Musical in 2 Akten
Musik von Frederick Loewe
Buch von Alan Jay Lerner, nach Bernhard Shaws „Pygmalion“ und dem Film von Gabriel Pascal, Deutsch von Robert Gilbert
Premiere 27. Februar 2010 – Großes Haus
Die Sage von Pygmalion, dessen Statue einer Traumfrau lebendig wurde, ist immer wieder ein Thema literarischer Werke gewesen. Die Musical-Version erweist sich als eine Gesellschaftskomödie voller Ironie und Hintersinn. „My Fair Lady“ gilt seit seiner Uraufführung im März 1956 in New York als das klassische Musical schlechthin. Mit über 2.700 Vorstellungen am Broadway und Aufführungen in aller Welt gehört es immer noch mit seinen Evergreens wie „Mit ´nem kleenen Stückchen Glück“, „Es grünt so grün“, und „Ich hätt´ getanzt heut´ Nacht“ zu den populärsten Beispielen seiner Gattung.
Apresentação de Gilberto Di Pierro
prefácio de Jacob Klintowitz
Massao Ono Editor 1987
Edição de 700 exemplares
Paperback circa 40 pages Shop
Luzes, ação, click. Arte e objetiva, arte-objetiva, click. Rostos, corpos, click. Sombras, magias, click. Pés, peitos, coxas. Click, click, click. Olhos sensuais, bocas sensuais, corpos sensuais. Danças, click, sons, click, sexo, click. Há uma mão que passa no corpo que olha para os olhos que espiam outras mãos passando em outros corpos que olham para outros olhos. Pele, pele, pele. Suor, perfume, magia. Esta é uma viagem fotográfica de Norma Guimarães pelos corpos e pelos pêlos de bailarinos, atrizes. Este é um documento fotográfico de um espetáculo onde os corpos encontraram as artes e, pelo vão da porta, encontraram a máquina fotográfica de Norma Guimarães. Gilberto Di Pierro (Giba Um)
Com: Inês Aguiar, Ricardo Viviani, Manuela Assunção, Flávio Cardoso, Vera Mancini, Fernando Wellington, Miriam Lins e Graça Bermam
Type: Musical Theater · Dance Work / Piece Date: 1983–1989 Time-span: 1983–1989 — Ricardo Viviani’s documented and recalled period of participation Context: Musical theater / revue; Brazilian productions, touring engagements and Broadway revival Location: São Paulo, Brazil; Rio de Janeiro, Brazil; Brazil; Oslo, Norway; Israel; New York, USA Role: Performer · Dancer · Singer Status: Historical Record — incomplete / ongoing archival reconstruction
Oh! Calcutta! This page documents Ricardo Viviani’s participation in the musical theater work and revue Oh! Calcutta! during the 1980s, including engagements in Brazil, an Oslo tour, a recalled tour in Israel, and his participation as a guest on Broadway in New York. The record is being reconstructed from surviving archival material and personal recollection and is not yet complete.
The Work / Creation
Oh! Calcutta! is a theatrical revue created by British drama critic Kenneth Tynan and produced by Hillard Elkins. It premiered Off-Broadway in New York in 1969 and subsequently had productions in London and elsewhere. The work combines sketches, music, dance and performance and became known for its treatment of sexuality and extensive nudity. The Broadway revival opened at the Edison Theatre on 24 September 1976 and closed on 6 August 1989 after 5,959 performances.
For this archive, Oh! Calcutta! is treated as the Work / Creation, while Ricardo Viviani’s individual engagements are understood as particular productions, tours or performance contexts of that work. The present page therefore functions as a work-level record that can later be connected to separate production and performance records as further documentation is identified.
Production
Ricardo Viviani participated in several different contexts of Oh! Calcutta! during the 1980s. The currently identified chronology includes São Paulo in 1983, Rio de Janeiro in 1984, a Brazilian tour, an Oslo engagement in 1986, a recalled three-month tour in Israel believed to date from approximately 1986, and guest participation in the Broadway revival in New York from 1986 to 1989.
The individual productions and touring engagements have not yet been fully separated into independent archive records. Where exact venues, dates, companies or production personnel remain undocumented, no additional details are asserted here.
Performance History
São Paulo — 1983
Ricardo Viviani participated in Oh! Calcutta! in São Paulo in 1983. Existing archive material identifies his participation as singer / dancer. The exact venue, performance dates and complete production information remain to be reconstructed.
Rio de Janeiro — 1984
Ricardo Viviani participated in the Rio de Janeiro production in 1984. Further documentation is required to establish the complete production record.
Brazilian Tour
Ricardo Viviani recalls participating in a Brazilian touring context of Oh! Calcutta!. The present archive does not yet establish a complete itinerary. Individual cities, venues and dates should be added when supported by documentation or clearly identified recollection.
Oslo, Norway — 1986
Ricardo Viviani recalls participating in an Oh! Calcutta! tour in Oslo in 1986. This is presently recorded as a personal recollection requiring documentary confirmation. No specific venue or performance dates are asserted at this stage.
Israel — approximately 1986
Ricardo Viviani recalls participating in a tour in Israel lasting approximately three months, believed to have taken place in 1986. The year and duration remain provisional pending documentary confirmation.
Broadway, New York — 1986–1989
Ricardo Viviani participated as a guest in the Broadway revival of Oh! Calcutta! at the Edison Theatre during the final years of its run. Surviving programme material dated 13 November 1988 identifies Ricardo Viviani as a member of the company and records multiple performance assignments.
The surviving programme documents Ricardo Viviani in different cast configurations and performance assignments including Attendant, One on One with Cheryl Hartley, Man #2 in Four in Hand, Dance for George, Interviewer, Nurse, One on One with Amy Fortgang and Love Lust Poem. The presence of different configurations is relevant to understanding that his participation was not necessarily limited to one fixed assignment.
A surviving Edison Theatre programme dated 13 November 1988 documents Ricardo Viviani as part of the Broadway company and records multiple performance assignments. A Daily News clipping dated 8 August 1989 documents the closing of the Edison Theatre production after 5,959 performances. Additional photographs and press material remain in the archive and require further identification and contextualisation.
Reception / Critical Documentation
The broader critical history of Oh! Calcutta! includes substantial contemporary debate concerning its theatrical form, sexual subject matter and use of nudity. The work received sharply differing critical responses from the beginning, while its Broadway revival ultimately achieved an exceptionally long commercial run.
The surviving 8 August 1989 Daily News clipping documents the closing of the Edison Theatre production and its 5,959-performance run. It is preserved as contemporary press documentation rather than as an assessment by Ricardo Viviani.
Source:Daily News, 8 August 1989, archival clipping preserved in the Ricardo Viviani archive.
Personal Reflection
Ricardo Viviani recalls participating in Oh! Calcutta! in Brazil, on international tours including Oslo and Israel, and later as a guest on Broadway. The Oslo participation is presently recalled as taking place in 1986. The Israel tour is recalled as lasting approximately three months and is believed to have taken place in approximately 1986.
These recollections are retained as personal testimony and are intentionally distinguished from information established through surviving programmes, press material or other independent documentation. Further archival research may confirm, refine or correct the chronology.
Publication
Corpos, a photographic publication by Norma Guimarães, was published by Massao Ono Editor in 1987. The publication includes a photographic essay by Norma Guimarães, presentation by Gilberto Di Pierro and preface by Jacob Klintowitz.
Ricardo Viviani recalls that the photographic session was made after a performance of Oh! Calcutta!, in and around the sets. Corpos is therefore treated as related publication and documentation, not as part of the work itself.
