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January 18, 2008 | Lynne Heffley
"Shrek, the Musical" will launch Aug. 14 to Sept. 21 at Seattle's 5th Avenue Theatre before its Broadway debut in November -- date, venue and cast to be announced. Based on William Steig's book and DreamWorks' first "Shrek" film, the show features book and lyrics by Pulitzer Prize winner David Lindsay-Abaire ("Rabbit Hole") and music by Jeanine Tesori. "I'm very pleased with how it's coming along," says "Avenue Q's" Jason Moore, who will direct. And although critics panned Disney's "The Little Mermaid" after its Broadway bow last week, Moore doesn't think animation-based fare is losing appeal.
March 18, 2004
In response to Steve Hochman's article about the Silverlake Music Conservatory ["The Real School of Rock," March 11], I would like to say that the two public schools that educated Dean Tambling, the student featured in the article, have been unjustly described by Tambling as "run-of-the-mill." During a recent off-track session at North Hollywood High School, where Tambling is a student, my son was enrolled in daily classes for jazz band, marching band, concert band and orchestra, and practiced for the spring musical's orchestra -- at no cost to his parent.
December 3, 2009 | By Martha Groves
It was a remarkable backyard there in Pacific Palisades, the kind that produces enduring memories -- of sloshing in the culvert under Sunset Boulevard, chewing watercress plucked from the spring-fed creek, tramping through tangled woods away from watchful eyes. It made for a childhood that was part Norman Rockwell, part Robinson Crusoe. For years, Thomas Newman, an admired composer of movie soundtracks, has collected ephemera from the places where he romped as a boy -- faded photos, vintage postcards, cartoons and other relics of the Uplifters, a spirited bunch of Los Angeles Athletic Club movers and shakers who bought land from the Methodists in the early 1900s and created a country compound in Rustic Canyon.
April 15, 1989 | DANIEL CARIAGA, Times Music Writer
In the performed arts, substance and seriousness are not enough, as listeners at the Thursday night subscription concert by the Los Angeles Philharmonic in the Dorothy Chandler Pavilion of the Music Center found out, again. With Debussy's languid but demanding "Prelude a l'apres-midi d'un faune" as the curtain-raiser, two large-scale works--contrasting concertos, actually--dominated Andre Previn's latest Philharmonic program (repeated Friday night and Sunday afternoon). Before intermission, the subscribers heard the local premiere of Steven Stucky's recent Concerto for Orchestra; after, Brahms' Second Piano Concerto, with Horacio Gutierrez the soloist.
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