Festival Events Calendar
The Shedd Ticket Office
541.434.7000
  • Description
  • Personnel
  • Program
In theatre, music has always played a specific and well-defined role: certainly in vaudeville and revue and all related forms, in operetta and Broadway musical comedy and theatre. But rarely in the rest of the theatrical world; definitely not in its more serious forms. This is not the case at all with film. From the earliest days, music was there, supporting the drama, heightening the comedy, shaping the emotions of the audience as much as the images, action and, after 1927, dialog. So celebrating the role of music and, in particular, of the classic Songbook in Hollywood cannot reasonably be limited to a survey of film musicals, comedies and other parallels of essentially Broadway forms, but needs to include everything Hollywood, and not the least, deadly serious romances, adventures, dramatic properties that classic Broadway wouldn't have dreamed of setting to music. In Hollywood, if there was a way that music could be used to advance the story, hook the audience, or shape its reaction it was done; sometimes clumsily, often brilliantly, usually unobtrusively, almost always effectively, and nearly omnipresently.
There are so many superb examples of Hollywood do this well that it's hard to know where to begin. So we offer you one of the classics -- Warner Brothers' legendary 1942 romantic drama Casablanca. Everyone knows "As Time Goes By" and can't really hear the melody without picturing a dewy-eyed Ingrid Bergman. Possibly as many can vaguely recall the showdown between the Nazi occupiers and French citizens at Rick's Cafe to the competing strains of "Die Vacht am Rhein" and "La Marseillaise". What most of us don't realize is that Max Steiner's superb score features, beyond his own highly effective composing, a total of 20 popular songs, embedded in the underscoring and foregrounded in the scenic fabric of pre-occupation Paris and Rick's Place in northern Africa. Ken and company offer up 15 of these songs, featuring Siri Vik, Byron Stripling, Bill Hulings and Ian Whitcomb.
Event Personnel
Ken Peplowski, director, reeds
Siri Vik, vocals
Bill Hulings, vocals
Byron Stripling, vocals, trumpet
Ian Whitcomb, vocals
Ehud Asherie, piano
Doug Miller, bass
Chuck Redd, drums
Frank Vignola, guitar
Program
 La Marseillaise
(1792) - Claude Joseph Rouget de Lisle (w/m)
 Knock On Wood
(1942) Casablanca - Jack Scholl (w) M. K. Jerome (m)
 It Had To Be You
(1924) - Gus Kahn (w) Isham Jones (m)
 Love For Sale
(1930) The New Yorkers - Cole Porter (w/m)
 Perfidia
(1939) - Milton Leeds (w) Alberto Domínguez (m)
 Parlez-moi d'Amour
(1930) - Jean Lenoir (w/m)
 Il Tango Delle Rose
(1928) - Aldo Bottero (w) Filippo Schreier (m)
 The Very Thought Of You
(1934) - Ray Noble (w/m)
 Avalon
(1920) interpolated into Sinbad - B. G. DeSylva, Al Jolson, Vincent Rose (w/m)
 You Must Have Been A Beautiful Baby
(1938) Hard To Get - Johnny Mercer (w) Harry Warren (m)
 Baby Face
(1926) - Benny Davis (w) Harry Akst (m)
 I'm Just Wild About Harry
(1921) Shuffle Along - Noble Sissle (w) Eubie Blake (m)
 Heaven Can Wait
 Crazy Rhythm
(1928) Here's Howe - Irving Caesar (w) Joseph Meyer, Roger Wolfe Kahn (m)
 As Time Goes By
(1931) Everybody's Welcome - Herman Hupfeld (w/m)
Ticket/Venue Info
As Time Goes By Ticket Prices
Seat
Level
Full
Price
Discount Prices
10%15%20%Stud.
A32.00  29.00  27.25  25.75  16.00 
B28.00  25.25  24.00  22.50  14.00 
C22.00  20.00  18.75  17.75  11.00 
O18.00  16.25  15.50  14.50  9.00 
Jaqua Concert Hall
The John G. Shedd Institute for the Arts
285 E Broadway
Eugene, Oregon
541-434-7000
QSL Print Communications
2013 Title Sponsor
The Eye Center
Shedd Institute Presenting Sponsor