DOCSLIB.ORG

Prince of Wales Theatre "A To

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Prince of Wales Theatre .-----, " .:.__~ T~H~E~~M~·~'A~G~A~Z~I~N~E-~P~R~O~G~R~A~M~M~E=-.:. THE MAGAZINE-PROGRAMME I~~~~~~~~~~ffiffi~ffi~~ffi~~~ffiffiffi~ ~ffiffiffiffiffiffi~ffiffiffiffiffiffi~ffiffiffi~ffiffil I London Amusementsi I WOMEN I B3 B3' I By MARGOT CARROLL. B3 ffi~~ffiffiffiffiffiffiffiffiffiffiffiffi~ffiffiB3ffiffiffiffiB3B3ffiB3ffiB3B3ffiffiffiBffi~B3 3~B3ffiB3ffiffiB3~~ffiB3B3ffil ALDWYCH. THE WHITE-HEADED BOY The. Perfect Day.-The jolliest Easter Evenings 8.30. Mats.: Thnrs. & Sat. 2.30 party I saw was three pretty actresses Stations: Covent Gdn., Tern., Ald. Gerr. 3929 in sporting kit on a sidecar. One in breeches and a leather jerkin steered AMBASSADORS. TH"E CURATE'S EGG the motor-bike, one was cosily en- Evenings 8.30. Mats.: Tuesday & Friday 2.30 Stns.: Tot. Ct. Rd., Leices, Sq. Gerr, 446U sconced in the car and the third perched at the back. "Bye-bye, Margot, off APOLLO. THE WHEEL to Brighton. Cheerio!" and the three Evenings 8.30. Mats.: Tues., Thurs. & Sat. 2.30 Stations: Piccadilly Cir., Leices. Sq. Gerr. 3243 Graces were gone! For Luck.-I love Easter shopping, COMEDY. don't you? Hats and frocks so fresh OTHER PEOPLE'S WORRIES and alluring, and if red doesn't intrigue Evenings 8.30. Mats. : Mon., Thurs. & Sat. 2.30 Station: Piccadilly Circus. Gerrard 37i4 you there's Mary blue, or engaging little brown straw turbans with a saucy quill GARRICK. or two to cause trouble when it gets in OF THE MAN IN DRESS CLOTHES PRINCE WALES the way-what? Evenings 8.30. Mats: Thurs. & Sat. 2.30 Stns.: Leicester Sq., Trafalgar Sq. Gerr. 951:3-4 Help ?-Isn't man's idea of packing priceless? One of the Best volunteered HIS MAJESTY'S. CAIRO to help me and turned up with a huge Evenings 8. Mats.: Wed. & Sat. 2.15. Special Matinee Easter Monday, 2.15. Chocolat Lambert Easter egg under one St.ations : Picced illy Cirv.Trufulgur su. Gerr.1777 arm and a box of 100 No. 11 Abdullas under the other, just as I was squeezing THEATRE KINGSWAY. THE YELLOW JACKET Special Matinee Easter Monday at 2.30. the absolute minimum of necessaries Evenings 8.15. Mats: 'I'ues. & Sat. 2.30 into a minute suit case, Stations: Holborn, IHuseUI1I. Gerrard 4_LJ;~:'! A New Departure.-Not content with LONDON PAVILION. scouring two continents in quest of new THE FUN OF THE FAYRE beauty methods, the enterprising Helena Evenings 8.15. Mats. Tues. & Sat. 2.30 Rubinstein has started a monthly maga- Station: Piccadilly Circus. Gerrard 704-5 zine-" Loveliness through the Letter NEW OXFORD. Box "-which she kindly offers to send MAYFAIR AND MONTMARTRE free every month to my readers, so Evenings 8. Mats. : Wed. & Sat. 2.30 post your names and addresses to her Station: 'I'ot.tenham Court ltd. Museum 17-10 at 24 Grafton Street, W., if you're keen PRINCE OF WALES. A TO Z on a good complexion. Evenings 8. il'lats.: Wed. & Sat. 2.15 ANDRE CHARLOt'S Station: Piccadilly Circus. Gerrard 74~2 OppOSite the R.A.-Wonder if the aroma of freshly-ground coffee is as irre- PRINCES. sistible to you as to me. They are HARRY LAUDER'S SEASON always putting newly gronnd berries REVUE First performance Easter Monday, at 8.15. through their paces at the Kardomah, 186, Evenings 8.15. Mats.: Wed., Thurs. & Sat. 2.1:, Stns.: ·.l"ot.Ct.l{d.,llolbn., Cov. Gd n. Gerr.34U0·J Piccadilly, and the coffee after the excel- lent little lunch is often an encore number. SAVOY. Tea at the Kardomah seems the fashion PADDY THE NEXT BEST THING -;1l1d very nice, too, as George Robey Evenings 8.15. Mats.: Mon. & Sat. 2.30 "A TO Z." Stns.: Ald., 'I'em., Strand, Char. X. Gerr.3366-7 says. SHAFTESBURY. TONS OF MONEY The Ring and the Book.-Have you Evenings 8.15. Mats.: Wed. & Sat. 2.:30 spotte.d the latest setting for a big Special Matinee Easter Monday at 2.30. sapphire or emerald-very finely cut Stns. : Leicester. :-)4., Piccuduiy urr. Gerr. 6666 steel? Iris Marshall wore one at a ST. JAMES'S. THE BAT recent first night, and the tiny points Evenings 8.15. Mats.: Wed. & Sat, 2.30 sparkled like diamonds. Wrapped in Special Matinee Easter Monday, 2.30. Stns. : Dover st., Piccadilly Crrcus. Gen. 3003 a lovely tailless ermine coat she told me her new Spanish novel is well on the wav ST. MARTIN'S'. LOYALTIES to completion. • and SHALt.: WE JOIN THE LADIES The Magician.-If not naturally slim Programme. Evenings 8. Mats.: Mon., Fri. & Sat. 2.15 it's a case of art steps in where nature r Stns.: Leices. Sq., Tot. Ct. Rd. Gerrard 1243 fails, and Mme. Shirley Shotter has the STRAND. THE LOVE MATCH knack, a plump pal. told me, of enabling Evenings 8.15 Mats.: Thurs. & Sat. 2.30 the portly to wear the slender frocks of Stns. : Covt. Gdn., Ald., Temp. Gen. 3800, 3452 the moment. Many an actress owes her WINTER GARDEN. SALLY slim shape to the skilful corseting at Evenings 8. Mats.: Thurs. & Sat, 2.15 Special Matinee Easter Monday, 2.15. 76 New Bond Street, ';Yo (1st floor), which Stns. ; cove. '-'du., Holun., Musm. Gerrard 416 doesn't mean tight-lacing by any means. ! I ·:·,------------------~L-A-K-.-MA-N~&~l~U~C~K~.R~,~L-T-D.-,~P~R-I-N-T'-R-.,~2~6,~L-O-N-G~A~CR-'~W~.C~·~.2-.------------ THIS PROGRAMME INSURES YOU FOR .£100. GUARANTEED BY THE GRESHAM .:. FIRE AND ACCIDENT INSURANCE SOCIETY, LIMITED. I" s < •••• ~T~H~F__.~,~M~A~r.~A~Z~.~'~N~F.~,-=:P~R~0:1G~R~A~M~M~~E~_ .•.• -------------r HEM AG-~~~--~~~~~A Z J N E-P R 0 G RAM~~--~ME·--~~~~~~~~~~~------------.~. .:. ~ffiffiffi~ffiffiffiffi~ffiffiffi~ffi~ffi~~ffiffiffiffiffi~~ ~ffiffiffiffiffi~ffiffiffiffiffi~~~ffiffi~ffiffiffiffiffiffi~ ~ffiffiffiffiffiffiffiffiffi~~ffiffiffiffiffiffiffiffiffiffiffiffi~ t~rn~ffiffiffiffiffiffiffi~ffiffiffiffi~ffiffiffiffiffiffiffiffiffi ffi ffi 11 WHO'S WHO 11 ~ SNAP SHOTS 11 BEHIND THE FOOTLIGHTS Ell I Theatrical Confessions ~ M 11 i STAGE STORIES III ffi ~ t Compiled I}!I Ed-nrml H(P/.) " ; (EDITeD BY GEOnGe Hl:MPHERY.) ffi ffi I !!l ~ FROM TilE WORLD'S PAPERS. III ~~~m~ffiffiffiffiffi~ffiEllffiffiEll~~~ffiffiffiffiffi~ iilffi93ffiffiffiffiffi~93IEEIl93ffiFEffiffiffiffi~ffiEBffi~ ffi~ffiffiffiffiffiffiffiffiffiffiffiffiffiffiffiffiffiffiffiffiffiff~~~fi~1Ilfiffiffiffiffiffiffiffiffiffiffiffiffiffiffiffiffiffiffi~ffiffi~ No. 131.-Mr. STANLEY HOLLOWAY. No. 155.-1\1iss RUTH MACKAY. No. 30.-By Miss MAISIE GAY. A. YOUNGman arrived at a party, and BIllTHPLACE: Essex. (Specially contributed 10 this Programme.) made his way to the hostess, zrectins her Which is your favourite theatre? BIRTHD"AY: t st October. People were talking about Lord De and apologising for his latenes~. '" The one which gives the play I'm in CAREEn: Mr. Stanley Holloway made "Awfully glad to see you, Mr. Bones," the longest run, Luce. '"' His name was connected at his first appearance on the stage in ] 905 the clubs and in the park with that of ''Vhich is yoill' favourite play? said the hostess. "So good of you to come. at the age of fifteen as a boy contralto, Mme. Bertha, the celebrated milliner. But where is your brother? " ~, The one which gives me the best part. since which time he has played a variety Now as everybody knows, Lord De " He was unable to come. You see, we of parts: His most interesting cngage- ''Vhat is vour carliest.· recollection? Luce having had nothing but his title are so busy just now that it was impossible ment of recent years 'was at the Palace Sympathy for m) self at realisiug wherr to live on, had married no less an heiress (or both of us to get away, and so we tossed Theatre where he appeared in ] 9] 2 with I was. that the daughter of old Warnford; lip to see which of us should come." i\Ir. Leslie Henson in :.'>]cssrs. Herbert Vl'hich is vour Iavom-itc sport? and this astute millionaire soon got to " How nice! And you won? " Burney'S and Wolsclcy Charles's pro- "Sporti~lg lny oak." hear what people were saying about "No," replied the voung man absentlv . duction entitled "Nicely Thanks." He Which is your I'H\'ourite hobby? • De Luce, Bertha and the bonnet shop. " I lost! "-I'it-Bits. • - , then sailed for South America and the Studying my fellow creat urcs. He was no fool, and the last man in ,"Vest Indies, where he toured with the the world to try and make a scandal. Which are your favourite cigarettes i "Grotesques." On the outbreak of war, Still this bonnet shop business worried YOUNG VI'IFE: "Dear me, what a silly " Yellow Perils." he joined thc army as an officer in the him more than a little. After delibera- blunder the Post Office people have made." What would yon do to make Londo. Connaught Rangers in which regiment ting over the position, and having satis- FnIEND: ""Vhy, what's the matter? " brighter? (htlllgc li!c (';j·lIwte. he served with the British Expeditionary fied himself that Lord De Luce was really YOUNG '''lIFE: "I've just got a letter What is your ideal holiday'! Force. His first engagement after the financial backer of Madame Bertha, from Harry, post-marked. Brighton, and "Far from the madding crowd." demobilisation was at the ''Vinter Garden he took the bull by the horns and called he's working in London."-London Mail. Who is your favourite dressmaker Theatre in 1919, under the management upon that lady at her bonnet shop near" The one who makes me look tile Lcst , of Messrs. Grossmith and Laur+Ilard , Hanover Square. Which is yom lucky day? "VIFE: "Every husband owes a great He there appeared in "Kissing Time," He was somewhat surprised to find her The Day of Days.
Load more

Recommended publications
  • Theatre Archive Project Archive
    University of Sheffield Library. Special Collections and Archives Ref: MS 349 Title: Theatre Archive Project: Archive Scope: A collection of interviews on CD-ROM with those visiting or working in the theatre between 1945 and 1968, created by the Theatre Archive Project (British Library and De Montfort University); also copies of some correspondence Dates: 1958-2008 Level: Fonds Extent: 3 boxes Name of creator: Theatre Archive Project Administrative / biographical history: Beginning in 2003, the Theatre Archive Project is a major reinvestigation of British theatre history between 1945 and 1968, from the perspectives of both the members of the audience and those working in the theatre at the time. It encompasses both the post-war theatre archives held by the British Library, and also their post-1968 scripts collection. In addition, many oral history interviews have been carried out with visitors and theatre practitioners. The Project began at the University of Sheffield and later transferred to De Montfort University. The archive at Sheffield contains 170 CD-ROMs of interviews with theatre workers and audience members, including Glenda Jackson, Brian Rix, Susan Engel and Michael Frayn. There is also a collection of copies of correspondence between Gyorgy Lengyel and Michel and Suria Saint Denis, and between Gyorgy Lengyel and Sir John Gielgud, dating from 1958 to 1999. Related collections: De Montfort University Library Source: Deposited by Theatre Archive Project staff, 2005-2009 System of arrangement: As received Subjects: Theatre Conditions of access: Available to all researchers, by appointment Restrictions: None Copyright: According to document Finding aids: Listed MS 349 THEATRE ARCHIVE PROJECT: ARCHIVE 349/1 Interviews on CD-ROM (Alphabetical listing) Interviewee Abstract Interviewer Date of Interview Disc no.
    [Show full text]
  • London Musicals 1920-1924.Pub
    1920 1 MEDORAH London run: Alhambra, January 22 nd – March 13 th (60 performances) Music: Vada Ennem Book & Lyrics Denn Spranklin English adaptation: Rupert Hazell English lyrics : Adrian Ross Additional numbers : John Ansell Director: E. Dagnell Choreographer: Will Bishop Musical Director : John Anstell Cast: Leo Stormont ( Sultan), Ada Reeve (Medorah), W.S. Percy ( Dadoolah), Jamieson Dodds (Vernon Grant ), Leslie Stiles ( Ambassador Manston), Margaret Campbell ( Mrs Manston) Songs: Tomorrow’s Another Day, There’s Always a Drawback, Like a Dream. Wonderful Joy, Hope Again, Love and My Soul Alone Story: In Caravanistan beauty is measured in physical bulk, the heavier the better. The Sultan’s eldest daughter, Medorah, is thin, too thin to be an eligible bride. Chancellor Dadoolah suggests she is sent to America for the purposes of putting on weight – a suggestion that delights her because she has fallen in love with Vernon Grant, the man who accompanied the American ambassador and his wife to a reception in the Sultan’s palace. They meet again in Washington, and when she is summoned back to Caravanistan , Vernon secretly follows. Meantime, after various adventures, Vernon is captured and forced to work as a slave in the Sultan’s household. With no hope of marrying his underweight daughter to a prince, the Sultan condemns her to marry his new slave – and thus Medorah and Vernon are happily united. Notes: The original publicity declared that “Medorah” was jointly produced by Mr. Bernard J. Hishin and Sir Oswald Stoll, but within a week of opening, the show was subject to a legal dispute in the Court of Chancery, with Violet Melnotte claiming (and winning) half-ownership in the copyright of the English version of this Dutch original.
    [Show full text]
  • Film's Musical Moments
    MUSIC & THE MOVING IMAGE SERIES This new series aims to explore the area of ‘screen Series Editor: Kevin Donnelly music’. Volume topics include: multimedia music, music and television, Hollywood fi lm music, and the music of FILM’S MUSICAL MOMENTS Bollywood cinema. EDITED BY IAN CONRICH & ESTELLA TINCKNELL FILM’S ‘Conrich and Tincknell’s book The scope of this collection is indicative of the examines a diverse range of breadth and diversity of music’s role in cinema, MUSICAL MOMENTS musical phenomena in fi lms as is its emphasis on musical contributions to and opens up provocative new ‘non-musical’ fi lms. By bringing together chapters avenues of research. This book that are concerned both with the relationship will surely be of interest to between performance, music and fi lm and the scholars of fi lm genre theory, fi lm specifi city of national, historical, social, and music studies, and popular music cultural contexts, Film’s Musical Moments will be culture.’ of equal importance to students of fi lm studies, cultural studies and music. The book is organised Jeff Smith, Washington University into four sections: Music, Film, Culture focuses in St Louis on cinema representations of music forms; Stars, Performance and Reception explores stars, fan Tincknell Conrich and Estella Ian cultures and intertextuality; The Post-Classical Hollywood Musical considers the importance of popular music to contemporary cinema; and Beyond Hollywood looks to specifi c national contexts. Chapters include jazz and animation, the Country and Western biopic, cult musicals and fandom, the importance of the soundtrack movie, and musicals from the former East Germany.
    [Show full text]
  • A Fine Romance Jewish Songwriters, American Songs, 1910–1965
    A Fine Romance Jewish Songwriters, American Songs, 1910–1965 “ We must pick ourselves up, dust ourselves off, and begin again the work of remaking America.” When Barack Obama made this statement in his inaugural address of January 20, 2009, he was paraphrasing the lyric Dorothy Fields wrote for a Jerome Kern song that Fred Astaire and Ginger Rogers joyously dance to in the 1936 movie Swing Time: “Pick yourself up, dust yourself off, start all over again.” Americans have always responded to the optimism, no less than the wit and sophistication, passion and verve, of the jazz standards, ballads, torch songs, anthems, up-tempo dance numbers, and showstoppers that make up the American songbook. Like Hollywood movies, with which they have a symbiotic relationship, the songs beguiled multitudes and prove, in their enduring appeal, that the goals of popular culture and high artistic achievement can happily coincide. The best songwriters combined a genius for melody, ingenuity at fitting the right words to it, and the ability to connect with a wide audience. A remarkably high percentage of them were Jewish by birth and heritage. Some (Jerome Kern, Richard Rodgers) came from relatively prosperous families with the foresight to immigrate in the 1860s or earlier. Others were children of refugees from Eastern Europe, who risked everything to escape pogroms and persecution in the years just before and after the turn of the century. Following the assassination of a liberal Czar in 1881, cruel anti-Semitic decrees made life miserable for Russian Jews—just as depicted in the 1964 musical Fiddler on the Roof (music by Jerry Bock, lyrics by Sheldon Harnick).
    [Show full text]
  • A Fine Romance: Jewish Songwriters, American Songs
    A Fine Romance Jewish Songwriters, American Songs, 1910–1965 “ We must pick ourselves up, dust ourselves off, and begin again the work of remaking America.” When Barack Obama made this statement in his inaugural address of January 20, 2009, he was paraphrasing the lyric Dorothy Fields wrote for a Jerome Kern song that Fred Astaire and Ginger Rogers joyously dance to in the 1936 movie Swing Time: “Pick yourself up, dust yourself off, start all over again.” Americans have always responded to the optimism, no less than the wit and sophistication, passion and verve, of the jazz standards, ballads, torch songs, anthems, up-tempo dance numbers, and showstoppers that make up the American songbook. Like Hollywood movies, with which they have a symbiotic relationship, the songs beguiled multitudes and prove, in their enduring appeal, that the goals of popular culture and high artistic achievement can happily coincide. The best songwriters combined a genius for melody, ingenuity at fitting the right words to it, and the ability to connect with a wide audience. A remarkably high percentage of them were Jewish by birth and heritage. Some (Jerome Kern, Richard Rodgers) came from relatively prosperous families with the foresight to immigrate in the 1860s or earlier. Others were children of refugees from Eastern Europe, who risked everything to escape pogroms and persecution in the years just before and after the turn of the century. Following the assassination of a liberal Czar in 1881, cruel anti-Semitic decrees made life miserable for Russian Jews—just as depicted in the 1964 musical Fiddler on the Roof (music by Jerry Bock, lyrics by Sheldon Harnick).
    [Show full text]
  • Appendix 1 Productions of Operetta from the German Stage on Broadway and in the West End, 1900–1940
    Appendix 1 Productions of Operetta from the German Stage on Broadway and in the West End, 1900–1940 This appendix lists only operettas that appeared on both German-language and English-language stages. Whenever possible the number of perfor- mances of the first production in Vienna, Berlin, London, or New York has been checked from several sources. These include: J. P. Wearing, The London Stage, 8 vols., covering the period 1900–39 (Metuchen, NJ: Scarecrow Press, 2nd edn 2013–14); Burns Mantle, The Best Plays of 1909–19, and annual vols. 1920–25 (Boston: Small, Maynard) and 1926– 40 (New York: Dodd, Mead); Kurt Gänzl and Andrew Lamb, Gänzl’s Book of the Musical Theatre (London: The Bodley Head, 1988); Anton Bauer, 150 Jahre Theater an der Wien (Vienna: Amalthea-Verlag, 1952); Richard C. Norton, A Chronology of American Musical Theater, 3 vols. (New York: Oxford University Press, 2002); Gerald Bordman, American Operetta: From H.M.S. Pinafore to Sweeney Todd (New York: Oxford University Press, 1981), Appendix, 185–94; Stanley Green, Encyclopedia of the Musical Theatre (New York: Dodd, Mead, 1976); Robert Ignatius Letellier, Operetta: A Sourcebook (Newcastle upon Tyne: Cambridge Scholars, 2015); the Internet Broadway Database www.ibdb.com/index.php; The Guide to Light Opera & Operetta www.musicaltheatreguide.com/menu/ introduction.htm; the Operone database www.operone.de/ and the Ovrtur database of musicals www.ovrtur.com/. Note that performance statistics in Table II, 427–35 of Otto Keller, Die Operette in ihrer Geschichtlichen Entwicklung: Musik, Libretto, Darstellung (Leipzig: Stein Verlag, 1926) give the total number of performances on the German stage up to 1921 of operettas dating from 1900 and later.
    [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 Band Wagon“ (Dt
    Bemerkungen zu „The Band Wagon“ (dt. Vorhang auf) Erscheinungsjahr: 1953 Regie: Vincente Minelli Musik: Howard Dietz, Adolf Deutsch Darsteller: Fred Astaire (Tony Hunter), Cyd Charisse (Gabrielle Gerard), Oscar Levant (Lester Marton), Nanette Fabray (Lily Marton), Jack Buchanan (Jeffrey Cordova), James Mitchell (Paul Byrd), Robert Gist (Hal) Vorbemerkungen: Vincente Minelli, der viele erfolgreiche Filme für MGM in den vierzger und fünfziger Jahren gedreht hat (Cabin in the Sky, Ziegfeld Follies, An American in Paris, Gigi, The Sandpiper usw.) braucht hier nicht vorgestellt zu werden, ebenso wie Fred Astaire. Cyd Charisse, die in „The Band Wagon“ erstmals mit Fred Astaire arbeitete, war eine amerikanische Filmschauspielerin und Tänzerin, die auf Musicals in den fünfziger Jahren spezialisiert war. Weitere Erfolge neben Band Wagon waren Rollen in „Singin‘ in the Rain“ und „Brigadoon“. Unbedingt eingegangen werden muss auf Oscar Levant, der Gelegenheitsschauspieler aber vor allem Pianist und Komponist war. Levant war ein enger Freund von George Gershwin, der ihm öfters seine Werke zur Uraufführung oder Überarbeitung gab. 1945 war Oscar Levant als Freund von Gershwin in dem Film „Rhapsody in Blue“ zu sehen. Weitere bekannte Filme mit ihm waren 1949 „The Barkleys from Broadway“ und 1951 „An American in Paris“. Filmplakat Inhaltsangabe: Der in die Jahre gekommene Tanz-Star Tony Hunter (Fred Astaire) läuft seinen alten Erfolgen hinterher. Deshalb macht er sich per Bahn nach New York auf, um seine Freunde, das Ehepaar Marton (Oscar Levant und Nanette Fabray), zu besuchen, die für ihn eine neue Revue geschrieben haben, um ihn wieder auf die Erfolgsspur zu bringen. Für ihn ist der Besuch auf dem Broadway ein Schock, da sich die Theaterstraße komplett verändert hat.
    [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]
  • British Musicals and Comedies Open at the Museum of Modern Art December 20
    The Museum of Modern Art For Immediate Release December 1985 BRITISH MUSICALS AND COMEDIES OPEN AT THE MUSEUM OF MODERN ART DECEMBER 20 Farce and dry wit, streetsong and operetta characterize the wide range of the more than fifty British films to be screened in the exhibition "The Musical and Comedy Tradition" at The Museum of Modern Art. The series opens Friday, December 20, with two Gracie Fields musical comedies, Sally in Our Alley (1931) and Sing as We Go (1934), at 2:30 p.m., and Alfred Hitchcock's silent film Champagne (1928), starring Betty Balfour, at 6:00 p.m., and continues through February 18, 1986. The films in "The Musical and Comedy Tradition," the third of the five sections of the ongoing series BRITISH FILM- TRADITIONS, will be shown chronologically (complete schedule attached). The works in the program reflect the strong influence of the British music hall. Among the music hall performers besides Gracie Fields who made the transition to film and are represented in the exhibition are George Formby (Keep Your Seats Please, No Limit), Max Miller (Hoots Mon!), Will Hay (Oh, Mr. Porter!), Jessie Matthews (It's Love Again, Evergreen), Jack Hulbert and Cicely Courtneidge (Elstree Calling), and Sid Field (London Town). A Victorian music hall is the subject of Alberto Cavalcanti's Champagne Charlie (1944). Thomas Bentley's Harmony Heaven (1930) and Walter Summers's Raise the Roof (1930), which will be featured on a double bill, are early backstage musicals, as is Victor Saville's Evergreen (1934). The music hall tradition has helped to define British comedy.
    [Show full text]
  • Biographical Data on United Artists Personalities
    LIBRARY THE MUSEUV! OF MQQERN ART Received: Scanned from the collection of The Museum of Modern Art Library Coordinated by the Media History Digital Library www.mediahistoryproject.org Funded by a donation from John McElwee Digitized by the Internet Archive in 2014 https://archive.org/details/biographicaldataOOunse BIOGRAPHICAL DATA ON UNITED ARTISTS PERSONALITIES I Corrected to April 193S Publicity Department UNITED ARTISTS CORPORATION 729 Seventh Avenue New York, N. Y. SPIRAL BINDING U.S. Pat. Nos. 1516932 1942026 1985776 — 81 FU Un 4 /S5V BIOGRAPHICAL DATA UNITED onARTISTS PERSONALITIES — Arliss, George .... 1 Howard, Leslie . 27 Beery, Wallace .... 2 Kelly, Arthur W. 28 Bergner, Elizabeth . 3 Korda, Alexander . 29 Boleslawski, Richard . 4 mm* Korda, Zoltan . 30 Bruce, Nigel 5 Laughton, Charles. 31.^- . Buchanan, Jack .... 6 — Lichtman, Al . , 32 Cantor, Eddie .... 7^ 0m Lister, Francis. 33 . Chaplin, Charles . 8 March, Fredric . , 34 Chevalier, Maurice . 9^ Menjou, Adolphe. 35' Clive, Colin 10 Merman, Ethel . 36 Colman, Ronald .... 11 * Neagle, Anna .... 37-^ Cooper, Gary 12 Oakie, Jack .... 38c-^- 39—-" Damita, Lili 13 Oberon, Merle . Del Ruth, Roy .... 14 Pickford, Mary . 40 — de Mille, Katherine 15 Robeson, Paul . 41 Disney, Walt 16 Schenck, Joseph M. 42 Donat, Robert . 17 Small, Edward . 43 44^-"~ Fairbanks, Douglas . 18 Smith, C. Aubrey . Freeland, Thornton . 19 Sothern, Ann .... 45 Gable, Clark 20 Sten, Anna , 46 Goetz, Harry M 21 Vidor, King 47 . Goldwyn, Samuel . 22 Vinson, Helen . , 48 Graavey, Fernand . 23 Wellman, William . 49 Hardwicke, Sir Cedric 24 Wilcox, Herbert . 50 . Hare, Lumsden 25 Young, Loretta . , 51 Hopkins, Miriam . 26 y/ Zanuck, Darryl . 52 + + + + + Printed in U.S.A.
    [Show full text]
  • British National Cinema
    British national cinema With films as diverse as Bhaji on the Beach, The Dam Busters, Mrs Miniver, Trainspotting, The Draughtsman's Contract, and Prick Up Your Ears, twentieth- century British cinema has produced wide-ranging notions of British culture, identity and nationhood. British National Cinema is a comprehensive introduction to the British film industry within an economic, political and social context. Describing the development of the British film industry, from the Lumière brothers’ first screening in London in 1896 through to the dominance of Hollywood and the severe financial crises which affected Goldcrest, Handmade Films and Palace Pictures in the late 1980s and 1990s, Sarah Street explores the relationship between British cinema and British society. Using the notions of ‘official’ and ‘unofficial’ cinema, the author demonstrates how British cinema has been both ‘respectable’ and ‘disreputable’ according to the prevailing notions of what constitutes good cinema. British National Cinema analyses the politics of film and establishes the difficult context within which British producers and directors have worked. Sarah Street questions why British film-making, production and distribution have always been subject to government apathy and financial stringency. In a comparison of Britain and Hollywood, the author asks to what extent was there a 'star system' in Britain and what was its real historical and social function. An examination of genres associated with British film, such as Ealing comedies, Hammer horror and 'heritage' films, confirms the eclectic nature of British cinema. In a final evaluation of British film, she examines the existence of 'other cinemas': film-making which challenges the traditional concept of cinema and operates outside mainstream structures in order to deconstruct and replace classical styles and conventions.
    [Show full text]