Columbia Chronicle (02/20/1995) Columbia College Chicago
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Page 1 MARY KAY COOK SAG, AFTRA, AEA Height: 5' 9" Hair
MARY KAY COOK SAG, AFTRA, AEA Height: 5’ 9" Hair: Brown Eyes: Hazel Vocal Range: Mezzo FILM / TELEVISION Concept #3 The Actress Funny or Die Module 47 Charlotte Back 40 Productions Prego Tracy Anarchy Productions Still, Moving Kate Fullerton Wretched Jester Lac Du Flambeau Bartender Standing Passengers, Inc++ Stash Alice X-Ray Productions Dimension Mary Rusted Rhino Productions++ Project Green Light 3 Maria Duane Edwards, Top 10 Director Casting About Herself Moving Still Productions Design Kate Traveler Jones Productions+ Wish Erica Bucktown Pictures Stir of Echoes Vanessa Artisan Entertainment Liar’s Club Waitress Stony Island Films Mapland Alex Ridgeway Films Love 101 Shayna Poya Pictures Early Edition Yvette CBS Television Cupid Working Girl ABC Television Zebrahead High School Girl Ixtlan Corporation THEATRE Deb and Debra Debra Chicago Dramatists Henry VIII Lady Anne Boleyn The Shakespeare Project Troilus and Cressida Helen of Troy Chicago Shakespeare Theater° Mickey Finn Nina Royal George Theatre* Six Degrees of Separation Elizabeth Raven Theatre Nooner Angela Purple Rose Theatre* Congress of Women Argentinean Mistress National Tour of Greece* Under the Milkwood Polly Garter Victory Gardens Theatre Macbeth Third Witch Merle Reskin Theatre Bridge to Terabithia Miss Edmunds Merle Reskin Theatre Roar of the Greasepaint… Gamin Blackstone Theatre Desdemona… Desdemona The Theatre School Detective Story Mary McLeod The Theatre School Epsom Downs Margaret The Theatre School Harvey Ruth Kelly The Theatre School COMMERCIAL / INDUSTRIAL List -
31 Days of Oscar® 2010 Schedule
31 DAYS OF OSCAR® 2010 SCHEDULE Monday, February 1 6:00 AM Only When I Laugh (’81) (Kevin Bacon, James Coco) 8:15 AM Man of La Mancha (’72) (James Coco, Harry Andrews) 10:30 AM 55 Days at Peking (’63) (Harry Andrews, Flora Robson) 1:30 PM Saratoga Trunk (’45) (Flora Robson, Jerry Austin) 4:00 PM The Adventures of Don Juan (’48) (Jerry Austin, Viveca Lindfors) 6:00 PM The Way We Were (’73) (Viveca Lindfors, Barbra Streisand) 8:00 PM Funny Girl (’68) (Barbra Streisand, Omar Sharif) 11:00 PM Lawrence of Arabia (’62) (Omar Sharif, Peter O’Toole) 3:00 AM Becket (’64) (Peter O’Toole, Martita Hunt) 5:30 AM Great Expectations (’46) (Martita Hunt, John Mills) Tuesday, February 2 7:30 AM Tunes of Glory (’60) (John Mills, John Fraser) 9:30 AM The Dam Busters (’55) (John Fraser, Laurence Naismith) 11:30 AM Mogambo (’53) (Laurence Naismith, Clark Gable) 1:30 PM Test Pilot (’38) (Clark Gable, Mary Howard) 3:30 PM Billy the Kid (’41) (Mary Howard, Henry O’Neill) 5:15 PM Mr. Dodd Takes the Air (’37) (Henry O’Neill, Frank McHugh) 6:45 PM One Way Passage (’32) (Frank McHugh, William Powell) 8:00 PM The Thin Man (’34) (William Powell, Myrna Loy) 10:00 PM The Best Years of Our Lives (’46) (Myrna Loy, Fredric March) 1:00 AM Inherit the Wind (’60) (Fredric March, Noah Beery, Jr.) 3:15 AM Sergeant York (’41) (Noah Beery, Jr., Walter Brennan) 5:30 AM These Three (’36) (Walter Brennan, Marcia Mae Jones) Wednesday, February 3 7:15 AM The Champ (’31) (Marcia Mae Jones, Walter Beery) 8:45 AM Viva Villa! (’34) (Walter Beery, Donald Cook) 10:45 AM The Pubic Enemy -
Elizabeth Taylor: Screen Goddess
PRESS RELEASE: June 2011 11/5 Elizabeth Taylor: Screen Goddess BFI Southbank Salutes the Hollywood Legend On 23 March 2011 Hollywood – and the world – lost a living legend when Dame Elizabeth Taylor died. As a tribute to her BFI Southbank presents a season of some of her finest films, this August, including Giant (1956), Cat on a Hot Tin Roof (1958) and Who’s Afraid of Virginia Woolf? (1966). Throughout her career she won two Academy Awards and was nominated for a further three, and, beauty aside, was known for her humanitarian work and fearless social activism. Elizabeth Taylor was born in Hampstead, London, on 27 February 1932 to affluent American parents, and moved to the US just months before the outbreak of WWII. Retired stage actress Sara Southern doggedly promoted her daughter’s career as a child star, culminating in the hit National Velvet (1944), when she was just 12, and was instrumental in the reluctant teenager’s successful transition to adult roles. Her first big success in an adult role came with Vincente Minnelli’s Father of the Bride (1950), before her burgeoning sexuality was recognised and she was cast as a wealthy young seductress in A Place in the Sun (1951) – her first on-screen partnership with Montgomery Clift (a friend to whom Taylor remained fiercely loyal until Clift’s death in 1966). Together they were hailed as the most beautiful movie couple in Hollywood history. The oil-epic Giant (1956) came next, followed by Raintree County (1958), which earned the actress her first Oscar nomination and saw Taylor reunited with Clift, though it was during the filming that he was in the infamous car crash that would leave him physically and mentally scarred. -
TV Report: Sharon Told of Killings
Some miss it, jYankee magazine Allied wins others not at all uses him a lot Bendix battle ... page 3 ... page 11 ... page 20 Manchester, Conn. Cloudy today, rain tomorrow. Saturday, Sept. 25, 1982 Single copy 25c — See page 2 Ipralft TV report: Sharon told of killings TEL AVIV, Israel (UPI) - Israel Yishai and Sharon occurred last television, in .one of the most Friday, the start of the Jewish New detailed accounts of Israeli Year celebration of Rosh Hashanah, knowledge of the massacre in and nearly a day after the massacre Beirut, said Friday night its of as many as 1,000 men, women and reporter told Defense Minister Ariel children began in the Chatila and Sharon about the killings but Sharon Sabra refugee camps. wished him a happy new year and Sharon previously has admitted hung up after five minutes. the Israelis ordered and helped its The report by Ron Ben Yishai, the Christian Phalange allies plan an en television’s military correspondent, try into the camps. But Sharon in also said Prime Minister Menachem sisted the Phalange were given Begin may^ave been the last person direct orders not to touch women to learn about the massacre. and children and only to “purge” the It said Begin heard about the camps of any remaining PLO killings at 5 p.m, last Saturday, “ap fighters. parently on the radio news.” The report said the Christian The conversation bet\veen Ben Phalangists who entered the refugee camps were led by Eli Bekha, chief information officer for the Phalange and dressed in uniforms resembling those used in renegade Lebanese At least Major Saad Haddad’s army. -
CELEBRATING FORTY YEARS of FILMS WORTH TALKING ABOUT I Love the August Festivals, Though Not As Much As I Love Cinema
3 AUG 18 6 SEP 18 1 | 3 AUG 18 - 6 SEP 18 88 LOTHIAN ROAD | FILMHOUSECinema.COM CELEBRATING FORTY YEARS OF FILMS WORTH TALKING ABOUT I love the August festivals, though not as much as I love cinema. You? I usually take the opportunity when writing this column every August to grumble about how distracted potential cinema-goers appear to be by the world’s largest arts festival that takes place in our glorious (a word which currently also describes the weather!) city every year, but this year I’m seeing it as nothing more than a challenge. A challenge, dear reader, which I feel we have risen to in impressive style with a stunning array of great cinema, much of which is, as it happens, of a ‘one-off’ nature and will likely not come around again any time soon… That sounds like I’m trying to dragoon you into coming to the cinema in August (instead of going to the Tattoo, perhaps?), and conceivably I am, but try not to see it that way… Rather, I simply wouldn’t want you to miss out on any of the must-see cinema experiences contained within these pages. In any case, cinema is surely the best of all the art forms wouldn’t you say, as well as being one of the cheaper days/nights out? Beyond the form itself, with cinema, you rarely have to worry about not liking a film and it being apparent to the people who made it, because they’re generally not there in the room. -
Boxoffice Barometer (March 6, 1961)
MARCH 6, 1961 IN TWO SECTIONS SECTION TWO Metro-Goldwyn-Mayer presents William Wyler’s production of “BEN-HUR” starring CHARLTON HESTON • JACK HAWKINS • Haya Harareet • Stephen Boyd • Hugh Griffith • Martha Scott • with Cathy O’Donnell • Sam Jaffe • Screen Play by Karl Tunberg • Music by Miklos Rozsa • Produced by Sam Zimbalist. M-G-M . EVEN GREATER IN Continuing its success story with current and coming attractions like these! ...and this is only the beginning! "GO NAKED IN THE WORLD” c ( 'KSX'i "THE Metro-Goldwyn-Mayer presents GINA LOLLOBRIGIDA • ANTHONY FRANCIOSA • ERNEST BORGNINE in An Areola Production “GO SPINSTER” • • — Metrocolor) NAKED IN THE WORLD” with Luana Patten Will Kuluva Philip Ober ( CinemaScope John Kellogg • Nancy R. Pollock • Tracey Roberts • Screen Play by Ranald Metro-Goldwyn-Mayer pre- MacDougall • Based on the Book by Tom T. Chamales • Directed by sents SHIRLEY MacLAINE Ranald MacDougall • Produced by Aaron Rosenberg. LAURENCE HARVEY JACK HAWKINS in A Julian Blaustein Production “SPINSTER" with Nobu McCarthy • Screen Play by Ben Maddow • Based on the Novel by Sylvia Ashton- Warner • Directed by Charles Walters. Metro-Goldwyn-Mayer presents David O. Selznick's Production of Margaret Mitchell’s Story of the Old South "GONE WITH THE WIND” starring CLARK GABLE • VIVIEN LEIGH • LESLIE HOWARD • OLIVIA deHAVILLAND • A Selznick International Picture • Screen Play by Sidney Howard • Music by Max Steiner Directed by Victor Fleming Technicolor ’) "GORGO ( Metro-Goldwyn-Mayer presents “GORGO” star- ring Bill Travers • William Sylvester • Vincent "THE SECRET PARTNER” Winter • Bruce Seton • Joseph O'Conor • Martin Metro-Goldwyn-Mayer presents STEWART GRANGER Benson • Barry Keegan • Dervis Ward • Christopher HAYA HARAREET in “THE SECRET PARTNER” with Rhodes • Screen Play by John Loring and Daniel Bernard Lee • Screen Play by David Pursall and Jack Seddon Hyatt • Directed by Eugene Lourie • Executive Directed by Basil Dearden • Produced by Michael Relph. -
A Production Spring 2011 | Follies Chicago Shakespeare Theater About CST
A production Spring 2011 | Follies CHICAGO SHAKESPEARE Theater About CST Chicago Shakespeare Theater (CST) is a leading international theater company, known for vibrant productions that reflect Shakespeare’s genius for intricate storytelling, musicality of language and depth of feeling for the human condition. Recipient of the 2008 Regional Theatre Tony Award, Chicago Shakespeare’s work has been recognized internationally with three of London’s prestigious Laurence Olivier Awards, and by the Chicago theater community with 62 Joseph Jefferson Awards for Artistic Excellence. Under the leadership of Artistic Director Barbara Gaines and Executive Director Criss Henderson, CST is dedicated to producing extraordinary productions of classics, new works and family fare; unlocking Shakespeare’s work for educators and students; and serving as Chicago’s cultural ambassador through its World’s Stage Series. At its permanent, state-of-the-art facility on Navy Pier, CST houses two intimate theater spaces: the 500-seat Jentes Family Courtyard Theater and the 200-seat Carl and Marilynn Thoma Theater Upstairs at Chicago Shakespeare. Through a year-round season encompassing more than 600 performances, CST leads the community as the largest employer of Chicago actors and attracts nearly 200,000 audience members annually—including 40,000 students and teachers through its comprehensive education programs. n BOARD OF DIRECTORS Raymond F. McCaskey William L. Hood, Jr. Glenn R. Richter Chair Stewart S. Hudnut Mark E. Rose Mark S. Ouweleen William R. Jentes Sheli Rosenberg Treasurer Gregory P. Josefowicz John W. Rowe James J. Junewicz Robert Ryan Frank D. Ballantine Jack L. Karp Carole B. Segal Brit J. Bartter John P. -
Johnny Guitar by Michael Schlesinger
Johnny Guitar By Michael Schlesinger There are very few films—especially from Hollywood studios—that truly deserve to be called sui generis. But “Johnny Guitar” is surely one of them. Even its log line—“a Joan Crawford western”—sounds faintly ludicrous, like “an Ernest Borgnine musi- cal.” But from its humble beginning as a critically-dismissed vanity production, it has grown in stature over the decades, boosted by the likes of Martin Scorsese and Francois Truffaut (who said anyone who didn’t like it should never be permit- ted inside a cinema again, a severe if well -intentioned endorsement), serving as an inspiration for other films, and even being adapted into an award-winning off- Broadway musical in 2004, until it now Joan Crawford gets caught in a stare down between Scott Brady (left) and stands as a unique combination of dispar- Sterling Hayden. Courtesy Library of Congress Collection. ate — and none too friendly — talents man- aging to pull a golden egg out of a very odd duck and that sits right where the railroad is coming through. creating a masterwork that can still leave first-time [She obtained this knowledge by “exchanging confi- viewers gobsmacked some six decades later. After dences” with a fellow in the know.] This doesn’t sit all, name another western that has a massive follow- well with the townsfolk—especially McCambridge — ing among gay people. who see her as a slutty intruder. Sensing that violence may be on the horizon, Joan engages Hayden as pro- Much of its appeal revolves around the fact that it tection. -
Esperanza Rising Program
presents by Lynne Alvarez based on the book by Pam Muñoz Ryan music by Victor Zupanc Director – Lisa Portes Musical Director – Mark Elliott Dialect Coach – Claudia Anderson Scenic Designer – Maggie Armendariz Costume Designer – Hailey Rakowiecki Lighting Designer – Jamie Davis Sound Designer – Sadie Tremblay Dramaturg – Lauren Quinlan Stage Manager – Emily Mills October 8 – November 14, 2015 The Theatre School at DePaul University Chicago Playworks for Families and Young Audiences DePaul’s Merle Reskin Theatre 60 E. Balbo Drive, Chicago, IL 60605 Email: [email protected] | (312) 922-1999 Esperanza Rising 1 CAST [in order of appearance] DIRECTORS NOTE Esperanza ................................................................................................................... Paola Sanchez Abreu You know, I bet that you or someone you know has a parent or grandparent from another Lone Mariachi ...................................................................................................................Gonzalo Cordova country. Do you know their story? My Abuelo, for example, was the Superintendent Hortensia .........................................................................................................................................Aida Delaz of Schools in Havana, Cuba, but the Cuban Revolution of 1959 forced him to flee his Ramona .............................................................................................................................................Julia Atkin country. When he got to the United -
The Cinematic Voice Transcript
The Cinematic Voice Transcript Neil Fox [00:00:30] Welcome to the Cinematologists podcast. I'm Neil Fox, and I'm pleased to say joining me as always is Dario Llinares. Hello Dario. Dario Llinares [00:00:38] Hello Neil. It's great to talk to you. I'm really looking forward to this episode and talking to you about it. Neil Fox [00:00:44] Absolutely. This is a long time coming, eagerly awaited episode. And I'm pleased to say it's finally here. And I think that our listeners are in for an absolute treat. And yeah, you've done an amazing job pulling us together. So do you want to let us know what is in store? Dario Llinares [00:00:59] Yep. So, this is our episode on The Cinematic Voice, which basically has been about six months in the making. I had the idea about a year ago that I wanted to do another kind of audio-essay style of podcast, and I was kind of thinking, you know, what would lend itself to basically aural sensibility of podcasting, but perhaps kind of triggered this sense of the “audio-cinematic”, which is something I'm writing about right now. So, something that has a cinematic, experiential flavour to it, but is without the images, which is obviously a tricky thing to kind of manage. And yeah, I got in contact with various film critics, scholars that you will hear on this episode and I won't give away who they are. It will come up on the episode and I thank them very much at the end. -
IN PERSON & PREVIEWS Talent Q&As and Rare Appearances, Plus A
IN PERSON & PREVIEWS Talent Q&As and rare appearances, plus a chance for you to catch the latest film and TV before anyone else Preview: Dirty God + Q&A with director Sacha Polak and actor Vicky Knight UK-Netherlands-Belgium-Ireland 2019. Dir Sacha Polak. With Vicky Knight, Eliza Brady-Girard, Rebecca Stone. 104min. Digital. Cert tbc. Courtesy of Modern Films Set in a small East London council estate, the film follows young mother Jade (Knight) as she tries hard to recover from an acid attack that left her severely disfigured. Dutch director Sacha Polak draws an outstanding performance of raw emotion and sexual frankness from first-time actor Vicky Knight, defying character expectations. SAT 1 JUN 17:30 NFT1 The Night of the Iguana + intro by actors Clive Owen, Lia Williams and Anna Gunn USA 1964. Dir John Huston. With Richard Burton, Ava Gardner, Deborah Kerr, Sue Lyon. 118min. Format tbc. 12A ‘One man... Three women... One night...’ John Huston’s production of Tennessee Williams’ play depicts a disgraced priest who, in a moment of desperation, forces a bus load of passengers to detour to a small Mexican coastal village. He unravels further in the company of its newly widowed owner (Gardner) and one of her guests (Kerr). In association with the new production of The Night of the Iguana at the Noël Coward Theatre, which runs from 6 July, starring Clive Owen (Closer), Lia Williams (The Crown) and Anna Gunn (Breaking Bad) iguanawestend.com TUE 4 JUN 20:10 NFT1 TV Preview: Poldark + Q&A with actors Aidan Turner, Jack Farthing and Luke Norris, and writer Debbie Horsfield BBC One-Mammoth Screen 2019. -
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mARYmoooy IDRTHEn THEATRE mERCEDESmccAmBRIDGE July 10-JLV 29, 1973 DepartmentStaff With her first film performance in "All The King's Men," Mercedes McCambridge ST.EDWARD, unlUERSITY Managing Director .. Edward Mangum launched her motion picture career by win ning an Academy Award. Previously, Orson Designer Welles had dubbed her "the world 's greatest DEPRRTmEnTOf flnE 1no PERFORfflln6 ARTS in Residence . David Maverick Lane radio actress." In theater, she had suffered Box Office Manager . ... James Elliott her share of flops but was rewarded by a Premts most successful season in the demanding role Theatre Business Manager James Keane of Martha in "Who 's Afraid Of Virginia Woolf" on Broadway. Technical Director . Mel Green Miss McCambridge travels some seventy mERCEDESlcCAmBRIDGE Master Electrician Nicky Yeager thousand miles a year and has appeared in theaters and auditoriums in nearly every Costumes and Props Patti London state. She performs in recital on the univer sity circuit and maintains that this activity is The Madwomin of Chaillot her "favorite thing." ProductionStaff In television, Miss McCambridge has made guest appearances on all of the top-ranking Stage Manager . Margaret Ann Robinson dramatic shows and has completed four fea ture-length films for TV, an Orson Welles ' Jean6audouH Assistant Director . Teresa Nichols film, and "Like a Crow on a Junebug," shot in the swamplands of Georgia. Staged andesigned by House Manager . .. .. Glen Schleicher Miss McCambridge devotes much of her time to her position as Honorary Chairman DAVID MAVRICK LANE of the National Council on Alcoholism. She Crews has been cited by President and Mrs. Nixon, Original Music b~enneth Cottrell by governors and mayors throughout the Box Office and House Crews country, and by a Senate committee.