Epilogue

By the time Tommy Tune received a special Tony Award for Lifetime Achievement in 2015, he had inspired a new generation of director-choreographers, including Susan Stroman, Jerry Mitchell, and Casey Nicholaw. They successfully adapted Tune’s seamless staging concepts, his use of show business motifs, and his ability to move forward by drawing on the past to a new, faster-paced era. Well into his seventies, Tune continued to create shows with precision and detail, but now they were of a much smaller scale and featured a cast of one. His solo traveling act took on a biographical air, with recollections of his theatrical past performed on a bare stage with just a small platform for dancing, a ladder, and evocative lighting. It was the simplicity and elegance of Nine, Grand Hotel, and My One and Only stripped to their most elemental form. For Tune, everything was still choreography, but on a diminutive scale.

Song and Dance Man

With the back-to-back successes of Grand Hotel and The Will Rogers Follies, no one would have imagined that these would be the final Tommy Tune hits seen on Broadway. A series of flops (1994’s garish, vulgar The Best Little Whorehouse Goes Public, the antithesis of the elegant simplicity of his earlier work) and stillborn projects (1995’s Busker Alley, whose pre-Broadway tour collapsed when Tune broke his foot, and the abandoned Irving Berlin jukebox musical Easter Parade in the late 1990s) tarnished Tune’s status as a director who could rescue any show from disaster. In the years when he was one of Broadway’s most consistently inventive and successful directors of musicals, Tune had continued his performing career. Now, he increasingly spent more time on stage. His intimate, convivial “new vaudeville” act, built around Tune’s easygoing vocals and smooth tapping, featured songs by the Gershwins, Cole Porter, Irving Berlin, and other golden-age composers and underscored his affinity for music of an early time. The act proved remarkably flexible and durable, playing nightclubs and concert halls across the country and the world for more than thirty years. His enthusiasm for touring brought him a unique kind of celebrity. For many, he became the quintessential “Broadway Baby,” a man who summoned the spirit and continuity of the theater, even for those with little knowledge of the art form.

A Great Place to Make a Show

Tommy Tune’s skill in reassembling a musical’s various elements into a new entity was pushed to an extreme with Grand Hotel. He chopped up, or spliced, the book (by Luther Davis) and songs (by George Forrest and Robert Wright) into a mosaic of melody, movement, and dialogue that conveyed the simultaneous urgent, heated activities of a hotel staff and guests. Tune workshopped Grand Hotel not in a rehearsal studio, but in a dilapidated hotel whose once-elegant ballroom evoked the ambiance of the show’s setting, 1928 Berlin. His desire for nonstop movement, with no waiting for set pieces to arrive, led him to utilize more than forty gold chairs that could be endlessly configured to create a suite of rooms, a hallway, or a bank of telephone operators. Grand Hotel’s direction and staging became inseparable from its book and musical program. It was more tightly choreographed than any previous Tune musical, with the theatrical equivalents of filmic quick cuts and dissolves. Tune was acknowledged as the last of the superstar director-choreographers, and Grand Hotel was one of the most strikingly staged musicals of its era. But there was grumbling that Tune’s dazzling stagecraft was in service of weak material and, moreover, that he preferred it that way, allowing him to come to the rescue and deliver a hit through his superior staging skills. The star of any Tommy Tune musical now appeared to be Tommy Tune.

WATERFALL METHODS FOR APPLICATION OF ACCOUNTING INFORMATION SYSTEMS IN HOTEL INCOME MANAGEMENT CASE STUDY: CITRA GRAND HOTEL KARAWANG

The need for information systems in the business more increase as the same as technological developments in the digital era which give the impacts rapidly changes in all sectors. The accounting cycle in the company is inseparable from the existence of financial recording activities in a certain period. Thus it requires an application to provides the processing financial data or it’s called accounting information system. The Grand Hotel Karawang is the focus of research on building income management accounting information system. Based on the data collection method used: observation, interviews and literature studies (library research), it can be concluded that in managing hotel rental income is still manual or not computerized so that why the research to provide solutions based on the need by designing income accounting information system using waterfall software development method, with phases including needs analysis, design, implementation of program code based on open source in the implementation of the Java programming language to make easier to implement into desktop-based applications. Testing is carried out using blackbox testing as a tool for testing each process step by step in the application that all processes are running well (valid) and can be implemented as needed.

Neues vom Grand Hotel Abgrund. Der Paradigmenwechsel vom Kosmopolitismus zur Kosmo-Politik

ZusammenfassungDie altehrwürdige, stets bestrittene und leicht angegraut wirkende Tradition des Weltbürgertums (Kosmopolitismus) steht (I) vor drei neuen Herausforderungen: (a) postkolonial, insofern die westlichen Ursprünge universaler Ideen auf der Hand liegen und daraus eventuell Verengungen und Einseitigkeiten folgen, (b) als Eliten-Projekt, das die breite Bevölkerung nie erreicht hat bzw. diese ignoriert, gepaart (c) mit Einwänden von kommunitaristischer Seite, wonach alle Vorstellungen von Zugehörigkeit, Solidarität und Hospitalität in lokalen Gemeinschaften geerdet sein müssen. Die Idee des Kosmopolitismus kann sich diesen Herausforderungen stellen, wenn sie (II) stärker implementiert und operationalisiert wird: Dazu tragen Ansätze eines „globalen Konstitutionalismus“ bei, der über den Nationalstaat als überkommener Stütze von Regierung und kollektiver Identität hinausreicht und Problemlagen angeht, die diesen Souveränitäts- und Identitätsrahmen gesprengt haben. Im Zeitalter des Anthropozän (III) ist eine Erweiterung des Kosmopolitismus angebracht, nämlich die überfällige Einbeziehung der belebten und unbelebten Natur als einem virtuellen Mit-Akteur internationaler Beziehungen. Diese konzeptionelle und operative Revision kosmopolitischer Ideen mündet in eine übergreifend planetare „Kosmo-Politik“.