DOCSLIB.ORG

Leonard Sillman's New Faces of 1968

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Leonard Sillman's New Faces of 1968 Wo Ni : UR A L ORIGINAL BROADWAY CAST ALBUM. wa) BS 2551 JACK ROLLINS PRESENTS A Musical Something — With 16 Exciting New Personalties MICHAEL K. ALLEN SUZANNE ASTOR ROD BARRY GLORIA BLEEZARDE TRUDY CARSON MARILYN CHILD DOTTIE FRANK ELAINE GIFTOS MADELINE KAHN ROBERT KLEIN JOE KYLE ROBERT LONE BRANDON MAGGART GEORGE ORMISTON ROD PERRY NANCIE PHILLIPS and | LEONARD SILLMAN Musical Direction by Ted Simons Orchestrations byLannyMeyers PROMOTION - Not For Sale ENTIRE PRODUCTION CONCEIVED AND STAGED BY LEONARD SILLMAN| |. AVOSH Words and Music by Leonard Sillmans Ronny Graham, June Carroll, Arthur Siegel, Clark Gesner, Sam Pottle, David Axelrod, Jerry Powell, David Shire, Richard Maltby, Jr., Murray Grand, Paul Nassau, Hal Hackady, Alonzo Levister, Kenny Solms, Gail Parent, Gene P. Bissell, Carl Friberg, Fred Hellerman, Fran NEW FACES OF 1968 Minkoff, Michael McWhinney, Michael Cohen, Tony Geiss, Sidney Shaw BS 2551 SIDE ONE: SIDE TWO: Sketches by OVERTURE HULLABALOO AT THEBES Ronny Graham, Peter De Vries, William F. Brown, Kenny Solms, Gail Parent, Jack Sharkey, WELCOME (Introduction by Leonard Sillman, David Axelrod, Robert Klein, Norman Kline sung by Robert Klein, Suzanne Astor, Continuity and Additional Dialogue by William F. Brown (Leonard Sillman, Gloria Bleezarde) bia Carson, Elaine Giftgs) OPENING Choreographed and Directed by Frank Wagner (Entire Company) Settings and Costumes Designed by Winn Morton 3:03 PRISMS Light Design by Paul Sullivan ee Child) BY THE SEA Entire Production Conceived and Staged by Leonard Sillman (Introduction by Gloria Bleezarde, YOU’RE THE ONE I’M FOR Bi at sung by Brandon Maggart) 2:14 (Introduction by Gloria Bleezarde, There is a special kind of adventure in experiencing a new edition of Leonard Sillman’s revue re by Brandon Maggart) series, New Faces. As you step off the crowded sidewalk and enter the theatre, you are re- WHERE IS THE WALTZ? 4 (Michael K. Allen) minded of the many familiar performers whose talents were first displayed in earlier editions #X9RL220 a singer as exciting as Eartha Kitt? Or a A NEW WALTZ of the series. Will this latest New Faces feature (Gloria Bleezarde) as enjoyable as Imogene Coca, Alice Ghostley, or “Professor” Irwin Corey? Or (Marilyn ae 2:00 comedian actors like Tyrone Power, Henry Fonda, or John Lund? Or personalities like Van Johnson, PHILOSOPHY Paul Lynde, Robert Clary, and countless others whom Leon- THE GIRL IN THE MIRROR Carol Lawrence, Ronny Graham, — Perry) ard Sillman started on the road to success. (Rod oy The latest edition, New Faces of 1968, which opened Thursday, May 2, at the Booth Theatre, DAS CHICAGO SONG in an opulent display of LUNCHEON BALLAD is the bearer of a long tradition. It is not the kind of revue that exuiis (Madeline Kahn) like a Ziegfeld Follies of old, or the undraped female form like an Earl Carroll Vanities. (Suzanne Astor, Marilyn Child, 4:12 scenery wit, novelty, and Madeline Kahn, Nancie Phillips) It is a revue of the intimate variety, with a decided leaning in the direction of 1:49 YOU ARE fast pacing. And it is all draped around the remarkable personality of its benefactor and found- (Introduction by Gloria Bleezarde, inspiration, Leonard Sillman, who herein makes his return to Broadway as a performer for Love Songs: Sung by Brandon Maggart) ing (Introduction by Leonard Sillman) the first time in 25 years. Leonard arrived in New York at the height of the Jazz Age. He studied SOMETHING BIG EVIL As a teenager, young Ned Wayburn, whose musical comedy school boasted an alumni of the biggest (George Ormiston, Elaine Giftos) (Michael K. Allen) dancing with had stepped into the leading Fred Astaire LOVE IN ANEW TEMPO 2:55 stars of the era. By the time he was only 18, Leonard company of Lady, Be Good!, an opportunity which led to a tour in the (Robert Klein) DIE ZUSAMMENFUGUNG role in the touring Village Follies and Broadway appearances in Loud Speaker (1927), Merry-Go- HUNGRY (Introduction by Gloria Bleezarde, Greenwich sprightly song-and-dance act (Suzanne Astor) sung by Brandon Maggart, Robert Klein, Round (1927), and Polly (1928). He even played the Palace in a 5:18 eee Kahn, George Ormiston) with several partners, including Frances Gershwin (George and Ira’s sister) and Imogene Coca. WHERE IS ME? The early 1930’s took Leonard to Hollywood, where in 1933 he appeared in three films: (Marilyn ie Goldie Gets Along (RKO), Whistling in the Dark (MGM), and Jean Harlow’s comedy hit Bomb- shell (MGM). That same year, Leonard, now all of 25 years of age, produced his first revue, TANGO Low and Behold, at the Community Playhouse in Pasadena. His cast of unknowns included (Introduction by Leonard Sillman, Tyrone Power, Kay Thompson, Charles Walters (today a top film producer), June Lang, Betzi performed by the Entire Company) Beaton, and a comedienne named Eunice Quedens, who later changed that tongue-twister simply to Eve Arden. When theatre mogul Lee Shubert offered him the chance to bring his skills to Broadway, Leonard returned East only to discover that the usual sources of theatre backing, the banks and investment houses, had cooled on theatre investment due to the travails of the Depression. Thus, the intrepid young Mr. Sillman forged a new concept for obtaining money for a show. He literally invented the backers’ audition and proceeded to stage dozens of them for anyone and everyone who would listen. The result was a revue with the simple title of New Faces. When it premiered at the Fulton on March 15, 1934, it set a pattern which was to become a theatrical standby for the next three decades. In six editions called New Faces (’34, ’36, ’43, 52, ’56, ’62) and several shows that went under other names (Fools Rush In — 1934, Who’s Who — 1938, All in Fun — 1940), Leon- ard Sillman has probably introduced more future luminaries than gaggles have geese. It is unlikely that anyone attending the opening of New Faces of 1968 ever had seen or heard of any of the 16 members of its cast. But in 10 years, there will probably be a big Robert Klein film festival; Marilyn Child will be starring at the Met; there will be a Madeline Kahn-Brandon Maggart Comedy Hour on 3-D color television; Michael Allen, Suzanne Astor, Rod Barry, George Ormiston, and Nancie Phillips will all be starring in rival Broadway shows, unable to see each other’s work: Elaine Giftos will be every soldier-boy’s favorite pinup; Trudy Carson will be the highest paid fashion model in history with a whole line of beauty products (ab- surdly overpriced) bearing her image; Joe Kyle and Robert Lone will be touring the worldefor the third time with their avant-garde ballet company; Rod Perry will continue to break house ~ records in Las Vegas; Dottie Frank’s will be a beloved and familiar night spot in London; and Gloria Bleezarde will be named Ambassador to France (for reasons too obvious to Comment upon). Naturally, Leonard Sillman will still be holding backers’ auditions for New Faces of 1979, which will put all his earlier triumphs to shame. Notes by Miles Kreuger May 8, 1968 and His Family of New Faces: Leonard Sillman nn eer nnn EIST EsaEnRE ENE EASES GENETICS FRONT ROW (left to right): Robert Lone, Rod Barry, Michael K. Allen, Joe Kyle. SECOND ROW: Dottie Frank, Suzanne Astor, Leonard Sillman, Trudy Carson, Elaine Giftos. THIRD PRODUCED FOR RECORDS BY GEORGE LEE Maggart, Robert Klein, Nancie Phillips. REAR ROW: Rod ROW: Gloria Bleezarde, Brandon Phil Ramone Perry, Marilyn Child, Madeline Kahn, George Ormiston. Recorded in New York at A & R Recording on May 19, 1968 / Engineer: 5 321 W. 44th STREET, NEW YORK, NEW YORK. MADE IN U.S.A. WARNER BROS.-SEVEN ARTS RECORDS, INC., A SUBSIDIARY AND LICENSEE OF WARNER BROS.-SEVEN ARTS, INC., 4000 WARNER BOULEVARD, BURBANK, CALIFORNIA; q0s-SEVEN ARTs Necop w gt? Not —& PROMOTION FOR SALE LEONARD SILLMAN’S Playing, ., NEW FACES OF 1968 Orchestrations: Lanny Meyers Musical Direction: Ted Simons 1. 3:03 (a) W-7 Music Ww. A Corp. ASCAP Warner. SNe A pout Sevarts Pub. Corp. OWachenGawe BMI (b) W-7 Music. Corp SES cneiaiae ASCAP a Aane-Rachel Music - ASCAP W- ic Corp.- : aoe B 255] 2 AschP aaa” oe ASCAP 3.07" SIDE 1 2 a) Warner- . W-7 Music Corp. (9377 = Gece tipauncerp ASCAP - 4:45 (b) W-7 Music Corp. ASCAP - 1. OVERTURE -WELCOME - Leonard Sillman, Gloria Bleezarde OPENING - Entire Company (Ronny Graham) 2. BY THE SEA Introduction by Gloria Blescarde, Sia by Brandon Maggart oo Gesner) 3. (a) WHERE IS THE WALTZ? - Michael K. Aven Nossau- Levister) (b) A NEW WALTZ - Marilyn Child (Minkoff-Hellerman) 4. THE GIRL IN THE MIRROR - Rod Perry (Minkoff-Hellerman) 5. LUNCHEON BALLAD Suzanne Astor, Marilyn Child, t Madeline Kahn, Nancie Phillips (McWhinney-Powell) % 6. LOVE SONGS: Introduction by Leonard Crean (a) eo SOMETHING BIG - George Ormiston, Elaine Giftos 4 (Axelrod-Pottle) (b) LOVE IN A NEW TEMPO - Robert Klein (Ronny Graham) (c) HUNGRY - Suzanne Astor (Murray Grand) 7. WHERE IS ME? Marilyn Child (Carroll-Siegel) 8. TANGO- Introduction by Leonard Sillman, performed by the Entire Company (Axelrod-Pottle) “Se ve, _ of Nv iW eee Basie ONAURAL on™ ECor, RDS INC a suBSIDIARY and NOT PROMOTION FOR SALE LEONARD SILLMAN’S Ticyi"sy.44 NEW FACES OF 1968 Orchestrations: Lanny Meyers Musical Direction: Ted Simons 5. W-7 Music Corp. ASCAP - 2:20 6 W-7 Music Corp ASCAP - 4:12 W.7 Music Corp s ic Core 7 ASAP 140 B 255] 4 Wamersevarts SScundersPubsiine SSID ENe Pubs (Gorp:= ASCAP - 2:55 (9378) BT - 2:0 9. W-7 Music Corp ASCAP - 5:15 1.
Load more

Recommended publications
  • Sanibei Officials Want IWA Franchisee! with City ^Zontaganza .Razzle-Dazzles
    •.• «^^«;^,^, ,,_. 5 new subscribers this week Since 1961 Still firslon Sanibei and Captiva islands VOL. 34, NO. 9 TUESDAY, FEB. 28, 1995 2 SECTIONS, 36 PAGES 50 CENTS Show Biz As It Wuz By Frank Wagner Leonard Sillman and 'New Faces of 1968' During the summer of 1967, Marsha and I had driven to the Goodspeed Opera House in Moodis, Conn., to see a summer stock package of Leonard Sillman's "New Faces" (scheduled for Broadway in 1968). Leonard was one of those well known Broadway names most always associated with revues, especially his New Faces series. The most famous edition and the one that launched the greatest number of new Broadway personali- ties was "New Faces of 1952." In the company Photo by Kathleen Blasa were such potential star-personalities as Alice Parade participants Ghostley, Eartha Kitt, Paul Lynde, Ronny Sanibei Mayor Waily Kain and his wife, Joan, were two of the special participants at the recent Edison Graham, Carol Lawrence and Robert Clary Pageant of UgbtParade In downtown Fort Myers. ' ,. It was always rumored that the profits from this production were used to buy his town house in the East 70s. This stylish edifice became his residence, production offices and an extra apart- ment for rental income. Sanibei officials want In the business it was a well known fact Leonard had for some time been trying to raise enough money to put on a 1968 edition. He had IWA franchisee! with city done literally hundreds of backers auditions that By Steve Ruediger expires this summer. It was a 30-year franchise.
    [Show full text]
  • February 23, 2016 (XXXII:5) Mel Brooks, the PRODUCERS (1967, 88 Min)
    February 23, 2016 (XXXII:5) Mel Brooks, THE PRODUCERS (1967, 88 min) Directed by Mel Brooks Written by Mel Brooks Produced by Sidney Glazier Music John Morris Cinematography Joseph F. Coffey Film Editing Ralph Rosenblum Zero Mostel…Max Bialystock Gene Wilder…Leo Bloom Dick Shawn…L.S.D. - Lorenzo St. DuBois Kenneth Mars…Franz Liebkind Lee Meredith…Ulla Christopher Hewett…Roger De Bris Andréas Voutsinas…Carmen Ghia Estelle Winwood…'Hold Me Touch Me' Renée Taylor…Eva Braun David Patch…Goebbels William Hickey…The Drunk Martin…Göring Musical, Original Music Score and Book (musical); and 3 Shimen Ruskin…The Landlord Grammys- Best Spoken Comedy Album for "The 2000 Year Old Frank Campanella…The Bartender Man In The Year 2000" (1998, with Carl Reiner) and two for Josip Elic…Violinist The Producers (2001): Best Musical Show Album (as Madelyn Cates…Concierge (as Madlyn Cates) composer/lyricist) and Best Long Form Music Video (as artist). John Zoller…Drama Critic Brooks has many funny trademarks in his films, for instance his Brutus Peck…Hot Dog Vendor films often contain references to the film's sequel, which never Mel Brooks…Singer in 'Springtime for Hitler' (voice) come to pass. Good examples of this are History of the World: (uncredited) Part I (1981), Spaceballs (1987) and Robin Hood: Men in Tights Bill Macy…Jury Foreman (uncredited) (1993). Additionally, Brooks always features one scene in his movies in which the main character is seated and staring blankly, MEL BROOKS (b. Melvin James Kaminsky on June 28, 1926 wondering what went wrong, while friends console him. In fun in Brooklyn, New York) served in WWII, and afterwards got a trivia, The Producers (1967) was the inspiration for the title of job playing the drums at nightclubs in the Catskills.
    [Show full text]
  • Ronald Davis Oral History Collection on the Performing Arts
    Oral History Collection on the Performing Arts in America Southern Methodist University The Southern Methodist University Oral History Program was begun in 1972 and is part of the University’s DeGolyer Institute for American Studies. The goal is to gather primary source material for future writers and cultural historians on all branches of the performing arts- opera, ballet, the concert stage, theatre, films, radio, television, burlesque, vaudeville, popular music, jazz, the circus, and miscellaneous amateur and local productions. The Collection is particularly strong, however, in the areas of motion pictures and popular music and includes interviews with celebrated performers as well as a wide variety of behind-the-scenes personnel, several of whom are now deceased. Most interviews are biographical in nature although some are focused exclusively on a single topic of historical importance. The Program aims at balancing national developments with examples from local history. Interviews with members of the Dallas Little Theatre, therefore, serve to illustrate a nation-wide movement, while film exhibition across the country is exemplified by the Interstate Theater Circuit of Texas. The interviews have all been conducted by trained historians, who attempt to view artistic achievements against a broad social and cultural backdrop. Many of the persons interviewed, because of educational limitations or various extenuating circumstances, would never write down their experiences, and therefore valuable information on our nation’s cultural heritage would be lost if it were not for the S.M.U. Oral History Program. Interviewees are selected on the strength of (1) their contribution to the performing arts in America, (2) their unique position in a given art form, and (3) availability.
    [Show full text]
  • James W. Phillips Collection
    JAMES W. PHILLIPS COLLECTION RUTH T. WATANABE SPECIAL COLLECTIONS SIBLEY MUSIC LIBRARY EASTMAN SCHOOL OF MUSIC UNIVERSITY OF ROCHESTER Processed by Gigi Monacchino, spring 2013 Revised by Gail E. Lowther, winter 2019 1 TABLE OF CONTENTS Description of Collection . 3 Description of Series . 5 INVENTORY Sub-Group I: Composer Subdivision Series 1: Irving Berlin . 7 Series 2: George Gershwin, Victor Herbert, and Jerome Kern . 35 Series 3: Jerome Kern and Cole Porter . 45 Series 4: Cole Porter and Richard Rodgers . 60 Series 5: Richard Rodgers . 72 Series 6: Richard Rodgers and Sigmund Romberg . 86 Sub-Group II: Individual Sheet Music Division . 92 Sub-Group III: Film and Stage Musical Songs . 214 Sub-Group IV: Miscellaneous Selections . 247 2 DESCRIPTION OF COLLECTION Accession no. 2007/8/14 Shelf location: C3B 7,4–6 Physical extent: 7.5 linear feet Biographical sketch James West Phillips (b. August 11, 1915; d. July 2, 2006) was born in Rochester, NY. He graduated from the University of Rochester in 1937 with distinction with a Bachelor of Arts in Mathematics; he was also elected to the academic honors society Phi Beta Kappa. In 1941, he moved to Washington, DC, to work in the Army Ordnance Division of the War Department as a research analyst. He left that position in 1954 to restore a house he purchased in Georgetown. Subsequently, in 1956, he joined the National Automobile Dealers Association as a research analyst and worked there until his retirement in 1972. He was an avid musician and concert-goer: he was a talented pianist, and he composed music throughout his life.
    [Show full text]
  • November 2020 Newsletter
    VOLUME 42, NUMBER 2 Formerly New York Sheet Music Society www.APSSinc.org NOVEMBER 2020 musicals of the ‘50s about New York What’s a Party Without Arthur? City. The Music of Arthur Siegel Only days before the opening of By Jerry Osterberg Lovely Me, another musical, If the Shoe On the evening of Arthur Siegel’s Lavine’s sheet music. Besides being a Fits, opened and closed within two birth, New Year’s Eve 1923, Eddie musical director and vocal coach, Lavine weeks. The music was by David Raksin, Cantor was enjoying the latest in a string is a prolific sheet music archivist. Having then enjoying acclaim for his score of the of hits: “No, No, Nora.” Growing up in seen Siegel’s own music files many film noir Laura. The lyrics were by June Asbury Park, New Jersey, a long times, he offered to purchase the entire Carroll, who was the sister of producer established and highly successful collection from the estate, which he did Leonard Sillman. The fortuitous pairing Summer community, it’s entirely likely with the assistance of Brian Gari, a of Siegel and Carroll was instrumental in that Siegel’s performing and songwriting grandson of Eddie Cantor, after speaking the next stage of Siegel’s career. Sillman during his high school years were with the composer’s brother Eddie. had produced a radio program a decade inspired by the exciting environment and After providing interesting earlier called New Faces, and now a cosmic connection to Cantor. background about Siegel’s career, Lavine decided to resurrect the concept.
    [Show full text]
  • The Music Between
    THE MUSIC BETWEEN By EDWARD L. MERRITT, Jr. optimistically among the early -1952 offerings. It is a Lyric Stage pleasure to report that its effort (more specifically, that The of its "pop" artist -and -repertory chief, Hugo Winter - halter) was rewarded. It came up with one tolerably In the past two years, the only Broadway musical con- amusing set, Paint Your Wagon, one very good one, sidered worth recording by Decca, originator of the original- Wish You Were Here, and one absolute top -notch job, cast show -album idea, has been The King and I, graced New Faces of 1952, easily the best show -album since by the late beloved Gertrude Lawrence. Columbia, which Guys and Dolls. Later, we may expect more, disk -wise, shares primacy in the field with Decca, did a perfunctory of the 1952-53 season. Simon Rady, Decca's sage show - job on A Tree Grows in Brooklyn and devoted itself, apart album chief, admits to being excited about the prospects, from this, to show -albums "reconstructed" from past which is a very good omen indeed. Last time Rady re- stage performances by vice president Goddard Lieber - ported excitement was when a pair of gentlemen named son, a past- master at this unusual art. Capitol, to make Rogers and Hammerstein checked in with a musical set clear that it was in business, put out Top Banana. Only in the wide open spaces. Something about a place named RCA Victor, for some reason, seems to have gone scouting Oklahoma. Wish You Were Here New Faces of 1952 Brown.
    [Show full text]
  • Year Date Name of Production Description 1917 September 27, 28, 28 Have a Heart a Musical Comedy by Guy Bolton and P. G
    Year Date Name of Production Description 1917 September 27, 28, 28 Have A Heart A musical comedy by Guy Bolton and P. G. Wodehouse, music by Jerome Kern 1917 1-Oct Furs and Frills A musical with lyrics by Edward Clark, music by Silvo Hein 1919 6-Oct The Gallo Opera Co. A revival of William S. Gilbert and Sir Arthur Sullivan's The Mikado , music directed by Max Bendix 1922 May 19 and 20 Dulcy A comedy in three acts by George S. Kaufman and Marc Connelly 1924 9-Apr Anna Pavlowa A ballet featuring Hilda Butsova and Corps De Ballet; Ivan Clustine, Balletmaster and conductor Theodore Stier 1924 April 10, 11, 12 Jane Cowl Portraying Juliet in Shakespeare's Romeo and Juliet ; staged by Frank Reicher 1927 1-Sep My Princess A modern Operetta based on a play by Edward A. Sheldon and Dorothy Donnelly; music by Sigmund Romberg 1927 September 5, 6, 7 Creoles A romantic comedy drama by Samuel Shipman and Kenneth Perkins 1927 September 8, 9, 10 The Cradle Song A Comedy in two acts by Gregario and Maria Martinez Sierra translated in English by John Garrett Underhill 1928 January 26, 27, 28 Quicksand A play presented by Anna Held Jr. and written by Warren F. Lawrence 1928 January 30 Scandals A play based on the book by Williams K. Wells and George White 1928 September 17, 18, 19 Paris Bound/Little Accident A comedy by Philip Barry presented by Arthur Hopkins; featuring (1 play per side of one Madge Kennedy sheet) 1928 September 20, 21, 22 Little Accident/Paris Bound A comedy in three acts by Floyd Dell and Thomas Mitchell; staged (1 play per side of one by Arthur Hurley sheet) 1928 October 1, 2, 3, The Shanghai Gesture/The presented by A.
    [Show full text]
  • The Production of an Amateur Musical Revue
    This dissertation has been 64—6939 microfilmed exactly as received NOVAK, Elaine Adams, 1922- THE PRODUCTION OF AN AMATEUR MUSICAL REVUE. The Ohio State University, Ph.D.,1963 Speech—Theater University Microfilms, Inc., Ann Arbor, Michigan THE PRODUCTION OP AN AMATEUR MUSICAL REVUE DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Elaine Adams Novak, A. B., A. M. ****** The Ohio State University 1963 Approved by jTffi Adviser ' Department of Speech CONTENTS Page LIST OP T A B L E S ..................................... Ill LIST OP ILLUSTRATIONS............................. Iv Chapter I. INTRODUCTION .................................. 1 The Purpose Definitions of Terms Organization of Remainder of Dissertation II. THE PROFESSIONAL MUSICAL REVUE IN NEW YORK .. 10 Survey of the Professional Musical Revue in New York Organization for a Professional Musical Revue Procedure for Producing a Professional Musical Revue III. THE LOCALLY-PRODUCED AMATEUR MUSICAL REVUE .. 66 The Gay Capers Organization for the Gay Capers Procedure for Producing the Gay Capers IV. THE PACKAGED AMATEUR MUSICAL REVUE ............ 124 The Jerome H. Cargill Producing Organization Organization for a Cargill Revue Procedure for Producing a Cargill Revue V. A SUGGESTED ORGANIZATION AND PROCEDURE FOR THE LOCAL PRODUCTION OP AN AMATEUR MUSICAL REVUE . 131 Organization Procedure Summary BIBLIOGRAPHY ..................................... 209 AUTOBIOGRAPHY ..................................... 216 il LIST OP TABLES Table Page 1. Income and Expenses for the Gay Capers of I960, 1961, and 1962 ....................... 73 2. Budget for the Gay Capers of * 6 0 ............. 94 lil / LIST OF ILLUSTRATIONS Figure Page 1. Organization for the Gay Oarers ................ 77 2. Rehearsal Schedule for the Gay Capers.............113 3.
    [Show full text]
  • First It Was a Movie, Then It Was a Broadway Musical. Now It's Going to Be a Broadway Musical Movie. I Think the Next Th
    “First it was a movie, then it was a Broadway musical. Now it’s going to be a Broadway musical movie. I think the next thing will probably be claymation.” -Mel Brooks Production Notes From the brilliantly twisted mind of MEL BROOKS comes a scheme so clever, so bold and so disturbingly simple that it can’t possibly go wrong: Step One: You start with Broadway’s smash hit The Producers—The New Mel Brooks Musical, winner of a record-breaking 12 Tony Awards, and based on Mel Brooks’ Oscar®- winning 1968 film The Producers. Step Two: You have two major film studios, Universal Pictures and Columbia Pictures, join forces to bring the musical play to the big screen. Step Three: You enlist the phenomenal SUSAN STROMAN, winner of five Tony Awards, including two for directing and choreographing The Producers—The New Mel Brooks Musical on Broadway, to make her motion picture directorial debut with the film version. Step Four: You bring the original Tony Award-winning stars, NATHAN LANE and MATTHEW BRODERICK, back to recreate their signature roles and surround them with two of Hollywood’s biggest talents, Academy Award® nominee UMA THURMAN and comic superstar WILL FERRELL. And before you can say “Step Five,” you have the makings of the big, fun-filled, laugh-a- minute musical movie event audiences have been waiting for: The Producers. Only one person in the world could have conceived of such a plan: the incomparable Mel Brooks, whose fabulous career comes full circle with this new film version of The Producers. The Producers – Production Information 2 Brooks was already a television veteran when he made his feature film directorial and writing debut with The Producers in 1968.
    [Show full text]
  • Notes on Musicarnival's Production Years, 1954-65
    NotesUnder on Musicarnival’s the Production TentYears, 1954-65 UnderNotes on Musicarnival’s the Production Years,Tent 1954-65 * * Written by Bill Rudman and Rebecca Paller To accompany audio restorations produced by The Musical Theater Project The Lt. Col. Robert “Jim” Price Musicarnival Audio Archive is part of the John L. Price, Jr. Musicarnival Archives Copyright © 2017 by The Musical Theater Project except entries written by Rebecca Paller, Barbara Perris, Stanley Green and Ken Bloom Cover design by Steven Schultz Photos courtesy of the John L. Price, Jr. Musicarnival Archives, Cleveland Public Library -ii- The Partnership CLEVELAND PUBLIC LIBRARY serves four million patrons annually at 28 branches across the city, lending more than 6.5 million items from a collection of more than 10 million. CPL’s library services are also available at the Public Administration Library in City Hall; “The People’s University on Wheels” bookmobile; Ohio Library for the Blind and Physically Disabled; and the “On the Road to Reading” literacy van. CPL is the home for the Ohio Center for the Book, CLEVNET library cooperation, and KnowItNow24x7 virtual reference service. For more information, visit www.cpl.org. Dedicated to preserving the rich legacy of the art form, Goodspeed Musicals’ SCHERER LIBRARY OF MUSICAL THEATRE carefully maintains a comprehensive collection of scores, sheet music, scripts, original cast recordings, programs, photographs and theater memorabilia on the Goodspeed campus in East Haddam, Connecticut. These reference tools are utilized by the musical theater community across the nation in the re-creation and revitalization of period musicals and in the creation and development of new works.
    [Show full text]