ESL and American Students What’s the Friendship Like

Most American students like having international students on campus and would even like to see more of them. But why are they not building friendship? Most American students have only a few international friends or less and an even lower percentage of international students claim to have a few American friends. To build these friendships it is important to understand the cause of the disengagement and how to engage in building new friendships between ESL and American students. Disengagement Cultural and course choice can play a role in the disengagement of American and international students. Some students claim not to make efforts to get to know one another because they are not in the same class or organizations. Culture likely plays a role in what organizations students choose to belong to. Another reason for the disengagement is clearly comfort levels. Some students are not comfortable trying to interact with students from other cultures and few struggles through stepping out of their comfort zones to these valuable new friendships. Communication or lack thereof may be why interacting with those of other ethnicities and cultures can be so uncomfortable for both groups. Who’s To Blame? It may not come as surprise to anyone but both groups place the blame on the other for the disengagement and lack of friendships. International students often have a perspective that American student groups are hard to break into and that Americans are uninterested in getting to know them. Likewise American students tend to feel that international students flock together and stay to themselves rather than mingling with the American students. It is difficult to say who the true blame for the lack of friendships falls on. Most American students believe it does not take extra effort to become friends with international students while an extremely low percentage of American students concur with this belief. Due to America being such a melting pot most American students claim to become friends with whomever they encounter during the day and do not see differences in others. Perspectives The key to closing the disengagement gaps could be changing perspectives of both American and international students. International students typically do feel American students are friendly yet unwilling to get to know them. Few American students’ judge international students on their looks, scents, and culture and most simply see them as unique individuals. Both groups may find the other interesting but be taken back by the lack of communication not wanting to offend the other. Close That Gap There are steps both international and American students can take to bridge the disengagement gap and build friendships, which basically include involvement in groups that offer a diverse group of interactions. Find a common activity or organization that offers a diverse balance of students an opportunity to get to know one another. This may need to be intentional if you look around yourself and find your friends are not a diverse group. Seek out multicultural events, organizations, and teams. Take some time to reach out to someone who may be a bit different than you and get to know them. The friendships that will be built will be well worth the effort.

Analyzing Kate Chopin’s The Story of an Hour Essay

The mysteries of love, hate, and compassion are all part of marriage. The mysteries of the heart are felt in the short story, The Story of an Hour by Kate Chopin (Clugston, 2010, sec 2.1). This story pulls you in with the suspense of Mrs. Mallard’s heart condition and the idea of her husband’s death. When you first begin to read this story you get a feeling of compassion for Mrs. Mallard having a heart condition. As the reader you receive sadness within you to know the revealing of her husband’s death may harm her in some way, only to find out that love isn’t that simple and maybe it was the news of her husband being alive that killed her. In this story the narrator focuses on how Mrs. Mallard copes with the death of her husband. The†¦show more content†¦The use of symbolism which the narrator uses is creative. In order to grasp the true meaning of this story you really need to open the imagination as well as have an idea of how many marriages fun ction out of the eyes of most people. In the phrase â€Å"There were patches of blue sky showing here and there through the clouds that had met and piled one above the other in the west facing her window† (Clugston, 2010, sec 2.1), this may be symbolic of how Mrs. Mallard’s life was. The patches of blue sky could be the turmoil she felt in her marriage and the turmoil’s (clouds) just kept building up in her life creating conflict about her true feeling for her husband. Conflict in Mrs. Mallard’s emotions set the stage for the theme of a woman broken from the news of her husband’s death however Mrs. Mallard is also feeling emancipation. A new beginning in life has commenced. â€Å"She was beginning to recognize this thing that was approaching to possess her, and she was striving to beat it back with her will† (Clugston, 2010, sec 2.1) brings a focus to the reader that Mrs. Mallard is possibly feeling a sense of guilt for feeling somewhat hap py about her new beginning and still feeling sad from the death of a man she had created a life around. The idea that her life will finally be her own and no longer existing for someone else may bringShow MoreRelatedThe Unique Style Of Kate Chopin s Writing1603 Words   |  7 PagesThe unique style of Kate Chopin’s writing has influenced and paved the way for many female authors. Although not verbally, Kate Chopin aired political and social issues affecting women and challenging the validity of such restrictions through fiction. Kate Chopin, a feminist in her time, prevailed against the notion that a woman’s purpose was to only be a housewife and nothing more. Kate Chopin fortified the importance of women empowerment, self-expression, self-assertion, and female sexuality throughRead MoreKate Chopin The Story of an Hour Critical Analysis Essay1377 Words   |  6 PagesOctober 2012 Self-Identity, Freedom, and Death in Kate Chopin’s â€Å"The Story of an Hour† The story of an hour by Kate Chopin introduces us to Mrs. Mallard as she reacts to her husband’s death. In this short story, Chopin portrays the complexity of Mrs. Mallard’s emotions as she is saddened yet joyful of her loss. Kate Chopin’s â€Å"The Story of an Hour† argues that an individual discover their self-identity only after being freed from confinement. The story also argues that freedom is a very powerfulRead MoreSymbolism as Found in Kate Chopins Story of an Hour Essay1532 Words   |  7 Pagesas found in Kate Chopin’s â€Å"Story of an Hour† In Kate Chopin’s â€Å"Story of an Hour† the protagonist, Louise Mallard, is going through a life-changing event that is brought on by the news of the death of her husband, Brently Mallard. During this hour, she is told of her husband’s death, grieves for a short time, discovers that she will now be able to â€Å"live for herself† (16) and is finally able to free herself of the restrictive marriage she has been living in. The end of her last hour comes when sheRead MoreEssay on Freedom in Kate Chopins The Story of An Hour1087 Words   |  5 PagesFreedom in Kate Chopins The Story of An Hour In Kate Chopins The Story of An Hour the theme is found within the concept of how someone can be trapped in a repressive, unsatisfying reality because of anothers thoughtless oppression and manipulation. When combined with the contemporary societys beliefs --- presumably the later half of the 19th century for this story -- a further understanding of Chopins thoughts and feelings can be realized. Mrs. Louise Mallard, the victim and messengerRead MoreThe Awakening Historicism Analysis968 Words   |  4 PagesA New Historicism Analysis of The Awakening Kate Chopin’s The Awakening is a story written in the late 19th century about a woman named Edna becoming independent and finding herself in a time when women had little to no rights and people saw them as the property of their husband. This is a new historicism literary criticism, analyzing how what was going on in the time period influenced this novel. Racism, sexism, and feminism were all going on at this time and therefore influenced it greatly. DuringRead MoreKate Chopin s The Story Of An Hour1921 Words   |  8 Pagesapproaches. For Kate Chopin, the famous author of â€Å"The Awakening† and â€Å"The Story of an Hour†, her most successful approach was to provide audiences with short stories that proposed meaningful and strong messages. However, Kate Chopin’s powerful feminist images that were present throughout her writing has mostly flaunted Chopin as only a â€Å"pioneering feminist writer,† which has led to other messages Chopin incorporated in her writing into being overlooked. In Kate Chopin’s, â€Å"The Story of an Hour†, the shortRead MoreAnalysis Of Kate Chopin s Story Of An Hour993 Words   |  4 PagesIrony in â€Å"Story of an Hour† In Kate Chopin’s short story â€Å"Story of an Hour†, Irony, or the expression of meaning that traditionally indicates the contrary of what is expected, plays a huge role in deciphering the theme and underlying motifs of the story that takes the reader through the hour of Mrs. Mallard’s life after her husband supposedly dies. Through Irony, Kate Chopin effectively portrays the forbidden joy of independence (SparkNotes Editors). The theme is portrayed by the author’s emphasisRead MoreLiberation And Freedom Are Exquisite Possessions. The Possible1698 Words   |  7 Pagescharacters in Kate Chopin’s â€Å"The Story of an Hour† and James Joyce’s â€Å"Eveline†. Mrs. Mallard and Eveline are standing at the threshold of a raw life story. The difference between the two is that while Mrs. Mallard is eagerly looking forward to her new found freedom, Eveline is deeply panic-struck from the thought of freedom. When the characters are at a point in their life that offers an escape into the enchanting world of the unknown, both react differently. Kate Chopin’s â€Å"The Story of an Hour† and JamesRead MoreLiterary Perspectives1379 Words   |  6 Pageswithin the confines of the text itself. Poetry, in particular, as well as drama and fiction lend themselves well as genres to the â€Å"close reading† involved in the formalist technique. Formalists might approach Kate Chopin’s â€Å" The Story of an Hour†(15) by analyzing the ironic ending of the story. Mrs. Mallard suddenly dies of a heart attack, not because her husband has died in a horrific train crash but because she has learned that he is very much alive. The disparate nature between what is expectedRead MoreThe Story Of An Hour By Kate Chopin1542 Words   |  7 PagesIn the short story, â€Å"Story of an Hour†, Kate Chopin writes about a woman with heart trouble, Mrs. Mallard, who, in finding out about the death of her husband, Mr. Mallard, experiences some initial feelings of sadness which quickly transition into the exhilarating discovery of the idea of a newfound freedom lying in front of her. When it is later revealed that her husband is not actually dead, she realizes she will not get to taste that freedom. The devastation kills her. What Mrs. Mallard goes through

Human Resource Management at Woolworths †MyAssignmenthelp.com

Question: Discuss about the Human Resource Management at Woolworths. Answer: Introduction Human resource management is an important activity for any business organization. This is because, the human resource is the most important resource for a business organization, and hence its effective management is necessary. This assignment highlights a human resource management issue that is faced by one of the most famous business organizations of Australia, Woolworths. The background of the organization is highlighted, along with the HR issues identified. The current HR policies of Australia are highlighted, along with the recommended HR policies. The causes of the issue faced have been shed light upon and the ways to ensure that such incidents could be avoided is also mentioned in this assignment. Background of the organization Woolworths is the largest retail chain of Australia. The first Woolworths store was established in 1924. With time and hard work of the employees, the company has become the largest retail chain in Australia and New Zealand (Welcome to Woolworths, 2017). In the present day, Woolworths employs more than thousands of people in Australia and New Zealand and caters to the needs of millions of customers. The company follows a tall structure with various levels of hierarchy (Welcome to Woolworths, 2017). Since the company is a large one, with thousands of employees, hence the tall structure is effective in ensuring proper functioning of the company. The HR issue identified One of the major human resource management issues that have been faced by Woolworths in the recent times is the allegation of poor pay for the trolley collectors (Maguire, 2017). On 30th May 2016, a news published in The Human Resource Director, Australia, highlighted the fact that allegations against the company has been brought due to the low wages paid to the trolley collectors in the supermarket chain (Maguire, 2017). Following this allegation, the Fair Work Ombudsman had sent out a general warning regarding the discrimination and mentioned that the company is likely to face prosecution for the discrimination in the wages (Maguire, 2017). The enquiry began in 2014 and the Fair Work Ombudsman hoped that the discrimination of the trolley collectors will be mitigated and moral and ethical responsibility will be ensured. Another major retail chain Coles faced a similar issue. However, they rectified their policy and ensured that no discrimination of the trolley collectors will be don e in future. Unlike Coles, Woolworths did not revise their pay scales. They tried to establish the fact that Woolworths pays the right amount of compensation of the trolley collectors. HR policies of Australia The HR policies in Australia ensure that equal pay among the employees are implemented by all the business organizations (Brewster, Mayrhofer Morley, 2016). Moreover, discrimination among the employees based on their age, cast and gender is not accepted in the HR policies in Australia (Stone, 2013). According to the HR policies of Australia, the discrimination of the employees in the wages being paid is violation of the Fair Pay Act ("Fair Work Commission | Australia's national workplace relations tribunal", 2017). Thus, the HR issues that took place in Woolworths resulted in the non-compliance of the HR policies in Australia. Recommended HR practices In order to ensure that the similar HR issues do not occur in Woolworths, the discrimination of the employees on the basis of the wages should not be indulged. Moreover, equality among the employees has to be ensured, such that Woolworths do not enter into controversy due to HR management issues (Sparrow Brewster Chung, 2016). With the warning published against Woolworths by the Ombudsman, the company rejected the warning. They ensured that the trolley collectors were well paid and ensured that they practiced fair work in their organization. The HR has to ensure that employees are satisfied with the policies of the business organization. The equal pay of the trolley collectors will ensure employee satisfaction, thus resulting in employee retention. Conclusion Human resource management is an important activity that has to be taken up by any business organization. it is important that the HRM ensures that no discrimination among the employees should be indulged in the business organization. Discrimination in the wages has to be mitigated, so that Woolworths abide the policies set by the fair work commission. The HR issue that have been faced by Woolworths resulted in loss of the goodwill. Coles faced a similar issue. However, they ensured that they trolley collectors are paid with the right among of wages, abiding by the HR policies of Australia. Thus, Woolworths have to ensure that HR policies are successfully abided by, in order to avoid controversies in future. References Brewster, C., Mayrhofer, W., Morley, M. (Eds.). (2016).New challenges for European resource management. Springer. Fair Work Commission | Australia's national workplace relations tribunal. (2017).Fair Work Commission. Available at: https://www.fwc.gov.au/ [Accessed on 25 Aug 2017] Maguire, J. (2017). Woolworths hits back against exploitation claims.HR Online. Available at: https://www.hcamag.com/hr-news/woolworths-hits-back-against-exploitation-claims-216760.aspx [Accessed on 25 Aug 2017] Sparrow, P., Brewster, C. Chung, C., (2016).Globalizing human resource management. Routledge. Stone, J.R. (2013) Human Resource Management, 8th edn. Wiley, Australia Welcome to Woolworths. (2017). Woolworths.com.au. Available at: https://www.woolworths.com.au/ [Accessed on 25 Aug 2017]

We caint say no Essay Example For Students

We caint say no Essay Can big, foreign, 19th-century novels be profitably turned into big, domestic, American musicals? The question asked itself this season, as a virtual wedge of Great Books musicals simultaneously materialized, one more unlikely than the next. Captains Courageous, an all-male, all-seafaring adventure, hoisted sails at Washington, D.C.s Fords Theatre; Wuthering Heights was set to song at the Olney Theatre of Maryland, raising the prospect of Heathcliffe and Cathy fankicking on the Yorkshire moors; Anna Karenina danced toward its indelible heroines fate at New Yorks Circle in the Square, not far enough away from Penn Station to prevent the pundits from making rude remarks. Any one of the three, I figured, might work: after all, Drood, Les Miserables and Big River all won Tony awards in the 80sKipling, Bronte and Tolstoy should be at least as tractable as Dickens, Hugo and Twain. But why does the musical, that frayed, derelict, bald, hopelessly withering yet incurably jejune form, continu e to exert such fascination and inspire such improbable undertakings? Why these musicals? Why now? We will write a custom essay on We caint say no specifically for you for only $16.38 $13.9/page Order now My investigation into such questions began, appropriately, in the neighborhood where musicals became musicals. I spent an hour before the curtain of Anna Karenina wandering the theatre district, lighting on more redolent locales than the Circle in the Square box office. Any excursion into Broadway is a flirt with necrophilia. Time was when all the theatres were filled and you could catch Ann Miller sipping an accessorized elixir at the Hawaii Kai before she repaired to perform at the Mark Hellinger, now in the hands of the Times Square Church. I hung out at the Martin Beck, where the Saturday-night ticketholders to Guys and Dolls displayed their excitement. Here was a constituency of pocket squares and rhinestone-studded sweater dresses and children. All of the hairdos were high-maintenance, and, on one lucky young woman, I even spotted a wrist corsage, a confection I thought had disappeared with turkey tetrazzini. There was a pitch of desperation in the people hoping for no-shows an d last-minute cancellations: A couple of crazed, sweaty Loesserphiles worked the crowd, offering $400 cash-in-hand for a pair of seats. No one bit. Stuck as I was with the inevitability of Tolstoys train wreck six blocks uptown, I tried to understand my position better. The time is overdue, I told myself, for a rigorous, supremely disinterested theorist to explain why the musical continues to take up so much room in the culture so late in the game. (Among other qualifications, this theorist cannot have played Bloody Mary or Conrad Birdie in high school.) I love musicals, yet Ill concede that theyre the most bourgeois enterprise in a bourgeois enterprise. The odds of finding aesthetic merit and socko entertainment in a new American musical grow more fantastical every year, so why should a full-page ad in the Times announcing Bernadette Peters and Martin Short in a musical version of The Goodby Girl set me tapping out a two-on-the-aisle tattoo? What are we lining up for? Shouldnt we have gotten past the notion that the musical is our permanent contribution to world culture? We know we belong to the land/And the land we belong to i s grand, sings the chorus at the end of Oklahoma! A glorious, full-throated finale, but what an absurd lie for a grade-school music class. Should a lineup of Hot Box Dolls or stubborn Iowans come to represent us as a chorus of Argive elders or Trojan women represented the Athenian polis? If that is the case, then at least for posteritys sake wed better commission a new Nietzsche or Walter Benjamin to cover our butts with theory. I USUALLY BLAME Gertrude Stein and D.W. Griffith for everything thats wrong with American theatre today, but Oscar Hammerstein is responsible for Anna and Vronsky and their crazy locomotive love. Hammerstein assiduously transformed the musical, first with Kern, then with Rodgers, from a jerry-built entertainment confab into a populist, principled art form that made America sing and, not incidentally, threw off millions of dollars. Once Hammerstein killed Jud, Billy Bigelow and Lt. Cable, then anything could happen in a musical libretto. Thirty years after his death, the musical occupies a shifty nexus of art, enterprise, nationalism, nostalgia and bromide. When they workor are deemed to workmusicals are magic. When they dont, they make the biggest stinks and die the loudest deaths. .u768f70aca35a21b3638d78db1d2f942f , .u768f70aca35a21b3638d78db1d2f942f .postImageUrl , .u768f70aca35a21b3638d78db1d2f942f .centered-text-area { min-height: 80px; position: relative; } .u768f70aca35a21b3638d78db1d2f942f , .u768f70aca35a21b3638d78db1d2f942f:hover , .u768f70aca35a21b3638d78db1d2f942f:visited , .u768f70aca35a21b3638d78db1d2f942f:active { border:0!important; } .u768f70aca35a21b3638d78db1d2f942f .clearfix:after { content: ""; display: table; clear: both; } .u768f70aca35a21b3638d78db1d2f942f { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u768f70aca35a21b3638d78db1d2f942f:active , .u768f70aca35a21b3638d78db1d2f942f:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u768f70aca35a21b3638d78db1d2f942f .centered-text-area { width: 100%; position: relative ; } .u768f70aca35a21b3638d78db1d2f942f .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u768f70aca35a21b3638d78db1d2f942f .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u768f70aca35a21b3638d78db1d2f942f .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u768f70aca35a21b3638d78db1d2f942f:hover .ctaButton { background-color: #34495E!important; } .u768f70aca35a21b3638d78db1d2f942f .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u768f70aca35a21b3638d78db1d2f942f .u768f70aca35a21b3638d78db1d2f942f-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u768f70aca35a21b3638d78db1d2f942f:after { content: ""; display: block; clear: both; } READ: Royal Court Theatre EssayScouring the 19th century and Ted Turners video library for source material, the creators of the Tolstoy, Bronte and Kipling productions bravely eschewed the cannibalistic showbiz contexts that govern the majority of successful new American musicals (Dreamgirls, 42nd Street, La Cage aux Folles, Jellys Last Jam, Crazy for You, The Will Rogers Follies) in favor of adult storylines and mature themes, a high road for librettists ever since Hammerstein set Gaylord Ravenal and Magnolia Hawkes to music in 1927. They all laughed at Christopher Columbus, but adapting Tolstoys 800-page novel into a conventional two-act tuner is an eminently resistible idea. Great works of fiction, one might well conclude, do not make great musicals. Characters sing better than ideas. Rodgers and Hammerstein improved second-rate material, usually plays, and while their scores are an imperishable contribution to the culture, their model for dramatic success became formulaic in their last shows and is now outdated. Regretfully, no new model for musicalizing outsize emotions in real people has replaced their (Sondheim is his own thing), a situation which leaves lesser talents, for want of a better idea, to traduce Tolstoy and turn Kitty and Levin into Carrie and Mister Snow. I found little evidence of the great novel itself in the musical version of Wuthering Heights, an even more hapless achievement. In a misogynistic libretto, having as it did little to do with Bronte and all to do with pre-sold, iconic responses to Merle Oberon and Laurence Olivier, a story that rightfully belongs to Cathy is usurped by the male characters. Wuthering Heights expended more time and music on Edgar and Hindley than on Cathy and Isabella, who are presented as demonized mantraps. Too many films, one might further conclude, are being turned into musicals. WHICH BRINGS ME TO Captains Courageous, inspired by Kiplings novel, but adapted more from the 1937 MGM film starring Spencer Tracy and Freddie Bartholemew. After five years of development, Captains Courageous opened to negative press, and curtailed its run in Washington. The story: Privileged, snotty Harvey Ellesworth Cheyne falls off his fathers oceanliner and is picked up by Manuel, a Portuguese fisherman who works on a schooner trawling the Grand Banks. Living with the crew, Harvey learns some rude lessons about ethics and friendship and gains a soul under Manuels rustic care. In a climactic tempest, the sea takes away his friend, and he is reclaimed by his father. As a family-values narrative, this is no more or less corny than the successful Secret Garden, but its a lot more coherent. A worthy musical should have, if not a new story, then a novel means of presenting it. Captains Courageous calls for an all-male cast, an original proposition. No women means no mermaids in dream ballets, no Ma Kettle-style cook, no Ado Annies who caint say no to sailors in port. By extension, there would be no spangles, no soprano sounds, no love ballads, no torch songs, no couples dancing and no conventional romancein other words, precious little to fall back on from the musical warehouse. A butch show about dads, lads and fishing? Heresy. I myself wasnt thrilled at the thought of watching 20 men chop bait, hornpipe, and sing ersatz chanteys on a boat, but Captains Courageous turned out to be one of the most accomplished, satisfying new musicals Ive seen in the past 10 years. It has an abundance of what so few others (also-rans and monster hits alike) have: stylistic integrity and genuine emotion. In addition to a beautiful score by Frederick Freyer and a terrific cast, Captains Courageous also possesses something that Oscar Hammerstein bequeathed to the musical, the thing that most new librettos lack, the thing that makes a decent revival of Gypsy or Guys and Dolls (and theyre not perfect, despite the New York Timess opinion to the contrary) so welcomea sense of community. Director Graciela Daniele brilliantly turned the ostensible restrictions of an all-male cast and a story that never left the schooner into virtues, dramatizing a community of men going about their work, wrestling with an elemental force larger than they and, after much tribulation, drawing young Harvey into their chorus. Singing was as natural to these men as drawing their nets. An unforced, substantive realism suffused the proceedings. .u348c96932d88ded4e91638a93bcb4fbe , .u348c96932d88ded4e91638a93bcb4fbe .postImageUrl , .u348c96932d88ded4e91638a93bcb4fbe .centered-text-area { min-height: 80px; position: relative; } .u348c96932d88ded4e91638a93bcb4fbe , .u348c96932d88ded4e91638a93bcb4fbe:hover , .u348c96932d88ded4e91638a93bcb4fbe:visited , .u348c96932d88ded4e91638a93bcb4fbe:active { border:0!important; } .u348c96932d88ded4e91638a93bcb4fbe .clearfix:after { content: ""; display: table; clear: both; } .u348c96932d88ded4e91638a93bcb4fbe { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u348c96932d88ded4e91638a93bcb4fbe:active , .u348c96932d88ded4e91638a93bcb4fbe:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u348c96932d88ded4e91638a93bcb4fbe .centered-text-area { width: 100%; position: relative ; } .u348c96932d88ded4e91638a93bcb4fbe .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u348c96932d88ded4e91638a93bcb4fbe .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u348c96932d88ded4e91638a93bcb4fbe .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u348c96932d88ded4e91638a93bcb4fbe:hover .ctaButton { background-color: #34495E!important; } .u348c96932d88ded4e91638a93bcb4fbe .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u348c96932d88ded4e91638a93bcb4fbe .u348c96932d88ded4e91638a93bcb4fbe-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u348c96932d88ded4e91638a93bcb4fbe:after { content: ""; display: block; clear: both; } READ: The Addams Family Musical EssayHAMMERSTEIN OFTEN chose communities in transition for his settings, e.g., farmers versus cowmen in Oklahoma!, the barbaric East versus the enlightened West in The King and I. Surrounding the central relationship of Manuel and Harvey (played by John Dossett and 13-year-old Kel ONeill) in Captains Courageous is a race between the schooner and the steamship. Industrialization will soon render obsolete the labor-intensive ways of the dory fishermen. The curtain rings down on a way of life, a piece of history, and I was sorry to see it go. The great musicals make the susceptible homesick for places theyve never been, whether its Runyonland, Bali H ai or Anatevka. They make us want to join their chorus. The sole lapse of judgment in Captains Courageous illustrates how artfully conceived the rest of the show is and also throws into relief the chronic no-growth predicament of the American musical. Halfway through Act 2, in a duet called Regular Fellas, Harvey shows Manuel how to behave like a swell when they reach port in Gloucester. A demented 12-year-old and a Portuguese bear selling a full-front cakewalk, comic business with buckets and caneswell, it is quite a display of retrograde minstrelsy. So taste-free is this bid for affection, I thought the show was channeling Legs Diamond. Every cheesy button is pushed: a kid gone shrill, key changes, flop-sweat, hitchkicks, guts and enterprise. In an evening endowed with originality, the audience went predictably nuts for Regular Fellas, its most hackneyed routine. For Captains Courageous to move to Broadway, conventional producing minds would require that more of these buttons be pushed. Christopher Barrecas evocative set, a fully rigged mast as virile and unadorned as the men who worked it, would probably have to have a turntable or two. Sooner or later theres be a hornpipe, a love interest for Manuel and then more dames at sea. Id like to think that Broadway could still support a show as richly gifted as Captains Courageous. Instead, yet another season is due to grind down on techno-blimps, showbiz scavenges and relentlessly manic tempos.