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Falsettos is a sung-through musical with a book by William Finn and James Lapine, and music and lyrics by Finn.The musical consists of March of the Falsettos (1981) and Falsettoland (1990), the last two installments in a trio of one-act musicals that premiered off-Broadway (the first was In Trousers).
Vitaliy Vladasovich Grachev [a] or Vitaliy Vladasovych Grachov, [b] known professionally as Vitas (Russian: Витас; stylised in all caps), is a Russian singer. [1] [2] Vitas is known for his falsetto and his eclectic musical style, which incorporates elements of operatic pop, techno, dance, classical, jazz, and folk.
The four men of the show suddenly appear, singing a hymn to masculinity in all its aspects, the three adults singing in a falsetto to match Jason's unbroken voice. Once they exit, Trina returns, deciding to enjoy her life for what it is and be happy. ("Trina's Song/March of the Falsettos/Trina's Song (Reprise)")
Falsettoland is a musical with a book by James Lapine, with music and lyrics by William Finn.. Following In Trousers and March of the Falsettos, it is the third in a trio of one-act musicals centering on Marvin, his wife Trina, his psychiatrist Mendel, his son Jason, and his gay lover Whizzer Brown.
Edward James Kendrick [3] (December 17, 1939 [2] – October 5, 1992), [4] better known as Eddie Kendricks, was an American tenor singer and songwriter.Noted for his distinctive falsetto singing style, Kendricks co-founded the Motown singing group the Temptations, and was one of their lead singers from 1960 until 1971.
Oppenheimer, 50, a deeply thoughtful interviewee, explains that the theme in all his work has been the “gulf between the stories we tell ourselves and the mystery and miracle of what we actually ...
The Marvin Trilogy is a trilogy of one-act musicals created by William Finn.It consists of In Trousers (1978), March of the Falsettos (1981), and Falsettoland (1990). The musicals center on Marvin, who has left his wife to be with a male lover, Whizzer, and struggles to keep his family together.
It’s become an annual ritual: Every Jan. 1, more classic works of art or characters enter the public domain, and exploitation filmmakers with a tiny budget and a big taste for grisliness are ...