This is the "Welcome!" page of the "Performing Arts" guide.
Alternate Page for Screenreader Users
Skip to Page Navigation
Skip to Page Content
library_banner_2014 Averett Library Home Averett University Home

Performing Arts  

Discover reliable and peer reviewed sources in Music, Theatre, and related fields.
Last Updated: Nov 2, 2014 URL: Print Guide RSS UpdatesEmail Alerts

Welcome! Print Page

Performing Arts

Welcome to the library's guide to resources in the Performing Arts!

For a simple search, explore Credo Reference under "Research Tools" to the left.

For a focused research in Music, Theatre, or related fields, click on a tab above.



    Featured Titles

    Cover Art
    Kurt Weill on Stage - Foster Hirsch
    Call Number: ML410 .W395 H57 2002
    ISBN: 9780375403750
    Publication Date: 2002-03-05
    Oh, the shark has pretty teeth, dear,
    And he shows them pearly white.
    Just a jackknife has MacHeath, dear,
    And he keeps it out of sight.

    The words are by Bertolt Brecht. The music is by Kurt Weill. The song is"Mack the Knife" the number-one song of Weill's internationally famous "Threepenny Opera," originally performed on a stage in the Weimar Berlin of 1928. Its tough, sexy sound became, a quarter-century later, a signature song of America's greatest recording stars, among them Ella Fitzgerald and Frank Sinatra. And when in 1933 Weill, already Germany's most renowned composer, fled the Nazis to come to America ("For every age there is a place about which fantasies are written. In Mozart's time it was Turkey. For Shakespeare, it was Italy. For us in Germany, it was always America."), he joined his appetite for the United States to his European roots and classical training and soon became one of the most admired composers of the American musical stage.

    He wrote one successful Broadway show after another-Lady in the Dark, Knickerbocker Holiday, One Touch of Venus, Street Scene, Lost in the Stars, among others. He worked with such theatrical greats as Gertrude Lawrence, Ira Gershwin, Maxwell Anderson, Mary Martin, Agnes de Mille, Joshua Logan, Ogden Nash, Harold Clurman, Walter Huston, E. Y. Harburg, and Elia Kazan. Always at the center of his life was his great love of thirty years, his leading lady, interpreter of his music, his wife (they were divorced in Berlin in 1933 but remarried four years later in America), the actress-singer Lotte Lenya.

    Foster Hirsch, using Weill's letters, journals, and notes, and interviewing Weill's friends and colleagues, writes about his life, his experimental, political composing in Germany, his Broadway music in America-both aspects of his work being a source of controversy among music lovers for years. Lotte Lenya said, "There is no American Weill, there is no German Weill. There is no difference between them. There is only Weill." Hirsch details the writing, casting, and production of Weill's eleven hit shows. He writes about Weill's years in Hollywood and the friends he made and lost along the way. He evokes Weill's complicated, intense collaborations with Brecht, Maxwell Anderson, Langston Hughes, Alan Jay Lerner, Elmer Rice, Moss Hart, and Ira Gershwin.

    In Kurt Weill on Stage, Hirsch has given us a vivid portrayal of a remarkable artist and a fabulous era of American musical theater.

    Cover Art
    Oklahoma!: The Making of an American Musical - Tim Carter
    Call Number: ML410 .R6315 C37 2007
    ISBN: 9780300106190
    Publication Date: 2007-04-28
    "Oklahoma!" premiered on Broadway in 1943 under the auspices of the Theatre Guild, and today it is performed more frequently than any other Rodgers and Hammerstein musical. In this book Tim Carter offers the first fully documented history of the making of this celebrated American musical.

    Drawing on research from rare theater archives, manuscripts, journalism, and other sources, Carter records every step in the development of "Oklahoma!"
    The book is filled with rich and fascinating details about how Rodgers and Hammerstein first came together, the casting process, how Agnes de Mille became the show's choreographer, and the drafts and revisions that ultimately gave the musical its final shape. Carter also shows the lofty aspirations of both the creators and producers and the mythmaking that surrounded "Oklahoma!" from its very inception, and demonstrates just what made it part of its times.

    Liaison Librarian

    Profile Image
    Jim Verdini
    Contact Info
    203 Blount Library
    (800) 543-9440
    (434) 791-5694 (office)
    Send Email

    Loading  Loading...