£L)E Sunday Stamps—Bridge E

Total Page:16

File Type:pdf, Size:1020Kb

£L)E Sunday Stamps—Bridge E Stage—Screen—Books Records—Camera—Art Radio—Music £l)e Sunday Stamps—Bridge E EIGHT PAGES WASHINGTON, D. C., SEPTEMBER 28, 1953 TODAY'S SCHEDULES SCREEN AMBASSADOR—"Damn Yankees"; 1:30, 3:35. 5:35. 1:35 and 9:40 p.m. APEX—“The Naked Eye”; 2:30, 4:55. 7:30 and 10 p.m CAPITOL—"Cat on a Hot Tin Roof; 1:35, 3:40. 5.45, 7:50 and 9:55 p.m. COLUMBIA—"Gigi”; 2:30 and 8 p.m. DUPONT—“A Streetcar Named Desire”; 1, 2:40, 4:30, 6:15, 8:05 and 9:50 p.m KEITH’S—"Me and the Colonel"; 1:15, 3:20. 5:30, 7:35 and 9:40 p.m. MacARTHUR—"Law and Disorder"; 2:55, 4:35, 8:20, 8 and 9:50 p.m. METROPOLITAN—"Damn-Yankees"; 1:30, 3:55, 5:35, 7:35 and 9:40 p.m. ONTARIO—“This Angry Age”; 1:20, 3:30, 5:35, 7:40 and 9:45 p.m. PALACE—“The Big Country”: 12:45. 3:45. 6:45. 9:45 p.m. PLAYHOUSE—"The Matchmaker”; 1. 2:45, 4:30, 6:15, 8 and 9:45 p.m. PLAZA—"And God Created Woman"; 1:10, 3:10, 5:10, 7:15 and 9:20 p.m. TRANB-LUX—"The Bridge on the River Kwal"; 1, 3:45, 6:30 and 9:20 p.m. UPTOWN—"South Pacific”; 2 and 8:30 p.m WARNER—“Search for Paradise”; 2 and 8:30 p.m. THE PASSING SHOW Huston Is Uneasy, And With Cause By JAY CARMODY who opened up Japan to Drama Editor of The Star Western influence In the mid- John Huston, who owns one dle of the 19th century. of Hollywood’s more vigorous It may be his delight In minds and a tongue capable encountering original mate- of acid expression, voiced an rial that is the basis of Mr. arresting judgment of the Huston’s challenge to Holly- movies during the past week. wood to develop its own writ- picture Their makers have lost ers. Yet. in a he di- creativeness, said, have rected still later, Mr. Huston he prefabricated become much too dependent reverts to the a called upon outside material, are narrative, novel drearily unwilling to gamble “Roots of Heaven.” on original screenplays and The Hacks Are Busy are developing no new writ- While Hollywood's hacks ing talent. apparently are turning out Mr. Huston’s observations such things as “I Was A are the more startling for the Teen-Age Frankenstein” and fact that movie box offices similar horrors, a coupW of are humming, studio stocks worthy originals have turned are climbing on Wall Street, up among California’s 1958 and the jesters are beginning picture output. to ask: Can TV survive the These, interestingly enough, movies? After what Holly- are both comedies. One wood has been through for written by Michael and Faye A A LIFE the the last decade, Mr. Kanin and screen-adapted by STAGE: MASQUERADE CHANGES MAN'S Huston’s interruption of its George Seaton, who also Hume Cronyn displays the masquerade costume for two prior-to-Broadwav weeks. The others new comedy comes from the combined writing new era of good feeling comes directed it, is "Teacher’s that changes his life and disturbs his friends (in the usual order) are Jessica Tandy (Mrs. talents of Albert Beich and William H. Wright. as a special shock. Pet.” Another soon to be re- and relatives in "The Man in the Dog Suit.” It Cronyn), Cathleen Nesbitt. John McGovern, It is being staged by Ralph Nelson in a setting leased and already booked comes to the Theater tomorrow night Carmen Matthews and Clinton Sundberg. The designed by Donald Oenslager. He's Got a Point for Washington is also a National For all the film-makers’ lighthearted work. This one, reasonably based optimism, "Houseboat," even has a there is no dismissing Washington background. It Huston’s tug at their collec- is the work of a writer- tive sleeve. director-producer pair, Mel BELLE ON WHEELS What he is' talking about Shavelson and Jack Rose, COMING ATTRACTIONS is conspicuously evident at who are one of the most the moment on the Wash- promising of the self-con- STAGE ington scene. The downtown tained units operating In for Road marvelously Hollywood. Julie Harris: One NATIONAL—"Romanoff Juiet,” the theaters are and with Peter Ustinov, prosperous long-run- writing with Two such studio starting October 13. By ¦-I enough WILLIAM GLOVER ning films. Yet, with one nota- achievements are not SHUBERT—“Crazy October," with Bankhead, Associated Press Writer ble exception, none of these to rebut Mr. Huston’s argu- Tallulah starting October 13. NEW YORK —Stage star is a film original. ment that Hollywood could Julie Harris pulling running original is a The longest of the stand more writing. switch on Broadway. local film hits is “Bridge on Nevertheless, with all that SCREEN She is showing the rest of upon money It is suddenly making the River Kwai.” based KEITH’S—“The Defiant Ones”; Tony Curtis, Sidney Potier. the country her new play first a novel by Pierre Boulle. An- out of movies derived from MacARTHUR—“The Captain from Kopenick”; German. —Broadway must wait exact- other novel provides the basis outside sources, Hollywood is Usually ONTARlO—"Houseboat”; ly one year. It's the of “The Big Country,” now in not goinfe to be as discom- Cary Grant and Sophia Loren. way other around. & its sixth week here. “Cat on fited as it probably should be PALACE—“Harry Black and the Tiger,” with Stewart The reverse theatrical ven- a Hot Tin Roof,” the current by its obvious lack of talented Granger. ture is a season-long series xlf box-office champion around writers on studio rosters. PLAZA—“Time of Desire.” of stands in 19 cities coast to the country, is from Tennes- coast ol the drama. “The see Williams' play of the Warm Peninsula,” by Joseph same name. Masteroff. The stage also is the source It’s a family project. Julie’s of "Me and the Colonel,” Elvis Presley Gambles Film husband. Manning Gurian, a original Fee which in its form show’ business veteran, la the was a Franz Werfel-S. N. producer. Their 3-year-old- Berhman play called “Jaco- son, Peter, will go with them bowsky and the Colonel.” On His Post-Army Popularity on the tour. Broadway, and before Broad- Gurian says this is why way, London, saw “The By HAROLD HEFFERNAN and mature than* he seemed to the idea of going along Julie Is setting forth: North American Newspaper Alllancr Matchmaker” several years on his last moviemaking without mama. The three of “We feel that audiences all before Hollywood could lay HOLLYWOOD—Gone (off junket to Hollywood. A touch us made a mighty closely knit over are eager for the stage, happy hands on the Thron- to his year’s tour of duty in of wistfulness came across family group.” but there is a paradox. although “People go ton Wilder script. Germany) but definitely not the wires and he won’t to see a didn’t stress the sorrow of his Seeks No Favors show if the New York critics forgotten, Presley’s bon And a Musical Elvis mother’s recent passing (nor Elvis branded “absolutely turn it down. But with a voyage gift from 20th Cen- we) certain big money- did it was obvious he still ridiculous” widely repeated show of any merit you can Another tury-Fox was an unprece- play for a long up during the felt the shock. But he reports that he had gone “up- first time on maker turned dented deal whereby he’ll the road.” past and it could not couldn’t hide his delight over stairs” in the Army to get a week share 50-50 on the profits on a plays snugly into Direc- the new film arrangements. particular GI pal of his He cites number of fit more his first post-service movie! "Daddy stayed behind shipped which on brief pre-Broadway tor argument that in over to Germany with Huston’s Elvis was given his choice (Texas tryout did well, but which Hollywood is too dependent Killeen site of Fort his unit. of a fiat $200,000, as against Hood, where received his were barred by a lack of upon the pre-sold material. he “Why. that fellow's been the even-steven deal. Smart- training) just long from post- The film in question is “Damn basic in the same outfit with me rave reviews ly enough, realizing his ap- enough to ship things Broadway travels. which was a three- our ever since I went into train- Yankees” parently continuing prestige, back home to Memphis,” year hit the stage before ing,” he said. “Os course, on he decided to gamble on his Elvis explained. “He’ll come She Like to Work it became available ’the he’s being shipped out with to popularity 18 months hence, then to in Ger- Miss Harris adds to the many millions who will on Join me me—it would be mighty fun- ex- more when, all things even, he'd be many. I’m mighty happy he's planation: see ny If he were left behind. A FAMILYAFFAIR—JuIie Harris is one actress who believes in traveling it in its screen version. back in mufti and have the been able to make the ar- “I like to work—any ac- The one original film work That’s no special favor I to bring the theater to the theater-hungry across the land.
Recommended publications
  • Horton Foote
    38th Season • 373rd Production MAINSTAGE / MARCH 29 THROUGH MAY 5, 2002 David Emmes Martin Benson Producing Artistic Director Artistic Director presents the World Premiere of by HORTON FOOTE Scenic Design Costume Design Lighting Design Composer MICHAEL DEVINE MAGGIE MORGAN TOM RUZIKA DENNIS MCCARTHY Dramaturgs Production Manager Stage Manager JENNIFER KIGER/LINDA S. BAITY TOM ABERGER *RANDALL K. LUM Directed by MARTIN BENSON Honorary Producers JEAN AND TIM WEISS, AT&T: ONSTAGE ADMINISTERED BY THEATRE COMMUNICATIONS GROUP PERFORMING ARTS NETWORK / SOUTH COAST REPERTORY P - 1 CAST OF CHARACTERS (In order of appearance) Constance ................................................................................................... *Annie LaRussa Laverne .................................................................................................... *Jennifer Parsons Mae ............................................................................................................ *Barbara Roberts Frankie ...................................................................................................... *Juliana Donald Fred ............................................................................................................... *Joel Anderson Georgia Dale ............................................................................................ *Linda Gehringer S.P. ............................................................................................................... *Hal Landon Jr. Mrs. Willis .......................................................................................................
    [Show full text]
  • J Ohn F. a Ndrews
    J OHN F . A NDREWS OBE JOHN F. ANDREWS is an editor, educator, and cultural leader with wide experience as a writer, lecturer, consultant, and event producer. From 1974 to 1984 he enjoyed a decade as Director of Academic Programs at the FOLGER SHAKESPEARE LIBRARY. In that capacity he redesigned and augmented the scope and appeal of SHAKESPEARE QUARTERLY, supervised the Library’s book-publishing operation, and orchestrated a period of dynamic growth in the FOLGER INSTITUTE, a center for advanced studies in the Renaissance whose outreach he extended and whose consortium grew under his guidance from five co-sponsoring universities to twenty-two, with Duke, Georgetown, Johns Hopkins, North Carolina, North Carolina State, Penn, Penn State, Princeton, Rutgers, Virginia, and Yale among the additions. During his time at the Folger, Mr. Andrews also raised more than four million dollars in grant funds and helped organize and promote the library’s multifaceted eight- city touring exhibition, SHAKESPEARE: THE GLOBE AND THE WORLD, which opened in San Francisco in October 1979 and proceeded to popular engagements in Kansas City, Pittsburgh, Dallas, Atlanta, New York, Los Angeles, and Washington. Between 1979 and 1985 Mr. Andrews chaired America’s National Advisory Panel for THE SHAKESPEARE PLAYS, the BBC/TIME-LIFE TELEVISION canon. He then became one of the creative principals for THE SHAKESPEARE HOUR, a fifteen-week, five-play PBS recasting of the original series, with brief documentary segments in each installment to illuminate key themes; these one-hour programs aired in the spring of 1986 with Walter Matthau as host and Morgan Bank and NEH as primary sponsors.
    [Show full text]
  • Driving Miss Daisy
    COPYRIGHTED MATERIAL FOR RESEARCH USE ONLY: MAY NOT BE DUPLICATED 2012.3.75 MAKING OF THE MOVIE DRIVING MISS DAISY (Transcript of television program The Real Miss Daisy, produced by WAGA-TV, Channel 5, Atlanta, and broadcast in 1990 on public television.) ANNOUNCER VOICE-OVER, with animated numeral 5 rotating and coming to a stop in the center of the screen: Your regular PBS programming will not be seen tonight so that we may bring you the following special program. ANNOUNCER VOICE-OVER: This program is presented as part of WAGA-TV’s year-long project, A World of Difference, in cooperation with the Anti-Defamation League of B’nai Brith and underwritten by Georgia Power Company and the Milken Foundation. ANNOUNCER VOICE-OVER, with title displayed onscreen: The Real Miss Daisy, brought to you by True Value Hardware, your store of first choice. ANNOUNCER (LISA CLARK) VOICE-OVER, with still shot of the three principal actors in Driving Miss Daisy: Dan Aykroyd, Jessica Tandy, and Morgan Freeman: This is the story about the story of three people and the world in which they lived. Screen changes from actors’ photograph to video of three presenters, WAGA-TV journalists: Jim Kaiserski on left, Lisa Clark in center, Ken Watts on right, standing next to vintage black Cadillac [the same one used in the film?] in front of WAGA-TV studios in Atlanta. JIM KAISERSKI: It’s a story about people, it’s a story about places, it’s a story about events that were real and some that weren’t. KEN WATTS: But reality isn’t the important point; truth is.
    [Show full text]
  • 2017 Annual Report
    Annual 2017 Report Our ongoing investment into increasing services for the senior In 2017, The Actors Fund Dear Friends, members of our creative community has resulted in 1,474 senior and helped 13,571 people in It was a challenging year in many ways for our nation, but thanks retired performing arts and entertainment professionals served in to your generous support, The Actors Fund continues, stronger 2017, and we’re likely to see that number increase in years to come. 48 states nationally. than ever. Our increased activities programming extends to Los Angeles, too. Our programs and services With the support of The Elizabeth Taylor AIDS Foundation, The Actors Whether it’s our quick and compassionate response to disasters offer social and health services, Fund started an activities program at our Palm View residence in West ANNUAL REPORT like the hurricanes and California wildfires, or new beginnings, employment and training like the openings of The Shubert Pavilion at The Actors Fund Hollywood that has helped build community and provide creative outlets for residents and our larger HIV/AIDS caseload. And the programs, emergency financial Home (see cover photo), a facility that provides world class assistance, affordable housing 2017 rehabilitative care, and The Friedman Health Center for the Hollywood Arts Collective, a new affordable housing complex and more. Performing Arts, our brand new primary care facility in the heart aimed at the performing arts community, is of Times Square, The Actors Fund continues to anticipate and in the development phase. provide for our community’s most urgent needs. Mission Our work would not be possible without an engaged Board as well as the efforts of our top notch staff and volunteers.
    [Show full text]
  • Recommended Reading
    C O R E Y P A R K E R Recommended Reading Books on Acting –––––––––– “The Power of The Actor” by Ivana Chubbuck “Respect for Acting” by Uta Hagen “A Challenge For The Actor” by Uta Hagen “Being And Doing” by Eric Morris “Truth” by Susan Batson “The Technique of Acting” by Stella Adler “Intent to Live” by Larry Moss “Towards A Poor Theater” by Jerzy Grotowski “The Art of Acting” by Stella Adler “Acting 2.0” by Anthony Abeson “Acting Class” by Milton Katselas “The Actor’s Eye” by Morris Carnovsky “All About Method Acting” by Ned Manderino “The Vakhtangov Sourcebook” by Andrei Malaev-Babel “Audition” by Michael Shurtleff “The Open Door” by Peter Brook “Stanislavski in Rehearsal” by Vasili Toporkov “The Presence of The Actor” by Joseph Chaikin “Strasberg At The Actors Studio” edited by Robert Hethmon “The War of Art” “On Acting” by Steven Pressfield by Sanford Meisner W W W . C O R E Y P A R K E R A C T I N G . C O M “On The Technique of Acting” by Michael Chekhov “The Existential Actor” by Jeff Zinn “The Theater And Its Double” by Antonin Artaud “An Acrobat of The Heart” by Stephen Wangh “Auditioning” by Joanna Merlin “Richard Burton in Hamlet” by Richard Sterne “Acting: The First Six Steps” by Richard Boleslavsky “The Empty Space” by Peter Brook “Advice to The Players” by Robert Lewis “On Acting” by Laurence Olivier “An Actor’s Work: Stanislavski” (An Actor Prepares) “Juilliard to Jail” retranslated and edited by Leah Joki by Jean Benedetti “On Screen Acting” “Advanced Teaching for The Actor, Teacher by Edward Dmytryk and Director” by Terry Schreiber “The Actor's Art and Craft” by William Esper & Damon DiMarco “How to Stop Acting” by Harold Guskin “Acting and Living in Discovery” by Carol Rosenfeld Books on Directing –––––––––– “On Directing” “No Tricks in My Pocket: Paul Newman Directs” by Elia Kazan by Stewart Stern “On Directing” “Cassavetes on Cassavetes” by Harold Clurman by John Cassavetes and Ray Carney “Stanislavsky Directs” “Levinson on Levinson” by Nikolai Gorchakov edited by David Thompson W W W .
    [Show full text]
  • Original Writer Title Genre Running Time Year Director/Writer Actor
    Original Running Title Genre Year Director/Writer Actor/Actress Keywords Writer Time Katharine Hepburn, Alcoholism, Drama, Tony Richardson; Edward Albee A Delicate Balance 133 min 1973 Paul Scofield, Loss, Play Edward Albee Lee Remick Family Georgian, Eighteenth Century, Simon Langton; Jane Colin Firth, Pride and Prejudice Drama, Romance, Jane Austen 53 min 1995 Austen, Andrew Crispin Bonham-Carter, Vol. I Romance Classic, Davies Jennifer Ehle Strong Female Lead, Inheritance Georgian, Eighteenth Century, Simon Langton; Jane Colin Firth, Pride and Prejudice Drama, Romance, Jane Austen 54 min 1995 Austen, Andrew Crispin Bonham-Carter, Vol. II Romance Classic, Davies Jennifer Ehle Strong Female Lead, Inheritance Georgian, Eighteenth Century, Simon Langton; Jane Colin Firth, Pride and Prejudice Drama, Romance, Jane Austen 53 min 1995 Austen, Andrew Crispin Bonham-Carter, Vol. III Romance Classic, Davies Jennifer Ehle Strong Female Lead, Inheritance Georgian, Eighteenth Century, Simon Langton; Jane Colin Firth, Pride and Prejudice Drama, Romance, Jane Austen 53 min 1995 Austen, Andrew Crispin Bonham-Carter, Vol. IV Romance Classic, Davies Jennifer Ehle Strong Female Lead, Inheritance Georgian, Eighteenth Century, Simon Langton; Jane Colin Firth, Pride and Prejudice Drama, Romance, Jane Austen 50 min 1995 Austen, Andrew Crispin Bonham-Carter, Vol. V Romance Classic, Davies Jennifer Ehle Strong Female Lead, Inheritance Georgian, Eighteenth Century, Simon Langton; Jane Colin Firth, Pride and Prejudice Drama, Romance, Jane Austen 52 min 1995 Austen,
    [Show full text]
  • Emmy Award Winners
    CATEGORY 2035 2034 2033 2032 Outstanding Drama Title Title Title Title Lead Actor Drama Name, Title Name, Title Name, Title Name, Title Lead Actress—Drama Name, Title Name, Title Name, Title Name, Title Supp. Actor—Drama Name, Title Name, Title Name, Title Name, Title Supp. Actress—Drama Name, Title Name, Title Name, Title Name, Title Outstanding Comedy Title Title Title Title Lead Actor—Comedy Name, Title Name, Title Name, Title Name, Title Lead Actress—Comedy Name, Title Name, Title Name, Title Name, Title Supp. Actor—Comedy Name, Title Name, Title Name, Title Name, Title Supp. Actress—Comedy Name, Title Name, Title Name, Title Name, Title Outstanding Limited Series Title Title Title Title Outstanding TV Movie Name, Title Name, Title Name, Title Name, Title Lead Actor—L.Ser./Movie Name, Title Name, Title Name, Title Name, Title Lead Actress—L.Ser./Movie Name, Title Name, Title Name, Title Name, Title Supp. Actor—L.Ser./Movie Name, Title Name, Title Name, Title Name, Title Supp. Actress—L.Ser./Movie Name, Title Name, Title Name, Title Name, Title CATEGORY 2031 2030 2029 2028 Outstanding Drama Title Title Title Title Lead Actor—Drama Name, Title Name, Title Name, Title Name, Title Lead Actress—Drama Name, Title Name, Title Name, Title Name, Title Supp. Actor—Drama Name, Title Name, Title Name, Title Name, Title Supp. Actress—Drama Name, Title Name, Title Name, Title Name, Title Outstanding Comedy Title Title Title Title Lead Actor—Comedy Name, Title Name, Title Name, Title Name, Title Lead Actress—Comedy Name, Title Name, Title Name, Title Name, Title Supp. Actor—Comedy Name, Title Name, Title Name, Title Name, Title Supp.
    [Show full text]
  • NEA Chronology Final
    THE NATIONAL ENDOWMENT FOR THE ARTS 1965 2000 A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS President Johnson signs the National Foundation on the Arts and the Humanities Act, establishing the National Endowment for the Arts and the National Endowment for the Humanities, on September 29, 1965. Foreword he National Foundation on the Arts and the Humanities Act The thirty-five year public investment in the arts has paid tremen­ Twas passed by Congress and signed into law by President dous dividends. Since 1965, the Endowment has awarded more Johnson in 1965. It states, “While no government can call a great than 111,000 grants to arts organizations and artists in all 50 states artist or scholar into existence, it is necessary and appropriate for and the six U.S. jurisdictions. The number of state and jurisdic­ the Federal Government to help create and sustain not only a tional arts agencies has grown from 5 to 56. Local arts agencies climate encouraging freedom of thought, imagination, and now number over 4,000 – up from 400. Nonprofit theaters have inquiry, but also the material conditions facilitating the release of grown from 56 to 340, symphony orchestras have nearly doubled this creative talent.” On September 29 of that year, the National in number from 980 to 1,800, opera companies have multiplied Endowment for the Arts – a new public agency dedicated to from 27 to 113, and now there are 18 times as many dance com­ strengthening the artistic life of this country – was created. panies as there were in 1965.
    [Show full text]
  • Florence ',Nightingale
    -.. ~ .~. HEROINE , OUT OF ,,; FOCus: media images of . '. Florence ',Nightingale :::~r:-T II: RADIO, ~ lIl.V\JLvU\TIZA nONS BEATRICE J, KAUSCH and PHIUP A, KAUSCH ilm, radio, and television dramatizations of Florence myth. This process is the· result of both conscious FNightingale's life are particularly important in pro­ design on the part of actors, directors, and producers jecting a leading nurse's image to the public because and their unconscious integration and rep roduction of they dramatize her actions within he r social world and cultural paradigms. Through representations of Miss provide a role modeling effect that can be very useful in Nightingale, these productions have conveyed implicit acquiring support fo r the nursing profession. Such pro­ theories, beliefs, criticisms, and legitimations of the ductions do not "mirror" reality, but create an impres­ nursing profession's founder. Ideas about Nightingale sion of reality. like other forms of artistic and cultural arising in one generation are thus transformed and, in expression, they blend fact and fiction, history and turn, exert an influence on public perceptions within a changed historical setting. These forms of cultural ex­ pression provide resources of meaning about nursing Beatrice J. Kalisch. RN, EdD, FAAN, is Titus Professor of nursing and chairpe~n. parent·child nursing: Philip A. KlIlisch, PhD, is professor of that should be reinterpreted and adapted to new cir­ h;51ory, politics. lind economics of nursing. both at the University of cumstances. Michigan, Ann Arbor. This study was supPOrtlld by a research grllnt Florence Nightingale has inspired three feature fil m from the U.S.
    [Show full text]
  • PERRY/REECE CASTING Penny Perry 310-422-1581-Cell Phone 818-905-9917-Home Phone
    PERRY/REECE CASTING Penny Perry 310-422-1581-Cell Phone 818-905-9917-Home Phone MOTION PICTURES PORKY’S: THE COLLEGE YEARS Larry Levinson Productions Adam Wylie Producer: Larry Levinson Vic Polizos Director: Brian Trenchard-Smith THE INVITED Dark Portal, LLC. Lou Diamond Phillips Producer: Dan Kaplow Megan Ward Director: Ryan McKinney Brenda Vaccaro Pam Greer WHEN CALLS THE HEART Maggie Grace Producer & Director: Michael Landon Peter Coyote DISAPPEARANCES Border Run Productions Kris Kristofferson Producer & Director: Jay Craven Genevieve Bujold Lothaire Bluteau Luis Guzman FEAR X John Turturro Producer: Henrik Danstrup James Remar Director: Nicolas Winding Refn Deborah Unger DIAL 9 FOR LOVE Pleswin Entertainment Jeanne Tripplehorn Producer: Eric Pleskow /Leon de Winter Liev Schreiber Director: Kees Van Oostrom Louise Fletcher Co-Producer: Penny Perry THE HOLLYWOOD SIGN Pleswin Entertainment Burt Reynolds Producer: Eric Pleskow/Leon de Winter Rod Steiger Producer: Penny Perry Tom Berenger Director: Sonke Wortmann EXTREME OPS Diamant/Cohen Productions Brigette Wilson-Sampras Director: Christian Dugay Devon Sawa Rupert Graves FEAR.COM Diamant/Cohen Productions Stephen Dorff Producer: Moshe Diamant Natascha McElhone Director: William Malone Stephen Rea BIG BAD LOVE Sun, Moon & Stars Prod. Deborah Winger Producer: Barry Navidi Arliss Howard Director: Arliss Howard Rosanna Arquette Paul LeMat THE MUSKETEER Universal Mena Suvari Director: Peter Hyams Tim Roth Producer: Moshe Diamant Catherine Denueve Producer: Mark Damon Stephen Rea Nick Moran
    [Show full text]
  • Documenting the Director: Delbert Mann, His Life, His Work, and His Papers
    http://spider.georgetowncollege.edu/htallant/border/bs10/fr-harw.htm Border States: Journal of the Kentucky-Tennessee American Studies Association, No. 10 (1995) DOCUMENTING THE DIRECTOR: DELBERT MANN, HIS LIFE, HIS WORK, AND HIS PAPERS Sarah Harwell Vanderbilt University Library The Papers of Delbert Mann at the Special Collections Library of Vanderbilt University provide not only a rich chronicle of the award-winning television and motion picture director's life and work, but also document the history of aspects of American popular culture and motion picture art in the latter half of the twentieth century. Delbert Mann was born in Lawrence, Kansas, in 1920. He moved to Nashville, which he considers his home town, as a young boy when his father came to teach at Scarritt College. He graduated from Hume-Fogg High School and Vanderbilt University, where Dinah Shore and Mann's future wife, Ann Caroline Gillespie, were among his classmates. Also in Nashville he developed a lifelong friendship with Fred Coe through their mutual involvement in the Nashville Community Playhouse. Coe would play a very important role in Mann's life. A few months after his graduation from Vanderbilt in 1941, Mann joined the Eighth Air Force, for which he completed thirty-five missions as a pilot of a B-24 bomber. After the end of the Second World War he attended the Yale Drama School, followed by two years as director of the Town Theatre of Columbia, South Carolina. In 1949, Fred Coe, already a producer at NBC television network, invited Delbert Mann to come to New York to direct live television drama on the "Philco Television Playhouse." Then in its infancy, television offered many fine original plays to its relatively small viewing audience.
    [Show full text]
  • FEATURING the COASTERS Director’S Circle
    FEATURING THE COASTERS Director’s Circle Dr. David & Katherine Arnold Bill & Linda Bayless Russell & Joan Bennett Van & Melissa Billingsley Neal & Joanne Cadieu Dr. Al & Pat Covington Wade & Beth Dunbar Ellerbe Pharmacy Joe & Diana Everett Brian & Danielle Goodman Representative Ken & Cindy Goodman Lee & Terry Howell G.R. & Mary Ellen Kindley J.C. & Hilda Lamm Terry & Cheryl Lewis David & Kim Lindsey Duane & Carol Linker Lazelle & Judy Marks Lonnie & Cheryl McCaskill Dr. Dale & Thomasa McInnis Tom & Janice McInnis Social Media Senator Gene & Donna McLaurin Are You Connected to the Cole? Dean & Candy Nichols Jerry & Brenda Purcell Ken & Claudia Robinette Stay in touch with the latest news from the Cole Auditorium. Nicholas & Lucy Sojka Dr. John & Sue Stevenson Thad & Mary Jane Ussery Lee & Tanya Wallace www.facebook.com/coleaud www.twitter.com/coleaud Larry & Michele Weatherly Facebook and Twitter feeds are available to patrons Thank you Director’s Circle Members! without having to register with the services. Just type the web addresses above directly into your Internet Now in it’s fifth year, the Director’s Circle helps Richmond browser’s address bar access to the information posted. Community College raise local funds critical to the success of the Cole Auditorium, RCC, and most importantly, our students. Season Ticket holders interested in joining the Director’s Circle should contact Joey Bennett at (910) 410-1691 or RCC Foundation COLE-MAIL Executive Director Olivia Webb at (910) 410-1807. www.richmondcc.edu www.richmondcc.edu ~Browse
    [Show full text]