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contain Gershwin information. All the song lyrics are there, too.
A site like this is important on many levels, and to many people.
First, students use it. Many cast members were unfamiliar with Gershwin music before the show. When they visit the site to see themselves or their friends, they probably also click on the sketch of the fellow with the jutting chin, just to see who he was.
The daily build-up on-line is good publicity. It could have had something to do with the size of the audience, the largest anybody can remember.
Friends and parents who missed the show can catch the flavor of it on the web. People with multi- media computers can click a button and hear the choir’s I’ve Got Rhythm, or Julia and Taylor’s Summertime.
People interested in Gershwin, web-surfers interested in the details of high school musical productions, and families looking at private schools will be directed to the site through the Internet’s searching and linking capabilities.
Perhaps not this year, but in future years, a web site like this one might be helpful to directors who want to share ideas. Sue Barry faced the problem of creating a musical without an orchestra. Her
performance hall has no orchestra space, almost no backstage, and no way for actors to enter and exit the stage out of view of the audience. Her cast included a wide range of talents coupled with incompatible schedules, making a traditional rehearsal schedule impossible. These are challenges worth discussing!
Today, a fellow director could visit the site and leave an e-mail message. But better ways of conferring on-line are just around the corner. For example:
Technology is available now (although the Priory isn’t currently using it) to post video segments or broadcast shows live on the web. Another device, a small camera and screen that attach to a computer, makes it possible for people to talk to each other while looking at their monitors. Among other advantages, they can talk from anywhere in the world for the cost of a local phone call.
For people who like instant response from their computer systems, a product is available that will make even the entire Gershwin score available at a
Alex Van Dalen, who played the Ghost of Gershwin, worked with the director in developing the script outline.
“I Got Rhythm,” the show’s signature piece, showcased students, faculty and family members.
Aspiring musicians Ryan Moin and Taylor Eigsti debate whether music should “let loose” or follow tradition. Forget all that - it just comes from the heart, says Gershwin’s Ghost.