Rome Sweet Rome, written, directed, composed, and choreographed by the Q Brothers Collective, is a hip-hop musical adaptation of William Shakespeare’s Julius Caesar. The University of Iowa Department of Theatre Arts produced Rome Sweet Rome in the fall of 2016 as part of the Mainstage season and the 2016-2017 Partnership in the Arts production. This thesis explores the unique production process of Rome Sweet Rome from the stage manager’s perspective. Since leadership, communication, and organization are essential attributes of stage managers, Samantha Paradis’ personal leadership, communication, and organization goals and outcomes for this production are addressed. Because theatre and life can be unpredictable this paper includes the analysis of new challenges that arose. Paradis concludes her exploration with final thoughts on the production and her development as a Graduate Stage Manager at the University of Iowa.

This thesis investigates the roles, themes, techniques and contexts of composition in hip-hop. It seeks to explain how hip-hop artists view and define their work, while also taking into consideration the viewpoints of other participants in the marketing pool of hip-hop production and consumption. The conceptual plan on which the study is based is Afrocentric; coupled with Ethnographic method of data processing and interpretation. This method is comprised of personal interviews, participant observation, sonic analysis and the use of bibliographic entries and notes that allows for sense and meaning in text. Also used are documented data, which contain descriptions of hip-hop lyrics, interviews, opinions, journalistic notes, and scholarly reports as a means of evolving a cohesive sense of the message's intent, opinion, knowledge of its roles, themes, techniques, images, and contexts The study found that the issues and themes that dominate hip-hop include bondage impairment, concern over currently warped social values and trends, and challenges over oppressive cultural values and social institutions. The artists whose compositions and renderings were used for the purpose of this study not only demonstrated an ability to isolate and construct themes about issues, but were also familiar with the issues that reveal them as agents for the liberation of the minds of their Diaspora Africa peoples and communities. Their music and grassroots commentaries were found to be appropriately designed to persuade their targeted audience to greater awareness. They conveyed messages that encouraged positive attitude and behavioral change in respect to addressed themes that were, in the main, issues of disenfranchisement. They addressed negative, disapproving behaviors which the atmosphere of disenfranchisement has spurned, and were being expressed through the media of the hip-hop rap musicals. The study also highlights the connection between classical African musical expressions and postmodern Diaspora African musical innovations. / African American Studies