John Mccullough As Man, Actor and Spirit
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Proquest Dissertations
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, som e thesis and dissertation copies are in typewriter face, while others may be from any type of com puter printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. Bell & Howell Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 UMI EDWTN BOOTH .\ND THE THEATRE OF REDEMPTION: AN EXPLORATION OF THE EFFECTS OF JOHN WTLKES BOOTH'S ASSASSINATION OF ABRAHANI LINCOLN ON EDWIN BOOTH'S ACTING STYLE DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Michael L. -
From Richard III to Rex I
NEW ORLEANS NOSTALGIA Remembering New Orleans History, Culture and Traditions By Ned Hémard From Richard III to Rex I Tower of London was a 1939 movie starring Basil Rathbone as the future Richard III of England, with Boris Karloff as the fictional executioner Mord. Vincent Price appeared as George, Duke of Clarence, in this quasi-horror historical drama. In 1962 Tower of London was remade by Roger Corman, this time starring Vincent Price in the lead role as Richard III. Francis Ford Coppola worked on the movie as dialogue director. Vincent Price, Jr. (May 27, 1911 – October 25, 1993), the American actor with the perfect voice for horror movies, grew up in Saint Louis, Missouri, in a well-to-do family whose wealth was made possible years earlier when his grandfather invented “Dr. Price’s Baking Powder”. “The Prices loved to travel”, wrote the actor’s daughter, Victoria Price. “Marguerite and Vincent Sr. had been to Europe, and as their children grew older, whenever they could the couple took shorter trips to interesting cities such as New Orleans … returning with ‘artistic’ souvenirs”. From his travels at home and abroad, young Vincent Price acquired a passion for art and, along with an art history major at Yale University, an interest in the theatre. Despite his long career performing in films of the macabre, Price began as a character actor. He gave a memorable performance in the film Laura in 1944. In the 1950s, viewers enjoyed wearing 3-D glasses to watch Price in House of Wax and thrilled to The Fly (1958) and Return of the Fly (1959). -
The Theatrical Career of John E. Owens (1823-1886)
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1982 The Theatrical Career of John E. Owens (1823-1886). Thomas Arthur Bogar Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Bogar, Thomas Arthur, "The Theatrical Career of John E. Owens (1823-1886)." (1982). LSU Historical Dissertations and Theses. 3791. https://digitalcommons.lsu.edu/gradschool_disstheses/3791 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1.The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the Film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. -
AN ANALYSIS of the LIFE and LEGACY of LOUISA LANE DREW Rivka Kelly University of Vermont
University of Vermont ScholarWorks @ UVM UVM Honors College Senior Theses Undergraduate Theses 2014 THE DUCHESS: AN ANALYSIS OF THE LIFE AND LEGACY OF LOUISA LANE DREW Rivka Kelly University of Vermont Follow this and additional works at: https://scholarworks.uvm.edu/hcoltheses Recommended Citation Kelly, Rivka, "THE DUCHESS: AN ANALYSIS OF THE LIFE AND LEGACY OF LOUISA LANE DREW" (2014). UVM Honors College Senior Theses. 23. https://scholarworks.uvm.edu/hcoltheses/23 This Honors College Thesis is brought to you for free and open access by the Undergraduate Theses at ScholarWorks @ UVM. It has been accepted for inclusion in UVM Honors College Senior Theses by an authorized administrator of ScholarWorks @ UVM. For more information, please contact [email protected]. THE DUCHESS: AN ANALYSIS OF THE LIFE AND LEGACY OF LOUISA LANE DREW A Thesis Presented by Rivka Kelly to The Faculty of the College of Arts and Sciences of The University of Vermont In Partial Fulfillment of the Requirements For the degree of Bachelor of Arts with Honors In Theatre May, 2014 Dedication This thesis is for my wonderful and supportive parents, whose gentle encouragement spurs me on yet reminds me that there are more important things in life than just a paper. Thanks Mom and Dad. And for the Students, Faculty and Staff who have strongly influenced my time here, helping (and sometimes forcing) me to grow personally and academically. I'm especially grateful to Natalie for her example and encouragement, and Avery for his help in the process, and to every single person who listened to me whine about this project. -
History of Minstrelsy, Its Inner Workings and Business
Introduction - 1 1 Inside Look at Minstrelsy - 37 The Photos - 65 More Photos - 97 Songs - 117 History of Minstrelsy, Its inner workings and business. "Minstrelsy is an ancient art." This project is to explore the inner working of minstrelsy. During its heyday, from the 1840s to the end of World War I it was the major exponent of entertainment in America. Minstrelsy has been around for centuries -from King David, to the medieval troubadours and finally to the shores of America. In America it took place before, during and after the emancipation of the Negro slaves and spread across the continent both with professional white and Negro groups (both using black face) and with minstrel shows produced by churches, schools and social organizations. Etc. While professional minstrels became less popular, minstrels did last long into the 20th century. (Personnel note-My father played bones in a church minstrel in the late 1930s and my brother and I (playing accordions) played in the olio part of a church minstrel in the 1940s.) Few forms or styles of entertainment last over generations. There are revivals but these are just points in time. An 'art' has an influence on a society. Rap music can be seen as a present day reversal of the minstrels. Eventually the public had problems accepting the minstrel with its black faced individuals. Strangely the height of minstrel happened after the Civil War. As with any art form, minstrelsy evolved, dropping its first part and became a spectacular revue taking the Olio into vaudeville. Black face was a familiar theatrical device in Europe (Shakespeare's Othello) as black was not permitted to be onstage. -
The Life and Art of Edwin Booth and His Contemporaries
THE LIFE AND ART OF EDWIN BOOTH AND HIS CONTEMPORARIES EDWIN BOOTH As Hamlet. &/fti <7^F?^sr<) jf^jQe^L^ fl&^rrsyb^^ *< Stye Hife atti Art of IHtomt Imrtlf and I|t3 (Entttemjrorarips wtsW* 19 By Brander Matthews and Laurence Hutton J* Yf/jt&n ifUusttratefc ^^^@^<?^s^>^^^^^^ L C PAGE- 8 COMPANY ""w^W/ BOSTON j» PUBLISHERS Copyright, 1886 By O. M. Dunham All rights reserved Fifth Impression, June, 1907 COLONIAL PRESS Electrotyped and Printed by C. H. Simonds &* Co. Boston, U.S.A. CONTENTS PAGE Miss Mary Anderson . William L. Keese • I Mr. and Mrs. Bancroft William Archer , . 19 Mr. Lawrence Barrett William M. Laffan . 37 Mr. Edwin Booth. Lawrence Barrett . 55 Mr. and Mrs. Dion Boucicault Benjamin Ellis Martin 77 Mr. J. S. Clarke . Edw, Hamilton Bell . 95 Mr. and Mrs. Florence Laurence Hutton . 113 Mr. Henry Irving J. Ranken Towse . 131 Mr. Joseph Jefferson . H C. Bunner . .153 Mr. and Mrs. Kendal . William Archer . .175 Mme. Modjeska . Jeannette Leonard Gilder 193 Miss Clara Morris Clinton Stuart . .211 Mr. John T. Raymond. George H. Jessop . .229 Miss Ellen Terry Geo. Edgar Montgomery 247 Mr. J. L. Toole . Walter Hen ies Pollock 265 Mr. Lester Wallack . William Winter . .283 Index • • . 301 LIST OF ILLUSTRATIONS PAGE Edwin Booth as Hamlet .... Frontispiece Mary Anderson as Galatea in " Pygmalion and Galatea" . 14 " " Lawrence Barrett as Cassius in Julius Caesar . 39 Edwin Booth 57 Dion Boucicault 79 Agnes R. Boucicault 86 W. J. Florence 115 Mrs. W. J. Florence 126 Henry Irving 133 Henry Irving as Mathias in "The Bells" . 136 Joseph Jefferson as Bob Acres in "The Rivals". -
Theatricals in Philadelphia" Scrapbooks Ms
"Theatricals in Philadelphia" scrapbooks Ms. Coll. 1384 Finding aid prepared by Siel Agugliaro. Last updated on July 14, 2020. University of Pennsylvania, Kislak Center for Special Collections, Rare Books and Manuscripts 2019 May 7 "Theatricals in Philadelphia" scrapbooks Table of Contents Summary Information....................................................................................................................................3 Biography/History..........................................................................................................................................4 Scope and Contents....................................................................................................................................... 5 Administrative Information........................................................................................................................... 5 Controlled Access Headings..........................................................................................................................6 Collection Inventory...................................................................................................................................... 8 Series I. "Theatricals in Philadelphia".................................................................................................... 8 Series II. Index to "Theatricals in Philadelphia" (produced by the WPA)............................................28 - Page 2 - "Theatricals in Philadelphia" scrapbooks Summary Information Repository University -
Shadows of the Stage
Shadows of the Stage by William Winter BIBLIOGRAPHIC RECORD Author Winter, William, 1836-1917 Title Shadows of the Stage Language English EText-No. 18860 Release Date 2006-07-18 Copyright Status Not copyrighted in the United States. Base Directory /1/8/8/6/18860/ The Project Gutenberg EBook of Shadows of the Stage, by William Winter This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: Shadows of the Stage Author: William Winter Release Date: July 18, 2006 [EBook #18860] Language: English Character set encoding: ISO-8859-1 *** START OF THIS PROJECT GUTENBERG EBOOK SHADOWS OF THE STAGE *** Produced by Juliet Sutherland, Taavi Kalju and the Online Distributed Proofreading Team at http://www.pgdp.net SHADOWS OF THE STAGE BY WILLIAM WINTER _"The best in this kind are but shadows"_ SHAKESPEARE NEW YORK MACMILLAN AND COMPANY AND LONDON 1893 COPYRIGHT, 1892, BY MACMILLAN & CO. Set up and electrotyped May, 1892. Large Paper Edition printed May. Ordinary Edition reprinted June, August, November, 1892; January, June, October, November, 1893. Norwood Press: J.S. Cushing & Co.--Berwick & Smith. Boston, Mass., U.S.A. TO Henry Irving IN MEMORY AND IN HONOUR OF ALL THAT HE HAS DONE TO DIGNIFY AND ADORN THE STAGE AND TO ENNOBLE SOCIETY THIS BOOK IS GRATEFULLY INSCRIBED _"Cui laurus æternos honores Delmatico peperit triumpho"_ PREFACE. _The papers contained in this volume, chosen out of hundreds that the author has written on dramatic subjects, are assembled with the hope that they may be accepted, in their present form, as a part of the permanent record of our theatrical times. -
Women Who Managed Theatres in Nineteenth Century America
Women Who Managed Theatres In Nineteenth Century America Vera Mowry Roberts [Dr. Roberts' Fellows Address was delivered at the John F. Kennedy Center in Washington, D.C., on April 26, 1992. An expansion and re-working of the topic culminated in the article, "'Lady-managers' in nineteenth century American theatre," published in Ron Engle and Tice Miller, eds., The American Stage (New York: Cambridge University Press, 1993), pp. 30 -46. Ed.] When one considers the political, legal, and social status of women in 19th century America, one is surprised to learn, through the mining of contemporary sources, that at least fifty women managed theatres throughout the United States from 1799 to 1902. You can probably name a few. Mrs. John Drew in Philadelphia, certainly. And wasn't there a Laura Keene in New York? And Anne Brunton Merry, and Catherine Sinclair, and Mrs. John Wood? And didn't Charlotte Cushman once try her hand at management. These are the names that float to the top of consciousness. And with good reason: Mrs. Drew for her long occupancy of the Arch Street Theatre, Keene and Wood for their success in New York, Merry because of her acting fame in early Philadelphia and New York, Sinclair because of her notoriety, and Cushman because of her later great fame as an actress. It is true that most of the other 44 women thus far accounted for managed briefly and often unsuccessfully in minor venues, and not always for impeccable reasons. But that they did it at all - in a society where women had no legal rights and were largely treated as chattel - is worthy of some note. -
Proquest Dissertations
Traveling actress and manager in the nineteenth century: The western career of Nellie Boyd, 1879-1888 Item Type text; Thesis-Reproduction (electronic) Authors Crestani, Eliana, 1966- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 04/10/2021 13:41:14 Link to Item http://hdl.handle.net/10150/278588 INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly fi'om the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be fi-om any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely a£fect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing fi'om left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. -
The Lambs' Blue Book
The Lambs’ Blue Book Constitution By-Laws House Rules 2016 © The Lambs, Inc., 2014-2016 The Lambs ® is a registered trademark of The Lambs, Inc., 3 West 51st Street, New York, NY 10019 www.The-Lambs.org 1 Preface 2014 marks the one hundred fortieth year of The Lambs, the first professional theatrical club in America. In 2006 the definitive history of our organization, The Lambs Theatre Club, by Lewis J. Hardee, then Club historian, was published by McFarland and Company, Inc. The Lambs is a social gathering place for professionals in the entertainment industry and the arts. The Club name honors the essayist Charles Lamb and his sister, Mary, who during the early 1800s played host at their famed literary and theatrical salon in London. In 1869 the renowned actor/comedian John Hare formed a men’s dining club in London, named after Charles and Mary Lamb, which flourished about ten years. In 1874 a member and once Shepherd (1873) of the London Lambs, Henry Montague, founded a companion club in New York City. To this day The Lambs continues the traditions of Charles and Mary Lamb and the London club named after them. The ability to change and evolve our Constitution and By-Laws reflects the changing nature and demands of our members and of our time. The Lambs’ Blue Book of 2014 continues a long list of those published since the first edition of 1885-1886. These chronicle the Constitution, By-laws and House Rules as they have changed over the years, along with rosters of Officers and Councils and other information. -
Ada Rehan: American Actress (1857-1916)
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1988 Ada Rehan: American Actress (1857-1916). (Volumes I and II). Aileen Alana Hendricks-wenck Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Hendricks-wenck, Aileen Alana, "Ada Rehan: American Actress (1857-1916). (Volumes I and II)." (1988). LSU Historical Dissertations and Theses. 4506. https://digitalcommons.lsu.edu/gradschool_disstheses/4506 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS The most advanced technology has been used to photo graph and reproduce this manuscript from the microfilm master. UMI films the original text directly from the copy submitted. Thus, some dissertation copies are in typewriter face, while others may be from a computer printer. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyrighted material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are re produced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each oversize page is available as one exposure on a standard 35 mm slide or as a 17" x 23" black and white photographic print for an additional charge.