Albeniz, Joaquin Turina, Claude Debussy, and Maurice Ravel, and the music of Richard Rodgers, Andrew Lloyd Webber, Leonard Bernstein, Stephen Sondheim, Duke Ellington, Fats Waller, Jelly Roll Morton, and Cole Porter. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

February 1, 1943

University of Maine Professor H.L. Bricker and a group of drama students (Edward Falardeau, Arnold Cabbath, Richard Bloom, Robert Patten, Lawrence Hadley, Webber Mason, Lewis Chadwick, Priscilla Hopkins, and Earle Rankin) entertained the base with scenes from Richard II and Hamlet; PVT Bruce Samuels of Cincinnati, Ohio, the ace reporter of the base\u27s Aviation Squadron is profiled; Samuels also contributes a column; and we get to know Captain Frank J. Comiskey.https://digicom.bpl.lib.me.us/dowfieldobserver/1026/thumbnail.jp

The Music of Andrew Lloyd Webber

It\u27s a big year for Sir Andrew Lloyd Webber and Lynn University. The Oscar, Emmy and Tony Award-winning composer turns 70, while the Lynn Drama program launches the inaugural season of its brand new BFA in Musical Theatre. So we’re throwing a musical party to celebrate! Come enjoy the best and most beloved songs from some of Broadway’s biggest hits—performed by the talented BFA Musical Theatre and Conservatory of Music students—including The Phantom of the Opera, Jesus Christ Superstar, Joseph and the Amazing Technicolor Dreamcoat, Evita, Sunset Boulevard, and Cats. Music by: Andrew Lloyd Webber Lyrics by: Tim Rice, Don Black, Christopher Hampton, Charles Hart, T.S.Eliot, Ben Elton, Trevor Nunn, Glenn Slater, Jim Steinman, Richard Stilgoe, David Yazbek and David Zippelhttps://spiral.lynn.edu/drama_programs/1000/thumbnail.jp

Highlights in Jazz Concert 262- Salute to Jimmy Cobb

Jack Kleinsinger presents Highlights in Jazz. The concert was held at The Tribeca Performing Arts Center, Thursday, March 10th, 2005 at 8:00 pm. Jack served as producer and master of ceremonies for the series of concerts. Artists for the concert include Clark Terry, Bill Charlap, Lou Donaldson, Eric Alexander, Peter Bernstein, Mike LeDonne, Kenny Washington, Jimmy Cobb, Richard Wayans, Jon Webber, Houston Person, and surprise guest Rufus Reid.https://digitalcommons.unf.edu/kleinsinger/1221/thumbnail.jp

Book Reviews

A History of Modern Criticism: Vol. III, The Age of Transition (René Wellek) (Reviewed by Richard Harter Fogle, Tulane University)The Later Nineteenth Century (René Wellek) (Reviewed by Richard Harter Fogle, Tulane University)Prose Styles: Five Primary Types (Huntington Brown) (Reviewed by Joan Webber, The Ohio State University)Twelfth Night and Shakespearian Comedy (Clifford Leech) (Reviewed by Robert Ornstein, Western Reserve University)Pioneers and Caretakers: A Study of 9 American Women Novelists (Louis Auchincloss) (Reviewed by John J. Murphy, Merrimack College)Modern Literature, I: The Literature of France (Henri Peyre) (Reviewed by Sidney D. Braun, Wayne State University)Turner: Imagination and Reality (Lawrence Gowing) (Reviewed by Sadayoshi Omoto, Michigan State University)The Clairvoyant Eye: The Poetry and Poetics of Wallace Stevens (Joseph N. Riddel) (Reviewed by Helen Hennessy Vendler, Boston University

Book Reviews

Doubt\u27s Boundless Sea: Skepticism and Faith in the Renaissance (Don Cameron) (Reviewed by Helen C. White, University of Wisconsin)Contrary Music: The Prose Style of John Donne (Joan Webber) (Reviewed by John Yoklavich, Georgetown University)To the Palace of Wisdom: Studies in Order and Energy From Dryden to Blake (Martin Price) (Reviewed by Thomas R. Edwards Jr., Rutgers University)Swift and the Twentieth Century (Milton Voigt) (Reviewed by Richard I. Cook, University of Washington)William Blake: A Reading of the Shorter Poems (Hazard Adams) (Reviewed by Martin K. Nurmi, Kent State University)The Comic Spirit of Wallace Stevens (Daniel Fuchs) (Reviewed by Charles Philbrick, Brown University

London, Lambeth Palace Library MS 377: Isidore, "Liber sententiarum" ("De summo bono")

315. London, Lambeth Palace Library MS 377 Isidore, "Liber sententiarum" ("De summo bono") [Ker 279, Gneuss 515) HISTORY: A 9c manuscript of the "Liber sententiarum'' by Isidore of Seville, often known under the title "De summo bono;' taken from its first words. The manuscript presumably originates from Tours (Bischoff 2004: 125; Gneuss, no. 515). It was corrected and annotated by an A-S scribe in the 10c, and, later on, belonged to the Augustinian priory of Lanthony Secunda in Gloucester, as is shown by entry 147 in their catalogue from 1355-1360, now London, British Library, MS Harley 460, in which it was classified as a 'mediocris liber' (Webber and Watson 1998: 53). The same catalogue also indicates that this book was one of five from the vicar of Cherington, a manor held by Lanthony Priory. James and Jenkins (1932: 519) noticed that at the top off. Av there is the name 'morganus canonicus de kermerd(en); now erased and largely illegible. This may indicate that the book came from the Augustinian priory of Carmarthen, which was placed under the custody of Lanthony by King Henry V in 1421 for a period of two years. Webber and Watson ( 1998: 34) note that at least ten books from Carmarthen remained behind at Lanthony, which is evident from the books bearing the name of Morgan, canon of Carmarthen. After the dissolution of the monasteries the books from Lanthony probably stayed with the last prior, Richard Hart (Webber and Watson 1998: 34, 36), from whose collection a substantial number were acquired in the early 17 c by Archbishop Richard Bancroft (1544-1610), the founder of the Library of Lambeth Palace, as is shown by the catalogue of his manuscripts, compiled in 1612. An old press mark at the bottom of f. [A] recto, 'E. 13; marks the place of the book in the pre-1647 library. James (1932: 519) lists the press mark given to the manuscript when it arrived in Cambridge in 1647: L. ε. 4' (see the "History" of Lambeth Palace Library 173 (312], p. 90). In the modern critical edition of the Sententiae this manuscript is designated "Z" (Cazier 1998: lxx)