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Good Morning, Mr. Gershwin Teachers’ Notes At a Glance Production Credits A Dialogue Across Eras List of Songs Links At a Glance Visionary dance choreographers José Montalvo and Dominique Hervieu pay the ultimate tribute to American composer George Gershwin in this exhilarating performance. Fusing hip-hop, tap-dance and contemporary dance against a backdrop of immense and emotive video imagery, the cast take an exuberant frolic through some of Gershwin's most popular hits such as Summertime and It Ain't Necessarily So. The second part of the performance draws upon the stirring music of Gershwin's most controversial opera, Porgy and Bess. Production Credits Choreography Jose Montalvo and Dominique Hervieu Staging and video design Jose Montalvo Costumes Dominique Hervieu assistedby Siegrid Petit-Imbert Music George Gershwin Sound creation Catherine Lagarde Clarinet solo Renaud Pion Lighting Vincent Paoli Created with and interpreted by Mansour Abdessadok, Arthur Benhamou, Marie-Priska Caillet, Katia Charmeaux, Emeline Colonna, Clarisse Doukpe, Nicolas Fayol, Blaise Kouakou, Melanie Lomoff, Christelle Nazarin, Sabine Novel, P.Lock, Karla Pollux, Alex Tuy dit Rotha Artistic assistant Vincent Rafis Video assistant Pascal Minet and Etienne Aussel Graphics Franck Chastanier, Sylvain Decay, Amel El Kamel, Clio Giovagni, Michel Jaen Montalvo, Valerie Toumayan Choreographic assistant Joelle Iffrig Chief project Yves Favier Co-production Theatre National de Chaillot, Centre Choregraphique National de Creteil et du Val-deMarne/ Compagnie Montalvo-Hervieu, Le Grand Theatre de Luxembourg, La Biennale de la Danse de Lyon, Le Theatre National de Bretagne, Het Musiktheater – Amsterdam, MC2 –Grenoble, La Maison des Arts de Creteil, Le Theatre -Scene Nationale de Narbonne, L’Espace Jean Legendre – Theatre de Compiegne. With the kind authorisation of the Lyon Opera House for the use of elements of the Porgy and Bess production-Lyon 2008 A Dialogue Across Eras By Vincent Rafis “What luck to be twenty in the Twenties in New York,” enthused Ernest Hemingway, a great admirer of George Gershwin. Those were the Gershwin years – he was the new American musical genius. New York, the symbol of the American cityscape, provides the inspiration for George Gershwin’s urban art. The effervescence of modernisation, of industrialisation, of speed becomes the rhythm of his music. The city’s continual transformations will have a profound influence on his work, especially the buildings that are starting to rise ever higher into the sky above the city in a rush, as he puts it, of “emotion and reason”. The collaboration between Montalvo-Hervieu and Gershwin initiates a dialogue between a virtuoso artist who charmed America with his music and gave it its tempo, and a production that brings in the rhythms and aesthetics of the 21st century. The choreographers pay tribute to a free-thinking and cultivated Gershwin who was knowledgeable about the great European avant-garde movements and who incorporated, transformed, “gershwinised” everything he heard. Borrowing from a variety of different disciplines, making cunning use of the classical repertoire, remixing, redistributing, pasting and “plugging”, Gershwin’s work wove a tight fabric out of a huge number of references – jazz and its arias, Debussy and gospel, African songs and the Jewish liturgy…Thus it’s only a short step from the syncretic art of George Gershwin to Montalvo-Hervieu’s art of blending: a step outside any normative theory of art, a step towards a multiplication of possibilities and towards everything that increases our sense of being alive. Finally, George Gershwin believed in the virtues of art that was light but profound, virtuoso but challenging, bright but also complex. From the very beginning of his career, he talked about the mission of popular art and took part in some of the first ever taped recordings and the first radiophonic broadcasts. Jose Montalvo and Dominique Hervieu draw on the sources of American entertainment – the Broadway musicals and Hollywood movies of the thirties, constantly crossing over between major and minor forms of art, between high culture and traditions, and continuously reinventing the established hierarchies of registers and discourses. To make this permeability between registers of dance and music perceptible, the soundtrack to the production will alternate the composer’s songs with “serious music”, giving great prominence to live song, slam poetry, tap-dancing and percussion music from the “Shim Shams” at the Savoy. There are therefore many veiled references to the Roaring Twenties in an all-musical, all-dancing show that nothing can interrupt. Gershwin already understood this almost a century ago: there are certain shows that set the imagination ticking and help us dream of the world we would like to live in, because they allow our perception of things to shift and bestow our eyes with a benevolent intelligence. List of Songs in the Production 1. Embraceable you Clifford Brown and Strings 2. Soon (modifié) Artie Shaw 3. Rialto Ripples, rag Fazil Say 4. Strike up the band Ella Fitzgerald/Nelson Riddle 5. I got rhythm (modifié) George Gershwin Code 6. Suite from Girl crazy Arthur Fiedler 7. Soon Dorothy Kirsten 8. Let’s call the whole thing off Fred Astaire 9. Merry Andrew Fazil Say 10. I got rhythm Oscar Peterson 11. Soon Dorothy Kirsten 12. An American in Paris Orch. De Cleveland/Lorin Maazel 13. The man I love Lena Horne 14. Embraceable you Billie Holiday 15. Rhapsodie Elephant George Gershwin/Arrangement Renaud Pion et Catherine Lagarde 16. Summertime Glyndebourne Chorus – London Philarmonic Orchestra/Simon Rattle 17. Summertime Fazil Say 18. Rubato Fazil Say 19. Préludes 1 Fazil Say 20. Blue Lullaby Fazil Say 21. Spanish Prelude Fazil Say 22. Interlude chèvre création sonore Renaud Pion/ Catherine Lagarde 23. Introduction Glyndebourne Chorus – London Philarmonic Orchestra/Simon Rattle 24. Autour de Porgy creation sonore Renaud Pion/Catherine Lagarde 0’10 25. Summertime Glyndebourne Chorus – London Philarmonic Orchestra/Simon Rattle 26. Summertime George Gershwin/Arrangement Renaud Pion et Catherine Lagarde 27. Introduction Glyndebourne Chorus – London Philarmonic Orchestra/Simon Rattle 28. La tempête creation sonore Renaud Pion/Catherine Lagarde 29. Oh Doctor Jesus Glyndebourne Chorus – London Philarmonic Orchestra/Simon Rattle 30. La vague creation sonore Renaud Pion/Catherine Lagarde 31. Oh dere’s somebody knockin’ at the do’ Glyndebourne Chorus – London Philarmonic Orchestra/Simon Rattle 32. Clara, Clara don’t you be downhearted Glyndebourne Chorus – London Philarmonic Orchestra/Simon Rattle 33. Introduction Glyndebourne Chorus – London Philarmonic Orchestra/Simon Rattle 34. Good Mornin’ sistuh’ Glyndebourne Chorus – London Philarmonic Orchestra/Simon Rattle 35. Good Mornin’ sistuh’ Glyndebourne Chorus – London Philarmonic Orchestra/Simon Rattle 36. A Red headed woman make a choo-choo jump its track Glyndebourne Chorus – London Philarmonic Orchestra/Simon Rattle 37. Oh Lawd, I’m on my way Glyndebourne Chorus – London Philarmonic Orchestra/Simon Rattle 38. Finale Ultimo John Mauceri Links Montalvo-Hervieu http://www.montalvo-hervieu.com/ George and Ira Gershwin http://www.gershwin.com/ http://en.wikipedia.org/wiki/George_Gershwin Porgy and Bess http://en.wikipedia.org/wiki/Porgy_and_Bess Good Morning, Mr. Gershwin http://www.youtube.com/watch?v=i-WaXiWcbsQ&feature=related Hurricane Katrina http://en.wikipedia.org/wiki/Effects_of_Hurricane_Katrina_in_New_Orleans