Let Me Sing And I'm Happy Lyrics: What care I who makes the laws of a nation / Let those who will take care of its rights and wrongs / What care I who cares for the world's affairs / As long as I. Nov 30, · A young man in the audience sings with Josh Groban & shocks him! - Josh Page (FORTE on AGT) - Duration: TenorJoshPage 9,, views. Jan 29, · Let Me Sing and I'm Happy. What they really need is a good sense of history of musical theatre, and a lot of experience doing these different kinds of shows. and also has to sing Author: Backstage Staff.
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Save on Every Order! Musicnotes Pro. Become a Member Today! Add to Cart. Transpose 9. C Major Orig. Color doesn't matter. Almost no Long Time Blues matter for Album) of the parts if a performer can make it his or her own and be funny. It's easier to cast a replacement than for most shows because, for most of the characters, a replacement wouldn't have to be exactly like the previous performer.
Nonetheless, "big" singing and strong comedic ability are both musts for "Urinetown. Strauss has pointed out that picking a funny audition song is a wise choice "as comedic abilities are so important here," but that performers should not pick something clever "at the expense of vocal range.
Most of all, I want to hear what you can do as a singer. Acting skills definitely matter, as even chorus people are expected to read dialogue at the auditions. The show employs four swings. Stanczyk finds, "It takes more than one audition to know what a performer can do.
It can take several calls. Strauss told Back Stage that a common mistake performers make is trying too hard to tailor an audition to what that performer Untitled - Robert Inhuman - Drowning In Betrayal (Cassette) "they" want rather than doing what he or she does best.
Stanczyk says she "definitely" will consider performers she may have turned down before. It is important to work well with other people. The next chorus auditions will be held in late February or early March. There are two touring companies out. We like to cast to the Everything I Love of the personalities of the people who are available to us.
David Holcenberg—musical director for the Broadway production and associate music supervisor for the Las Vegas and touring productions—explains that the casting team isn't necessarily seeking ultra-polished vocal performances or personalities.
He says they're on the lookout for what he calls the " 'Mamma Mia! The show needs singers who have a grasp of a pop-rock sound. Each ensemble requires a few excellent dancers and a few people who can cover principal roles and who consequently have less stringent dance requirements.
Holcenberg prefers that singers audition with pop songs—not necessarily pop material from the theatre. But he advises against the use of ABBA tunes. Audition calls are generally done in two batches: the younger generation 25 and under and the elders something and above. The younger group has its dance call first. Those who make the first cut do singing and then reading in the callbacks. Men are often asked to prepare a monologue, while women read material from the show itself. The older group of actors does its singing auditions first.
For open auditions, there will often be a movement call the same day. Text from the show is then provided for auditionees to prepare for acting callbacks. One audition tip Holcenberg offers: "Pay an accompanist to go through the material with you before you come in. No, better than that. Singers in the current Broadway production of the Rodgers and Hammerstein classic need to be a cut above the merely adequate. According to casting director Tara Rubin, the "Oklahoma!
In the old days, Stites explains, "Oklahoma! So singers must also be talented in the movement department. While not everyone is required to be part of the famous first-act dream ballet, all will be asked to dance in such numbers as "The Farmer and the Cowman. Acting is important in this musical, too—as many singers in the ensemble are required to cover supporting roles.
But even if you can sing, dance, and act with equal facility, you still may not be right for this show. You need to consider your particular sensibility: Some urban gypsies just can't get the hang of the twang. She adds, though, that some performers have been able to successfully inhabit the worlds of both shows.
So if you're a triple threat with a flexible personality and you believe that the casting team just "cain't say no" to your talents, how should you audition? Avoid rock, pop, and "hard-edged belting," Stites advises. It's probably a mistake to audition with songs from the show itself, he adds, "unless you think you're dead-on right for one of the roles. Above all, performers should be themselves in auditions, rather than trying to assume a character. The casting notice for this hit comedy revue reads something like this: "Four women, all over the age of 40, must be a size 12 or over.
Jeanie Linders is the creator, writer, and producing force behind "Menopause"; Brent Peek is the general manager, producer, Dont Go (Kendoh M1 Piano Mix) - Awesome 3 Featuring Julie McDermott - Dont Go (CD) casting director for the show.
Together, they look for talented ladies of a certain age who can "act, sing, and dance"—and to whom audiences of a certain age can relate. Linders points out, "As much as the show is a theatrical production, it's more about women than it is about theatre.
Peek concurs. Well, when I first saw the show in Florida, I couldn't tell the difference between the actors and the audience. That's an important quality for us. One of the most important things in the casting, and one of the things that makes the show work so beautifully, is that the women in the audience recognize themselves on stage. The musical looks at four women going through "The Change," telling their stories through song parodies of classic tunes.
Peek notes that the show "recreates all the girl-group blends," and includes a lot of s style singing and dancing. After they sing, we will give people sides if they fit what we're looking for. Linders states that the show is a challenging show both vocally and physically. So actresses have to have stamina to be able to dance the part.
And then they also have to have really great voices. Interested auditionees can see Holubí Dům - Jiří Schelinger - Holubí Dům (Vinyl, LP) show first, or check out the upcoming cast CD that is about to be released.
In Peek's opinion, "Singing numbers from the show is just grand. I mean, normally, we would have them go off and learn something when they come back anyway. Though they've only had to find three replacements in the year the show has been running, Peek expects to hold more tryouts in the coming months. For Jeremy Rich, the casting associate for casting director Jim Carnahan, the ongoing success story that is "Thoroughly Modern Millie" has presented a thoroughly engaging challenge.
Whereas a year ago there was no way to know whether the show would work—or run—this year, as he assists casting for replacements and the upcoming National Tour, everything is about finding "certifiable" triple threats.
I don't want to stress this too much, but 'Millie" has to have it all: terrific actors who sing and dance terrifically; terrific singers who act and dance terrifically; and terrific dancers who act and sing terrifically. And the reason has to do with the very nature of the show itself. A bit of two-act musical-comedy froth set in the s? Yes, Rich says, for while audiences froth over the froth, what they are also watching are performers with exceptionally diverse talents.
One moment they may need to provide exquisite period harmonies or reach deep for thunderous belts; in another moment, their tap shoes had better be ready to tap.
Rich adds that what often distresses him while helping to cast "Millie" is how thoroughly unaware some performers are of what the production requires. It isn't a question of being specific or clear in the casting ads, it's that "the training people are getting nowadays sometimes seems incomplete or insufficient—we just aren't finding triple threats the way we thought we would. Very often, you'll see an amazing soprano in an audition who doesn't dance.
It makes it so much harder to cast her—we can't, basically, as much as we'd like to. Currently casting for the upcoming National Tour. Casting director Bernard Telsey has just returned from auditions in L. Auditions are ongoing, with Equity-required auditions scheduled for the spring, both for Broadway replacements and the tour. And it's really not just someone who can sing great; they really have to 'get' the tongue-in-cheek wit of the piece.
And it's also a pop score, and a big voice. And the story line requires some specific physical types. But a healthy version of a fat girl, because she is dancing her ass off for two hours. As in the original film, the story of an obese, pretty dance addict who dreams of becoming a star via a TV show, the part of the mother is played by a man Harvey Fierstein in drag.
Although the ensemble dances, Telsey says that is not foremost. Sure, they really have to be able to move well and be able to pick up dance steps, but it's not a 'dance first' show. There are a large number of principals—of different ages and all kinds of physical types. Telsey wants to remind people that they should know the show when they come to auditions. If they feel they're right for more than one show in our office, they should give us more than one photo, so we can put it in the appropriate bins.
We will then look at it when we're actually looking for some for Techno D-Day - Various - Planet N Stars (CD) show or a particular part in that show. Which is not to say that the ensemble is strictly Chinese-American. There are currently performers in the show of Japanese and Filipino descent, according to casting director Tara Rubin.
Dancing skills are, perhaps, of paramount importance, tells music director David Chase. In an ensemble of 12, two of the six men and one of the six women are hired largely as covers for principal players and may have somewhat less to do in terms of movement. Otherwise, the casting team looks first at dance ability when casting ensemble.
All those in the company will also be called on to act. Those hired for the cover positions must be able to believably portray characters significantly older than themselves. In terms of singing style, a more traditional Broadway sound is required. Chase suggests that auditionees use "stuff from the golden age of Broadway.
I need to have certain high notes—both soprano and tenor. But by and large, those concerns are secondary to having somebody who fits the whole picture—in terms of dance ability, in terms of bringing a piece of themselves, acting-wise, onto the stage.
I feel pretty confident that—short of somebody who has absolutely no sense of pitch and no Nuttin But A Ho - U Know Who* - Dark Shadow (Cassette, Album) of time—I'll make you sing in the ensemble. Performers should have the emotional depth to handle the straightforward and emotional singing in numbers like the "A Hundred Million Miracles" opening, as well as a knack for the glitzier showbiz styles used in nightclub numbers such as "Fan Tan Fannie.
Just come in and do it. I can probably tell if you're fighting something, sickness-wise. If you crack, I don't care. If you're struggling to reach a certain note, I don't care. Often, says Chase, hunches about a person's "rightness" for any show are made during the first few seconds the auditionee is in the room.
When a musical based on the infamous s porn film, "Debbie Does Dallas," opened at the Jane Street Theatre last fall, many audience members didn't know what to expect.
The same may hold true for performers who audition for the show. Thankfully, the stage version has been toned down from the original movie and concentrates more on comedy than copulation.
Casting director and producer Aaron Harnick—who also cast "Frankie and Johnny in the Clair de Lune" for The Araca Group—admits that selecting all the right cheerleaders and football players for the project isn't an easy task. Not only do we need performers who can sing, but we need performers who can dance, we need performers who can act, and on top of that, we need people who are funny.
So we're not just looking for triple threats, we're looking for quadruple threats! And that's why this show is fantastic—we've got eight performers who literally are the best in New York City. The casting director works closely with the musical staff to determine which vocal talents will make the cut. Also, a little humor is always nice. Sex appeal is also a necessity for this promiscuous project. They also have to have sexuality—not only the women, but the men, too.
You have to be comfortable with your sexuality. Ball Of Confusion (Thats What The World Is Today) - The Temptations - Anthology (Vinyl, LP) points out some ensemble members have been with the show since its workshop phase, and recommends the process to all actors. That is so important for actors. I don't care LP you are established; try to get into workshops.
The show recently replaced one of its top-string starters, and more auditions are being planned for the future. We're very far along with negotiations there, but I don't think I'll be casting that production. Harnick, who is now concentrating on a "hysterical play version" of Stephen King's "Carrie," recommends that anyone looking to get drafted in "Debbie Does Dallas" should try to see the show. The porno world is different, and it's not sleazy porno were talking about, it's just this sexual world mixed with soap opera mixed with musicals.
It's like no other show out there. Replacement casting is likely to take place in late spring Billig pointed out the great vocal difficulties for the principal characters. So we need someone with the depth of voice in a chest-voice range, but who also has a really legit soprano voice," says Billig.
But he's pretty rangy—the first note he sings is way up there, an F sharp—and he also has to be an actor with charm and humor and warmth, so it's tricky. Casting director Bernard Telsey emphasized the importance of acting ability for all the roles. But there's a big principal cast, and we'll be looking for established performers who have the acting weight and the voice that's needed.
The ensemble is small, mostly men. They are very masculine, and they have to sing and act and dance—but the dance is not a lot of dance stepping, it's more about a lot of physical movement. Telsey adds, "The two women in the ensemble have to have big vocal chops, because they're covering the female principals, Aldonza, Antonia, and the housekeeper.
Equity-required auditions will not take place until late spring. When you send photos and resumes to the Telsey office, don't forget to mark which show they're for.
Young opera singers. We're not looking for people with huge resumes. Young kids right out of opera training, or in the middle of opera training, are great," says casting director Bernard Telsey. This Baz Luhrmann production of the Puccini opera has three rotating casts for the young principals, who together do eight performances a week in demanding vocal roles.
And with the multiple casts within the one show, casting is ongoing. Our staff tours all over the country going to music conservatories and to opera performances," Telsey reports. Strong, young, excellent operatic voices are the main focus. The show has a very Let Me Sing And Im Happy - Various - A Perfect Blend Of History & Harmony (Vinyl cast, and there are "all kinds of physical types in the ensemble, with a huge array of ages, shapes, colors, and sizes.
But a good proportion of the ensemble, if not most of them, are opera singers, because they also have to cover the musical score. Luhrmann has peopled the stage with seeming hordes of actors, and Telsey admits, "Some people are there just because of their size or shape or type—like the midget, or the huge bully man.
It's such a big chorus that we can have the luxury of having an actor there who has a specialty. Music director Ron Melrose describes the score as a pastiche of various pop styles. The bulk of the singing is Dixieland-ish music and clever Cole Porter-style numbers.
Although the music is by Marvin Hamlisch with lyrics by Craig Carneliait never edges into Hamlisch's customary pop sound. The primary focus of the ensemble is probably acting rather than singing: Tell Me Why - Alvin Stardust - Greatest Hits (Vinyl, LP) are no tracks in the show that don't involve acting and dancing as well as singing.
In fact, the women in the show scarcely vocalize at all. Two of the men must be accomplished tap dancers. Two others are referred to as "the bartenders," but actually perform an array of tasks. Two of the women need to dance as rag dolls in a John Wright (6) - Mr.
Soul (Vinyl, LP, Album) number with Jones and Kurtz. Although each and every performer gets plenty of stage time and his or her moment in the spotlight, there's no question who the stars of this production are. The ensemble members never walk onto the stage for any purpose other than helping to tell the story of McCarthy and Hellman. So actors need to have "a cheerful willingness to take a supportive role," according to Melrose.
For musical auditions, Melrose recommends any "comfortable, standard up-tune. He explains that it's unlikely that the production team would hire replacements who would require vocal arrangements to be transposed to a different key or who had "erratically different body types" that would necessitate the construction of brand new costumes. Once you land the job, however, you will be able to sort out the moments in which you can make the role your own from those where you just have to fit in.
And if you are close to that, you have a better way of finding your way into it than somebody who would require us to reinvent the wheel. What's perhaps most surprising about this show is its musical tone. According to music director-conductor Dan Lipton, auditionees were skeptical when they were told that the show is basically a rock musical.
Poets With Funny Voices - David Mitchell (3) & Robert Webb - That Mitchell & Webb Sound (Series One) guy who writes all the complicated Sondheim-y kind of stuff?
But the most successful aspirants, Lipton notes, were those who brought in a solid pop song and "just wailed. But though "Little Fish" will prove a departure for the composer of "Marie Christine" and "The Wild Party," the music is in no way simple.
Acting is a large requirement for "Little Fish" performers. The libretto—about urban dating and mating rituals—was inspired by the short stories of Deborah Eisenberg. The eight members of the ensemble represent a cross-section of the Gotham populace.
But it's about people; it's not about the vocal pyrotechnics. And so I guess the biggest mistake that people might make would be just going in and showing off their wailing vocal ability and not thinking about who these people are.
Though the director-choreographer of the show, Graciela Daniele, is best known for her choreography, the dance call for this show was basically a test to see the limits of the auditionees that the casting team was already interested in.
An abundance of polish in the movement department is not necessarily an asset. Off-Broadway Opening: Previews slated to begin Jan. No official opening date yet announced. The show has completed casting. Any plans for casting understudies depend upon the run of the show. The birth of "Radiant Baby" has been anticipated for a long time and will finally take place at the Public Theater this year, beginning with previews Jan. Based on the life of pop culture artist Keith Haring, who died at age 31, the musical is a testament to his energetic spirit and his enduring legacy.
George C. Daniel Reichard, an alumnus of "Forbidden Broadway," among other credits, plays Haring. Casting directors Jordan Thaler and Heidi Griffiths have collaborated on over Off-Broadway and Broadway shows, and have been working on Public productions for the past 10 years. Thaler relates that they have been doing casting on "Baby" through its formative stages for nearly three years.
But what's great is that all of the people we cast were cast for character—not just for dancing and singing ability, but specifically for acting ability. That's what made the process so long and difficult. Characters include Haring's youthful contemporaries, as well as children he worked with, and his mentors, including his parents, gallery owners, even Andy Warhol. With the exception of four roles, everybody else plays multiple characters. The ensemble members were all cast to be able to take over each other's roles if needed.
They're also in a completely different world in every scene, whether they're in a discotheque, at an art gallery opening, or in the subway. So we were casting people with an ability to really do that kind of acting work. Auditionees were asked to bring in a pop song from the eclectic s. According to Thaler, "While the music by Debra Barsha is original, she's paying homage to a lot of music from the '80s, everything from disco to techno. So we were trying to steer performers toward singing pop songs—like early Madonna, Pat Benatar, Heart—and not conventional show tunes.
For the first part of the audition, we also wanted them to show some character. We wanted them to sing something and also reveal something about themselves as actors. Then, once we narrowed the field, we gave them material from the script and music to learn from the show. If the show continues after its initial run, Thaler and Griffiths will be looking for understudies and replacements.
But performers can also send us photos and resumes. Everything is considered individually and often put into the file. When the time comes around where we need to consider casting understudies, Album), we'll look at those pictures. And if there are actors who think they're right for a role, and they are right that they are right To My Slander - Kirile Loo - Lullabies For Husbands (CD) a role, they may indeed get an opportunity to audition for it.
Open calls and EPA's possible if replacements are needed. The prestigious group will debut the show March 13 in its new space on Theatre Row at West 42nd St. Calleri has enjoyed a successful collaboration with the prolific writer. I've also cast many of his outside projects as well, so we work together a lot. But 'Albertine' is definitely a musical, as opposed to 'The Dead,' which was a play with music. The show started rehearsing Jan. However, if the show continues beyond its initial run, he will need to find understudies and replacements as needed.
We also have a few people that were in 'The Dead' national tour, plus a few new people. We have a couple of actors right out of school. So it's definitely a mix. There are roles for seven men and seven women in the period piece, and Calleri states that "everybody has to sing, dance, and act—it's a real triple-threat show. I would advise performers to have a wide range of material when they walk in. After singing, he has them read a brief monologue or scene from the play being cast.
Calleri suggests that actors can attend Equity calls or self-submit if they want to be considered for any of the Playwrights Horizons projects. Ambitious actors can get their headshots and resumes ready to mail in advance for the group's next "wild" production.
She's written quite a bit of theatre, as well as the recent feature film, 'Secretary. Rehearsals begin mid-February. Required replacement calls will occur approximately six months after the show opens, with earlier calls possible. Among Worse Than Beasts - Antreib - Cut The Heads Off!
(CDr, Album) latter, the John Birch Society 's magazine cited the song as further evidence of the Beatles' supposed pro-Soviet sentiments. Ian MacDonald described the song as "a rather tactless jest", given that the Soviet Army had recently invaded what was then called Czechoslovakia and thwarted that country's attempt to introduce democratic reforms.
David Noebela longstanding critic of the Beatles' influence on Western youth, said that: "The lyrics have left even the Reds Ready For Love (Original Extended Mix) - Eryko - Ready For Love (Vinyl). He says that, just as the Beatles provided a source of unity with the West for contemporary Russian music fans, the band set out to mock the "new Western narrative" presented by both McCarthyism and the New Left rhetoric.
Aside from the send-ups of the Beach Boys, Berry's "flag-waving" song and Prime Minister Harold Wilson 's pro-British campaign, O'Callaghan views the references to Russian girls as mocking the "perceived LP of Soviet culture and says that the song's true satirical qualities are in "its portrayal of Russians and Americans at parity".
Although the Beatles were never allowed to perform in the USSR, Elton John was permitted to visit the country in in a historic concert tourwhich Billboard magazine referred to as the first there by an "out-and-out rock artist". It's nice to see the reality. I always suspected that people had big hearts.
Now I know that's true. Also released as a single,  his version reached number 33 in Australia  and number 44 in New Zealand. Starr told a reporter: "Happy Birthday [America] Sorry we lost. From Wikipedia, the free encyclopedia. Original song written and composed by Lennon-McCartney. This article is about the Beatles song. A tape still exists of he and I playing around with the song. Financial Times.
Retrieved 10 December The New York Times. Retrieved 12 December London: Emap. The Independent. Retrieved 11 December The Guardian. The Beatles Bible. Retrieved 21 January Retrieved 24 December Rolling Stone. Retrieved 16 June Liverpool Daily Post. Archived from the original on 10 March Retrieved 7 March Archived from the original on 21 July Retrieved 9 December Record Mirror.
Available at Rock's Backpages subscription required. Partisan Review. Retrieved 26 June
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History. The label began as a compilation album, Happy Happy Birthday To Me Volume 1, before it expanded into a 7" singles club, which released records by Of Montreal, Marshmallow Coast, The Essex Green, Great Lakes, and Masters of the Hemisphere, while also releasing several tape and CD abranciafisartern.litocencmacclingtosworlfeebreatenriti.infoinfo singles club was noted for its individuality, with each individual record by an artist Country of origin: U.S.
Let Me Sing & Im Happy $ $ - See more - Buy online Singer's Musical Theatre Anthology - Volume 2: Baritone or Bass: Vocal Album Baritone voice, Piano [Sheet music + Audio access Melody Edition-This is a collection of sixteen songs familiar and new with happy themes. Perfect for end-of-term performances non-denominational school. Let Me Sing And I'm Happy Lyrics: What care I who makes the laws of a nation / Let those who will take care of its rights and wrongs / What care I who care for the world's affairs / As long as I.
As long as I can sing this popular song Let me sing a funny song with crazy words that roll along And if my song can start you laughing I'm happy, so happy Let me sing a sad refrain of broken hears that love in vain And if my song can start you crying I'm happy Let me croon a low down blues to lift you out of your seat If my song can reach your.
Let me sing a sunny song with crazy words that roll along And if my song can start you laughing I'm happy, happy. Let me sing a sad refrain of broken hearts who loved in vain And if my song can start you crying I'm happy. Let me croon a low down blues that lifts you out of your seat. If my blues can reach your shoes and start you tapping your. The easy, fast & fun way to learn how to sing: abranciafisartern.litocencmacclingtosworlfeebreatenriti.infoinfo What care I who makes the laws of a nation Let those who will take care of its rights and wrongs What care I who cares for the world's affairs As long as I can sing its popular songs Let me sing a funny song With crazy words that roll along And if my song can start you laughing I'm happy, happy Let me sing a sad refrain Of broken.
Let Me Sing And I'm Happy Lyrics: What care I who makes the laws of a nation / Let those who will take care of its rights and wrongs / What care I who care for the world's affairs / As long as I.
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