DOCSLIB.ORG

The Original Brooklyn Academy of Music (1859-1903)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Original Brooklyn Academy of Music (1859-1903) T H E BROOKLYN ACADEMY OF MUSIC Mirror of a Changing Borough COURTESY OF BROOKLYN UNION GAS AND ITS AREA DEVELOPMENT GROUP NEW B,RO OKLY N\ A CADE1v1Y O'F MUSfC GROWING UP IN BROOKLYN THE BROOKLYN A C ADEMY OF MUSI C MIRROR OF A C HANGING B O RO U GH By Martha McGowan COU R TESY OF BROOKLYN UNION GAS AND I TS A R EA DEVELOPMENT G R OUP AC K 0\X'Ll.:[)(I~I ENTS PHOTOGRAPIIY BROOK! YN AC ADEMY O F MUSIC Pmo Ahbresua. reid, p. 27. G ratdul ,1ckno'' ledgment '' made to ROARD 0 1- DIRECTO RS Han ·e\ LtLhten, tem , Karen Broob Renna Abrams. Ltchtenstem , p. 5. Hopkm,, .m d the enttre RA ~I sr ;~ft C hns A(e,ander: G raham, p. 23. l lonmary C hatrmen: for ""''ranee, .1J\'Ice, anJ acces' to Rcrt Andrews Ryrd, p. 22. Hon. Edward I. Koch archt,·e,, to C h.1 rle' lnm"· ~h c h acl Peggv Ramett Luntey. p 4. l ion. I Inwa rd Golden T eatum and ~l cl mJ .1 L;1ne at Brookly n Fergus Rourke. ewman, McKenna, eth F.mon lJmon ("" Comp.1nr: Patncta Fla' 111 K;nan,lgh .m d Cus.K k, p 37. Paul Lepercq ;~ nd the 1Hher lihran an' at the Long RtcharJ Rr.1aten C1ldwell anJ Rohards, C hat rman . bland Htstnnc 1l ouet\ , ~hldred p. 32 Net! D. Chmman lreherrv 111 the Brooklyn Museum Tom Cu.naglia Louts, p. 32, Cullherg Lthrarv: the st,lft ot the Brookl yn group, p 35, Cob, p. 41, Perry·. p. 44. Vtee C hatrmen: Coll euton .u the Rrnokhn Puhhc " ext Wave" group, p. 45, A nderson, Rt ta I lil lman Lthr,ln, the lihr.m am m the Mustc, p. 45. I. Stanley Knegel Dance .mJ Rilh Rose T heatre Donald Cooper: Rtchardson , Shaw and Arne Vennema collect iOns at the New York Puhlic Pasco, p. 36, McLellen , p. 36. Frankl 111 R. ' W e t ~sbe rg Lthrary at Lmcoln Center; the staff of Anthony C nckman: Konmg and Henry Bmg, Jr. the Reference Room at the mam T romp, p. 27. Warren B. Coburn New York Public Lthrary , Harnet Lyons S tgnJ b traJ a: Jamtson and Goudreau, C harl es M. Dtker and Nanette Ramone fro m Borough p. 24. Jeffrey K. Endervelt Prestdent Golden\ offi ce: joseph French , Falk: Ftsc her, p. l 0. Mallory Factor the Brooklyn C hamher of Commerce, Davtd Farrell. Howard, Kane, Harold L. Ft sher Wilbur Woods at the Brookl yn O ffi ce of Kestleman and W aller, p. 29. Leonard Garment e\\ York C tty Planning, Paul Kur:ner Lots G reenheld. "Freud" company, Elt sabeth Gotbaum of Con Edtson, G lona Rosenblatt from p. 30. Stdney Kantor the Brookl yn lnstttute of Arts and Gyenes. Espert and compamon, p. 30. llarvey Ltchtenstem Cle nce~. Hard ')o Adasko of the Ne'' Ken Howard . Davtd-James Carro ll and Eugene H. Luntey York Clt'r Puhlic Development others, p. 39. Hamtsh Maxwell Corporation; Tupper Thomas, Admm­ R. Kayaert: Donn and partner, p. 26. Evelyn O rtner tstrator of Prospect Park, the staff of Jerry Kean. school children, p. 41 . John R. Pnce, Jr. Equtty Ltbrary Theatre, Mtchael Davtd James Klosty: Cunmngham, p. 24, Rtchard M. Rosan of Dodger Producttons, and former C unnmgham, p. 25. Mrs. Man on Scotto BAM staff members Tom Kerngan , Jane Paul Kolntk: lntem attonal Afn kan­ W tl ltam Tobey Yockel and Sharon Rupert. Amencan Ball et, p. 40. C urtis A . W ood T omasso Ia Pera: C helsea, p. 29. The Brooklyn Academy of MusiC extsts John E. Zuccotti only through the support of many true Jack Mttchell: Mtchelle Lucct and and fatthful fn ends. W e particularly others, p. 35 . want to thank: the C tty of New York O leaga: Ntkolats, p. 32. and tts Department of C ultural Affatrs, Martha Swope: Ham s, Feldshuh and O FFIC ERS Burstyn , p. 38. the New York State Council on the Prestdent and C h tef Nathamel Tileston : Lucmda C hilds Am, the Nattonal Endowment for the Executtve O fficer: Dance Company, p. 43. Arts, and the many corporations, foun­ Harvey Ltchtenstetn dattons and mdtvtduals who have gener­ Arthur Todd: N ureyev, p. 22. ously sustamed BAM through the years. New York Public Ltbrary at Lmcoln Executi ve VtCe Prestdent Center, Astor, Lenox and T tlden­ and General Manager: Copynght ~ 1983 by Dance Collection: St. Dents and judtth E. Daykm Brookl yn Academy of Mustc Shawn, p. 21; Dunham, p. 23. Lafayette A venue Vi ce Prestdent 30 Mustc Dtvtston: Kellogg, p. 10; D'Oyly Brookl yn , New York 11 217 and Treasurer: Carte poster, p. ll ; Melba, p. IS; Pnnted m the U ntted States of Amenca Ri chard Balzano Farrar, p. 19; Caruso and Ponselle, Cover: Artwork fro m the p. 19; Powers, p. 22. Vice President for Planning archtves of Judtth E. Daykin Billy Rose Theatre Collection: Rehan , and Development: Destgn : By Destgn p. 10; C ushman , p. 10; Duse, p. 15 . Karen Brooks Hopki ns CONTENTS 4 FOREWORD Eugene H. Lunrey 5 PREFACE Harvey Lichtenstein 6 THE ORIGINAL BROOKLYN ACADEMY OF MUSIC (1859-1903) 16 NEW BOROUGH, NEW CENTURY, NEW ACADEMY (1908-1967) 24 THE REVITALIZATION OF BROOKLYN AND BAM (1967-Presenr) 46 ONSTAGE AT BAM (A Partial Roster) 48 BIBLIOGRAPHY FOREWORD In 1965 , Brooklyn U nion Gas Com­ pany inaugurated its C inderella Pro­ gram. Instead of changing pumpkins into coache , we help transform boarded-up townhouses, vacant apartment building and unused factorie into affordable housing by acting a the cataly t between local communities, builders, banker and owner . The ucce of the program con­ vinced u to continue this effort for over eventeen years. It al o con­ vinced u that neglected neigh bor­ hood can be brought back as desirable, liva ble' communities. The Brooklyn Academy of Music, the oldest performing arts center in Ameri ca, has had a rich heritage of pre enting the very finest in music, dance and theater. It recently re­ furbi hed building once again hine like a welcoming beacon to perform­ er and audience alike. It varied program attract people from all over. W e were one of the fir t corpora­ tions to upport BAM. In th is re­ spect, we fee l that Brooklyn Union Ga ha erved a a partner of the e succe ful BAM efforts over many year . We are proud of that. The fi nding of a tudy, made public recently, indicate that the art and cultural activitie pump $5.6 bi llion a year into the econ­ omy of the ew York Metropolitan area. T hi i good bu ine . Brooklyn Union believe that thi i another compelling rea on to up­ port BAM and other cultural in tt- tution m Brooklyn Union' ew York. Your upport of BAM i good bu ine ·, too. Eugene H . Luntey Pre tdent and C htef Executtve Officer 4 PREFACE The Brookl yn Academy of Music is Where is our responsibility? T o mental performance. This is a traditional Performing Arrs Center exhibit the great works of art from projected as a major international with a ense of continuity and his­ the past, certainly. But just as festival and will feature some of this wry dating back ro it incorporation importantly, ro sponsor, encourage country's most important contempo­ in 1859. Much of the rory i rold and promote the work of contempo­ rary artists, and, moreover, includes in this book. It is a strong base upon rary artists. touring some of this work to make it which ro build. Dance has been a visible and available outside of New York. While we all have a responsibil­ important part of BAM's program­ BAM's Community and Ethnic ity ro know and understand our ming for many years. Both the Programming, wh ich has met with past, we have an even greater "Ballet America" and the "Ballet both artistic and audience success, responsibility ro the present. To International" festivals have contrib­ encompasses a range of activity lack a sense of hisrory detracts from uted to BAM's eminence and have including tap dance galas, "Dance­ one's ability ro make considered introduced new companies, new Africa" festivals, Gospel programs, judgments. In many areas of the dancers and new work ro New York. visiting companies from the Carib­ arts, however, the past has over­ And the residency at BAM of the bean, and our joint program with whelmed the present. In dance, and T wyla Tharp Dance Company adds State University of New York, in painting and sculpture, that has to BAM's luster as a major dance "Dance Black America." The Per­ not been the case, and these two center. forming Arts for Young People areas of the arts have flourished Music has also been ably served program, a variety of dance, theater with important new work over the by our Brooklyn Philharmonic and music, is attended by approx­ past thirty years. We are now seeing Symphony Orchestra and by BAM's imately 80,000 stud ents each year. music and opera slowly emerge C hamber Music Series. They are Most of the activity is for grade­ from the past and from the clutches both sound operations, have excel­ school children, with a sampling of of academia and begin to emanate lent artistic direcrors in Lukas Foss Junior High programs; much of it vitality and humanity. Of course, and Scott N ickrenz, and serve a is educational in nature.
Load more

Recommended publications
  • The Court Theatres of the Farnese from 1618 to 1690
    This dissertation has been microfilmed exactly as received 68—2969 COBES, John Paul, 1932- THE COURT THEATRES OF THE FARNESE FROM 1618 TO 1690. [Figures I-V also IX and X not microfilmed at request of author. Available for consultation at The Ohio State University Library], The Ohio State University, Ph.D., 1967 Speech-Theater University Microfilms, Inc., Ann Arbor, Michigan (S) Copyright by- John Paul Cobes 1968 THE COURT THEATRES OF THE FARNESE FROM 1618 TO 1690 DISSERTATION Presented In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio S tate U niversity By John Paul Cobes, B.S., M.A. ******** The Ohio State University 1967 Approved by Z. Adviser Department of Speech PLEASE NOTE: Figures I-V also IX and X not microfilmed at request of auth­ or. Available for consultation at The Ohio State University Library. UNIVERSITY MICROFILMS. The author wishes to acknowledge, with dee nest gratitude, the assistance, suggestions, and guidance of the following persons, all of whom were instrumental in the camnletion of this study; Dr. Row H. Bowen, adviser to this study, and all the nersonnel of the Theatre Division of the Deonrtment of Speech at the Ohio State University. Dr. John ft. McDowell and Dr. John q . Morrow, advisers to this study, a".d nil +V> -•ersonnel of the Theatre Collection of the Ohio State Universit.w, D r. A l^ent M ancini of th e I t a l i a n D iv isio n o f th e Romance La.-wn.aTes Department of the Ohio State University’.
    [Show full text]
  • Thesis Turned Broadway
    The Library of America • Story of the Week From Dance in America: A Reader’s Anthology (Library of America, 2018), pages 258–61. Originally published in California Arts and Architecture, August 1941 and reprinted in Kaiso!: Writings by and about Katherine Dunham (2005). Copyright © 2005 by Katherine Dunham. Used by permission of the Estate of Katherine Dunham. Katherine Dunham (1909–2006) What a life! Katherine Dunham was a formidable dancer, an irre- pressible choreographer, a driven social activist, a groundbreaking ethnologist and anthropologist, a serial autobiographer, an interna- tional star, an inspiration, a scandal (banned in Boston!), and a model for generations of African American performers. It’s surprising that she found time to die, even if it was at the age of ninety- six. She starred as Georgia Brown in George Balanchine’s Broadway musical Cabin in the Sky, the show that Ethel Waters stopped with “Taking a Chance on Love.” (Lena Horne played Georgia in the movie.) She went on a forty- seven-day hunger strike to protest American policies toward Haitian refugees. (Speaking of Haiti, she became a priestess of the Vaudon reli- gion there.) She choreographed a new production of Aïda at the Met, featuring Leontyne Price. For decades, she toured the world with her Katherine Dunham Dance Company, mostly performing revues she created with names like Bal Nègre and Caribbean Rhapsody. (Danc- ers affiliated with Dunham’s company include Eartha Kitt, Janet Col- lins, and Talley Beatty.) She married the artist and scenic designer John Pratt, her collaborator on her shows as well, and they adopted a French baby.
    [Show full text]
  • American Masters 200 List Finaljan2014
    Premiere Date # American Masters Program Title (Month-YY) Subject Name 1 ARTHUR MILLER: PRIVATE CONVERSATIONS On the Set of "Death of a Salesman" June-86 Arthur Miller 2 PHILIP JOHNSON: A SELF PORTRAIT June-86 Philip Johnson 3 KATHERINE ANNE PORTER: THE EYE OF MEMORY July-86 Katherine Anne Porter 4 UNKNOWN CHAPLIN (Part 1) July-86 Charlie Chaplin 5 UNKNOWN CHAPLIN (Part 2) July-86 Charlie Chaplin 6 UNKNOWN CHAPLIN (Part 3) July-86 Charlie Chaplin 7 BILLIE HOLIDAY: THE LONG NIGHT OF LADY DAY August-86 Billie Holiday 8 JAMES LEVINE: THE LIFE IN MUSIC August-86 James Levine 9 AARON COPLAND: A SELF PORTRAIT August-86 Aaron Copland 10 THOMAS EAKINS: A MOTION PORTRAIT August-86 Thomas Eakins 11 GEORGIA O'KEEFFE September-86 Georgia O'Keeffe 12 EUGENE O'NEILL: A GLORY OF GHOSTS September-86 Eugene O'Neill 13 ISAAC IN AMERICA: A JOURNEY WITH ISAAC BASHEVIS SINGER July-87 Isaac Bashevis Singer 14 DIRECTED BY WILLIAM WYLER July-87 William Wyler 15 ARTHUR RUBENSTEIN: RUBENSTEIN REMEMBERED July-87 Arthur Rubinstein 16 ALWIN NIKOLAIS AND MURRAY LOUIS: NIK AND MURRAY July-87 Alwin Nikolais/Murray Louis 17 GEORGE GERSHWIN REMEMBERED August-87 George Gershwin 18 MAURICE SENDAK: MON CHER PAPA August-87 Maurice Sendak 19 THE NEGRO ENSEMBLE COMPANY September-87 Negro Ensemble Co. 20 UNANSWERED PRAYERS: THE LIFE AND TIMES OF TRUMAN CAPOTE September-87 Truman Capote 21 THE TEN YEAR LUNCH: THE WIT AND LEGEND OF THE ALGONQUIN ROUND TABLE September-87 Algonquin Round Table 22 BUSTER KEATON: A HARD ACT TO FOLLOW (Part 1) November-87 Buster Keaton 23 BUSTER KEATON:
    [Show full text]
  • Welcome Letter 2013 Samuel H. Scripps American Dance Festival
    Welcome Letter 2013 Samuel H. Scripps American Dance Festival Award Lin Hwai-min The ADF wishes to thank the late Samuel H. Scripps, whose generosity made possible the annual $50,000 Samuel H. Scripps American Dance Festival Award. The Award was established in 1981 as the first of its kind and honors chorographers who have dedicated their lives and talent to the creation of modern dance. The continuation of the award is made possible through the SHS Foundation and its President, Richard E. Feldman. Celebrated choreographer, director, and educator Lin Hwai-min will be presented with the 2013 Award by Joseph V. Melillo in a special ceremony on Saturday, July 27th at 8:00 pm, prior to the Forces of Dance performance at the Durham Performing Arts Center. The program will also include a performance of the solo from Lin Hwai-min’s 1998 work Moon Water, performed by Cloud Gate Dance Theatre dancer Chou Chang-ning. Mr. Lin’s fearless zeal for the art form has established him as one of the most dynamic and innovative choreographers today. His illustrious career as a choreographer has spanned over four decades and has earned him international praise for his impact on Chinese modern dance. He is the founder, choreographer, and artistic director of both Cloud Gate Dance Theatre of Taiwan (founded in 1973) and Cloud Gate 2 (founded in 1992), and his choreography continues to be presented throughout the United States, Europe, and Asia. While his works often draw inspiration from traditional elements of Asian culture and aesthetics, his choreographic brilliance continues to push boundaries and redefine the art form.
    [Show full text]
  • Finding Aid to the Historymakers ® Video Oral History with Arthur Mitchell
    Finding Aid to The HistoryMakers ® Video Oral History with Arthur Mitchell Overview of the Collection Repository: The HistoryMakers®1900 S. Michigan Avenue Chicago, Illinois 60616 [email protected] www.thehistorymakers.com Creator: Mitchell, Arthur, 1934-2018 Title: The HistoryMakers® Video Oral History Interview with Arthur Mitchell, Dates: October 5, 2016 Bulk Dates: 2016 Physical 9 uncompressed MOV digital video files (4:21:20). Description: Abstract: Dancer, choreographer, and artistic director Arthur Mitchell (1934 - 2018 ) was a principal dancer for the New York City Ballet for fifteen years. In 1969, he co-founded the Dance Theatre of Harlem, the first African American classical ballet company and school. Mitchell was interviewed by The HistoryMakers® on October 5, 2016, in New York, New York. This collection is comprised of the original video footage of the interview. Identification: A2016_034 Language: The interview and records are in English. Biographical Note by The HistoryMakers® Dancer, choreographer and artistic director Arthur Mitchell was born on March 27, 1934 in Harlem, New York to Arthur Mitchell, Sr. and Willie Hearns Mitchell. He attended the High School of Performing Arts in Manhattan. In addition to academics, Mitchell was a member of the New Dance Group, the Choreographers Workshop, Donald McKayle and Company, and High School of Performing Arts’ Repertory Dance Company. After graduating from high school in 1952, Mitchell received scholarships to attend the Dunham School and the School of American received scholarships to attend the Dunham School and the School of American Ballet. In 1954, Mitchell danced on Broadway in House of Flowers with Geoffrey Holder, Louis Johnson, Donald McKayle, Alvin Ailey and Pearl Bailey.
    [Show full text]
  • Chronology of Choreographic Works by Alwin Nikolais
    Chronology of Choreographic Works by Alwin Nikolais Title Music Premiere Location Commissioned By Sabine Women Speaking 12/15/36 Palace Theatre Connecticut WPA Play by Leonid chorus Hartford, CT Federal Negro Theatre Andreyeff World We Live In Percussion 12/13/37 Avery Memorial Connecticut WPA Play by Kapek Bros. Theatre Federal "Insect Comedy" Hartford, CT Negro Theatre Eight Column Line Ernst Krenek 5/19/39 Avery Memorial Wadsworth Atheneum & Theatre Friends or Enemies of Hartford, CT Modern Music Birthday of the Dance 5/27/39 Avery Memoial Ann Randall Productions Infanta movement by Theater Play by Oscar Wilde A. Nikolais Hartford, CT American Greetings Louis Horst 1/19/40 Avery Memorial Theatre Hartford, CT The Jazzy 20's Beatrice 1/19/40 Avery Memorial MacLoughlin Theatre Hartford, CT Opening Dance Joaquin 5/29/41 Hartt College Turina Hartford, CT American Folk David Guion 5/29/41 Hartt College Themes Hartford, CT Pavanne Esther 5/29/41 Hartt College Williamson Hartford, CT Evocation Wallingford 5/29/41 Hartt College Reigger Hartford, CT Ten Maidens and No Dance 5/13/42 Hartt College, Man Comic Opera in Direction by Hartford, CT One Act by Franz Von Alwin Suppe Nikolais Character Sketches Sergei 5/15/42 Avery Memorial In the suite titled War Prokofiev Theatre Themes Hartford, CT Metamorphosis Osbourne 5/15/42 Avery Memorial Theatre Hartford, CT Chronology of Choreographic Works by Alwin Nikolais Title Music Premiere Location Commissioned By Popular Themes George 5/15/42 Avery Memorial Choreographed with Gershwin Theatre Olga Dzurich Hartford, CT Martha Dance 5/6/45 Hartt College Hartt Opera Guild Opera by Friedrich Von direction by Hartford, CT Flotow A.
    [Show full text]
  • 2018 Annual Report
    Annual Report 2018 Dear Friends, welcome anyone, whether they have worked in performing arts and In 2018, The Actors Fund entertainment or not, who may need our world-class short-stay helped 17,352 people Thanks to your generous support, The Actors Fund is here for rehabilitation therapies (physical, occupational and speech)—all with everyone in performing arts and entertainment throughout their the goal of a safe return home after a hospital stay (p. 14). nationally. lives and careers, and especially at times of great distress. Thanks to your generous support, The Actors Fund continues, Our programs and services Last year overall we provided $1,970,360 in emergency financial stronger than ever and is here for those who need us most. Our offer social and health services, work would not be possible without an engaged Board as well as ANNUAL REPORT assistance for crucial needs such as preventing evictions and employment and training the efforts of our top notch staff and volunteers. paying for essential medications. We were devastated to see programs, emergency financial the destruction and loss of life caused by last year’s wildfires in assistance, affordable housing, 2018 California—the most deadly in history, and nearly $134,000 went In addition, Broadway Cares/Equity Fights AIDS continues to be our and more. to those in our community affected by the fires and other natural steadfast partner, assuring help is there in these uncertain times. disasters (p. 7). Your support is part of a grand tradition of caring for our entertainment and performing arts community. Thank you Mission As a national organization, we’re building awareness of how our CENTS OF for helping to assure that the show will go on, and on.
    [Show full text]
  • Christopher Plummer
    Christopher Plummer "An actor should be a mystery," Christopher Plummer Introduction ........................................................................................ 3 Biography ................................................................................................................................. 4 Christopher Plummer and Elaine Taylor ............................................................................. 18 Christopher Plummer quotes ............................................................................................... 20 Filmography ........................................................................................................................... 32 Theatre .................................................................................................................................... 72 Christopher Plummer playing Shakespeare ....................................................................... 84 Awards and Honors ............................................................................................................... 95 Christopher Plummer Introduction Christopher Plummer, CC (born December 13, 1929) is a Canadian theatre, film and television actor and writer of his memoir In "Spite of Myself" (2008) In a career that spans over five decades and includes substantial roles in film, television, and theatre, Plummer is perhaps best known for the role of Captain Georg von Trapp in The Sound of Music. His most recent film roles include the Disney–Pixar 2009 film Up as Charles Muntz,
    [Show full text]
  • Informance 2008
    INFORMANCE - MARCH 26, 2008 How can we know the dancer from the dance?” – Martha Graham, Murray Louis, and Bill T. Jones I begin this Informance talk by thanking Linda Roberts and Lori Katterhenry. In early November (the 9th, to be exact), Lori asked me if -- in view of my “obvious enthusiasm and expertise” -- I would be interested in writing study guides for the three guest artist works of the 2007-08 MSU Dance Program: Steps in the Street, by Martha Graham; Four Brubeck Pieces, by Murray Louis; and D-Man in the Waters by Bill T. Jones. “We have never done this before,” Lori said, “and I know it is quite common in theater.” …“Great idea,” Linda Roberts declared the next day, “This information would be very useful for the Informance. I know the students are interested in discussing the movement philosophies and stylistic differences of the three choreographers, and the challenges these elements present in performing and bringing to life the reconstructed dances we are rehearsing.” A few days thereafter, Lori , Linda and I were brainstorming in Lori’s spacious executive office suite and I cautioned them that I was not a dance critic by training; I am an historian and biographer. They were well aware, and that was precisely the reason they asked me to become involved. They were looking for insights about the “historical” side to each work, the social and cultural circumstances that engendered them, the aesthetic contexts against which they were created. I then said that I was not sure I would end up doing actual “study guides,” per se.
    [Show full text]
  • ANTA Theater and the Proposed Designation of the Related Landmark Site (Item No
    Landmarks Preservation Commission August 6, 1985; Designation List 182 l.P-1309 ANTA THFATER (originally Guild Theater, noN Virginia Theater), 243-259 West 52nd Street, Manhattan. Built 1924-25; architects, Crane & Franzheim. Landmark Site: Borough of Manhattan Tax Map Block 1024, Lot 7. On June 14 and 15, 1982, the Landmarks Preservation Commission held a public hearing on the proposed designation as a Landmark of the ANTA Theater and the proposed designation of the related Landmark Site (Item No. 5). The hearing was continued to October 19, 1982. Both hearings had been duly advertised in accordance with the provisions of law. Eighty-three witnesses spoke in favor of designation. Two witnesses spoke in opposition to designation. The owner, with his representatives, appeared at the hearing, and indicated that he had not formulated an opinion regarding designation. The Commission has received many letters and other expressions of support in favor of this designation. DESCRIPTION AND ANALYSIS The ANTA Theater survives today as one of the historic theaters that symbolize American theater for both New York and the nation. Built in the 1924-25, the ANTA was constructed for the Theater Guild as a subscription playhouse, named the Guild Theater. The fourrling Guild members, including actors, playwrights, designers, attorneys and bankers, formed the Theater Guild to present high quality plays which they believed would be artistically superior to the current offerings of the commercial Broadway houses. More than just an auditorium, however, the Guild Theater was designed to be a theater resource center, with classrooms, studios, and a library. The theater also included the rrost up-to-date staging technology.
    [Show full text]
  • George Grizzard: a Conversation with Abe J
    Wright State University CORE Scholar Theatre, Dance, and Motion Pictures Faculty Publications Theatre, Dance, and Motion Pictures 2-5-1984 George Grizzard: A Conversation with Abe J. Bassett Abe J. Bassett Wright State University - Main Campus, [email protected] Follow this and additional works at: https://corescholar.libraries.wright.edu/theater Part of the Acting Commons, Dance Commons, Performance Studies Commons, and the Theatre History Commons Repository Citation Bassett, A. J. (1984). George Grizzard: A Conversation with Abe J. Bassett. https://corescholar.libraries.wright.edu/theater/8 This Interview is brought to you for free and open access by the Theatre, Dance, and Motion Pictures at CORE Scholar. It has been accepted for inclusion in Theatre, Dance, and Motion Pictures Faculty Publications by an authorized administrator of CORE Scholar. For more information, please contact [email protected]. GEORGE GRIZZARD A Conversation With Abe J Bassett at Wright State University February 5, 1984 Introduction merican actor George Gizzard’s first connection with Wright State was in October, 1974 A when he directed William Saroyan’s The Time of Your Life, the dedicatory production of the Creative Arts Center’s Festival Playhouse. In January 1984, he returned to Wright State to create the role of Dr. Martin Dysart in the very successful Department of Theatre Arts production of Equus. The following summary of his film and theatre career is from Wikipedia: Grizzard memorably appeared as an unscrupulous United States senator in the film Advise and Consent in 1962. His other theatrical films included the drama From the Terrace with Paul Newman (1960), the Western story Comes a Horseman with Jane Fonda (1978) and a Neil Simon comedy, Seems Like Old Times (1980).
    [Show full text]
  • Feminist Scholarship Review: Women in Theater and Dance
    Trinity College Trinity College Digital Repository Feminist Scholarship Review Women and Gender Resource Action Center Spring 1998 Feminist Scholarship Review: Women in Theater and Dance Katharine Power Trinity College Joshua Karter Trinity College Patricia Bunker Trinity College Susan Erickson Trinity College Marjorie Smith Trinity College Follow this and additional works at: https://digitalrepository.trincoll.edu/femreview Part of the Feminist, Gender, and Sexuality Studies Commons, and the Theatre and Performance Studies Commons Recommended Citation Power, Katharine; Karter, Joshua; Bunker, Patricia; Erickson, Susan; and Smith, Marjorie, "Feminist Scholarship Review: Women in Theater and Dance" (1998). Feminist Scholarship Review. 10. https://digitalrepository.trincoll.edu/femreview/10 Peminist Scfiofarsliip CR§view Women in rrlieater ana(])ance Hartford, CT, Spring 1998 Peminist ScfioCarsfiip CJ?.§view Creator: Deborah Rose O'Neal Visiting Lecturer in the Writing Center Trinity College, Hartford, Connecticut Editor: Kimberly Niadna Class of2000 Contributers: Katharine Power, Senior Lecturer ofTheater and Dance Joshua Kaner, Associate Professor of Theater and Dance Patricia Bunker, Reference Librarian Susan Erickson, Assistant to the Music and Media Services Librarian Marjorie Smith, Class of2000 Peminist Scfzo{a:rsnip 9.?eview is a project of the Trinity College Women's Center. For more information, call 1-860-297-2408 rr'a6fe of Contents Le.t ter Prom. the Editor . .. .. .... .. .... ....... pg. 1 Women Performing Women: The Body as Text ••.•....••..••••• 2 by Katharine Powe.r Only Trying to Move One Step Forward • •.•••.• • • ••• .• .• • ••• 5 by Marjorie Smith Approaches to the Gender Gap in Russian Theater .••••••••• 8 by Joshua Karter A Bibliography on Women in Theater and Dance ••••••••.••• 12 by Patricia Bunker Women in Dance: A Selected Videography .••• .•...
    [Show full text]