Programme One Shilling
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Scotland's 'Forgotten' Contribution to the History of the Prime-Time BBC1 Contemporary Single TV Play Slot Cook, John R
'A view from north of the border': Scotland's 'forgotten' contribution to the history of the prime-time BBC1 contemporary single TV play slot Cook, John R. Published in: Visual Culture in Britain DOI: 10.1080/14714787.2017.1396913 Publication date: 2018 Document Version Author accepted manuscript Link to publication in ResearchOnline Citation for published version (Harvard): Cook, JR 2018, ''A view from north of the border': Scotland's 'forgotten' contribution to the history of the prime- time BBC1 contemporary single TV play slot', Visual Culture in Britain, vol. 18, no. 3, pp. 325-341. https://doi.org/10.1080/14714787.2017.1396913 General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. Take down policy If you believe that this document breaches copyright please view our takedown policy at https://edshare.gcu.ac.uk/id/eprint/5179 for details of how to contact us. Download date: 26. Sep. 2021 1 Cover page Prof. John R. Cook Professor of Media Department of Social Sciences, Media and Journalism Glasgow Caledonian University 70 Cowcaddens Road Glasgow Scotland, United Kingdom G4 0BA Tel.: (00 44) 141 331 3845 Email: [email protected] Biographical note John R. Cook is Professor of Media at Glasgow Caledonian University, Scotland. He has researched and published extensively in the field of British television drama with specialisms in the works of Dennis Potter, Peter Watkins, British TV science fiction and The Wednesday Play. -
King and I Center for Performing Arts
Governors State University OPUS Open Portal to University Scholarship Center for Performing Arts Memorabilia Center for Performing Arts 5-9-1999 King and I Center for Performing Arts Follow this and additional works at: http://opus.govst.edu/cpa_memorabilia Recommended Citation Center for Performing Arts, "King and I" (1999). Center for Performing Arts Memorabilia. Book 158. http://opus.govst.edu/cpa_memorabilia/158 This Book is brought to you for free and open access by the Center for Performing Arts at OPUS Open Portal to University Scholarship. It has been accepted for inclusion in Center for Performing Arts Memorabilia by an authorized administrator of OPUS Open Portal to University Scholarship. For more information, please contact [email protected]. «Jpntftl fOR PEfifORHIHCite Governors State University Present Rodgers & Hammerstein's fChe S $• Limousine courtesy of-Worth Limousine - Worth, IL &• Brunch courtesy of- Holiday Inn - Matteson, IL Bracelet courtesy of Bess Friedheim Jewelry,0rland Park, IL MATTESON The STAR University Park, IL May 9th* 1999 Governors State University KKPERfORMIIWflRTS and ACE ROYAL PAINTS present A Big League Theatricals Production Rodgers and Hammerstein's THE KING and I Music by Book and lyrics by Richard Rodgers Oscar Hammerstein II Based upon the novel Anna and the King ofSiam by Margaret Landon Original Choreography by Jerome Robbins with Lego Louis Susannah Kenton and (In alphabetical order) Luis Avila, Amanda Cheng, Elizabeth Chiang, Korina Crvelin, Isabelle Decauwert, Alexandra Dimeco, Derek Dymek, -
Producing Tennessee Williams' a Streetcar Named Desire, a Process
THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE SCHOOL OF THEATRE PRODUCING TENNESSEE WILLIAMS’ A STREETCAR NAMED DESIRE, A PROCESS FOR DIRECTING A PLAY WITH NO REFUND THEATRE J. SAMUEL HORVATH Spring, 2010 A thesis submitted in partial fulfillment of the requirements for a baccalaureate degree in Finance with honors in Theatre Reviewed and approved* by the following: Matthew Toronto Assistant Professor of Theatre Thesis Supervisor Annette McGregor Professor of Theatre Honors Adviser * Signatures are on file in the Schreyer Honors College. ABSTRACT This document chronicles the No Refund Theatre production of Tennessee Williams’ A Streetcar Named Desire. A non-profit, student organization, No Refund Theatre produces a show nearly every weekend of the academic year. Streetcar was performed February 25th, 26th, and 27th, 2010 and met with positive feedback. This thesis is both a study of Streetcar as a play, and a guide for directing a play with No Refund. It is divided into three sections. First, there is an analysis Tennessee Williams’ play, including a performance history, textual analysis, and character analyses. Second, there is a detailed description of the process by which I created the show. And finally, the appendices include documentation and notes from all stages of the production, and are essentially my directorial promptbook for Streetcar. Most importantly, embedded in this document is a video recording of our production of Streetcar, divided into three “acts.” I hope that this document will serve as a road-map for -
The Beatles on Film
Roland Reiter The Beatles on Film 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 1 ) T00_01 schmutztitel - 885.p 170758668456 Roland Reiter (Dr. phil.) works at the Center for the Study of the Americas at the University of Graz, Austria. His research interests include various social and aesthetic aspects of popular culture. 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 2 ) T00_02 seite 2 - 885.p 170758668496 Roland Reiter The Beatles on Film. Analysis of Movies, Documentaries, Spoofs and Cartoons 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 3 ) T00_03 titel - 885.p 170758668560 Gedruckt mit Unterstützung der Universität Graz, des Landes Steiermark und des Zentrums für Amerikastudien. Bibliographic information published by Die Deutsche Bibliothek Die Deutsche Bibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.ddb.de © 2008 transcript Verlag, Bielefeld This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License. Layout by: Kordula Röckenhaus, Bielefeld Edited by: Roland Reiter Typeset by: Roland Reiter Printed by: Majuskel Medienproduktion GmbH, Wetzlar ISBN 978-3-89942-885-8 2008-12-11 13-18-49 --- Projekt: transcript.titeleien / Dokument: FAX ID 02a2196899938240|(S. 4 ) T00_04 impressum - 885.p 196899938248 CONTENTS Introduction 7 Beatles History – Part One: 1956-1964 -
South Pacific
THE MUSICO-DRAMATIC EVOLUTION OF RODGERS AND HAMMERSTEIN’S SOUTH PACIFIC DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By James A. Lovensheimer, M.A. ***** The Ohio State University 2003 Dissertation Committee: Approved by Professor Arved Ashby, Adviser Professor Charles M. Atkinson ________________________ Adviser Professor Lois Rosow School of Music Graduate Program ABSTRACT Since its opening in 1949, Rodgers and Hammerstein’s Pulitzer Prize- winning musical South Pacific has been regarded as a masterpiece of the genre. Frequently revived, filmed for commercial release in 1958, and filmed again for television in 2000, it has reached audiences in the millions. It is based on selected stories from James A. Michener’s book, Tales of the South Pacific, also a Pulitzer Prize winner; the plots of these stories, and the musical, explore ethnic and cutural prejudice, a theme whose treatment underwent changes during the musical’s evolution. This study concerns the musico-dramatic evolution of South Pacific, a previously unexplored process revealing the collaborative interaction of two masters at the peak of their creative powers. It also demonstrates the authors’ gradual softening of the show’s social commentary. The structural changes, observable through sketches found in the papers of Rodgers and Hammerstein, show how the team developed their characterizations through musical styles, making changes that often indicate changes in characters’ psychological states; they also reveal changing approaches to the musicalization of the novel. Studying these changes provides intimate and, occasionally, unexpected insights into Rodgers and Hammerstein’s creative methods. -
Revue Française De Civilisation Britannique, XXVI-1 | 2021 BBC Drama and the Politics of Production 1955-66 2
Revue Française de Civilisation Britannique French Journal of British Studies XXVI-1 | 2021 The BBC and Public Service Broadcasting in the Twentieth Century BBC Drama and the Politics of Production 1955-66 Les Fictions à la BBC et la politique de la production (1955-1966) Joy Leman Electronic version URL: http://journals.openedition.org/rfcb/7642 DOI: 10.4000/rfcb.7642 ISSN: 2429-4373 Publisher CRECIB - Centre de recherche et d'études en civilisation britannique Electronic reference Joy Leman, “BBC Drama and the Politics of Production 1955-66 ”, Revue Française de Civilisation Britannique [Online], XXVI-1 | 2021, Online since 05 December 2020, connection on 05 January 2021. URL: http://journals.openedition.org/rfcb/7642 ; DOI: https://doi.org/10.4000/rfcb.7642 This text was automatically generated on 5 January 2021. Revue française de civilisation britannique est mis à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. BBC Drama and the Politics of Production 1955-66 1 BBC Drama and the Politics of Production 1955-66 Les Fictions à la BBC et la politique de la production (1955-1966) Joy Leman Introduction 1 The British Broadcasting Corporation’s name suggests an institution encompassing a national entitlement, for every citizen. However, history shows an uneven development in terms of representation of certain groups, both inside and outside the organisation, a development linked also to changes in society. In this article I shall look at the BBC during the growth period of the 1950s and 1960s, focussing on interlinked issues of class and gender in employment, production processes, and representation. -
Gemze De Lappe Career Highlights
DATE END (if avail) LOCATION SHOW/EVENT ROLE (if applicable) COMPANY NOTES 1922/02/28 Portsmouth, VA Born Gemze Mary de Lappe BORN Performed during the summer - would do ballets during intermission of productions of 1931/00/00 1939/00/00 Lewisohn Stadium, NY Michael Fokine Ballet dancer Michael Folkine recent Broadway shows. 1941/11/05 1941/11/11 New York La Vie Parisienne Ballet 44th St. New Opera Company 1943/11/15 1945/01/00 Chicago Oklahoma! Aggie National Tour with John Raitt Premiere at the old Metropolitan Opera House - Jerome Robbins choreographed Fancy Free, which was later developed into 1944/04/18 New York Fancy Free [Jerome Robbins] dancer Ballet Theatre On the Town 1945/01/08 St. Louis Oklahoma! Aggie 1945/01/29 1945/02/10 Milwaukee Oklahoma! Aggie 1945/03/05 Detroit Oklahoma! Aggie 1945/04/09 Pittsburgh Oklahoma! Aggie 1945/06/18 Philadelphia Oklahoma! Aggie National Tour 1946/01/22 Minneapolis Oklahoma! Ellen/Dream Laurey National Tour Ellen/Dream Laurey 1946/08/19 New York Oklahoma! (replacement) St. James 1947/04/30 London Oklahoma! Dream Laurey Theatre Royal Drury Lane with Howard Keel Melbourne, Victoria, Recreated 1949/02/19 Australia Oklahoma! Choreography Australia Premiere 1951/03/29 New York The King and I King Simon of Legree St. James 1951/10/01 Philadelphia Paint Your Wagon Yvonne Pre-Broadway Tryout 1951/10/08 Boston Paint Your Wagon Yvonne Pre-Broadway Tryout 1951/11/12 1952/07/19 New York Paint Your Wagon Yvonne Shubert The Donaldson Awards were a set of theatre awards established in 1944 by the drama critic Robert Francis in honor of W. -
Waters Wins Championship Council Agreed Time Was Pas Monday Evening August 17Th
Overnight Trip Is Planned by Scouts ATLANTIC HIGHLANDS - - I Plans for an overnight camping trip to Camp Housman, F ar-! mingdale, were completed at a meeting of Boy Scout Troop 22, i Monday evening at the Metho-! dist Church. Eighteen scouts will leave from the church Saturday morning at 10 a m. They must bring their own caping equipment and food j Boys desiring to go swimming tNTEREO AS SECOND CLASS MAIL MATTER AT THE 119 FIRST AVENUE must bring a doctors certificate. VOL. 08, NO. 4 POSTOFFICE ATLANT'C HIGHLANDS. NEW JERSEY FRI., AUG. 1953 ATLANTIC HIGHLANDS 1-0011 f iv e c e n t s p e r c o p y James Rudd, scout leader, War ren Miller and Donald Davis, as sistant leaders and Harry Dono- ghue, committeeman, will accom j Atlantic Highlands Municipal Band Concert pany the boys. AUGUST 9, 1953 Arrangements have been made j AivardContracts on for the scouts to attend church j Star Spangled B anner................................. I. Stafford Smith services Sunday morning. National Em blem ................................................. E. E. Bagley The boys plan to arrive home i At the Country F air....................................................G. Filipa Sunday about 3 p.m. Lotus Flowers (Waltz) ..........................................E. J. Evans Commonwealth (March) ........................................R. B. Hall Water Main Parts Operatic M ingle....................................................E. W. Barry Geo. D. Andrews Lohengrin .......................................................................Wagner Glenwood (March) ................................................. R. B. Hall HIGHLANDS - The Boro coun Fantasia Napoletana ........................................... E. Boceslari Fine Two On Charges cil awarded a contract to R.D. Presides at Meet Gran Via (Waltz) .........................................................Valverde Wood Co., of Philadelphia, for HIGHLANDS - George D. -
GUNSMOKE TV CAST and DETAILS Premiered
GUNSMOKE TV CAST AND DETAILS Premiered: September 10, 1955, on CBS Rating: TV-PG Premise: This landmark adult Western centered on Marshal Matt Dillon of Dodge City. John Wayne turned down the lead, suggesting James Arness (who remained for its entire run). Originating on radio (with William Conrad as Dillon), it moved to TV in September 1955. Its popularity spawned a number of copycats, but none would enjoy the longevity (and few the consistent quality) of this classic. Airing for 20 years, it's TV's longest running prime-time drama (a record that `Law & Order' is currently chasing). Gunsmoke Cast • James Arness : Marshal Matt Dillon • Milburn Stone : Dr. Galen `Doc' Adams • Amanda Blake : Kitty Russell • Dennis Weaver : Chester Goode • Ken Curtis : Festus Haggen • Burt Reynolds : Quint Asper • James Nusser : Louie Pheeters • Charles Seel : Barney Danches • Howard Culver : Howie Culver • Tom Brown : Ed O'Connor • John Harper : Percy Crump • Dabbs Greer : Mr. Jonus • George Selk : Moss Grimmick • Hank Patterson : Hank Miller • Glenn Strange : Sam • Sarah Selby : Ma Smalley • Ted Jordan : Nathan Burke • Roger Ewing : Clayton Thaddeus `Thad' Greenwood • Roy Roberts : Mr. Bodkin • Woody Chamblis : Mr. Lathrop • Buck Taylor : Newly O'Brien • Charles Wagenheim : Halligan • Pat Hingle : Dr. John Chapman • Fran Ryan : Miss Hannah Gunsmoke Credits • Sam Peckinpah : Screenwriter Gunsmoke Directors • Harry Horner : Director Gunsmoke Guest Cast • Aaron Saxon : Basset • Aaron Spelling : Weed Pindle • Abraham Sofaer : Harvey Easter • Adam West : Hall -
Of Thetheatre Richard Lester’S
VOICE Journal of the Alex Film Society Vol. 12, No. 1 May 6, 2006, 2 pm & 8 pm 05/06 of theTHEATRE Richard Lester’s By Jim Elyea In late 1963, A Hard Day’s Night It was one of those serendipitous pairings of the right was intended by United Artists to be done fast and group, The Beatles, and the right director, Richard cheap to exploit the fame of The Beatles in the British Lester. Lester, an American, had worked in England market in the few months before it faded. The idea for many years, first in television, then in films. In behind making the picture was that even if the movie the six and a half weeks of shooting, Richard Lester didn’t do particularly well, United Artists Records defined forever how the world thought of The Beatles. would be able to make a tidy sum on the deal by No matter what else is written about or shown of those issuing the soundtrack album. This was, of course, four lads from Liverpool, it is the characters that we see before their appearances on “The Ed Sullivan Show” in A Hard Day’s Night that are The Beatles to us all. in February of 1964, when they became literally overnight sensations in America. Walter Shenson A documentary style was settled upon, which involved was talked into producing this quickie comedy. When hand-held cameras for much of the shooting, and Shenson then met with director Richard Lester and the using of available light whenever possible. Lester mentioned the idea of the movie to him, Lester literally constantly grabbed the camera, and shot what he leapt on his chair at the Hilton Coffee Shop and said, wanted to at the moment. -
Montana Kaimin, April 11, 1958 Associated Students of Montana State University
University of Montana ScholarWorks at University of Montana Associated Students of the University of Montana Montana Kaimin, 1898-present (ASUM) 4-11-1958 Montana Kaimin, April 11, 1958 Associated Students of Montana State University Let us know how access to this document benefits ouy . Follow this and additional works at: https://scholarworks.umt.edu/studentnewspaper Recommended Citation Associated Students of Montana State University, "Montana Kaimin, April 11, 1958" (1958). Montana Kaimin, 1898-present. 3429. https://scholarworks.umt.edu/studentnewspaper/3429 This Newspaper is brought to you for free and open access by the Associated Students of the University of Montana (ASUM) at ScholarWorks at University of Montana. It has been accepted for inclusion in Montana Kaimin, 1898-present by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. niversity Welcomes Young Scientists \MOHTAXA. K/\ I M I A Third Montana Science Fair AN INDEPENDENT NEWSPAPER Opens Today In Fieldhouse Inme 57, No. 81 Montana State University, Missoula Friday, April 11, 1958 A satellite tracking station and a sun powered radio are two of the 462 exhibits in the third annual Montana Science ribal Dancers W ill Perform Matrix Table Fair which opens today in the Fieldhouse. Students from 67 high schools and junior high schools will participate in Speaker to Be the fair sponsored by the University and under the direction All Indian Show Tonight of Dr. R. A. Diettert, • prof essor of botany. Tonight’s all-Indian variety show will feature a company Dr. Bierman Judging of the exhibits will be- -------------------------------------—---- -—------ gin at 1 p.m. -
Al Pacino À La Découverte Du Grandcinéma
4 LA D5COU6ERTE DU GRAND CIN5MA GROS PLAN Novem bre 2009 I- THÈME DU MOIS : AL PACINO Tous les jeudi de novembre à partir de 20:40 et la journée spéciale du samedi 28 novembre. 9 films La fureur de jouer Avec s vo!" r #$#e% so& re' r( )er* &+ e+ so& +em ),r m e&+ ) ss!o&&,% A- P c!&o cr.ve -/,cr & (e)#!s ses )rem !.res )) r!+!o&s0 U&e )#!ss &ce !rr,s!s+!b-e $#! ++e!&+ so& ) ro"1sm e vec so& r2-e c#-+e ( &s Sc r3 ce « Sur le tournage du Parrain, chaque fois que je donnais la réplique à Marlon Brandon, je devais me retenir de rire tant cette situation me semblait improbable » raconte Al Pacino. Depuis, malgré son mètre soixante dix, l’acteur est devenu lui-même un géant doublé d’un disciple tout aussi emblématique de l’Actor’s Studio. Al Pacino a d rire aussi en découvrant dans le scénario du Parrain, qu’il porterait dans ce !ilm le nom du village natal de son père, un immigré sicilien qui divor"a de sa mère deux ans seulement après sa naissance # $e% &or' en ()*+. ,levé dans le -ronx c.e/ ses grands-parents, il découvre très 0eune que rien ne l’intéresse autant que de reproduire les répliques des acteurs qu’il voit # l’écran. 1oil# pourquoi, # l’2ge de (3 ans, il renonce # !aire des études classiques pour s’inscrire # la 4ig. Sc.ool o! Per!orming Arts o5 il ne restera que deux ans !aute d’argent ainsi que d’intérêt pour l’enseignement dispensé dans cet établissement.