Ann Miller Misfortune Into a Windfall for Is Stuck in a Tragic Two- Others

Total Page:16

File Type:pdf, Size:1020Kb

Ann Miller Misfortune Into a Windfall for Is Stuck in a Tragic Two- Others ONG and dance figured out a way to turn her legend Ann Miller misfortune into a windfall for is stuck in a tragic two- others. She’s donated more step with osteoporosis. ANN MILLER: than $300,000 worth of her The chronic bone clothes to the Motion Picture Sdisease has caused part of Home in Woodland Hills, Miller’s spine to collapse, Calif. And in October, the and the once-5-foot-6 beauty prestigious home for aging has shrunk to a diminutive MY BATTLE WITH stars will host a fashion 5-foot-1. show called The Ann Miller “I had three disks collapse Collection with celebrities in my spine and now it’s modeling her classic outfits. disintegrating,” the 80-year-old CRIPPLING BONE DISEASE “Ann is such a delight,” a actress tells GLOBE. “I lost close friend of Miller tells half a foot in just one year. Legendary GLOBE. “In spite of it all, It’s unbelievable.” EXCLUSIVE her positive spirit and good Thrice married and divorced hoofer humor still shine through.” Miller says with heels she used GLOBE Even with a dauntless to come up past the shoulder is the attitude, the still-spunky star of her longtime beau, 6-foot-4 INTERVIEW has found osteoporosis to be Morgan Woodward – but no incredible a difficult adjustment after longer. such an active life. “I used to be 5-foot-6, but shrinking “It feels so strange to be now I’m a shrimp,” she admits. literally shrinking before my “It’s very odd to see Morgan woman very eyes,” she confesses. and me standing next to each “I do feel fine most of the other. This osteoporosis time, except right before it business is really something. rains when my back starts There’s nothing you can do to hurt from the humidity. but to keep smiling.” “It’s rough, but I just Miller started dancing keep going. When I eat in when she was just 5 years ‘I used restaurants, they give me old and first appeared on the a cushion to sit on so I can silver screen in 1934’s Anne reach the table. And in my of Green Gables at age 11. to be car, I have a cushion so I She went on to star in such can look out.” classics as Stage Door, Easter 5-foot-6, Perhaps the toughest Parade and Kiss Me Kate. She pitfall may be selling her also wowed ’em on stage in but now Beverly Hills home, which the smash hits Mame, Sugar she bought for her mom Babies and Follies. I’m a in 1949 and GLOBE “I stopped dancing five photographed in 2001. years ago,” Miller notes. “And shrimp’ “The thought of leaving that’s when the osteoporosis this place is upsetting,” started.” Ann Miller doesn’t Miller says. “But the Now that most of her old stand as tall as she once staircase is 25 steps and it’s wardrobe no longer fits did alongside her beau getting harder and harder her dwindling frame, the NOW Morgan Woodward 1998 for me to manage them.” bighearted entertainer has – ROBIN MIZRAHI NEWS: Associate Design Editor: AMI PHOTO LIBRARY: EXECUTIVE VICE PRESIDENT/ ASSOCIATE PUBLISHER: EDITORIAL DIRECTOR: Marc Richards PHOTO EDITOR: Rochelle Paller Martin Elfers CHIEF LIBRARIAN (Photo & Text): Kathleen Cottay Steve Coz SENIOR VICE PRESIDENT SENIOR EDITOR: Jeffrey Rodack CHIEF COPY EDITOR: CORPORATE CREATIVE DIRECTOR: ADMINISTRATION/HUMAN Patty Carroll Deputy Chief Photo Librarian: CHAIRMAN, PRESIDENT AND NEWS EDITORS: Clif Dunn, Kimberly Riendeau Colin Jenkins RESOURCES: Daniel A. Rotstein CHIEF EXECUTIVE OFFICER: Susan Goldfarb, Steve Herz Senior Copy Editor: Staff: Nichole Czomba, VICE PRESIDENT INFORMATION Bonnie Rubin-Schultz CORPORATE PHOTO DIRECTOR: David Pecker GOSSIP COLUMNIST: Lycia Naff Derek Czomba, Bill Graham TECHNOLOGY/CHIEF INFORMATION EDITOR IN CHIEF: Jim Lynch Roxanne Georgoulis, OFFICER: David Thompson LONDON BUREAU CHIEF: WRITERS: Kathleen Huebner, Lucille Towbis EXECUTIVE VICE PRESIDENT DISTRIBUTION SERVICES, INC.: MANAGING EDITOR: Joe Mullins John Bell Kim Humphreys, Rafe Klinger, FINANCE/CFO: Mike Porche, CEO AMI TEXT LIBRARY: John Miley GENERAL EDITOR: Larry Browne CONTRIBUTING EDITOR: Diana Siegfried DIRECT RESPONSE ADVERTISING: Asst. Librarian: Candy Cogswell (New York) Jeff Samuels FEATURES: EXECUTIVE VICE PRESIDENT/CHIEF Laura Coates, Sales Manager TELEVISION EDITOR: Bob Burns Senior Editor: Cara Gallo Staff: Nanette Dubiel, MARKETING OFFICER: Telephone: 212-888-3320 ext. 202 GOT A STORY? CALL: Phenicia Esterine, Kevin Hyson Fax: 212-838-7835 REPORTERS: EDITORIAL ASSISTANTS: Nicole Taylor Boca Raton, FL VICE PRESIDENT & GENERAL CLASSIFIED ADVERTISING: Senior Reporters: Shelby Loosch, 800-755-8605 Senior Executive Assistant: AMI RESEARCH CENTER: MANAGER: 561-989-1015 Bob Smith Eileen Laing Los Angeles Larry Bornstein RIGHTS & PERMISSIONS DIRECTOR: Reporters: Ian Drew, Robin Mizrahi, DIRECTOR: Mireya Throop TOLL FREE: Assistants: Hara Bender, Fiona Maynard J.D. Robinson, David Thompson, Bernadette Marshall, Deputy: Barbara Koskie SENIOR VICE PRESIDENT-GENERAL 866-840-8455 Assistant Deputy: Maria Peters COUNSEL: For Rights & Permissions/Syndication requests, Pete Trujillo, Beverly Williston Betty Romero please contact Maryann Higginson at Or E-mail us at: Senior Researcher: Laurie Miller Michael B. Kahane PHOTOS: AMI LOS ANGELES: 818-595-0588 or by e-mail at [email protected] Research Associates: June Baum, PRESIDENT, DIRECT RESPONSE [email protected] Assignment Editors: Theresa Honig, BUREAU CHIEF: Jerome George Larry Boytano, Amber Pradines New York: Lee Marsh, Jeanne Milewski MARKETING & PUBLICATION 212-888-9574 AMI WASHINGTON: DIRECTOR, TABLOIDS: Senior Photo Assistant: Kim Gallo Copyright © 2003 Globe Editorial, Inc. Washington, D.C.: BUREAU CHIEF: Courtney Callahan SUBSCRIBERS Bette Rockmore Editorial Assistant: Summer Federer All rights reserved 202-347-8366 AMI LAS VEGAS: SENIOR VP/PUBLISHER: Las Vegas: Communications Technician: For subscription queries, please We assume no responsibility for returning e-mail [email protected] David Enberg unsolicited material, including but not limited to 702-650-6584 Kyle Platte BUREAU CHIEF: Kevin Lynch AMI MIAMI: or call toll-free 1-800-513-9186 photographs, artwork, manuscripts and letters. Miami: 305-577-4679, DESIGN & COPY: (outside U.S. dial direct to ext. 374 BUREAU CHIEF: Leon Wagener CUSTOMER SERVICE: Call toll-free 1-866-MAGS AMI (1-866-624-7264) DESIGN EDITOR: Marty Gunther 1-386-445-4662). or e-mail [email protected] 10 June 3, 2003 / GLOBE GL2210A0.
Recommended publications
  • Introducing New Surflight Theatre
    FOR IMMEDIATE RELEASE: Surflight Theatre Press Director Charlie Siedenburg, 551-655-0968 BROADWAY PRODUCER ROY MILLER NAMED SURFLIGHT THEATRE PRODUCER Broadway producer (and Surflight alum) joins notable New Jersey summer destination – Surflight Theatre during exciting transitional period. BEACH HAVEN, NJ, Tuesday, September 21, 2010 — Surflight Theatre Board President Gene Hammond announced today that Broadway producer (and Surflight alum) Roy Miller has been appointed to the leadership position of Producer at Surflight Theatre. A New Jersey native, Miller’s Broadway producing credits include the current revival of West Side Story (Tony nomination for Best Musical Revival and Grammy Award Winner for Best Musical Show Album), The Drowsy Chaperone (winner of five 2006 Tony Awards; Drama Desk and NY Drama Critics’ Circle Awards for Best Musical), and The Pee-wee Herman Show (opening October 26). Before crossing the river to New York, Miller was Associate Producer of the acclaimed Paper Mill Playhouse in Millburn, NJ, from 1991 to 2004 where he produced over eighty musicals and plays including Animal Crackers starring Kristin Chenoweth, Follies starring Ann Miller, Gypsy starring Betty Buckley and Deborah Gibson, and Stephen Schwartz’s new musical Children of Eden . Miller may be new to the leadership of Surflight, but he is no stranger to the Beach Haven theatre's 450- seat venue. While performing in a high school production of Funny Girl in his hometown of Irvington, NJ, Miller was offered an apprenticeship at Surflight by the show’s director and Surflight founder Joseph P. Hayes. That first introduction to summer theatre at the Jersey Shore in 1975 was followed by two subsequent seasons as an apprentice and, eventually, as a member of the acting company in 1978.
    [Show full text]
  • Download Chapter (PDF)
    PLATES 1. Cole Porter, Yale yearbook photograph (1913). 2. Westleigh Farms, Cole Porter’s childhood home in Indiana (2011). 3. Cole Porter’s World War I draft registration card (5 June 1917). War Department, Office of the Provost Marshal General. 4. Linda Porter, passport photograph (1919). 5. Cole Porter, Linda Porter, Bernard Berenson and Howard Sturges in Venice (c.1923). 6. Gerald Murphy, Ginny Carpenter, Cole Porter and Sara Murphy in Venice (1923). 7. Serge Diaghilev, Boris Kochno, Bronislava Nijinska, Ernest Ansermet and Igor Stravinsky in Monte Carlo (1923). Library of Congress, Music Division, Reproduction number: 200181841. 8. Letter from Cole Porter to Boris Kochno (September 1925). Courtesy of The Cole Porter Musical and Literary Property Trusts. 9. Scene from the original stage production of Fifty Million Frenchmen (1929). PHOTOFEST. 10. Irene Bordoni, star of Porter’s show Paris (1928). 11. Sheet music, ‘Love for Sale’ from The New Yorkers (1930). 12. Production designer Jo Mielziner showing a set for Jubilee (1935). PHOTOFEST. 13. Cole Porter composing as he reclines on a couch in the Ritz Hotel during out-of-town tryouts for Du Barry Was a Lady (1939). George Karger / Getty Images. 14. Cole and Linda Porter (c.1938). PHOTOFEST. 15. Ethel Merman in the New York production of Cole Porter’s Panama Hattie (1940). George Karger / Getty Images. vi PLATES 16. Sheet music, ‘Let’s Be Buddies’ from Panama Hattie (1940). 17. Draft of ‘I Am Ashamed that Women Are So Simple’ from Kiss Me, Kate (1948), Library of Congress. Courtesy of The Cole Porter Musical and Literary Property Trusts.
    [Show full text]
  • TAP INTO HISTORY Study Guide for Educators
    TAP INTO HISTORY Study Guide for Educators Highlights of Tap History: ​ 1600’s: English people migrate to the United States, bringing social dance, waltzes, jigs, reels and clogs. At the same time, Africans come to America (as slaves) and bring percussive, grounded and syncopated rhythms. 1880’s: Vaudeville (a variety entertainment performance circuit) establishes tap as an American art form. 1915: Metal taps are added to shoes. 1930’s-50’s: The era of dance movies starring Fred Astaire, Ginger Rogers, Eleanor Powell, Bill Robinson, Buddy Ebsen, James Cagney, Gene Kelly, Donald O’Connor, Ann Miller, and others. 1970’s: Dance studios and colleges start teaching tap. Hip hop and other social dance forms eclipse tap’s popularity. 1980’s: The first tap companies are formed, primarily by women, and the first international tap festival takes place in New York City. 1989: Congress establishes National Tap Dance Day to honor Bill “Bojangles” Robinson’s birthday, May 25th. 1990’s: Tap/percussive dance shows such as Riverdance, Lord of the Dance, Stomp and Tap Dogs ​ ​ ​ ​ ​ ​ ​ become popular worldwide. Savion Glover becomes the poster child for the genre for his appearances in shows like Bring in ‘da Noise, Bring in ‘da Funk and on Sesame Street. ​ ​ ​ ​ Present: Many veteran tap dancers pass away, giving rise to a new generation of tap dancers like Michelle Dorrance, Chloe Arnold, and Jason Samuels Smith. Contemporary tap dance pushes the boundaries of the art form beyond just tapping, exploring elements such as storytelling, technology, and fusion with other dance forms. Questions? [email protected] © 2020 Ryan P.
    [Show full text]
  • June 1-3,2(>(>7
    Leonard A. Anderson M. Seth Reines Executive Director Artistic Director June 1-3,2(>(>7 nte Media -I1 I - I , ,, This program is partially supportec grant from the Illinois Arts Council. Named a Partner In Excellence by the Illinois Arts Council. IF IT'S GOT OUR NAME ON IT YOlU'VE GOT OUR WORD ON If. attachments that are tough enough for folks Ib you. And then we put wr gllarantee on m,m, In fact,we ofb the WustryS only 3-year warm&, Visit mgrHd.com. Book By James Goldman Music Lyrics by Stephen Sondheim Produced Originally on Broadway by Harold Prince By special arrangement with Cameron Mackintosh Directed & Staged by Tony Parise Assistant To The Directorr AEA Stage Manager Marie Jagger-Taylor* Tom Reynolds* Lighting Designer Musical Director Sound Designer Joe Spratt P. Jason Yarcho David J. Scobbie The Cast (In Order of Appearance) Dimitri Weismann .............................................................................................Guy S. Little Jr.* Roscoe....................................................................................................................... Tom Bunfill Phyllis Rogers Stone................................................................................... Colleen Zenk Pinter* Benjamin Stone....................................................................................................... Mark Pinter* Sally Durant Plumrner........................................................................................ a McNeely* Buddy Plummer........................................................................................................
    [Show full text]
  • Andztjf Aa>Velroztt: I
    * them later for five times that sum, a Author Protection [Sergt. Kelly Writes Movie and gaining tremendous profits Steps Being Taken from the fact that the popular sale With Grenades and His Gun HOLLYWOOD. of the novel made the Him a much Some recourse for an author who By JAY CARMODY. more valuable property. Authors' sells picture rights to a while Journalism department: Just which movie studio keeps its eye story agents are now stipulating a cut on most unrovingly glued to the front page is for more research minded It is still In galley proofs, and later film profits, to know, but this commentator thinks it mast ~ people certainly must be sees his price become a pitiful part 20th AMUSEMENTS. Century-Fox. of what he could have collected If That entertainment over huge factory, presided by inactive Col. he had waited for publication and Darryl Zanuck. has Just turned away from its favorite newspaper with successful Is -.—__— sales, being planned at the story of Sergt. Edward (Com- __ last, mando* the lad a. Kelly, Pittsburgh leave, not because the job has not Typical of inequities to an author wmm a lark u who had such Ger- killing gw \\ !¥J been an entirely happy one, and the was the case of Margaret Mitchell mans in As a pn rvTTi Italy. result, Sergt. associations pleasant, but because and "Gone With the Wind.” The has $25,000. the goes, 4 • Kelly report he never liked the idea of to screen rights $50,000 with wet it with Canute TTatet. A having brought m Simply to add now to the other laurels he tell his son few later that he spent the the film owner refusing a sale of applications will completely fe- a Canute Water won by virtue of being sort of war » color it similar to its former natural presiding over a cocktail lounge.
    [Show full text]
  • ®'N$\ in "Alias a at 8 06 Beery Gentleman," KEWTOM T a Unm a 4Th a Puttarnut Sts
    amusements and Wild Bill Doolan been so In- nately, the the kids are all perfec- ventlon and reunion in Baltimore **■ All of West’s Bad Men sulted as by this implication that 3d headquar- tionists. August 13-14, Army HA SIM SPLITTING Scott could take them on as a MacMurray, in reading a speech ter! has announced. LAPP FESTIVAL Routed by Old Randy group. ,w of 10 lines, omitted one word. Little HOW—ENDS SAT. The script writers are a bit eva- HE 'Easter Parade’ Is Festival In Keith Feature immediately turned to Director l ho Gay sive on this point to be sure. From Gigi _AMUSEMENTS_ ho ‘RETURN Of THE BAD MEN." »n RKO time to time, the story suggests Claude Biryon. MMIRUnH by Nat Holt, directed HA Picture produced that outlaws were a temperamental she “that isn’t Astaire and Berlin by Ray Enright. original screenplay by “Mr. Binyon," said, I HA HiaQKuUw Jack Natteford and Lud Ward. At Keith *. lot and walked out on one another HE Honoring the it is in the script!” > THE CAST: Scott's work easier. way _,4_^><l _•_ Randolph Scott just to make HE By Jay Carmody Vance is now taking the | Sundance Kid_ Robert Ryan the MacMurray i ho ■i.i.HianifliiHG be life wretched for Anne Jeffreys As picture ends, however, The Democrats and Republicans may making Chevenne_ home with him every DEMOCRAT k ha ■ftSUMHHiWMMi Pettit _Oeorge "Gabby" Hayes Guthrie is as clean as a whistle, script night. each but wants to make I— 1 ha other, Metro-Goldwyn-Maver only everybody Jacqueline White LJ CONVENTION / Madge a town where gamblers and bar- And there’s a dangerous look in his he happy with Easter Parade.” It should have no trouble at all achieving Cole Younger_ Steve Brodie («i.
    [Show full text]
  • Cozy up with a Movie Musical!
    AXS ENTERTAINMENT / ARTS & ENTERTAINMENT / PERFORMING ARTS Snowed In, Cleveland? Cozy Up With a Movie Musical! December 13, 2010 6:13 PM MST Snowed in? Why not check out some movie musicals?! Here are just a few popcorn-by-the-fire movie musical picks from each decade to keep you entertained during our crazy Cleveland weather! What are YOUR favorites? Let us know in the Comments section. - Anything Goes (1936) - Ethel Merman, Bing Crosby - Shall We Dance (1937) - Ginger Rogers & Fred Astaire - The Wizard of Oz (1939) - Judy Garland, Ray Bolger, Jack Haley, Bert Lahr, Frank Morgan - Road to Singapore (1940) - Bing Crosby, Dorothy Lamour, Bob Hope - On the Town (1949) - Gene Kelly, Frank Sinatra, Ann Miller) - Singin' In the Rain (1952) - Gene Kelly, Donald O'Connor, Debbie Reynolds - A Star is Born (1954) - Judy Garland, James Mason - Guys and Dolls (1955) - Marlon Brando, Jean Simmons, Frank Sinatra Vivian Blaine - West Side Story (1961) - Natalie Wood, Rita Moreno, Richard Beymer - My Fair Lady (1964) - Audrey Hepburn, Rex Harrison - The Sound of Music (1965) - Julie Andrews, Christopher Plummer - Man of La Mancha (1972) - Peter O'Toole, Sophia Loren - Grease (1978) - John Travolta, Olivia Newton-John - The Wiz (1978) - Diana Ross, Michael Jackson, Lena Horne, Richard Pryor - Little Shop of Horrors (1986) - Rick Moranis, Ellen Greene, Steve Martin - Labyrinth (1986) - David Bowie, Jennifer Connelly - Sister Act (1992) - Whoopi Goldberg, Kathy Najimy, Maggie Smith - Newsies (1992) - Christian Bale, David Moscow, Bill Pullman - Moulin Rouge! (2001) - Ewan McGregor, Nicole Kidman - Chicago (2002) - Catherine Zeta-Jones, Renée Zellweger, and Richard Gere, also featuring Queen Latifah, John C.
    [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]
  • The Cinema of Gene Kelly
    THE MUSEUM OF MODERN ART No 100 11 WEST 53 STREET, NEW YORK 19, N. Y. FOR RELEASE: TELEPHONE: CIRCLE s-8900 Thursday, August 30, 19fe The Cinema of Gene Kelly, a series of ten films featuring the actor-dancer-writer- dlrector, will begin at the Museum of Modern Art September 2-5> daily at 3 and 5:30, with Singin1 in the Rain (1952), with Donald O'Connor and Debbie Reynolds. The series will continue September 6-8 with For Me and My Gal (l$k2), with Judy Garland and George Murphy; September 9-12, Cover Girl (19MO with Rita Hayworth, Lee Bowman and Phil Silvers; September 13-15, On the Town (19U9) with Frank Sinatra, Betty Garrett and Jules Munshin; September 16-19, An American in Paris (l95l) with Leslie Caron, Oscar Levant and Nina Foch (3:00 only on September 18); September 20-22, It's Always Fair Weather (1955) with Dan Dailey, Cyd Charisse and Dolores Gray; September 23-26, Invitation to the Dance (1956) with Igor Youskevitch and Tamara Toumanova; September 27-29, Les Girls (1957) with Mitzi Gaynor and Kay Kendall; September 30-0ctober 3, Singin1 in the Rain, repeat; and October k-6, Anchors Aweigh (19^5) with Frank Sinatra. In a monograph published in connection with the series,* Richard Griffith, Cu­ rator of the Museum's Film Library, says that "Kelly, as soon as he had established himself in the movies, worked toward becoming the choreographer and director as well as the stellar actor-dancer of his films. In the planning of his movies, he seemed to work alternately toward two complementary goals: to build the dances into the structure of the film as its central, expressive essence; or, to use dances to change the mood entirely, in counterpoint to the rest of the picture, as if a second self were emerging." *The Cinema of Gene Kellv.
    [Show full text]
  • Mustsee Musicals: 10 Film Collection
    Must­See Musicals – Page 1 ​ MUST­SEE MUSICALS: 10 FILM COLLECTION Starring Fred Astaire, Bing Crosby, Judy Garland, Doris Day, Gene Kelly, Frank Sinatra and more! Warner Bros. Home Entertainment (WBHE) release the 10 disc collector's box set; MUST­SEE ​ MUSICALS: 10 FILM COLLECTION, featuring some of Hollywood’s most beloved musical classics in ​ a beautifully packaged collection with pristine, remastered editions of the films, and packed with extras. The films include some of cinema’s best loved musical tracks, such as There’s No Business Like ​ Showbusiness, Who Wants To Be A Millionaire?, The Trolley Song, Singin’ In The Rain, That’s ​ ​ ​ ​ ​ ​ ​ ​ Entertainment! and Everything’s Coming Up Roses; and a line­up of Hollywood greats including ​ ​ ​ Judy Garland, Fred Astaire, Bing Crosby, Gene Kelly, Frank Sinatra, Grace Kelly, Cyd Charisse, Natalie Wood, Karl Malden and Doris Day. This guaranteed feel­good collection ­ in a presentation box decorated with artwork from the original film posters ­ not only makes an attractive addition to any DVD library, it also provides hours of infectious, heart­warming, toe­tapping viewing, with iconic dance routines and stunning production design, that you’ll want to return to again and again. * Meet Me In St Louis; Margaret O’Brien Academy Award ​ ​ for outstanding child actress of 1944 Easter Parade; Academy Award Best Scoring of a Musical Picture 1949 ​ Annie Get Your Gun; Academy Award Best Music, Scoring of a Musical Picture 1951 ​ Calamity Jane; Academy Award for Best Original Song 1955 – “Secret Love” ​ Must­See Musicals – Page 2 ​ ABOUT THE FILMS 42nd Street (1933) The film that launched the Golden Age of Hollywood musicals, 42nd Street ​ ​ traces the creation of a Broadway show from its first casting call through its blockbuster opening night ­ when the leading lady twists her ankle and a young chorus girl (Ruby Keller) takes her place and becomes a star.
    [Show full text]
  • P-26 Motion Picture Collection Repository: Seaver Center For
    P-26 Motion Picture Collection Repository: Seaver Center for Western History Research, Natural History Museum of Los Angeles County Span Dates: c.1872-1971, bulk 1890s-1930s Extent: 48 linear feet Language: Primarily English Conditions Governing Use: Permission to publish, quote or reproduce must be secured from the repository and the copyright holder Conditions Governing Access: Research is by appointment only Preferred Citation: Motion Picture Collection, Seaver Center for Western History Research, Los Angeles County Museum of Natural History Related Holdings: There are numerous related collections, and these can be found by consulting the Photo and General Collection guides available at the Seaver Center’s website. They include manuscripts in general collection 1095 (Motion Pictures Collection), general collection 1269 (Motion Picture Programs and Memorabilia), general collection 1286 (Movie Posters Collection), general collection 1287 (Movie Window Cards and Lobby Cards Collection), and general collection 1288 (Motion Picture Exhibitors’ Campaign Books). Seaver Center for Western History Research P-26 Abstract: The Motion Picture Collection is primarily a photograph collection. Actor and actress stills are represented, including portraits by studio photographers, film and set stills, and other images, as well as related programs, brochures and clippings. Early technology and experimental work in moving pictures is represented by images about camera and projection devices and their inventors. Items related to movie production include early laboratories, sound, lighting and make-up technology. These items form Photograph Collection P-26 in the Seaver Center for Western History Research. Scope and Content: The Motion Picture Collection is primarily a photograph collection. Actor and actress stills are represented (including portraits by studio photographers), film stills, set stills, and other images, as well as related programs, brochures and clippings.
    [Show full text]
  • Examining the Careers and Artistic Contributions of Fred Astaire's
    Western Kentucky University TopSCHOLAR® Honors College Capstone Experience/Thesis Honors College at WKU Projects Fall 12-14-2015 Backwards in High Heels: Examining the Careers and Artistic Contributions of Fred Astaire’s Female Dance Partners Fiona Mowbray Western Kentucky University, [email protected] Follow this and additional works at: http://digitalcommons.wku.edu/stu_hon_theses Part of the Dance Commons, Other Theatre and Performance Studies Commons, and the Performance Studies Commons Recommended Citation Mowbray, Fiona, "Backwards in High Heels: Examining the Careers and Artistic Contributions of Fred Astaire’s Female Dance Partners" (2015). Honors College Capstone Experience/Thesis Projects. Paper 591. http://digitalcommons.wku.edu/stu_hon_theses/591 This Thesis is brought to you for free and open access by TopSCHOLAR®. It has been accepted for inclusion in Honors College Capstone Experience/ Thesis Projects by an authorized administrator of TopSCHOLAR®. For more information, please contact [email protected]. BACKWARDS IN HIGH HEELS: EXAMINING THE CAREERS AND ARTISTIC CONTRIBUTION OF FRED ASTAIRE’S FEMALE DANCE PARTNERS A Capstone Experience/Thesis Paper Presented in Partial Fulfillment of the Requirements for the Degrees Bachelor of Fine Arts and Bachelor of Science with Honors College Graduate Distinction at Western Kentucky University By Fiona Mowbray ***** Western Kentucky University 2015 CE/T Committee: Approved by Dr. Michelle Dvoskin, Advisor Dr. Julie Lyn Barber ______________________ Advisor Dr. Dana Bradley Department of Theatre & Dance Copyright by Fiona Mowbray 2015 ABSTRACT This project examines the careers and contributions of three of Fred Astaire’s female dancing partners during the golden age of movie musicals: Ginger Rogers, Vera- Ellen, and Cyd Charisse.
    [Show full text]