document_title: The Marriage of Figaro

question_text: who sings voi che sapete in the marriage of figaro

text: The Marriage of Figaro

text: Composition history[edit]

text: Beaumarchais's earlier play The Barber of Seville had already made a successful transition to opera in a version by Paisiello. Beaumarchais's Mariage de Figaro was at first banned in Vienna; the Emperor, Joseph II, stated that "since the piece contains much that is objectionable, I therefore expect that the Censor shall either reject it altogether, or at any rate have such alterations made in it that he shall be responsible for the performance of this play and for the impression it may make", after which the Austrian Censor duly forbade performing the German version of the play.[2][3] Mozart's librettist managed to get official approval for an operatic version which eventually achieved great success.

text: The opera was the first of three collaborations between Mozart and Da Ponte; their later collaborations were Don Giovanni and Così fan tutte. It was Mozart who originally selected Beaumarchais's play and brought it to Da Ponte, who turned it into a libretto in six weeks, rewriting it in poetic Italian and removing all of the original's political references. In particular, Da Ponte replaced Figaro's climactic speech against inherited nobility with an equally angry aria against unfaithful wives.[4] Contrary to the popular myth, the libretto was approved by the Emperor before any music was written by Mozart.[5]

text: The Imperial Italian opera company paid Mozart 450 florins for the work;[6] this was three times his (low) yearly salary when he had worked as a court musician in Salzburg.[7] Da Ponte was paid 200 florins.[6]

text: Performance history[edit]

text: Figaro premiered at the Burgtheater in Vienna on 1 May 1786, with a cast listed in the "Roles" section below. Mozart himself directed the first two performances, conducting seated at the keyboard, the custom of the day. Later performances were conducted by Joseph Weigl.[8] The first production was given eight further performances, all in 1786.[9]

text: Although the total of nine performances was nothing like the frequency of performance of Mozart's later success, The Magic Flute, which for months was performed roughly every other day,[7] the premiere is generally judged to have been a success. The applause of the audience on the first night resulted in five numbers being encored, seven on 8 May.[10] Joseph II, who, in addition to his empire, was in charge of the Burgtheater,[11] was concerned by the length of the performance and directed his aide Count Rosenberg (de) as follows:

text: To prevent the excessive duration of operas, without however prejudicing the fame often sought by opera singers from the repetition of vocal pieces, I deem the enclosed notice to the public (that no piece for more than a single voice is to be repeated) to be the most reasonable expedient. You will therefore cause some posters to this effect to be printed.[12]

text: The requested posters were printed up and posted in the Burgtheater in time for the third performance on 24 May.[13]

text: The newspaper Wiener Realzeitung carried a review of the opera in its issue of 11 July 1786. It alludes to interference probably produced by paid hecklers, but praises the work warmly:

text: Mozart's music was generally admired by connoisseurs already at the first performance, if I except only those whose self-love and conceit will not allow them to find merit in anything not written by themselves.

text: The public, however ... did not really know on the first day where it stood. It heard many a bravo from unbiassed connoisseurs, but obstreperous louts in the uppermost storey exerted their hired lungs with all their might to deafen singers and audience alike with their St! and Pst; and consequently opinions were divided at the end of the piece.

text: Apart from that, it is true that the first performance was none of the best, owing to the difficulties of the composition.

text: But now, after several performances, one would be subscribing either to the cabal or to tastelessness if one were to maintain that Herr Mozart's music is anything but a masterpiece of art.

text: The Hungarian poet Ferenc Kazinczy was in the audience for a May performance, and later remembered the powerful impression the work made on him:

text: [Nancy] Storace [see below], the beautiful singer, enchanted eye, ear, and soul. – Mozart directed the orchestra, playing his fortepiano; the joy which this music causes is so far removed from all sensuality that one cannot speak of it. Where could words be found that are worthy to describe such joy?[15]

text: Joseph Haydn appreciated the opera greatly, writing to a friend that he heard it in his dreams.[16] In summer 1790 Haydn attempted to produce the work with his own company at Eszterháza, but was prevented from doing so by the death of his patron, Nikolaus Esterházy.[17]

text: Other early performances[edit]

text: The Emperor requested a special performance at his palace theater in Laxenburg, which took place in June 1786.[18]

text: The opera was produced in Prague starting in December 1786 by the Pasquale Bondini company. This production was a tremendous success; the newspaper Prager Oberpostamtszeitung called the work "a masterpiece",[19] and said "no piece (for everyone here asserts) has ever caused such a sensation."[20] Local music lovers paid for Mozart to visit Prague and hear the production; he listened on 17 January 1787, and conducted it himself on the 22nd.[21] The success of the Prague production led to the commissioning of the next Mozart/Da Ponte opera, Don Giovanni, premiered in Prague in 1787; see Mozart and Prague.

text: The work was not performed in Vienna during 1787 or 1788, but starting in 1789 there was a revival production.[22] For this occasion Mozart replaced both arias of Susanna with new compositions, better suited to the voice of Adriana Ferrarese del Bene who took the role. To replace "Deh vieni" he wrote "Al desio di chi t'adora" – "[come and fly] To the desire of [the one] who adores you" (K. 577) in July 1789, and to replace "Venite, inginocchiatevi" he wrote "Un moto di gioia" – "A joyous emotion", (K. 579), probably in mid-1790.[23]

text: Roles[edit]

text: The voice types which appear in this table are those listed in the critical edition published in the Neue Mozart-Ausgabe.[24] In modern performance practice, Cherubino and Marcellina are usually assigned to mezzo-sopranos, and Figaro to a bass-baritone.[25]

text:
Role
Voice type
Premiere cast, 1 May 1786
(Conductor: W. A. Mozart)

Count Almaviva
baritone
Stefano Mandini

Countess Rosina Almaviva
soprano
Luisa Laschi

Susanna, the countess's maid
soprano
Nancy Storace

Figaro, personal valet to the count
bass
Francesco Benucci

Cherubino, the Count's page
soprano (en travesti)
Dorotea Bussani

Marcellina, Doctor Bartolo's housekeeper
soprano
Maria Mandini

Bartolo, doctor from Seville, also a practicing lawyer
bass
Francesco Bussani

Basilio, music teacher
tenor
Michael Kelly

Don Curzio, judge
tenor
Michael Kelly

Barbarina, Antonio's daughter
soprano
Anna Gottlieb

Antonio, the Count's gardener, Susanna's uncle
bass
Francesco Bussani

Chorus of peasants, villagers, and servants

text: Synopsis[edit]

text: The Marriage of Figaro continues the plot of The Barber of Seville several years later, and recounts a single "day of madness" (la folle journée) in the palace of Count Almaviva near Seville, Spain. Rosina is now the Countess; Dr. Bartolo is seeking revenge against Figaro for thwarting his plans to marry Rosina himself; and Count Almaviva has degenerated from the romantic youth of Barber into a scheming, bullying, skirt-chasing baritone. Having gratefully given Figaro a job as head of his servant-staff, he is now persistently trying to exercise his droit du seigneur – his right to bed a servant girl on her wedding night – with Figaro's bride-to-be, Susanna, who is the Countess's maid. He keeps finding excuses to delay the civil part of the wedding of his two servants, which is arranged for this very day. Figaro, Susanna, and the Countess conspire to embarrass the Count and expose his scheming. He retaliates by trying to compel Figaro legally to marry a woman old enough to be his mother, but it turns out at the last minute that she really is his mother. Through Figaro's and Susanna's clever manipulations, the Count's love for his Countess is finally restored.

text: Overture[edit]

text:
Overture

Performed by Musopen Symphony (4:00)

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text: The overture is in the key of D major; the tempo marking is presto; i.e. very fast. The work is well known and often played independently as a concert piece.

text: Act 1[edit]

text: A partly furnished room, with a chair in the centre.

text: Figaro happily measures the space where the bridal bed will fit while Susanna tries on her wedding bonnet in front of a mirror (in the present day, a more traditional French floral wreath or a modern veil are often substituted, often in combination with a bonnet, so as to accommodate what Susanna happily describes as her wedding cappellino). (Duet: "Cinque, dieci, venti" – "Five, ten, twenty"). Figaro is quite pleased with their new room; Susanna far less so (Duettino: "Se a caso madama la notte ti chiama" – "If the Countess should call you during the night"). She is bothered by its proximity to the Count's chambers: it seems he has been making advances toward her and plans on exercising his droit du seigneur, the purported feudal right of a lord to bed a servant girl on her wedding night before her husband can sleep with her. The Count had the right abolished when he married Rosina, but he now wants to reinstate it. Figaro is livid and plans to outwit the Count (Cavatina: "Se vuol ballare signor contino" – "If you want to dance, sir count").

text: Figaro departs, and Dr. Bartolo arrives with Marcellina, his old housekeeper. Marcellina has hired Bartolo as legal counsel, since Figaro had once promised to marry her if he should default on a loan she had made to him, and she intends to enforce that promise. Bartolo, still irked at Figaro for having facilitated the union of the Count and Rosina (in The Barber of Seville), promises, in comical lawyer-speak, to help Marcellina (aria: "La vendetta" – "Vengeance").

text: Bartolo departs, Susanna returns, and Marcellina and Susanna share an exchange of very politely delivered sarcastic insults (duet: "Via resti servita, madama brillante" – "After you, brilliant madam"). Susanna triumphs in the exchange by congratulating her rival on her impressive age. The older woman departs in a fury.

text: Cherubino then arrives and, after describing his emerging infatuation with all women, particularly with his "beautiful godmother" the Countess (aria: "Non so più cosa son" – "I don't know anymore what I am"), asks for Susanna's aid with the Count. It seems the Count is angry with Cherubino's amorous ways, having discovered him with the gardener's daughter, Barbarina, and plans to punish him. Cherubino wants Susanna to ask the Countess to intercede on his behalf. When the Count appears, Cherubino hides behind a chair, not wanting to be seen alone with Susanna. The Count uses the opportunity of finding Susanna alone to step up his demands for favours from her, including financial inducements to sell herself to him. As Basilio, the music teacher, arrives, the Count, not wanting to be caught alone with Susanna, hides behind the chair. Cherubino leaves that hiding place just in time, and jumps onto the chair while Susanna scrambles to cover him with a dress.

text: When Basilio starts to gossip about Cherubino's obvious attraction to the Countess, the Count angrily leaps from his hiding place (terzetto: "Cosa sento!" – "What do I hear!"). He disparages the "absent" page's incessant flirting and describes how he caught him with Barbarina under the kitchen table. As he lifts the dress from the chair to illustrate how he lifted the tablecloth to expose Cherubino, he finds ... the self same Cherubino! The count is furious, but is reminded that the page overheard the Count's advances on Susanna, something that the Count wants to keep from the Countess. The young man is ultimately saved from punishment by the entrance of the peasants of the Count's estate, a preemptive attempt by Figaro to commit the Count to a formal gesture symbolizing his promise that Susanna would enter into the marriage unsullied. The Count evades Figaro's plan by postponing the gesture. The Count says that he forgives Cherubino, but he dispatches him to his own regiment in Seville for army duty, effective immediately. Figaro gives Cherubino mocking advice about his new, harsh, military life from which all luxury, and especially women, will be totally excluded (aria: "Non più andrai" – "No more gallivanting").[27]

text: Act 2[edit]

text: A handsome room with an alcove, a dressing room on the left, a door in the background (leading to the servants' quarters) and a window at the side.

text:
No. 11 Cavatina "Porgi, amor"

Provided by Musopen (3:36)

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text: The Countess laments her husband's infidelity (aria: "Porgi, amor, qualche ristoro" – "Grant, love, some comfort"). Susanna comes in to prepare the Countess for the day. She responds to the Countess's questions by telling her that the Count is not trying to seduce her; he is merely offering her a monetary contract in return for her affection. Figaro enters and explains his plan to distract the Count with anonymous letters warning him of adulterers. He has already sent one to the Count (via Basilio) that indicates that the Countess has a rendezvous of her own that evening. They hope that the Count will be too busy looking for imaginary adulterers to interfere with Figaro and Susanna's wedding. Figaro additionally advises the Countess to keep Cherubino around. She should dress him up as a girl and lure the Count into an illicit rendezvous where he can be caught red-handed. Figaro leaves.

text:
"Voi che sapete cosa è amor"

Performed in 1910 by Nellie Melba (3:24)

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text: Cherubino arrives, sent in by Figaro and eager to co-operate. Susanna urges him to sing the song he wrote for the Countess (aria: "Voi che sapete che cosa è amor" – "You ladies who know what love is, is it what I'm suffering from?"). After the song, the Countess, seeing Cherubino's military commission, notices that the Count was in such a hurry that he forgot to seal it with his signet ring (which would be necessary to make it an official document).

text: Susanna and the Countess then begin with their plan. Susanna takes off Cherubino´s cloak, and she begins to comb his hair and teach him to behave and walk like a woman (aria of Susanna: Venite, inginocchiatevi – “Come, kneel down before me”). Then she leaves the room through a door at the back to get the dress for Cherubino, taking his cloak with her.

text: While the Countess and Cherubino are waiting for Susanna to come back, they suddenly hear the Count arriving. Cherubino hides in the closet. The Count demands to be allowed into the room and the Countess reluctantly unlocks the door. The Count enters and hears a noise from the closet. He tries to open it, but it is locked. The Countess tells him it is only Susanna, trying on her wedding dress. At this moment, Susanna re-enters unobserved, quickly realizes what's going on, and hides behind a couch (Trio: "Susanna, or via, sortite" – "Susanna, come out!"). The Count shouts for her to identify herself by her voice, but the Countess orders her to be silent. Furious and suspicious, the Count leaves, with the Countess, in search of tools to force the closet door open. As they leave, he locks all the bedroom doors to prevent the intruder from escaping. Cherubino and Susanna emerge from their hiding places, and Cherubino escapes by jumping through the window into the garden. Susanna then takes Cherubino's former place in the closet, vowing to make the Count look foolish (duet: "Aprite, presto, aprite" – "Open the door, quickly!").

text: The Count and Countess return. The Countess, thinking herself trapped, desperately admits that Cherubino is hidden in the closet. The enraged Count draws his sword, promising to kill Cherubino on the spot, but when the door is opened, they both find to their astonishment only Susanna (Finale: "Esci omai, garzon malnato" – "Come out of there, you ill-born boy!"). The Count demands an explanation; the Countess tells him it is a practical joke, to test his trust in her. Shamed by his jealousy, the Count begs for forgiveness. When the Count presses about the anonymous letter, Susanna and the Countess reveal that the letter was written by Figaro, and then delivered by Basilio. Figaro then arrives and tries to start the wedding festivities, but the Count berates him with questions about the anonymous note. Just as the Count is starting to run out of questions, Antonio the gardener arrives, complaining that a man has jumped out of the window and broken his flowerpots. The Count immediately realizes that the jumping fugitive was Cherubino, but Figaro claims it was he himself who jumped out of the window, and claims to have injured his foot while landing. Figaro, Susanna, and the Countess attempt to discredit Antonio as a chronic drunkard whose constant inebriation makes him unreliable and prone to fantasy, but Antonio brings forward a paper which, he says, was dropped by the escaping man. The Count orders Figaro to prove he was the jumper by identifying the paper (which is, in fact, Cherubino's appointment to the army). Figaro is at a loss, but Susanna and the Countess manage to signal the correct answers, and Figaro identifies the document. His victory is, however, short-lived: Marcellina, Bartolo, and Basilio enter, bringing charges against Figaro and demanding that he honor his contract to marry Marcellina. The Count happily postpones the wedding in order to investigate the charge.

text: Act 3[edit]

text: A rich hall, with two thrones, prepared for the wedding ceremony.

text: The Count mulls over the confusing situation. At the urging of the Countess, Susanna enters and gives a false promise to meet the Count later that night in the garden (duet: "Crudel! perchè finora" – "Cruel girl, why did you make me wait so long"). As Susanna leaves, the Count overhears her telling Figaro that he has already won the case. Realizing that he is being tricked (recitative and aria: "Hai già vinta la causa! ... Vedrò, mentr'io sospiro" – "You've already won the case!" ... "Shall I, while sighing, see"), he resolves to punish Figaro by forcing him to marry Marcellina.

text: Figaro's hearing follows, and the Count's judgment is that Figaro must marry Marcellina. Figaro argues that he cannot get married without his parents' permission, and that he does not know who his parents are, because he was stolen from them when he was a baby. The ensuing discussion reveals that Figaro is Rafaello, the long-lost illegitimate son of Bartolo and Marcellina. A touching scene of reconciliation occurs. During the celebrations, Susanna enters with a payment to release Figaro from his debt to Marcellina. Seeing Figaro and Marcellina in celebration together, Susanna mistakenly believes that Figaro now prefers Marcellina to her. She has a tantrum and slaps Figaro's face. Marcellina explains, and Susanna, realizing her mistake, joins the celebration. Bartolo, overcome with emotion, agrees to marry Marcellina that evening in a double wedding (sextet: "Riconosci in questo amplesso" – "Recognize in this embrace").

text: All leave, before Barbarina, Antonio's daughter, invites Cherubino back to her house so they can disguise him as a girl. The Countess, alone, ponders the loss of her happiness (aria: "Dove sono i bei momenti" – "Where are they, the beautiful moments"). Meanwhile, Antonio informs the Count that Cherubino is not in Seville, but in fact at his house. Susanna enters and updates her mistress regarding the plan to trap the Count. The Countess dictates a love letter for Susanna to send to the Count, which suggests that he meet her (Susanna) that night, "under the pines". The letter instructs the Count to return the pin which fastens the letter (duet: "Sull'aria...che soave zeffiretto" – "On the breeze... What a gentle little zephyr").

text: A chorus of young peasants, among them Cherubino disguised as a girl, arrives to serenade the Countess. The Count arrives with Antonio and, discovering the page, is enraged. His anger is quickly dispelled by Barbarina, who publicly recalls that he had once offered to give her anything she wants, and asks for Cherubino's hand in marriage. Thoroughly embarrassed, the Count allows Cherubino to stay.

text: The act closes with the double wedding, during the course of which Susanna delivers her letter to the Count (Finale: "Ecco la marcia" – "Here is the procession"). Figaro watches the Count prick his finger on the pin, and laughs, unaware that the love-note is an invitation for the Count to tryst with Figaro's own bride Susanna. As the curtain drops, the two newlywed couples rejoice.

text: Act 4[edit]

text: The garden, with two pavilions. Night.

text: Following the directions in the letter, the Count has sent the pin back to Susanna, giving it to Barbarina. Unfortunately, Barbarina has lost it (aria: "L'ho perduta, me meschina" – "I have lost it, poor me"). Figaro and Marcellina see Barbarina, and Figaro asks her what she is doing. When he hears the pin is Susanna's, he is overcome with jealousy, especially as he recognises the pin to be the one that fastened the letter to the Count. Thinking that Susanna is meeting the Count behind his back, Figaro complains to his mother, and swears to be avenged on the Count and Susanna, and on all unfaithful wives. Marcellina urges caution, but Figaro will not listen. Figaro rushes off, and Marcellina resolves to inform Susanna of Figaro's intentions. Marcellina sings an aria lamenting that male and female wild beasts get along with each other, but rational humans can't (aria: "Il capro e la capretta" – "The billy-goat and the she-goat"). (This aria and Basilio's ensuing aria are usually omitted from performances due to their relative unimportance, both musically and dramatically; however, some recordings include them.)

text: Motivated by jealousy, Figaro tells Bartolo and Basilio to come to his aid when he gives the signal. Basilio comments on Figaro's foolishness and claims he was once as frivolous as Figaro was. He tells a tale of how he was given common sense by "Donna Flemma" ("Dame Prudence") and learned the importance of not crossing powerful people. (aria: "In quegli anni" – "In those years"). They exit, leaving Figaro alone. Figaro muses bitterly on the inconstancy of women (recitative and aria: "Tutto è disposto ... Aprite un po' quegli occhi" – "Everything is ready ... Open those eyes a little"). Susanna and the Countess arrive, each dressed in the other's clothes. Marcellina is with them, having informed Susanna of Figaro's suspicions and plans. After they discuss the plan, Marcellina and the Countess leave, and Susanna teases Figaro by singing a love song to her beloved within Figaro's hearing (aria: "Deh vieni, non tardar" – "Oh come, don't delay"). Figaro is hiding behind a bush and, thinking the song is for the Count, becomes increasingly jealous.

text: The Countess arrives in Susanna's dress. Cherubino shows up and starts teasing "Susanna" (really the Countess), endangering the plan. (Finale: "Pian pianin le andrò più presso" - "Softly, softly I'll approach her") Fortunately, the Count gets rid of him by striking out in the dark. His punch actually ends up hitting Figaro, but the point is made and Cherubino runs off.

text: The Count now begins making earnest love to "Susanna" (really the Countess), and gives her a jeweled ring. They go offstage together, where the Countess dodges him, hiding in the dark. Onstage, meanwhile, the real Susanna enters, wearing the Countess' clothes. Figaro mistakes her for the real Countess, and starts to tell her of the Count's intentions, but he suddenly recognizes his bride in disguise. He plays along with the joke by pretending to be in love with "my lady", and inviting her to make love right then and there. Susanna, fooled, loses her temper and slaps him many times. Figaro finally lets on that he has recognized Susanna's voice, and they make peace, resolving to conclude the comedy together ("Pace, pace, mio dolce tesoro" - "Peace, peace, my sweet treasure").

text: The Count, unable to find "Susanna", enters frustrated. Figaro gets his attention by loudly declaring his love for "the Countess" (really Susanna). The enraged Count calls for his people and for weapons: his servant is seducing his wife. (Ultima scena: "Gente, gente, all'armi, all'armi" – "Gentlemen, to arms!") Bartolo, Basilio and Antonio enter with torches as, one by one, the Count drags out Cherubino, Barbarina, Marcellina and the "Countess" from behind the pavilion.

text: All beg him to forgive Figaro and the "Countess", but he loudly refuses, repeating "no" at the top of his voice, until finally the real Countess re-enters and reveals her true identity. The Count, seeing the ring he had given her, realizes that the supposed Susanna he was trying to seduce was actually his wife. Ashamed and remorseful, he kneels and pleads for forgiveness himself ("Contessa perdono!" – "Countess, forgive me!"). The Countess, more kind than he ("Più docile io sono" – "I am more mild"), forgives her husband and all are contented. The opera ends in universal celebration.

text: Instrumentation[edit]

text: The Marriage of Figaro is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings; the recitativi are accompanied by a keyboard instrument, usually a fortepiano or a harpsichord, often joined by a cello. The instrumentation of the recitativi is not given in the score, so it is up to the conductor and the performers. A typical performance usually lasts around 3 hours.

text: Frequently omitted numbers[edit]

text: Two arias from act 4 are often omitted: one in which Marcellina regrets that people (unlike animals) abuse their mates ("Il capro e la capretta"), and one in which Don Basilio tells how he saved himself from several dangers in his youth, by using the skin of an ass for shelter and camouflage ("In quegli anni").[28]

text: Mozart wrote two replacement arias for Susanna when the role was taken over by Adriana Ferrarese in the 1789 revival. The replacement arias, "Un moto di gioia" (replacing "Venite, inginocchiatevi" in act 2) and "Al desio di chi t'adora" (replacing "Deh vieni, non tardar" in act 4), in which the two clarinets are replaced with basset horns, are normally not used in modern performances. A notable exception was a series of performances at the Metropolitan Opera in 1998 with Cecilia Bartoli as Susanna.[29]

text: Critical discussion[edit]

text: Lorenzo Da Ponte wrote a preface to the first published version of the libretto, in which he boldly claimed that he and Mozart had created a new form of music drama:

text: In spite ... of every effort ... to be brief, the opera will not be one of the shortest to have appeared on our stage, for which we hope sufficient excuse will be found in the variety of threads from which the action of this play [i.e. Beaumarchais's] is woven, the vastness and grandeur of the same, the multiplicity of the musical numbers that had to be made in order not to leave the actors too long unemployed, to diminish the vexation and monotony of long recitatives, and to express with varied colours the various emotions that occur, but above all in our desire to offer as it were a new kind of spectacle to a public of so refined a taste and understanding.[30]

text: Charles Rosen (in The Classical Style) proposes to take Da Ponte's words quite seriously, noting the "richness of the ensemble writing",[31] which carries forward the action in a far more dramatic way than recitatives would. Rosen also suggests that the musical language of the classical style was adapted by Mozart to convey the drama: many sections of the opera musically resemble sonata form; by movement through a sequence of keys, they build up and resolve musical tension, providing a natural musical reflection of the drama. As Rosen writes:

text: The synthesis of accelerating complexity and symmetrical resolution which was at the heart of Mozart's style enabled him to find a musical equivalent for the great stage works which were his dramatic models. The Marriage of Figaro in Mozart's version is the dramatic equal, and in many respects the superior, of Beaumarchais's work.[32]

text: This is demonstrated in the closing numbers of all four acts: as the drama escalates, Mozart eschews recitativi altogether and opts for increasingly sophisticated writing, bringing his characters on stage, revelling in a complex weave of solo and ensemble singing in multiple combinations, and climaxing in seven- and eight-voice tutti for acts 2 and 4.

text: Mozart cleverly uses the sound of two horns playing together to represent cuckoldry, in the act 4 aria "Aprite un po' quegli occhi".[33] Verdi later used the same device in Ford's aria in Falstaff.[34][35]

text: Johannes Brahms said "In my opinion, each number in Figaro is a miracle; it is totally beyond me how anyone could create anything so perfect; nothing like it was ever done again, not even by Beethoven."[36]

text: Other uses of the melodies[edit]

text: A musical phrase from the act 1 trio of The Marriage of Figaro (where Basilio sings Così fan tutte le belle) was later reused, by Mozart, in the overture to his opera Così fan tutte.[37] Mozart also quotes Figaro's aria "Non più andrai" in the second act of his opera Don Giovanni; it is also used as a military march. Further, Mozart used it in 1791 in his Five Contredanses, K. 609, No. 1. Mozart reused the music of the Agnus Dei of his earlier Krönungsmesse (Coronation Mass) for the Countess' "Dove sono, in C major instead of the original F major.[38] Mozart also reused the motif that begins his early bassoon concerto in another aria sung by the Countess, "Porgi, amor".[citation needed] Franz Liszt quoted the opera in his Fantasy on Themes from Mozart's Marriage of Figaro and Don Giovanni.

text: In 1819, Henry R. Bishop wrote an adaptation of the opera in English, translating from Beaumarchais's play and re-using some of Mozart's music, while adding some of his own.[39]

text: In his 1991 opera, The Ghosts of Versailles, which includes elements of Beaumarchais's third Figaro play (La Mère coupable) and in which the main characters of The Marriage of Figaro also appear, John Corigliano quotes Mozart's opera, especially the overture, several times.

text: Recordings[edit]


document_title: Yours If You Want It

question_text: rascal flatts yours if you want it video cast

root

text: Yours If You Want It

text: History[edit]

text: Rascal Flatts bassist Jay DeMarcus noted that the song was co-written by Andrew Dorff, who died at age 40 shortly before the song was released. He told Rolling Stone that "We've been working really hard and we're very proud of this track and what's more, the late Andrew Dorff is a writer on it, and we are so honored to be a small part of making sure his legacy lives on. We have a special angel watching over it, for sure."[2]

tag: p

text: Music video[edit]

text: The music video was directed by Billy Zabka, starring Kevin Farley and Kristy Swanson, and premiered on CMT, GAC and Vevo in April 2017. Zabka previously directed Rascal Flatts' music video for "Why Wait".

text: Critical reception[edit]

text: Billy Dukes of Taste of Country reviewed the song with favor, saying that "The production of 'Yours If You Want It' is as important as LeVox’s sterling vocals. Every instrument and backing vocal is razor sharp, yet there's no phony shine that often accompanies a heavily produced track. Visit Jay DeMarcus and Joe Don Rooney's simple and well-balanced backing vocals for an example."[3] Matt Bjorke of Roughstock was also favorable, comparing the sound favorably to the band's earlier songs such as "Prayin' for Daylight" while noting the "modern and fresh" production.[4]

text: Commercial performance[edit]

text: The song has sold 88,000 copies in the United States as of June 2017.[5]

text: Charts[edit]

text: For the week ending August 5, 2017, the song became the group's fourteenth number one single. This is the first time since "Here" and "Here Comes Goodbye" in 2009 the group has achieved consecutive number one hits.

text:
Chart (2017)

Peakposition

Canada Country (Billboard)[6]

7

US Billboard Hot 100[7]

71

US Country Airplay (Billboard)[8]

1

US Hot Country Songs (Billboard)[9]

13

tag: table

text: Year-end charts[edit]

text:
Chart (2017)

Position

Canada Country (Billboard)[10]

7

US Country Airplay (Billboard)[11]

13

US Hot Country Songs (Billboard)[12]

33


document_title: 2002 Oakland Athletics season

question_text: who ended the oakland a's winning streak in 2002

question_tokens: who ended the oakland a 's winning streak in 2002

text: 2002 Oakland Athletics season

text: Off-season[edit]

text:
November 2, 2001: Mark Bellhorn was traded by the Oakland Athletics to the Chicago Cubs for Adam Morrissey (minors).[2]
December 14, 2001: David Justice was traded to the Oakland Athletics by the New York Mets for Mark Guthrie and Tyler Yates. This trade was preceded by a swap between the New York Mets and New York Yankees of Robin Ventura for Justice one week prior.[3]
January 11, 2002: Randy Velarde was signed as a free agent by the Oakland Athletics.[4]
March 19, 2002: Justin Duchscherer was traded by the Texas Rangers to the Oakland Athletics for Luis Vizcaíno.[5]

tag: ul

text: Regular season[edit]

text: Summary[edit]

text: Oakland's 2002 campaign began on a tumultuous note. During the 2001–02 offseason, the team lost three key free agents to larger market teams: 2000 AL MVP Jason Giambi to the New York Yankees, outfielder Johnny Damon to the Boston Red Sox, and closer Jason Isringhausen to the St. Louis Cardinals. Faced with a number of significant roster holes, general manager Billy Beane sought to replace Damon and Giambi with free agent hitters Scott Hatteberg, David Justice, and Ray Durham (among others). Beane also made a number of key pitching acquisitions; most notably, he traded for Toronto Blue Jays reliever Billy Koch. Koch ultimately succeeded Isringhausen as the team's closer. Beane also traded for then-unheralded starter Ted Lilly. Additionally, the season saw the MLB debuts of second baseman Mark Ellis and eventual starter Aaron Harang.

text: The new-look Athletics experienced a bumpy start to the 2002 regular season. The team followed a respectable 15-10 start with an abysmal 5-16 run; at the end of their slump, on May 23, the team's record stood at 20-26. From this point forward, the Athletics' fortunes improved significantly. In a prelude to the team's famous late-season winning streak, the Athletics went 16-1 from June 6 to June 24. The surge propelled the club within two games of first place. For now, this was as close as the team would get; a prolonged funk saw the A's play roughly .500 baseball for the next month-and-a-half. This period ended with an unremarkable 2-1 loss to the Toronto Blue Jays on August 12.

text: On August 13, the Athletics began their then-AL-record 20-game win streak. The streak's first win came courtesy of Barry Zito, who allowed three runs (one earned) over eight innings in a 5-4 victory over the Jays. Over the next several weeks, stellar pitching, hitting, and defense all played a significant role in the Athletics' surge. Most notable were the efforts of fourth starter Cory Lidle. During the month of August, Lidle went 5-0 while posting a scant 0.20 earned run average (he allowed one run his final start of the month); three of his five winning decisions fell within the confines of the streak. Even still, many of the Athletics' victories were by narrow margins; closer Billy Koch recorded either a win or save in twelve of the streak's twenty wins.

text: The Athletics' 18th and 19th wins came courtesy of Miguel Tejada game ending hits. On September 4, Oakland sought to win its 20th consecutive game; in doing so, the team hoped to break the 1947 New York Yankees' American League record of nineteen consecutive wins. The opponent was the Kansas City Royals. Over the first three innings of the game, Oakland shelled Kansas City pitchers Paul Byrd and Darrell May for a total of 11 runs while building a seemingly insurmountable 11-0 lead. Sloppy play down the stretch, however, allowed the Royals to score five runs apiece in the fourth and eighth innings. In the ninth, Billy Koch surrendered a two-out single to Royals pinch hitter Luis Alicea; the single allowed pinch runner Kit Pellow to score the tying run. As such, the Athletics entered the bottom of the ninth inning with the score tied at 11-11. In one of the most famous moments in Oakland Athletics history, pinch hitter Scott Hatteberg then hit a one-out solo home run off of Kansas City reliever Jason Grimsley. The home run clinched an AL-record 20th consecutive victory for the Athletics.

text: Oakland's streak came to an end with a 6-0 loss to the Minnesota Twins on September 5. The A's continued to play well down the stretch, as evidenced by their final record of 103-59. The club's late-season surge allowed it to hold off the Anaheim Angels, who finished only four games behind them at 99-63. Oakland's regular season exploits, however, once again failed to translate into postseason success. The team again lost the American League Division Series (this time to the Twins, who also ended the 20-game streak) in five games.

text: Shortstop Miguel Tejada and starting pitcher Barry Zito went on to win the American League MVP and Cy Young Award, respectively. Tejada himself left the Athletics following the 2003 season, while Zito lasted until the end of the 2006 campaign.

text: Game log[edit]

text:
[hide]2002 Game Log (103–59)[6]

April: 15–11 (Home: 10–6 ; Away: 5–5)[show]

#
Date
Opponent
Score
Win
Loss
Save
Attendance
Record
Streak

1
April 1
Rangers
8–3
Mulder (1–0)
Park (0–1)
—
43,908
1–0
W1

2
April 2
Rangers
3–2
Koch (1–0)
Miceli (0–1)
—
10,267
2–0
W2

3
April 3
Rangers
9–6
Mecir (1–0)
Rodriguez (0–1)
Koch (1)
23,259
3–0
W3

4
April 4
Rangers
5–7
Davis (1–0)
Lidle (0–1)
—
15,081
3–1
L1

5
April 5
@ Mariners
1–7
Baldwin (1–0)
Hiljus (0–1)
—
40,303
3–2
L2

6
April 6
@ Mariners
8–3
Mulder (2–0)
García (0–2)
—
45,093
4–2
W1

7
April 7
@ Mariners
6–5
Hudson (1–0)
Moyer (0–1)
Koch (2)
39,870
5–2
W2

8
April 9
@ Rangers
5–4 (11)
Koch (2–0)
Seánez (0–1)
—
20,158
6–2
W3

9
April 10
@ Rangers
2–4
Burba (1–0)
Lidle (0–2)
Rocker (1)
21,384
6–3
L1

10
April 11
@ Rangers
0–7
Davis (2–0)
Mulder (2–1)
—
21,903
6–4
L2

11
April 12
@ Angels
5–1
Hudson (2–0)
Ortiz (1–1)
—
31,815
7–4
W1

12
April 13
@ Angels
7–2
Hiljus (1–1)
Washburn (0–2)
—
33,554
8–4
W2

13
April 14
@ Angels
1–4
Appier (1–1)
Zito (0–1)
Levine (3)
32,881
8–5
L1

14
April 16
Mariners
2–6 (7)
Piñeiro (1–0)
Lidle (0–3)
—
13,022
8–6
L2

15
April 17
Mariners
4–7
Moyer (2–1)
Hudson (2–1)
Sasaki (4)
31,260
8–7
L3

16
April 18
Angels
4–2
Hiljus (2–1)
Ortiz (1–2)
Koch (3)
9,145
9–7
W1

17
April 19
Angels
7–9
Washburn (1–2)
Fyhrie (0–1)
Percival (2)
12,468
9–8
L1

18
April 20
Angels
8–7
Bradford (1–0)
Levine (1–1)
Koch (4)
20,253
10–8
W1

19
April 21
Angels
6–5
Venafro (1–0)
Percival (0–1)
—
20,088
11–8
W2

20
April 23
Yankees
1–2
Hernández (3–1)
Hudson (2–2)
Rivera (6)
40,360
11–9
L1

21
April 24
Yankees
5–8
Stanton (1–0)
Magnante (0–1)
Rivera (7)
54,513
11–10
L2

22
April 25
Yankees
6–2
Zito (1–1)
Mussina (3–1)
—
31,870
12–10
W1

23
April 26
White Sox
6–4
Lidle (1–3)
Parque (0–1)
Koch (5)
10,129
13–10
W2

24
April 27
White Sox
16–1
Fyhrie (1–1)
Buehrle (4–2)
—
26,111
14–10
W3

25
April 28
White Sox
10–0
Hudson (3–2)
Ritchie (2–2)
—
20,365
15–10
W4

26
April 30
@ Yankees
2–8
Wells (4–0)
Zito (1–2)
—
32,888
15–11
L1

May: 10–17 (Home: 5–7 ; Away: 5–10)[show]

#
Date
Opponent
Score
Win
Loss
Save
Attendance
Record
Streak

27
May 1
@ Yankees
4–1
Hiljus (3–1)
Mussina (3–2)
Koch (6)
31,006
16–11
W1

28
May 2
@ Yankees
2–9
Clemens (4–2)
Lidle (1–4)
—
30,463
16–12
L1

29
May 3
@ White Sox
1–6
Buehrle (5–2)
Fyhrie (1–2)
—
15,746
16–13
L2

30
May 4
@ White Sox
2–10
Ritchie (3–2)
Hudson (3–3)
—
27,511
16–14
L3

31
May 5
@ White Sox
3–2
Zito (2–2)
Wright (3–3)
Koch (7)
27,275
17–14
W1

32
May 7
Red Sox
7–9
Arrojo (2–0)
Mecir (1–1)
Urbina (12)
19,715
17–15
L1

33
May 8
Red Sox
6–12
Burkett (3–0)
Hiljus (3–2)
—
40,155
17–16
L2

34
May 9
Red Sox
1–5
Lowe (5–1)
Hudson (3–4)
—
18,477
17–17
L3

35
May 10
Blue Jays
2–6
Prokopec (2–4)
Mulder (2–2)
—
10,824
17–18
L4

36
May 11
Blue Jays
7–4
Zito (3–2)
Miller (2–1)
—
21,115
18–18
W1

37
May 12
Blue Jays
4–11
Halladay (3–1)
Lidle (1–5)
Walker (1)
19,519
18–19
L1

38
May 14
@ Red Sox
2–6
Burkett (4–0)
Hudson (3–5)
—
31,404
18–20
L2

39
May 15
@ Red Sox
2–8
Lowe (6–1)
Hiljus (3–3)
—
32,346
18–21
L3

40
May 16
@ Red Sox
5–0
Zito (4–2)
Castillo (2–4)
—
33,057
19–21
W1

41
May 17
@ Blue Jays
1–7
Halladay (4–1)
Mulder (2–3)
—
14,061
19–22
L1

42
May 18
@ Blue Jays
3–6
Miller (3–1)
Fyhrie (1–3)
Escobar (7)
17,846
19–23
L2

43
May 19
@ Blue Jays
0–11
Loaiza (2–0)
Hudson (3–6)
—
23,408
19–24
L3

44
May 21
Orioles
4–6 (14)
Driskill (1–0)
Venafro (1–1)
Julio (9)
10,245
19–25
L4

45
May 22
Orioles
7–6
Fyhrie (2–3)
Maduro (2–4)
Koch (8)
20,444
20–25
W1

46
May 23
Orioles
3–11
Ponson (3–3)
Mulder (2–4)
—
11,737
20–26
L1

47
May 24
Devil Rays
9–8
Mecir (2–1)
Zambrano (1–4)
Koch (9)
25,458
21–26
W1

48
May 25
Devil Rays
6–0
Harang (1–0)
Harper (1–2)
Bradford (1)
31,697
22–26
W2

49
May 26
Devil Rays
7–0
Zito (5–2)
Kennedy (1–2)
—
15,943
23–26
W3

50
May 28
@ Orioles
5–2
Mulder (3–4)
Maduro (2–5)
Koch (10)
24,825
24–26
W4

51
May 29
@ Orioles
5–10
Bauer (2–2)
Fyhrie (2–4)
—
24,913
24–27
L1

52
May 30
@ Devil Rays
3–4 (13)
Harper (2–2)
Bradford (1–1)
—
10,130
24–28
L2

53
May 31
@ Devil Rays
13–9
Venafro (2–1)
Yan (2–2)
—
10,227
25–28
W1

June: 21–7 (Home: 10–3 ; Away: 11–4)[show]

#
Date
Opponent
Score
Win
Loss
Save
Attendance
Record
Streak

54
June 1
@ Devil Rays
8–3
Zito (6–2)
Kennedy (3–5)
—
14,073
26–28
W2

55
June 2
@ Devil Rays
4–2
Mulder (4–4)
Rupe (5–6)
Koch (11)
10,563
27–28
W3

56
June 3
Mariners
1–4
García (7–4)
Harang (1–1)
Sasaki (13)
14,188
27–29
L1

57
June 4
Mariners
3–2 (10)
Koch (3–0)
Hasegawa (3–1)
—
13,528
28–29
W1

58
June 5
Mariners
0–5
Moyer (5–2)
Lidle (1–6)
—
35,647
28–30
L1

59
June 6
Mariners
10–4
Zito (7–2)
Baldwin (4–5)
—
27,344
29–30
W1

60
June 7
Astros
5–3
Mulder (5–4)
Oswalt (6–4)
Koch (12)
17,453
30–30
W2

61
June 8
Astros
5–1
Harang (2–1)
Reynolds (3–6)
—
27,115
31–30
W3

62
June 9
Astros
7–6
Koch (4–0)
Dotel (3–3)
—
35,065
32–30
W4

63
June 10
Brewers
8–6
Bradford (2–1)
de los Santos (1–2)
Koch (13)
10,584
33–30
W5

64
June 11
Brewers
11–2
Zito (8–2)
Figueroa (1–4)
—
11,223
34–30
W6

65
June 12
Brewers
8–0
Mulder (6–4)
Sheets (3–7)
—
20,847
35–30
W7

66
June 14
@ Giants
3–2
Hudson (4–6)
Schmidt (2–2)
Koch (14)
41,457
36–30
W8

67
June 15
@ Giants
2–6
Zerbe (2–0)
Harang (2–2)
—
41,298
36–31
L1

68
June 16
@ Giants
2–1
Zito (9–2)
Rueter (7–5)
Koch (15)
41,550
37–31
W1

69
June 18
@ Pirates
4–2
Mulder (7–4)
Fogg (7–5)
Koch (16)
21,943
38–31
W2

70
June 19
@ Pirates
3–2 (10)
Bradford (3–1)
Williams (1–2)
Koch (17)
30,562
39–31
W3

71
June 20
@ Pirates
5–3
Hudson (5–6)
Benson (0–4)
Koch (18)
22,464
40–31
W4

72
June 21
@ Reds
5–3
Harang (3–2)
Williamson (2–1)
Koch (19)
26,101
41–31
W5

73
June 22
@ Reds
10–3
Zito (10–2)
Chen (2–4)
—
27,243
42–31
W6

74
June 23
@ Reds
5–1
Mulder (8–4)
Reitsma (3–5)
—
23,961
43–31
W7

75
June 24
@ Mariners
13–2
Lidle (2–6)
García (10–5)
—
45,602
44–31
W8

76
June 25
@ Mariners
1–7
Baldwin (6–6)
Hudson (5–7)
—
43,985
44–32
L1

77
June 26
@ Mariners
0–1
Hasegawa (4–1)
Bradford (3–2)
Sasaki (18)
42,120
44–33
L2

78
June 27
@ Mariners
4–7
Halama (3–2)
Zito (10–3)
Rhodes (1)
42,159
44–34
L3

79
June 28
Giants
10–6
Mulder (9–4)
Hernández (6–9)
—
46,345
45–34
W1

80
June 29
Giants
3–5
Schmidt (4–2)
Lidle (2–7)
Nen (21)
53,501
45–35
L1

81
June 30
Giants
7–0
Hudson (6–7)
Ortiz (6–5)
—
54,123
46–35
W1

July: 15–12 (Home: 8–7 ; Away: 7–5)[show]

#
Date
Opponent
Score
Win
Loss
Save
Attendance
Record
Streak

82
July 1
Twins
4–5
Romero (4–1)
Venafro (2–2)
Guardado (25)
13,503
46–36
L1

83
July 2
Twins
4–3
Bradford (4–2)
Guardado (1–2)
—
15,317
47–36
W1

84
July 3
Twins
1–2
Santana (4–1)
Mulder (9–5)
Guardado (26)
30,213
47–37
L1

85
July 4
Royals
3–2
Koch (5–0)
Hernández (1–1)
—
28,315
48–37
W1

86
July 5
Royals
4–3
Mecir (3–1)
Hernández (1–2)
—
53,802
49–37
W2

87
July 6
Royals
3–4 (10)
Mullen (1–2)
Koch (5–1)
Voyles (1)
18,259
49–38
L1

88
July 7
Royals
3–2
Zito (11–3)
Byrd (11–6)
Koch (20)
31,676
50–38
W1

All–Star Break (July 8–10)

89
July 11
@ Orioles
4–1
Mulder (10–5)
Erickson (3–9)
Koch (21)
32,507
51–38
W2

90
July 12
@ Orioles
1–0
Hudson (7–7)
Johnson (3–6)
Koch (22)
33,366
52–38
W3

91
July 13
@ Orioles
6–0
Zito (12–3)
Driskill (6–2)
—
36,100
53–38
W4

92
July 14
@ Orioles
3–6
López (9–3)
Lidle (2–8)
Julio (18)
32,853
53–39
L1

93
July 15
@ Devil Rays
4–0
Lilly (4–6)
Rupe (5–10)
—
10,116
54–39
W1

94
July 16
@ Devil Rays
2–1
Mulder (11–5)
Sosa (0–2)
Koch (23)
10,592
55–39
W2

95
July 17
Angels
4–10
Appier (8–7)
Hudson (7–8)
—
38,547
55–40
L1

96
July 18
Angels
2–0
Zito (13–3)
Sele (7–7)
Koch (24)
15,733
56–40
W1

97
July 19
Rangers
10–0
Lidle (3–8)
Myette (0–1)
—
21,445
57–40
W2

98
July 20
Rangers
6–5
Koch (6–1)
Burba (4–5)
—
31,129
58–40
W3

99
July 21
Rangers
3–7 (12)
Powell (2–1)
Mecir (3–2)
—
27,567
58–41
L1

100
July 23
@ Angels
2–1
Zito (14–3)
Appier (8–8)
Koch (25)
25,370
59–41
W1

101
July 24
@ Angels
1–5
Sele (8–7)
Hudson (7–9)
—
25,240
59–42
L1

102
July 25
@ Angels
4–5
Shields (3–1)
Mecir (3–3)
Weber (5)
31,653
59–43
L2

103
July 26
@ Rangers
4–12
Rodriguez (1–1)
Mulder (11–6)
—
34,585
59–44
L3

104
July 27
@ Rangers
6–10 (10)
Kolb (1–0)
Koch (6–2)
—
35,359
59–45
L4

105
July 28
@ Rangers
12–2
Zito (15–3)
Alvarez (0–3)
—
24,022
60–45
W1

106
July 29
Indians
6–8
Mulholland (1–0)
Magnante (0–2)
Wohlers (1)
18,297
60–46
L1

107
July 30
Indians
4–5
Drese (9–8)
Lidle (3–9)
Wohlers (2)
14,737
60–47
L2

108
July 31
Indians
6–4
Mulder (12–6)
Westbrook (0–1)
Koch (26)
47,574
61–47
W1

August: 24–4 (Home: 10–2 ; Away: 14–2)[show]

#
Date
Opponent
Score
Win
Loss
Save
Attendance
Record
Streak

109
August 1
Tigers
5–3
Bowie (1–0)
Sparks (5–11)
Koch (27)
13,861
62–47
W2

110
August 2
Tigers
1–3
Redman (7–9)
Zito (15–4)
Acevedo (19)
17,197
62–48
L1

111
August 3
Tigers
8–4
Hudson (8–9)
Lima (2–5)
—
29,648
63–48
W1

112
August 4
Tigers
4–0
Lidle (4–9)
Maroth (3–4)
—
24,546
64–48
W2

113
August 6
@ Red Sox
9–1
Mulder (13–6)
Wakefield (5–4)
—
34,059
65–48
W3

114
August 7
@ Red Sox
3–2
Harang (4–2)
Burkett (10–5)
Koch (28)
33,325
66–48
W4

115
August 8
@ Red Sox
2–4
Lowe (16–5)
Zito (15–5)
Urbina (26)
33,855
66–49
L1

116
August 9
@ Yankees
3–2 (16)
Bowie (2–0)
Hitchcock (1–1)
—
54,316
67–49
W1

117
August 10
@ Yankees
8–0
Lidle (5–9)
Wells (12–6)
—
54,439
68–49
W2

118
August 11
@ Yankees
5–8
Mussina (14–6)
Mulder (13–7)
—
54,703
68–50
L1

119
August 12
Blue Jays
1–2
Loaiza (5–6)
Harang (4–3)
Escobar (24)
14,178
68–51
L2

120
August 13
Blue Jays
5–4
Zito (16–5)
Carpenter (4–5)
Koch (29)
17,466
69–51
W1

121
August 14
Blue Jays
4–2
Hudson (9–9)
Walker (5–3)
Koch (30)
40,528
70–51
W2

122
August 16
White Sox
1–0
Lidle (6–9)
Buehrle (15–9)
Koch (31)
22,622
71–51
W3

123
August 17
White Sox
9–2
Mulder (14–7)
Garland (8–9)
—
40,658
72–51
W4

124
August 18
White Sox
7–4
Zito (17–5)
Wright (8–11)
—
31,489
73–51
W5

125
August 19
@ Indians
8–1
Hudson (10–9)
Báez (9–10)
—
27,696
74–51
W6

126
August 20
@ Indians
6–3
Harang (5–3)
Westbrook (1–2)
Koch (32)
27,527
75–51
W7

127
August 21
@ Indians
6–0
Lidle (7–9)
Rodríguez (0–1)
—
26,916
76–51
W8

128
August 22
@ Indians
9–3
Mulder (15–7)
Phillips (1–2)
Bradford (2)
27,759
77–51
W9

129
August 23
@ Tigers
9–1
Zito (18–5)
Powell (1–3)
—
21,807
78–51
W10

130
August 24
@ Tigers
12–3
Hudson (11–9)
Lima (4–6)
—
19,045
79–51
W11

131
August 25
@ Tigers
10–7
Mecir (4–3)
Walker (1–1)
Koch (33)
24,346
80–51
W12

132
August 26
@ Royals
6–3
Lidle (8–9)
May (3–9)
Koch (34)
11,096
81–51
W13

133
August 27
@ Royals
6–4
Mulder (16–7)
Hernández (3–3)
Koch (35)
13,077
82–51
W14

134
August 28
@ Royals
7–1
Zito (19–5)
Sedlacek (3–4)
—
15,952
83–51
W15

135
August 30
Twins
4–2
Hudson (12–9)
Radke (6–4)
Koch (36)
25,221
84–51
W16

136
August 31
Twins
6–3
Mecir (5–3)
Romero (8–2)
Koch (37)
42,841
85–51
W17

September: 18–8 (Home: 11–2 ; Away: 7–6)[show]

#
Date
Opponent
Score
Win
Loss
Save
Attendance
Record
Streak

137
September 1
Twins
7–5
Koch (7–2)
Guardado (1–3)
—
37,676
86–51
W18

138
September 2
Royals
7–6
Koch (8–2)
Grimsley (3–5)
—
26,325
87–51
W19

139
September 4
Royals
12–11
Koch (9–2)
Grimsley (3–6)
—
55,528
88–51
W20

140
September 6
@ Twins
0–6
Radke (7–4)
Lidle (8–10)
—
27,409
88–52
L1

141
September 7
@ Twins
2–0
Mulder (17–7)
Mays (3–6)
Koch (38)
43,628
89–52
W1

142
September 8
@ Twins
6–0
Zito (20–5)
Milton (13–8)
—
20,102
90–52
W2

143
September 9
@ Angels
2–1
Hudson (13–9)
Appier (14–10)
Koch (39)
28,145
91–52
W3

144
September 10
@ Angels
2–5
Ortiz (13–9)
Lilly (4–7)
Percival (36)
35,323
91–53
L1

145
September 11
@ Angels
5–6
Shields (4–3)
Tam (0–1)
Percival (37)
34,302
91–54
L2

146
September 12
@ Angels
6–7
Donnelly (1–1)
Koch (9–3)
—
31,304
91–55
L3

147
September 13
Mariners
5–0
Zito (21–5)
Valdez (8–11)
—
38,210
92–55
W1

148
September 14
Mariners
1–0
Hudson (14–9)
Moyer (13–8)
—
40,309
93–55
W2

149
September 15
Mariners
3–6
Piñeiro (14–6)
Harang (5–4)
Sasaki (35)
38,783
93–56
L1

150
September 16
Angels
4–3
Koch (10–3)
Levine (4–4)
—
22,326
94–56
W1

151
September 17
Angels
0–1 (10)
Weber (7–2)
Koch (10–4)
Percival (40)
25,894
94–57
L1

152
September 18
Angels
7–4
Zito (22–5)
Callaway (1–1)
Koch (40)
50,730
95–57
W1

153
September 19
Angels
5–3
Hudson (15–9)
Appier (14–11)
Koch (41)
27,435
96–57
W2

154
September 20
Rangers
4–2
Mecir (6–3)
Kolb (3–5)
Rincón (1)
25,281
97–57
W3

155
September 21
Rangers
6–3
Tam (1–1)
Nitkowski (0–1)
Koch (42)
24,862
98–57
W4

156
September 22
Rangers
7–5
Mulder (18–7)
Park (9–7)
Koch (43)
35,697
99–57
W5

157
September 24
@ Mariners
7–8
Hasegawa (8–2)
Tam (1–2)
Rhodes (2)
39,037
99–58
L1

158
September 25
@ Mariners
2–3
Rhodes (10–4)
Mecir (6–4)
Sasaki (37)
39,776
99–59
L2

159
September 26
@ Mariners
5–3 (10)
Koch (11–4)
Hasegawa (8–3)
—
45,822
100–59
W1

160
September 27
@ Rangers
3–2
Mulder (19–7)
Park (9–8)
Koch (44)
31,521
101–59
W2

161
September 28
@ Rangers
10–8
Lilly (5–7)
Kolb (3–6)
Mecir (1)
44,442
102–59
W3

162
September 29
@ Rangers
8–7
Zito (23–5)
Benoit (4–5)
—
34,529
103–59
W4

Legend:           = Win           = Loss           = Postponement
Bold = Athletics team member

text: Season standings[edit]

text:
v
t
e

AL West
W
L
Pct.
GB
Home
Road

Oakland Athletics
103
59
0.636
—
54–27
49–32

Anaheim Angels
99
63
0.611
4
54–27
45–36

Seattle Mariners
93
69
0.574
10
48–33
45–36

Texas Rangers
72
90
0.444
31
42–39
30–51

text: Record vs. opponents[edit]

text:
2002 American League Records

v
t
e

Sources:
[1] [2] [3] [4] [5] [6] [7] [8] [9] [10] [11] [12] [13] [14]

Team
ANA
BAL
BOS
CWS
CLE
DET
KC
MIN
NYY
OAK
SEA
TB
TEX
TOR
NL

Anaheim
—
7–2
3–4
6–3
6–3
8–1
6–3
4–5
3–4
9–11
9–10
8–1
12–7
7–2
11–7

Baltimore
2–7
—
6–13
3–4
1–5
2–4
7–0
5–1
6–13
4–5
5–4
10–9
3–6
4–15
9–9

Boston
4–3
13–6
—
2–4
5–4
5–4
4–2
3–3
9–10
6–3
4–5
16–3
4–3
13–6
5–13

Chicago
3–6
4–3
4–2
—
9–10
12–7
11–8
8–11
2–4
2–7
5–4
4–3
5–4
4–2
8–10

Cleveland
3–6
5–1
4–5
10–9
—
10–9
9–10
8–11
3–6
2–5
3–4
4–2
4–5
3–3
6–12

Detroit
1–8
4–2
4–5
7–12
9–10
—
9–10
4–14
1–8
1–6
2–5
2–4
5–4
0–6
6–12

Kansas City
3–6
0–7
2–4
8–11
10–9
10–9
—
5–14
1–5
1–8
3–6
4–2
7–2
3–4
5–13

Minnesota
5–4
1–5
3–3
11–8
11–8
14–4
14–5
—
0–6
3–6
5–4
5–2
6–3
6–1
10–8

New York
4–3
13–6
10–9
4–2
6–3
8–1
5–1
6–0
—
5–4
4–5
13–5
4–3
10–9
11–7

Oakland
11–9
5–4
3–6
7–2
5–2
6–1
8–1
6–3
4–5
—
8–11
8–1
13–6
3–6
16–2

Seattle
10–9
4–5
5–4
4–5
4–3
5–2
6–3
4–5
5–4
11–8
—
5–4
13–7
6–3
11–7

Tampa Bay
1–8
9–10
3–16
3–4
2–4
4–2
2–4
2–5
5–13
1–8
4–5
—
4–5
8–11
7–11

Texas
7–12
6–3
3–4
4–5
5–4
4–5
2–7
3–6
3–4
6–13
7–13
5–4
—
8–1
9–9

Toronto
2–7
15–4
6–13
2–4
3–3
6–0
4–3
1–6
9–10
6–3
3–6
11–8
1–8
—
9–9

text: Draft picks[edit]

text:
June 4, 2002: Nick Swisher was drafted by the Oakland Athletics in the 1st round (16th pick, compensatory) of the 2002 amateur draft.
June 4, 2002: Joe Blanton was drafted by the Oakland Athletics in the 1st round (24th pick, compensatory) of the amateur draft.
June 4, 2002: John McCurdy was drafted by the Oakland Athletics in the 1st round (26th pick) of the amateur draft.
June 4, 2002: Benjamin Fritz was drafted by the Oakland Athletics in the 1st round (30th pick, compensatory) of the amateur draft.
June 4, 2002: Jeremy Brown was drafted by the Oakland Athletics in the 1st round (35th pick, compensatory) of the amateur draft.
June 4, 2002: Mark Teahen was drafted by the Oakland Athletics in the 1st round (39th pick, compensatory) of the amateur draft.

text: Trades[edit]

text:
May 22, 2002: John Mabry was traded by the Philadelphia Phillies to the Oakland Athletics for Jeremy Giambi.[7]
June 21, 2002: Bob Ryan was traded to the Boston Red Sox for cash considerations.[7]
July 5, 2002: Jeff Weaver was traded by the Detroit Tigers to the New York Yankees, and cash was sent by the Tigers to the Oakland Athletics, as part of a 3-team trade. The Athletics sent Carlos Peña, Franklyn Germán, and a player to be named later to the Tigers. The Yankees sent Ted Lilly, John-Ford Griffin, and Jason Arnold (minors) to the Athletics. The Athletics completed the trade by sending Jeremy Bonderman to the Tigers on August 22, 2002.[8]
July 25, 2002: Ray Durham was traded by the Chicago White Sox to the Oakland Athletics with cash for Jon Adkins.[9]
July 30, 2002: Ricardo Rincón was traded by the Cleveland Indians to the Oakland Athletics for Marshall McDougall.[7]

text: Roster[edit]

text:
2002 Oakland Athletics

Roster

Pitchers

57 Micah Bowie
53 Chad Bradford
49 Mike Fyhrie
56 Aaron Harang
37 Erik Hiljus
31 Mike Holtz
15 Tim Hudson
44 Billy Koch
21 Cory Lidle
31 Ted Lilly
52 Mike Magnante
45 Jim Mecir
20 Mark Mulder
73 Ricardo Rincón
29 Jeff Tam
33 Mike Venafro
75 Barry Zito

Catchers

 2 Jason Grabowski
55 Ramón Hernández
26 Cody McKay
28 Greg Myers

Infielders

 3 Eric Chavez
 5 Ray Durham
14 Mark Ellis
30 Jose Flores
40 Esteban Germán
10 Scott Hatteberg
11 Frank Menechino
 2 Carlos Peña
 9 Olmedo Sáenz
19 Larry Sutton
 4 Miguel Tejada
 8 Randy Velarde

Outfielders

22 Eric Byrnes
30 Mike Colangelo
24 Jermaine Dye
 7 Jeremy Giambi
23 David Justice
12 Terrence Long
47 John Mabry
 6 Adam Piatt

Manager

18 Art Howe

Coaches

41 Thad Bosley (Hitting)
35 Brad Fischer (Bullpen)
39 Ken Macha (Bench)
47 Rick Peterson (Pitching)
48 Mike Quade (First Base)
38 Ron Washington (Third Base)

text: Postseason[edit]

text: The Athletics clinched the American League West with a regular season record of 103–59, advancing to the first round of the postseason. They were defeated in the 2002 American League Division Series three games to two by the American League Central champion Minnesota Twins,[10] who would be defeated in the 2002 American League Championship Series by the eventual World Series champion Anaheim Angels.

text: Postseason game log[edit]

text:
[hide]2002 Postseason Game Log (2–3)[10]

2002 AL Division Series vs. Minnesota Twins: Athletics lose 2–3[show]

#
Date
Opponent
Score
Win
Loss
Save
Attendance
Series

1
October 1
Twins
5–7
Radke (1–0)
Lilly (0–1)
Guardado (1)
34,853
MIN 1–0

2
October 2
Twins
9–1
Mulder (1–0)
Mays (0–1)
—
31,953
Tied 1–1

3
October 4
@ Twins
6–3
Zito (1–0)
Reed (0–1)
Koch (1)
55,932
OAK 2–1

4
October 5
@ Twins
2–11
Milton (1–0)
Hudson (0–1)
—
55,960
Tied 2–2

5
October 6
Twins
4–5
Radke (2–0)
Mulder (1–1)
—
32,146
MIN 3–2

Legend:           = Win           = Loss           = Postponement
Bold = Athletics team member

text: Player statistics[edit]

text: Pitching[edit]

text:
Player
POS
G
IP
W
L
SV
ERA
SO

Tim Hudson
SP
34
238.1
15
9
0
2.98
152

Barry Zito
SP
35
229.1
23
5
0
2.75
182

Mark Mulder
SP
30
207.1
19
7
0
3.47
159

Cory Lidle
SP
31
192.0
8
10
0
3.89
111

Aaron Harang
SP
16
78.1
5
4
0
4.83
64

Billy Koch
CP
84
93.2
11
4
44
3.27
93

Chad Bradford
RP
75
75.1
4
2
2
3.11
56

Jim Mecir
RP
61
67.2
6
4
1
4.26
53

Jeff Tam
RP
40
40.1
1
2
0
5.13
14

Mike Venafro
RP
47
37.0
2
2
0
4.62
16

Mike Fyhrie
RP/SP
16
48.2
2
4
0
4.44
29

Erik Hiljus
RP/SP
9
45.2
3
3
0
6.50
29

Mike Magnante
RP
32
28.2
0
2
0
5.97
11

Ted Lilly
RP/SP
6
23.1
2
1
0
4.63
18

Ricardo Rincón
RP
25
20.1
0
0
1
3.10
19

Mike Holtz
RP
16
14.0
0
0
0
6.43
7

Micah Bowie
RP
13
12.0
2
0
0
1.50
8

Totals
1452.0
103
59
48
3.68
1021

AL Ranking / 14
2
1
13
4
1
7

text: Batting[edit]

text:
Player
POS
G
AB
AVG
OBP
H
2B
3B
HR
RBI

Ramón Hernández
C
136
403
.233
.313
94
20
0
7
42

Scott Hatteberg
1B
136
492
.280
.374
138
22
4
15
61

Mark Ellis
2B
98
345
.272
.359
94
16
4
6
35

Eric Chavez
3B
153
585
.275
.348
161
31
3
34
109

Miguel Tejada
SS
162
662
.308
.354
204
30
0
34
131

David Justice
LF
118
398
.266
.376
106
18
3
11
49

Terrence Long
CF
162
587
.240
.298
141
32
4
16
67

Jermaine Dye
RF
131
488
.252
.333
123
27
1
24
86

Ray Durham
DH
54
219
.274
.350
60
14
4
6
22

John Mabry
LF
89
193
.275
.322
53
13
1
11
40

Jeremy Giambi
LF
42
157
.274
.390
43
7
0
8
17

Olmedo Sáenz
1B
68
156
.276
.354
43
10
1
6
18

Greg Myers
C
65
144
.222
.341
32
5
0
6
21

Randy Velarde
2B
56
133
.226
.325
30
8
0
2
8

Frank Menechino
2B
38
132
.312
.312
27
7
0
3
15

Adam Piatt
LF
55
137
.234
.303
32
8
0
5
18

Carlos Peña
1B
40
124
.218
.305
27
4
0
7
16

Eric Byrnes
UT
90
94
.245
.291
23
4
2
3
11

Esteban Germán
2B
9
35
.200
.300
7
0
0
0
0

Mike Colangelo
OF
20
23
.174
.240
4
1
0
0
0

Larry Sutton
UT
7
19
.105
.150
2
0
0
1
3

Jason Grabowski
LF
4
8
.375
.545
3
1
1
0
1

Jose Flores
UT
7
3
.000
.400
0
0
0
0
0

Cody McKay
C
2
3
.667
.500
2
0
0
0
2

Barry Zito
P
35
4
.000
.000
0
0
0
0
0

Tim Hudson
P
34
5
.200
.333
1
1
0
0
0

Mark Mulder
P
30
5
.000
.000
0
0
0
0
0

Aaron Harang
P
16
3
.000
.000
0
0
0
0
0

Cory Lidle
P
31
1
.000
.000
0
0
0
0
0

Totals
5558
.261
.339
1450
279
28
205
772

AL Ranking / 14
9
8
5
9
12
10
4
—

text: Note: Only players with at least one at-bat are listed.

text: Farm system[edit]

text: Baseball portal

text:
Level
Team
League
Manager

AAA
Sacramento RiverCats
Pacific Coast League
Bob Geren

AA
Midland RockHounds
Texas League
Tony DeFrancesco

A
Modesto A's
California League
Greg Sparks

A
Visalia Oaks
California League
Webster Garrison

A-Short Season
Vancouver Canadians
Northwest League
Orv Franchuk

Rookie
AZL Athletics
Arizona League
Ruben Escalera


document_title: Leo McGarry

question_text: when does leo have a heart attack on west wing

text: Leo McGarry

text: Creation and development[edit]

text: In crafting the character of Leo McGarry, series creator Aaron Sorkin said he envisioned John Spencer in the part but had not imagined he would be available.[1] Although he had recently decided he did not want to do another TV drama series due to the long hours, Spencer was so impressed by the pilot script that he took the part.[2] Like the character, Spencer was a recovering alcoholic, and said he found he could relate to McGarry because "Leo's in recovery, too."[3]

text: In an earlier draft of the pilot script, dated February 6, 1998, McGarry is called "Leo Jacobi" and is described as being aged 55 and "professorial".[4]

text: Character biography[edit]

text: Early life[edit]

text: Leo McGarry is from Chicago, Illinois born in 1948, though he seems to have some family connection to Boston, Massachusetts. He is of Irish and Scottish ancestry, and has at least two sisters, Elizabeth McGarry and Josephine McGarry, Ph.D., the latter serving as a school district superintendent in Atlanta.[5][6] He divorces from his wife of several decades, Jenny, in late 2000 as his workaholic attitude is shown to take a toll on his personal life, with McGarry admitting that he considers his job in the White House more important than his marriage.[7] He and his ex-wife have one daughter, Mallory O'Brien, who teaches fourth grade. McGarry is a recovering alcoholic and Valium addict. His father was also an alcoholic, who committed suicide.[8]

text: McGarry is a United States Air Force veteran, having flown a F-105 Thunderchief with the 355th Tactical Fighter Wing out of Takhli Royal Thai Air Force Base in the Vietnam War.[9] During the war, he was shot down and wounded. Prior to working in the White House, McGarry had been the United States Secretary of Labor during a presidency prior to the beginning of the show. He also speaks fluent Spanish. McGarry amassed significant wealth during his life in the private sector as a member of the board of directors of a defense contractor, Mueller-Wright Aeronautics, for ten or twelve years.[10] He also worked for Cultico, a chemical-agribusiness firm that was blamed for a disaster in Haryana, India in the 1980s. On more than one occasion, it is made known that he is the wealthiest member of the staff - even more than the President himself. McGarry scored 1400 on his SAT. It is implied in the episode "And It's Surely to Their Credit" that McGarry is an attorney.[11] It's also implied in the episode "The Portland Trip" that he has some association with the University of Michigan.

text: White House Chief of Staff[edit]

text: In 1997, Leo travels to New Hampshire in an attempt to persuade his old friend Governor Josiah Bartlet to run for the Democratic presidential nomination. Having persuaded Bartlet, McGarry becomes his campaign manager and general chairman of the "Bartlet For America" campaign, hiring Josh Lyman, Toby Ziegler, C.J. Cregg, and Sam Seaborn as advisors. Eventually, Governor Bartlet, who was considered to be an insurgent candidate by the media, defeats Senator John Hoynes of Texas for the nomination and goes on to win the presidency, appointing McGarry as his Chief of Staff.[8]

text: As President Bartlet's top advisor, McGarry has an office adjacent to the Oval Office and sits in with the President in the Situation Room. McGarry is very involved in the formation of policy and the day-to-day operations of the White House and its staff. Some of his inspirations include "Big Block of Cheese Day," where groups that would normally not be considered for White House attention get to have meetings with senior staffers, and a plan to make the staffers submit two-page reports on policy issues or get ignored. On more than one occasion, McGarry is said to be the man who "runs the country" and is treated with great respect by people on both sides of the aisle.[12] When President Bartlet is giving instructions to the Cabinet member who is appointed the designated survivor during the State of the Union address, he asks the man if he has a best friend, if that friend is smarter than he is, and if he could trust that friend with his life. The Cabinet member says yes on all counts. Bartlet then says, "That's your Chief of Staff," not aware McGarry has heard him in the next room and broken into a smile, visibly moved.

text: In season six, during a Middle East peace negotiation at Camp David, McGarry finds it impossible to support Bartlet's position about sending thousands of American soldiers to the West Bank and Gaza as part of an Israeli-Palestinian agreement, and Bartlet and McGarry come to an agreement that McGarry will resign at the first available opportunity. Minutes after the conversation, McGarry suffers a near-fatal heart attack and collapses while walking alone on the grounds. He is resuscitated, survives, and later returns to work after Bartlet's last State of the Union address in a new role as Senior Counselor to the President. McGarry is succeeded as White House Chief of Staff by his personal recommendation, C. J. Cregg, who previously served as the White House Press Secretary.

text: Senior Counselor to the President[edit]

text: As Senior Counselor, Leo encourages staffers to present new ideas and resurrect old policy initiatives that have been abandoned out of political necessity, insisting that they could "accomplish more in one day in the White House than in a lifetime" once they leave. He maintains a board in his office that shows how many days remain for the Administration and the initiatives which have been proposed. Among these initiatives are a serious attempt at health care reform, new foreign policy approaches in Latin America, and trying to convince Congress to enact an earned income tax credit (called by Charlie Young and Annabeth Schott a 'poor tax' to make it easier to defend). Leo also leads an attempt to open negotiations between the US and Cuba to lift the blockade and reestablish diplomatic relations, an issue which faces significant opposition from Republicans, Democrats, and the intelligence community. The initiative is eventually endorsed by President Bartlet in a televised address to the nation, vindicating Leo's efforts and allowing him to accomplish what he had failed to do as Labor Secretary at a summit in 1995.

text: In the aftermath of Josh's departure to run Matt Santos's presidential campaign, Leo begins taking on some of the assignments from Josh's portfolio at C.J.'s request. However, he points out to her that Josh's departure has left a significant workload that requires a new Deputy White House Chief of Staff on a permanent basis. Seeing similarities with Josh, Leo champions lobbyist Cliff Calley to take over strategic planning and legislative affairs. Although C.J. is at first reluctant to hire the Republican to fill Josh's position, Leo convinces her that Cliff is a good man who once saved him and the Bartlet administration from being humiliated. C.J. later sees the similarities herself between Cliff and Josh and convinces him to take over as his replacement.

text: 2006 vice presidential campaign[edit]

text: Bartlet asks Leo to run the Democratic National Convention when it seems likely to deadlock. The Democratic Party's eventual presidential nominee, Congressman Matt Santos, selects McGarry as his vice-presidential nominee, a move that both Josh and Bartlet strongly endorse. This is particularly ironic, because McGarry had earlier insisted that Santos drop out of the race for the sake of party unity to allow a less impressive candidate (Vice President Robert Russell) to take on the nod. But McGarry allows Santos to make a closing speech that was so impressive that it helped put him over the top and become the party's presidential nominee. McGarry is not overly impressive on the campaign trail, because he is not familiar with playing the role of a candidate versus an advisor. However Leo rebounds and becomes integral to the campaign, unofficially taking on the role of statesman.

text: In the episode "Running Mates", McGarry is being prepared for the only vice-presidential debate against West Virginia Governor Ray Sullivan. The debate prep is a disaster, and the Santos campaign worries that Leo will be defeated by Sullivan. The situation worsens when the news is leaked to the press. Despite renewed efforts by Josh and Lou, they are unable to make Leo any better at debating. However, on the night of the debate, Leo proves not only his debating skills but easily wins the debate against Sullivan. Afterwards, he reveals to Annabeth that he had been the one to leak his failed debate prep news to lower expectations.

text: McGarry's last screen appearance occurs in the episode "The Cold". Following a private meeting between McGarry and Bartlet in the Oval Office to discuss troop deployment in Kazakhstan, a scene which exhibits the unique closeness of their relationship, Josh Lyman asks him: "Everything okay?". McGarry answers with the character's last words on screen, a less than convincing, "Yeah."

text: On Election Night, it is said that McGarry has gone up to his hotel room in Houston to take a nap before the results come in. He is later found unconscious by Annabeth Schott who alerts McGarry's Secret Service detail. He is rushed to the hospital, where he is pronounced dead. McGarry's death comes ninety minutes before the polls close in California and other Western states, thus giving some voters this information prior to casting their vote. A hard-line Republican strategist wants to bring up McGarry's death to benefit the Republican presidential nominee, Senator Arnold Vinick, but the visibly disgusted senator tells her that he has been friends with McGarry for decades and will do no such thing, win or lose. Despite McGarry's death, the Santos-McGarry ticket narrowly wins the election over the Vinick-Sullivan ticket by a 30,000-vote margin in Nevada and McGarry posthumously becomes the Vice President-elect after Santos' victory.

text: McGarry's funeral is held at the Washington National Cathedral, though the funeral was actually filmed at The Cathedral of Mary Our Queen in Baltimore, Maryland. President Bartlet, President-elect Matt Santos, Josh Lyman, Charlie Young, former DNC head Barry Goodwin, and McGarry's unnamed son-in-law serve as pallbearers. He is buried at Arlington National Cemetery.

text: Relationship with staff[edit]

text: McGarry's role with the White House senior staff is alternately authoritarian, playful, and that of a father figure.[13] He is characterized by the story he tells Josh Lyman in the second season episode, "Noël":[14]

text:
“
This guy's walkin' down a street when he falls in a hole. The walls are so steep he can't get out. A doctor passes by and the guy shouts up, "Hey you! Can you help me out?" The doctor writes a prescription, throws it down in the hole, and moves on. Then a priest comes along and the guy shouts up, "Father, I'm down in this hole; can you help me out?" The priest writes out a prayer, throws it down in the hole and moves on. Then a friend walks by. "Hey, Joe, it's me. Can ya help me out?" And the friend jumps in the hole. Our guy says, "Are ya stupid? Now we're both down here." The friend says, "Yeah, but I've been down here before and I know the way out."
”

text: Spencer described his character's relationship with Lyman as a mentoring one, with McGarry seeing Lyman as a younger version of himself: "a workaholic, a person devoted to government service." He considered the world of The West Wing a boys' club at times, and felt McGarry could be harder on C. J. Cregg than he was on the male senior staffers.[2]

text: Though he is not seen again onscreen, apart from the opening credits, after his death, McGarry's presence is felt in the series finale when his daughter presents a gift to President Bartlet that she found in his possessions. In the show's final scene, Bartlet opens the gift to find the napkin with the words "Bartlet For America", which McGarry had written to introduce to Bartlet the idea of running for President. Also, when Josh Lyman goes to see C.J. Cregg just before the Santos inauguration during the final episode, Lyman asks if she ever stopped thinking the office of the White House Chief of Staff as McGarry's office. Cregg replies "No." She then hands Lyman (the incoming White House Chief of Staff) a note with "WWLD?" on it, meaning "What would Leo do?"

text: Influence of John Spencer's death[edit]

text: McGarry appears in two of the five episodes which had been filmed, but not yet aired, at the time of Spencer's death on December 16, 2005. The show's producers decided to let those episodes air in his memory. The character's death was written in response to the death of the actor, and McGarry is discovered dead offscreen in his hotel room. According to executive producer Lawrence O'Donnell, Jr., the writers originally intended for Vinick to win the election. However, the death of Spencer forced him and his colleagues to consider the emotional strain that would result from having Santos lose both his running mate and the election. It was eventually decided that the last episodes would be rescripted by John Wells.[15] Other statements from Wells, however, have contradicted O'Donnell's claims about a previously planned Vinick victory. The script showing Santos winning was written long before the death of John Spencer. In 2008 O'Donnell stated that "We actually planned at the outset for Jimmy Smits to win, that was our plan of how this was all going to work, but the Vinick character came on so strong in the show, and was so effective, it became a real contest and it became a real contest in the West Wing writers' room."[16][full citation needed]

text: Reception[edit]

text: Leon Panetta, a former White House Chief of Staff under Bill Clinton, Director of the Central Intelligence Agency and Secretary of Defense under Barack Obama, was impressed by the character, telling actor John Spencer that "Any administration that would have Leo McGarry as a White House Chief of Staff would be very, very fortunate."[17] John Podesta, another former White House Chief of Staff, also praised Spencer's performance, saying, "John plays this role in a calm, thoughtful, kindhearted, and loyal manner"[18] although he has commented that Leo is not mean enough.[19]


document_title: Anne of Green Gables

question_text: when does the book anne of green gables take place

text: Anne of Green Gables

text: Background[edit]

text: In writing the novel, Montgomery was inspired by notes she had made as a young girl about a couple who were mistakenly sent an orphan girl instead of the boy they had requested yet decided to keep her. She drew upon her own childhood experiences in rural Prince Edward Island, Canada. Montgomery used a photograph of Evelyn Nesbit, which she had clipped from New York’s Metropolitan Magazine and put on the wall of her bedroom, as the model for the face of Anne Shirley and a reminder of her "youthful idealism and spirituality."[8]

text: Montgomery was also inspired by the "formula Ann" orphan stories (called such because they followed such a predictable formula) which were popular at the time and distinguished her character by spelling her name with an extra "e".[9][10] She based other characters, such as Gilbert Blythe, in part on people she knew. She said she wrote the novel in the twilight of the day, while sitting at her window and overlooking the fields of Cavendish.[11]

text: Plot summary[edit]

text: Anne Shirley, a young orphan from the fictional community of Bolingbroke, Nova Scotia (based upon the real community of New London, Prince Edward Island),[12][13] is sent to live with Marilla and Matthew Cuthbert, siblings in their fifties and sixties, after a childhood spent in strangers' homes and orphanages. Marilla and Matthew had originally decided to adopt a boy from the orphanage to help Matthew run their farm at Green Gables, which is set in the fictional town of Avonlea. Through a misunderstanding, the orphanage sends Anne instead.

text: Anne is highly imaginative, eager to please and, at times, quite a dramatic individual. However, she is defensive about her appearance, despising her red hair and pale, thin frame. She is often quite talkative, especially when it comes to describing her fantasies and dreams. At first, stern and sharp Marilla says Anne must return to the orphanage, but after much observation and considering, along with Matthew's strong liking to Anne, she decides to let her stay.

text: As a child of imagination, Anne takes much joy in life and adapts quickly, thriving in the close-knit farming village. Her imagination and talkativeness soon brighten up Green Gables.

text: The book recounts Anne's adventures in making a home: the country school where she quickly excels in her studies; her friendship with Diana Barry, the girl living next door (her best or "bosom friend" as Anne fondly calls her); her budding literary ambitions; and her rivalry with her classmate Gilbert Blythe, who teases her about her red hair. For that, he earns her instant hatred, although he apologizes many times. As time passes, Anne realizes she no longer hates Gilbert but cannot bring herself to speak to him.

text: The book also follows Anne's adventures with her new-found friends. Episodes include her play-time with her friends Diana, a calm girl named Jane Andrews and a good-natured but often hysterical girl called Ruby Gillis, and her run-ins with the unpleasant Pye sisters Gertie and Josie; and domestic mishaps such as dyeing her hair green while intending to dye it black, and accidentally getting Diana drunk by giving her what she thought was raspberry cordial but turned out to be currant wine.

text: At sixteen, Anne goes to Queen's Academy to earn a teaching license, along with Gilbert, Ruby, Josie, Jane, and several other students, excluding Diana much to Anne's dismay. She obtains her license in one year instead of the usual two and wins the Avery Scholarship for the top student in English. Her attainment of this scholarship would allow her to pursue a Bachelor of Arts (B.A.) degree at the fictional Redmond College (based on the real Dalhousie University) on the mainland in Nova Scotia.

text: Near the end of the book however, tragedy strikes when Matthew dies of a heart attack after learning that all of his and Marilla's money has been lost in a bank failure. Out of devotion to Marilla and Green Gables, Anne gives up the scholarship to stay at home and help Marilla, whose eyesight is failing. She plans to teach at the Carmody school, the nearest school available, and return to Green Gables on weekends. In an act of friendship, Gilbert Blythe gives up his teaching position at the Avonlea School to work at the White Sands School instead, knowing that Anne wants to stay close to Marilla after Matthew's death. After this kind act, Anne and Gilbert's friendship is cemented, and Anne looks forward to what life will bring next.

text: Characters[edit]

text: Green Gables household:

text:
Anne Shirley: An imaginative, talkative, red-headed orphan who comes to live with Matthew Cuthbert and Marilla Cuthbert. Anne is very sensitive and dislikes the color of her hair. She exhibits categorical interest in everything romantic.
Marilla Cuthbert: Matthew's sister, she is an austere but fair woman who objects to Anne's imaginative, unusual conduct on the grounds of its being part of the same group of behavioral misconducts that bring about dereliction of responsibility or produce a disrespectful personal image. Life experience with Anne, however, profoundly affects Marilla's ways; in a very early instance, she experiences first-hand how worthless a confession under duress could be. Although conservative and austere, she is fond of Anne and has the glimmerings of a sense of humor.
Matthew Cuthbert: Marilla's brother, he is an overly shy, albeit kind, old man with a lumbering frame and above-average strength. Matthew takes a liking to Anne from the start and the two become fast friends. Because Marilla has primary responsibility for rearing the girl, he has no qualms about "spoiling" her and indulging her in pretty clothes and other frivolities.

text: Anne's schoolmates:

text:
Diana Barry: Anne's bosom friend and a kindred spirit. Anne and Diana become best friends from the moment they meet. She is the only girl of Anne's age who lives close to Green Gables. Anne admires Diana for being pretty and for her amiable disposition. Diana lacks Anne's powerful imagination but is a loyal friend.
Gilbert Blythe: A handsome, smart, witty and chivalrous classmate who has a crush on Anne the moment he sees her. Unaware of Anne's near-pathological sensitivity about her red hair, he tries to get Anne's attention by holding her braid and calling her "Carrots!" Anne's explosively hostile reaction only causes Gilbert to be more smitten. He makes several attempts to apologize, the failure of all of which do not seem to mar his admiration. He attempts to apologize one last time when he saves Anne from drowning; Anne crassly rebuffs this attempt, only to regret it almost immediately. Years later, he gives up his job offer of teaching at the Avonlea school so that Anne may live at Green Gables, upon which the two reconcile and become good friends.
Ruby Gillis: Another of Anne's friends. Having several "grown up" sisters, Ruby loves to share her knowledge of beaux with her friends. Ruby is portrayed as traditionally beautiful with long golden hair. She is hysterical and suffers from consumption (tuberculosis).
Jane Andrews: One of Anne's friends from school, she is plain and sensible. She does well enough academically to join Anne's class at Queen's.
Josie Pye: A classmate generally disliked by the other girls (as are her siblings), Josie is vain, dishonest, and jealous of Anne's popularity.

text: Avonlea's locals:

text:
Mrs. Rachel Lynde: A neighbour of Matthew and Marilla, Mrs. Lynde is an amalgamation of vices and virtues. She is industrious and helpful, and does work for the church, yet she is famous for being nosy and condescending. Although she and Anne start off the wrong foot, owing to Mrs. Lynde's blunt criticism and Anne's short temper, they soon become quite close. Mrs. Lynde is married and has raised ten children, although her husband, Thomas Lynde, is mentioned briefly and never speaks.
Mr. Phillips: Anne's first teacher at Avonlea, Mr. Phillips is unpopular with students, because of his boring and crude ways. In Anne's case, he continually misspells her name (without the "E") and punishes only her among twelve pupils who arrive late. He is described as lacking discipline, and "courts" one of his pupils openly (this was less frowned upon then as opposed to more contemporary times).
Miss Muriel Stacy: Anne's energetic replacement teacher. Her warm and sympathetic nature appeals to her students, but Avonlea's conservative parents disapprove of her liberal teaching methods. She forms a special relationship with Anne, who views her as a mentor. Miss Stacy encourages Anne to develop her character and intellect and helps prepare her for the entrance exam at Queen's Academy, where she finishes in a tie for first with Gilbert Blythe.
Reverend and Mrs. Allan: The minister and his wife also befriend Anne, with Mrs. Allan becoming particularly close. She is described as pretty.
Mr. & Mrs. Barry: Diana's parents. Mr. Barry farms. Near the end of the book, he offers to rent some tracts to help out Anne and Marilla, after Matthew's passing. Mrs. Barry has a severe personality, expecting her children to follow strict rules. After Anne accidentally gets Diana drunk, Mrs. Barry rejects the girl, forbidding Diana to have anything to do with Anne. This sanction is repealed after Anne saves Minnie May.
Minnie May Barry: Diana's baby sister, whose life is saved by Anne when she comes down with croup.

text: Others:

text:
Miss Josephine Barry: Diana's great-aunt. Initially portrayed in a negative light, she is quickly charmed by Anne's imagination, and eventually invites her and Diana to tea. She refers to Anne as "the Anne-girl" and even sends Anne beaded slippers as a Christmas present.
Mrs Hammond: Anne had lived with her for a portion of her pre-Green-Gables life. She was very mean as a result of her husband′s death. Anne was treated more as a maid in her home than as a daughter or friend.

text: Related works[edit]

text: Based on the popularity of her first book, Montgomery wrote a series of sequels to continue the story of her heroine Anne Shirley. They are listed chronologically below, by Anne's age in each of the novels.

text:
Lucy Maud Montgomery's books on Anne Shirley:

#
Book
Date published
Anne Shirley's age
Timeline year

1
Anne of Green Gables
1908
11—16
1876-1881

2
Anne of Avonlea
1909
16—18
1881-1883

3
Anne of the Island
1915
18—22
1883-1887

4
Anne of Windy Poplars (Canada and USA)
Anne of Windy Willows (UK and Australia)
1936
22—25
1887-1890

5
Anne's House of Dreams
1917
25—27
1890-1892

6
Anne of Ingleside
1939
34—40
1899-1905

The following books focus on Anne's children, or on other family friends. Anne appears in these volumes, but plays a lesser part.

#
Book
Date published
Anne Shirley's age
Timeline year

7
Rainbow Valley
1919
41—43
1906-1908

8
Rilla of Ingleside
1921
49—53
1914-1918

9
The Blythes Are Quoted
2009
40—75
1905-1940

Anne Shirley features in one story (and is referenced in other stories) in each of the following collections:

#
Book
Date published
Anne Shirley's age
Timeline year

—
Chronicles of Avonlea
1912
approx. 20
1885

—
Further Chronicles of Avonlea
1920
approx. 20
1885

text: The prequel, Before Green Gables (2008), was written by Budge Wilson with authorization of heirs of L. M. Montgomery.

text: Tourism and merchandising[edit]

text: The province and tourist facilities have highlighted the local connections to the internationally popular novels. Anne of Green Gables has been translated into 36 languages.[14][15] "Tourism by Anne fans is an important part of the Island economy".[16] Merchants offer items based on the novels.

text: The Green Gables farmhouse is located in Cavendish, Prince Edward Island. Many tourist attractions on Prince Edward Island have been developed based on the fictional Anne, and provincial licence plates once bore her image.[17] Balsam Hollow, the forest that inspired the Haunted Woods and Campbell Pond, the body of water which inspired The Lake of Shining Waters, both described in the book, are located in the vicinity.[18] In addition, the Confederation Centre of the Arts has featured the wildly successful Anne of Green Gables musical on its mainstage every summer for over five decades.[19] The Anne of Green Gables Museum is located in Park Corner, PEI, in a home that inspired L.M. Montgomery.[20]

text: The novel has been very popular in Japan, where it is known as Red-haired Anne,[21][22] and where it has been included in the national school curriculum since 1952. 'Anne' is revered as "an icon" in Japan, especially since 1979 when this story was broadcast as anime, Anne of Green Gables. Japanese couples travel to Prince Edward Island to have civil wedding ceremonies on the grounds of the Green Gables farm. Some Japanese girls arrive as tourists with red-dyed hair styled in pigtails, to look like Anne.[23] In 2014, Asadora 'Hanako to Anne' (Hanako Muraoka is the first translator in Japan) was broadcast and Anne became popular among old and young alike.

text: A replica of the Green Gables house in Cavendish is located in the theme park Canadian World in Ashibetsu, Hokkaido, Japan. The park was a less expensive alternative for Japanese tourists instead of traveling to P.E.I. The park hosted performances featuring actresses playing Anne and Diana. The theme park is open during the summer season with free admission, though there are no longer staff or interpreters.[24]

text: The Avonlea theme park near Cavendish and the Cavendish Figurines shop have trappings so that tourists may dress like the book's characters for photos.[25] Souvenir shops throughout Prince Edward Island offer numerous foods and products based on details of the 'Anne Shirley' novels. Straw hats for girls with sewn-in red braids are common, as are bottles of raspberry cordial soda.[26] In the first book, Lucy Maud Montgomery established the cordial soda as the favorite beverage of Anne, who declares: "I just love bright red drinks!"

text: Legacy and honours[edit]

text: The popularity of the books and subsequent film adaptations is credited with inspiring the design and naming of buildings "Green Gables". An example still standing is an apartment block called "Green Gables" built in the 1930s, in New Farm, Queensland, Australia.[27]

text: Bala's Museum, located in Bala, Ontario, Canada, is a house museum established in 1992 and dedicated to Lucy M. Montgomery information and heritage. The house was a tourist home owned by Fanny Pike when Montgomery and her family stayed there on a summer vacation in 1922. That visit to the region inspired the novel The Blue Castle (1926).[28] The town is named Deerwood in the novel; this was Montgomery's only narrative setting outside Atlantic Canada.[29][30][31]

text:
On May 15, 1975, Canada Post issued Lucy Maud Montgomery, Anne of Green Gables designed by Peter Swan and typographed by Bernard N.J. Reilander. The 8¢ stamps are perforated 13 and were printed by Ashton-Potter Limited.[32]
In 2008, Canada Post issued two postage stamps and a souvenir sheet honouring Anne and the "Green Gables" house.[33]

text:
In 2003, Anne of Green Gables was ranked number 41 in The Big Read, a survey of the British public by BBC to determine the "nation's best-loved novel" (not children's novel).[34]
In 2012, it was ranked number nine among all-time children's novels in a survey published by School Library Journal, a monthly with primarily U.S. audience.[35]

text: Adaptations[edit]

text: Films[edit]

text:
Anne of Green Gables (1919), a silent film adapted to the screen by Frances Marion, directed by William Desmond Taylor, and starring Mary Miles Minter as Anne; this is considered a lost film.
Anne of Green Gables (1934), black & white "talkie" directed by George Nichols Jr. and starring Dawn O'Day as Anne Shirley; after filming, O'Day changed her screen name to "Anne Shirley".
Anne of Windy Poplars (1940) – directed by Jack Hively, is a black & white "talkie" starring Dawn O'Day as Anne Shirley, now billed as "Anne Shirley".
Anne of Green Gables (as of 2017), an upcoming feature film version of Anne of Green Gables: The Musical.[36]

text: Literature[edit]

text: Ana of California: A Novel (2015), by Andi Teran, is a “contemporary spin on Anne of Green Gables. The lead character of Anne Shirley has been adapted to Ana Cortez, a 15-year-old orphan who "can't tell a tomato plant from a blackberry bush" when she leaves East Los Angeles for the Northern California farm of Emmett and Abbie Garber.[37]

text: Radio productions[edit]

text:
Anne of Green Gables (1941), a British radio drama produced and broadcast by BBC Home Service Basic, adapted into four parts by Muriel Levy, and starring Cherry Cottrell as Anne.[4]
Anne of Green Gables (1944), a recreation of the 1941 BBC Radio drama, produced and broadcast by BBC Home Service Basic.[38]
Anne of Green Gables (1954), a Canadian radio drama produced and broadcast by CBC Radio, adapted into 13 parts by Andrew Allen and starring Toby Tarnow as Anne.[39]
Anna zo Zeleného domu (1966), a Slovak radio drama produced and broadcast by Czechoslovak Radio, starring Anna Bučinská as Anne.[40]
Anne of Green Gables (1971), a British radio drama produced and broadcast by BBC Radio 4, adapted into 13 parts by Cristina Sellors, and read by Ann Murray.[41]
Anne of Green Gables (1997), a British radio drama produced and broadcast by BBC Radio 4, dramatized into five parts by Marcy Kahan and starred Barbara Barnes as Anne.[42]

text: Stage productions[edit]

text:
Anne of Green Gables: The Musical, performed annually in the summer, at Charlottetown Festival, since 1965, this is Canada's longest-running main stage musical production, and has had a total audience of more than 2 million.[43][44][45] Anne of Green Gables – The Musical was composed by Canadians Don Harron and Norman Campbell, with lyrics by Elaine Campbell and Mavor Moore. The production has been performed before Queen Elizabeth II and it has toured across Canada, the United States, and Europe. In 1969, it had a run in London's West End. The Charlottetown Festival production performed at the 1970 World's Fair in Osaka, Japan. Walter Learning directed and organized a successful national tour of the musical in Japan in 1991.[46]
The Guild in Charlottetown, Prince Edward Island, hosts Anne and Gilbert, The Musical. Written by Nancy White, Bob Johnston, and Jeff Hochhauser, the production is based on Montgomery's sequels featuring Anne Shirley.[47]
The Nine Lives of L.M. Montgomery, a musical adapted from Montgomery's novel and her life, opened at Kings Playhouse in Georgetown, Prince Edward Island on June 20, 2008, the 100th anniversary of the book's publication. With book and lyrics by Adam-Michael James and music by Emmy-nominated composer Leo Marchildon, the musical depicts events from Montgomery’s life and features as characters heroines from all of her novels. Anne figures prominently, and is shown from age 12 into her 40s. Gilbert Blythe also appears. The show’s second production was at the Carrefour Theatre in Charlottetown, Prince Edward Island and opened July 11, 2009. Both years, the musical was nominated for The Prince Edward Island Museum and Heritage Foundation's Wendell Boyle Award. In July 2010, a concert version of the show toured Prince Edward Island, with four performances at Green Gables.[48]
Theatreworks USA, a New York-based children's theatre company, produced an Anne of Green Gables musical in 2006 at the Lucille Lortel Theatre. A revived production, with musical contributions from Gretchen Cryer, is planned to tour grade-schools.[49]
The Peterborough Players, based in Peterborough, New Hampshire, staged an adaptation by Joseph Robinette of Anne of Green Gables in August 2009.[50]
Anne and Gilbert is a musical adaptation of the books Anne of Avonlea and Anne of the Island. It depicts the relationship of Anne and Gilbert during their years as teachers and college students, as well as their return to Avonlea.[51]

text: Television movies[edit]

text:
Anne of Green Gables (1956), a made-for-television musical version directed by Norman Campbell and starring Toby Tarnow as Anne.
Anne de Green Gables (1957), a French-Canadian television film directed by Jacques Gauthier, starring Mireille Lachance as Anne Shirley.
Anne of Green Gables (1958), a recreation of the 1956 film directed by Don Harron, starring Kathy Willard as Anne.
Anne of Green Gables (1972), a British made-for-television 5-part mini-series directed by Joan Craft, starring Kim Braden as Anne.
Anne of Avonlea (1975), a British made-for-television 4-part mini-series directed by Joan Craft, starring Kim Braden as Anne.
Anne of Green Gables (1985), a CBC 4-hour television mini series directed by Kevin Sullivan with Megan Follows as Anne.
Anne of Green Gables: The Sequel (1987), a sequel to the 1985 miniseries which aired on CBC and the Disney Channel as Anne of Avonlea: The Continuing Story of Anne of Green Gables.
Anne of Green Gables: The Continuing Story (2000), a television miniseries inaccurately[neutrality is disputed] based upon the novels.
Anne: Journey to Green Gables (2005), an animated video film produced by Sullivan Entertainment and the prequel to Anne of Green Gables: The Animated Series (2001–2002)
Anne of Green Gables: A New Beginning (2008), a television miniseries whose script is not based on the novels.
L.M. Montgomery's Anne of Green Gables (2016), a 90-minute made-for-television adaptation of the book by Breakthrough Films & Television, which began filming in Toronto in May 2015.[52][53] Casting was held in February 2015.[54] (This replaces the previously announced 13-part series that had been set to film in 2013).[55] It was adapted by Susan Coyne, directed by John Kent Harrison, and stars Ella Ballentine as Anne.[56] The world premiere of the film, advertised under the abbreviated title Anne of Green Gables, on February 15, 2016 on YTV.
Anne of Green Gables: The Good Stars aired on YTV on February 20, 2017.
Anne of Green Gables: Fire & Dew, aired July 1, 2017 on YTV.

text: Television series[edit]

text:
Anne of Green Gables (1952), a BBC television series starring Carole Lorimer as Anne.[57]
Akage no An (1979; Red-Haired Anne), an animated television series, part of Nippon Animation's World Masterpiece Theater, produced in Japan and directed by Isao Takahata.
Road to Avonlea (1990–1996) shown on CBC, a live-action television series produced by Kevin Sullivan, based upon characters and episodes from several of L.M. Montgomery's books, excluding Anne Shirley. Gilbert Blythe, Marilla Cuthbert, Rachel Lynde and other characters from the Anne books are included, and the series is set within the same continuity as Sullivan's 1980s miniseries.
Anne of Green Gables: The Animated Series (2000), a PBS Kids animated series for older children ages eight to twelve, created by Sullivan Entertainment Inc.
Kon'nichiwa Anne: Before Green Gables (2009), part of the World Masterpiece Theater, this prequel to Akage no An is based on Budge Wilson's authorized prequel Before Green Gables (2008).
Anne (2017), an eight-part TV series produced and broadcast by CBC in Canada and Netflix worldwide (under the title "Anne with an E").[58][59]

text: Web productions[edit]

text:
Green Gables Fables (2014–2016), an American-Canadian web series which conveys the story in the form of Tumblr posts, tweets, vlogs, and other social media. It is a modern adaptation of Anne of Green Gables and Anne of the Island, with many of its elements changed to better suit 21st-century culture. Mandy Harmon portrays the main character, Anne Shirley.[60]
Project Green Gables (2015–2016), a Finnish web series and a modern adaptation of Anne of Green Gables, which conveys the story in the form of vlogs. Laura Eklund Nhaga plays Anne Shirley.[61]

text: Parodies[edit]

text: As one of the most familiar characters in Canadian literature, Anne of Green Gables has been parodied by several Canadian comedy troupes, including CODCO (Anne of Green Gut) and The Frantics (Fran of the Fundy).