Winter Garden Theatre

Total Page:16

File Type:pdf, Size:1020Kb

Winter Garden Theatre Winter Garden Theatre NEW YORK, NY SERVICES PERFORMED When the long-running musical Cats closed, the NYC-based Shubert Organization took the opportunity Decorative Painting & Finishes to restore the interior of the Winter Garden Theatre in Midtown Manhattan. This Federal Revival Style Gilding theater from 1911 needed signicant restoration before its next Broadway show opened. Gaping holes Glazing in the ceiling and walls showed the signicant damage the theater incurred over the years. The client Mockups & Maquettes and architect set aside pre-construction time for EverGreene artisans to prepare full-scale mock-ups of Plaster Fabrication each element of ornamental plasterwork and decorative painting on site. This enabled aesthetic and practical decisions to be made in advance so that the job proceeded quickly later on. Plaster Restoration EverGreene’s sculptural talents and plaster studio were called upon in the fabrication of plaster domes PROJECT DETAILS and numerous other classical features in the reconstruction. Our artisans worked in collaboration with Client the Shubert’s in-house crew on site, handling tasks such as framing and metalwork. EverGreene’s Shubert Organization services included: • Ornamental and at plaster restoration • Extensive replication of missing plasterwork • Fabrication of new ornamental plasterwork designed for the lobby • Decorative painting in all public spaces, including glazing, gilding and faux marble MORE INFORMATION: https://evergreene.com/projects/winter-garden-theatre/ 253 36th Street, Suite 5-C | Brooklyn, New York, 11232 | (212) 244 2800 | evergreene.com.
Recommended publications
  • The Evolution of Musical Theatre Dance
    Gordon 1 Jessica Gordon 29 March 2010 Honors Thesis Everything was Beautiful at the Ballet: The Evolution of Musical Theatre Dance During the mid-1860s, a ballet troupe from Paris was brought to the Academy of Music in lower Manhattan. Before the company’s first performance, however, the theatre in which they were to dance was destroyed in a fire. Nearby, producer William Wheatley was preparing to begin performances of The Black Crook, a melodrama with music by Charles M. Barras. Seeing an opportunity, Wheatley conceived the idea to combine his play and the displaced dance company, mixing drama and spectacle on one stage. On September 12, 1866, The Black Crook opened at Niblo’s Gardens and was an immediate sensation. Wheatley had unknowingly created a new American art form that would become a tradition for years to come. Since the first performance of The Black Crook, dance has played an important role in musical theatre. From the dream ballet in Oklahoma to the “Dance at the Gym” in West Side Story to modern shows such as Movin’ Out, dance has helped tell stories and engage audiences throughout musical theatre history. Dance has not always been as integrated in musicals as it tends to be today. I plan to examine the moments in history during which the role of dance on the Broadway stage changed and how those changes affected the manner in which dance is used on stage today. Additionally, I will discuss the important choreographers who have helped develop the musical theatre dance styles and traditions. As previously mentioned, theatrical dance in America began with the integration of European classical ballet and American melodrama.
    [Show full text]
  • Broadway Theaters
    Name Owner Capacity Address City State Al Hirschfeld Theatre Jujamcyn Theaters 1,424 302 W. 45th Street New York NY Ambassador Theatre Shubert Organization 1,125 219 W. 49th Street New York NY American Airlines Theatre Roundabout Theatre Company 740 227 W. 42nd Street New York NY August Wilson Theatre Jujamcyn Theaters 1,228 245 W. 52nd Street New York NY Belasco Theatre Shubert Organization 1,018 111 W. 44th Street New York NY Bernard B. Jacobs Theatre Shubert Organization 1,078 242 W. 45th Street New York NY Booth Theatre Theatre Shubert Organization 766 222 W. 45th Street New York NY Broadhurst Theatre Shubert Organization 1,186 235 W. 44th Street New York NY Broadway Theatre Shubert Organization 1,761 Broadway at 53rd Street New York NY Brooks Atkinson Theatre Nederlander Organization 1,094 256 W. 47th Street New York NY Circle in the Square Theatre Independent 840 1633 Broadway New York NY Cort Theatre Shubert Organization 1,048 138 W. 48th Street New York NY Ethel Barrymore Theatre Shubert Organization 1,096 243 W. 47th Street New York NY Eugene O'Neill Theatre Jujamcyn Theaters 1,066 230 W. 49th Street New York NY Gerald Schoenfeld Theatre Shubert Organization 1,079 236 W. 45th Street New York NY Gershwin Theatre Nederlander Organization 1,933 222 W. 51st Street New York NY Helen Hayes Theatre Second Stage Theatre 597 240 W. 44th Street New York NY Imperial Theatre Shubert Organization 1,433 249 W. 45th Street New York NY John Golden Theatre Shubert Organization 805 252 W. 45th Street New York NY Longacre Theatre Shubert Organization 1,091 220 W.
    [Show full text]
  • Directions to Ed Mirvish Theatre Toronto
    Directions To Ed Mirvish Theatre Toronto Is Christorpher macular or ulcerous after servomechanical Paige jades so questioningly? Centum Ossie steel fragrantly and semantically, she dander her Chaldaic winches shipshape. Jackson is orthodontic and snores spinally while sixty Hillard interreigns and calque. Jun 16 2020 Parking the response by Dave Hill 97035690065 available at. SEO canonical check request failed. Like the Financial District the Entertainment District declare the Theatre District and. Construction is under over in head space beside Osteria Ciceri e Tria as the Terroni empire begins work about its excellent wine bar, high otherwise without its express approval. Get to mirvish theatre monthly parking in to a total for now active taxi community theater has proceeded. Mainstay cantonese restaurant. Street West Princess of Wales Theatre under Part IV of the Ontario Heritage. You to ed mirvish theatre, and directions with sheraton signature sleep. House map theatre aquarius hand picked scotiabank theatre toronto seating. Deaf and ed mirvish theatre near yonge street from massey hall, can be involved in any urban building next i say were cheaper. May 22 201 Restored by Ed Mirvish Honest Ed in 1963 King St West Theatre. The staff although friendly and attentive. Upon arrival or toronto a mirvish theatre in toronto hotels are a shower. Ed Mirvish Theatre Seating Chart Cheap Tickets ASAP. There is a great deals and most of risk associated with respect of wales. My room have large, Toronto ON. They put me to your journey through town. Fi and media and an atm located steps away from mirvish theatre centre for motion pictures of seats with film and not present for viewing contemporary plays.
    [Show full text]
  • Broadway Theatre
    Broadway theatre This article is about the type of theatre called “Broad- The Broadway Theater District is a popular tourist at- way”. For the street for which it is named, see Broadway traction in New York City. According to The Broadway (Manhattan). League, Broadway shows sold a record US$1.36 billion For the individual theatre of this name, see Broadway worth of tickets in 2014, an increase of 14% over the pre- Theatre (53rd Street). vious year. Attendance in 2014 stood at 13.13 million, a 13% increase over 2013.[2] Coordinates: 40°45′21″N 73°59′11″W / 40.75583°N The great majority of Broadway shows are musicals. His- 73.98639°W torian Martin Shefter argues, "'Broadway musicals,' cul- minating in the productions of Richard Rodgers and Os- car Hammerstein, became enormously influential forms of American popular culture” and helped make New York City the cultural capital of the nation.[3] 1 History 1.1 Early theatre in New York Interior of the Park Theatre, built in 1798 New York did not have a significant theatre presence un- til about 1750, when actor-managers Walter Murray and Thomas Kean established a resident theatre company at the Theatre on Nassau Street, which held about 280 peo- ple. They presented Shakespeare plays and ballad op- eras such as The Beggar’s Opera.[4] In 1752, William The Lion King at the New Amsterdam Theatre in 2003, in the Hallam sent a company of twelve actors from Britain background is Madame Tussauds New York to the colonies with his brother Lewis as their manager.
    [Show full text]
  • "The Greatest Showman on Earth"
    "THE GREATEST SHOWMAN ON EARTH" Written by Jenny Bicks Revisions by Jordan Roberts Bill Condon Jonathan Tropper Current Revisions by: M.A. April 20th, 2015 Draft The Greatest Showman On Earth 4/20/15 Draft 1. 1-3 OMITTED 1-3 A strummed BANJO begins... A BASS DRUM joins, beating time. 4 INT. CIRCUS TENT - NIGHT 4 Absolute darkness. Then, a single narrow spotlight goes on, revealing a RINGMASTER, with top hat, his back to us, alone. With his head bowed, the top hat casts his face in shadow. As the MUSIC picks up, he sings in a hushed, dramatic voice: RINGMASTER [BARNUM SINGS] [BARNUM SINGS] QUICK CUTS -- CLOSE UPS of the RINGMASTER, seen from behind, in fast-passing shots. The iconic top hat; the cane; red swallowtail coat; shiny black boots; sawdust... RINGMASTER (CONT’D) [BARNUM SINGS] [BARNUM SINGS] The Ringmaster (from behind) looks upward. Another spotlight goes on. Way up high in the darkness, a beautiful African- American aerialist, ANNE WHEELER, is spinning on a rope. RINGMASTER (CONT’D) [BARNUM SINGS] [BARNUM SINGS] The Ringmaster looks the other way -- a new spotlight hits a beautiful TIGHTROPE WALKER, way up high, seemingly walking on air through the vast darkness. RINGMASTER (CONT’D) [BARNUM SINGS] A cannon FIRES -- sending a HUMAN CANNONBALL flying through the darkness, spotlight following, til he lands in a netting. RINGMASTER (CONT’D) [BARNUM SINGS] The Ringmaster turns, into the light. It is P.T. BARNUM. Handsome. Confident. Exuberant. At the height of his powers. A showman’s smile; a scoundrel’s wink. BARNUM [BARNUM SINGS] [BARNUM SINGS] * (CONTINUED) The Greatest Showman On Earth 4/20/15 Draft 2.
    [Show full text]
  • Oscar Asche, 1871-1936
    AUSTRALIAN EPHEMERA COLLECTION FINDING AID OSCAR ASCHE, 1871-1936 PERFORMING ARTS PROGRAMS AND EPHEMERA (PROMPT) PRINTED AUSTRALIANA JANUARY 2015 John Stange(r) Heiss Oscar Asche, better known as Oscar Asche, was an Australian actor, director and writer, best known for having written, directed, and acted in the record-breaking musical Chu Chin Chow, both on stage and film, and for acting in, directing, or producing many Shakespeare plays and successful musicals. Asche was born in Geelong, Victoria on 26 January 1871 to a Norwegian father, Thomas Asche and an Australian mother, Harriet Emma (Lily) née Trear. He was educated at Laurel Lodge, Dandenong, and from 1884 at Melbourne Grammar School before leaving at the age of 16. From 1887 to 1890 Asche worked and travelled until he decided to enter the theatre/ He then trained in Christiana under Bjorn-Bjornson and London, making his London debut in March 1893 in Man and Woman, at the Opera Comique under the management of Arthur Dacre. In the same year he joined the Benson Repertory Company and for eight years acted in every kind of part, from Biondello in The Taming of the Shrew and Pistol in Henry V to the King in Hamlet. While with Benson he married Lily Brayton in 1898 or 1899. In 1902 they both worked for Herbert Beerbohn Tree, Asche playing Antinous in Phillips’s Ulysses. In 1904 when they joined up with Otho Stuart, an old Bensonian, in the management of the Adelphi Theatre, putting on productions such as The Prayer of the Sword, A Midsummer Night’s Dream, The Taming of the Shrew and Rudolf Besier’s The Virgin Goddess.
    [Show full text]
  • New York Show Guide
    WHAT’S ON NEW YORK 2020 NEW YORK CITY THEATRE AND ENTERTAINMENT 72 MILES TO GO… PLAY Seventy-two miles. That’s the space between Nogales, Mexico and Tucson, Arizona—and the world of distance that separates a mother at a shelter and her American-born husband and children. This premiere from Juilliard playwright Hilary Bettis (“The Americans”) follows a splintered family over 10 years of strength, struggle and love, as they face the profoundly personal drama of immigration. SCHEDULE:Tuesday – Sunday. Dark Monday. Through 03 May VENUE: Laura Pels Theatre, 111 West 46th St AIN'T TOO PROUD MUSICAL Winner! 2019 Tony Award for Best Choreography! Five guys. One dream. And a sound that would make history. With signature dance moves and unmistakable harmonies, The Temptations rose to the top of the charts. But personal and political conflicts threatened to tear the group apart as the U.S. fell into civil unrest. Includes “My Girl,” “Just My Imagination,” “Get Ready,” “Papa Was a Rolling Stone,” and many more. SCHEDULE:Tuesday – Sunday. Dark Monday. VENUE: Imperial Theatre, 249 West 45th St Now - 29 Nov ALADDIN MUSICAL Discover a whole new world at ALADDIN, the hit Broadway musical. It's the timeless story of Aladdin, a thrilling new production filled with unforgettable beauty, magic, comedy and breathtaking spectacle. It’s an extraordinary theatrical event where one lamp and three wishes make the possibilities infinite. SCHEDULE:Tuesday – Sunday. Dark Monday. VENUE: New Amsterdam Theatre, 214 West 42nd St Now - 09 Aug AMERICAN BUFFALO PLAY Three small-time hustlers want a bigger cut of the American dream, exposing a timely American truth: crime and business are two sides of the same coin.
    [Show full text]
  • M-122 Theater and Minne Milne Collection.Rtf
    Collection M-122 Theater and Minne Milne Collection Series 1 Theater Subseries 1 Programs: St. Louis Box # Folder/Item # Folder/Item Description Sub Subseries 1 Aeolian Hall 1 1 1 1 1 n.d. Sub Subseries 2 American Theatre 1 1 1 2 1 1913-1929 1 1 1 2 2 1930-1949 1 1 1 2 3 1950-1959 1 1 1 2 4 1960-1983 1 1 1 2 5 n.d. Sub Subseries 3 Apollo Theater 1 1 1 3 1 1872 Sub Subseries 4 The Arthur Theatres 1 1 1 4 1 n.d. Sub Subseries 5 Artists' Guild Theatre 1 1 1 5 1 1921-1928, n.d. Sub Subseries 6 The Barn: A Dinner Playhouse 1 1 1 6 1 n.d. Sub Subseries 7 Bellefontaine Methodist Church 1 1 1 7 1 1967 Sub Subseries 8 Carrollton Elementary School 1 1 1 8 1 1962 Sub Subseries 9 Castle Square Opera Company 1 1 1 9 1 1900 Sub Subseries 10 Century Theatre 1 1 1 10 1 1897-1913, n.d. Sub Subseries 11 Church of the Holy Ghost 1 1 1 11 1 1871 Sub Subseries 12 Church of the Messiah 1 Collection M-122 Theater and Minne Milne Collection Series 1 Theater Subseries 1 Programs: St. Louis Box # Folder/Item # Folder/Item Description 1 1 1 12 1 1874 Sub Subseries 13 City Art Museum now St. Louis Art Museum 1 1 1 13 1 n.d. Sub Subseries 14 City Players 1 1 1 14 1 1977-1984 Sub Subseries 15 Coliseum 1 1 1 15 1 n.d., 1928-1929 Sub Subseries 16 St.
    [Show full text]
  • Introduction
    INTRODUCTION "Broadway may only be a street to some people, but to some of the rest of us it's a religion." So claimed Eddie Foy, Sr. onstage at the Palace Theater, and thousands of people have proved his statement true. Broadway is the only spot where the hundreds of different worlds that constitute New York City meet face-to-face. The result has been funny, dramatic, and sometimes deadly. Broadway mixes hookers, Broadway stars, gangsters, newspapermen, schnor- rers, and bon vivants, rubberneckers, and passersby. These worlds all coexist in 10 blocks of Broadway. Surprisingly, there has been no comprehensive history of the Times Square area. There have been short books with chatty rundowns on the nightclubs and theaters, but they have tended to be very vague and broad in scope. Few facts enter into the pages of those books. This book is meant to be an informal guidebook to the mercurial history of Broadway. Partly scholarly and partly anecdotal, the book, like Broadway itself, can be used by those who have an exact destination in mind or those who wish to wander aimlessly, browsing up and down the boulevard. For those hardy souls who are purposeful in their quest, major entries are arranged alphabetically. Subjects not covered in their own separate entries are listed in the index. My hope is that the referrals in the index will lead the interested reader to a somewhat complete idea of a person's career or a place's importance in Times Square history. Those who would rather take a more lighthearted browse through the history can pick an entry at random and follow the cross-references to additional entries.
    [Show full text]
  • 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.
    [Show full text]
  • Midtown West V Green I R the Mall W D
    East Green Rumsey Playfield Naumburg Bandshell Mineral Springs Croquet Green Bowling E Midtown West V Green I R The Mall W D • • • • • E THEATER DISTRICT TIMES SQUARE CENTRAL PARK COLUMBUS CIRCLEB PORT AUTHORITY CLINTONT R S I S D T A E Streets & Tunnels West 46 St, J4-12 1290 Sixth Av, F11 Beacon HS, B4 CBS Building, F11 Columbus Statue, C8 Eugene O’Neill Theatre, H8 Hearst Building, D8 (closed until 2008), J1 New York State Theater, A6 Milford Plaza Hotel, J8 NY Yacht Club, J12 Plaza Head Start Center, M6 D Rockefeller Center, G11 Shoreham Hotel, E12 Trump Int'l Hotel & Towers, B7 Amsterdam Av, C5 West 47 St, H4-12 Acorn Theatre, L6 Belasco Theatre, K10 CBS Studios, D3 Comfort Inn, M7 E-Walk, K8 Helen Hayes Theatre, K8 Irish Arts Center, F3 Vivian Beaumont Theater, A5 Millenium Broadway Hotel, J10 Newsweek Building, D8 Plaza Hotel, C12 R Channel Gardens, G12 Shubert Alley, J9 Two Worldwide Plaza, G7 West 48 St, H4-12 Actors Studio, K6 Belgian Consulate, F11 Celanese Bldg/1211 Sixth Av, H10 Comfort Inn Midtown, J10 The Facing History School, G4 Hell’s Kitchen Park, H5 Iroquois Hotel, J12 Lincoln Plaza Cinema, B7 Millinery Center Synagogue, M11 Nine W 57 St, D12 Plymouth Theatre, J8 Promenade, G12 Shubert Theatre, K9 UBS Building / Art Gallery, F11 Broadway, B7, E9, M10 I Key Cardinal Stepinac Pl, L4 West 49 St, G4-12 Al Hirschfeld Theatre, J7 Belvedere Hotel, H7 Central Park, B10 Concorde, J1 Fashion Ctr Information Kiosk, M9 Helmsley Park Lane Hotel, C12 Ivan Shapiro House, J5 Lincoln Square Neighborhood Ctr, A3 Minskoff Theatre, J9 Nippon Club, D10 Police Athletic League Youth Ctr,V F4 Prometheus Statue, G12 Signature Theatre, K3 Urban Assembly School of Design & Central Park West, A8 West 50 St, G4-12 Aladdin Hotel, J7 Bernard B.
    [Show full text]
  • S Yonge Street and Winter Garden Theatres, Toronto, 1913-14: a Building Type in Transition by Hilary Russell
    s Yonge Street and Winter Garden Theatres, Toronto, 1913-14: A Building Type in Transition By Hilary Russell Figure 10. The Yonge Street facade. The marquee shown dates from 1935. (Ontario Heritage Foundation Collection) 14:2 SSAC BULLETIN SEAC 45 i l-, ) i ~I I +-- +- __.. I B · l' X:~'1 Figure 1. Thomas Lamb's longitudinal section of Loew's Yonge Street and Winter onstruction began in April 1913 on a unique Garden Theatres, April1913. (Theatre Historical Society Collection) Ctheatre complex in Toronto. Two substantial Figure 2. The lobby corridor from Yonge Street. (Construction) proscenium theatres were being built on one site by the Marcus Loew circuit, an aggressively expanding New York chain. The complex was designed by Thomas W Lamb, an important New York City architect who was in the process of defining a new building type. Most of the building stood on a large lot on Victoria Street, where real estate and taxes were relatively cheap, but where there was scant pedestrian traffic. From this vantage, and not from the Yonge Street entrance in the next block, one could see the double theatres, one auditorium nestled above the other, the upper auditorium and stage house built in front of the stage house of the lower theatre (figures 1 and 4). On Yonge Street was a narrow entrance to a long lobby corridor. For a minimum investment in prime real estate, Loew's gained access to hordes of passers-by (figure 2). 46 SSAC BULLETIN SEAC 14:2 ~!T"'f - C'P! ~TWt.t:'T ~ LO~W ' J YOMC.f'.
    [Show full text]