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Last Updated: 07 Feb 12

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Bill Kenwright

BILL KENWRIGHT   

Nationality:   n/a    Email:   n/a   Website:   n/a

Literary Agent:  n/a

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Plays by Bill Kenwright

Can't Smile Without You

1st Produced:

Churchill Theatre, Bromley

2008

Company:

n/a

1st Published:

I don't think it has been published. Try emailing Playwright or Agent where listed at top of page.

ISBN/ASIN:

-

Music:

-

doollee no

#84141

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Genre:

Musical

Parts:

Male

-

Female

-

Parts other:

-

Notes:

book by Tim Prager, lyrics by Barry Manilow, original idea by Bill Kenwright

Synopsis:

The story centres around an aspiring young band who, on a visit to New York, come across an opportunity not to be missed - auditions for the latest reality TV show to find the next pop music sensation. When the TV company offers lead singer Tony a chance to appear on the show, the other band members give him their unconditional blessing. But before Tony can realise his dream, he is caught up in a tragic sequence of events which leaves him fighting for his life. Left with no memory, his dreams are all but shattered. His only hope lies in the power of the music he loves and his feelings for a girl he once knew called Mandy.
- Source: British Theatre Guide

Further Reference:

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Apart from very popular and world touring productions, many performing arts events are largely forgotten about in a matter of months. Traces may remain in various collections, but few collecting agencies, such as libraries, catalogue each flyer or program individually. Hence, unless one knows that an event took place at a certain time in a certain place, tracking down such an event as part of a research project is often a matter of chance. Where research needs to be carried out on high profile and well-documented productions only, this is not a problem. However, both the historian and the analyst will attest that the cultural, political, or sociological context in which a performing arts event takes place is also of major importance, as are the other events that took place in close proximity, either in place or time. A good overview of such productions provides us with a 'social document' that can greatly enhance cultural studies in ways that extend far beyond the narrow confines of theatre history. For instance, data such as this can be used to monitor the health of communities, particularly when used in association with data obtained from other social science disciplines. When one researches a particular playwright one might want to know about all the productions of plays by that author; if one wants to investigate what choices a particular audience had over a period of history and compare this to, say, an ethnic breakdown of the population, one would need to know broadly all the events that took place during that time. If one wanted to do a statistical analysis on the shift in popularity of a genre over one or more generations, it is important to have knowledge of most of the relevant major and minor performance events that took place. In this context, issues of aesthetic quality and the professionalism of a production - which will of course have an impact on such studies - are not the determining factors when deciding to include or exclude events, since all events are the raw material for such research.