"Come Back, Little Sheba" Program, Auditorium Theatre, Rochester, NY
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Congressional Record—Senate S11474
S11474 CONGRESSIONAL RECORD Ð SENATE September 27, 1996 as nutrition problems, disease, and har- The NMFS laboratory in Pascagoula forming more partnerships with indus- vesting technology. There were many committed itself because of its can do try. costly false starts in a search for solu- attitude. And clearly USDA and Mis- Mr. President, Stoneville should be tions. Success was a hit or miss event. sissippi State University were recep- the standard in the future, not the ex- Gradually, solutions to feeding and tive. NMFS brought a range of poten- ception. health problems have been developed. tial solutions to the harvesting tech- Again, I applaud the efforts of the Today, part of the catfish industry's nology problems of the warmwater National Marine Fisheries Service and attention is focused on obtaining new aquaculture industry because they had I want to publicly thank them. They technology. This involves the National worked on this issue for years in the have significantly helped America's Marine Fisheries Service. The goal is marine fishing industry. I want to sin- farm-raised catfish industry. I strongly to take advantage of existing tech- gle out two individuals. Specifically, encourage the continuation of the suc- nology. John Watson and Charles ``Wendy'' cessful relationship between Stoneville Now, to many Americans fish are Taylor of NMFS's Pascagoula labora- and Pascagoula. fish. To some, fish are classified as ei- tory. These two directly assisted in the f ther fresh water or salt water. Here is development and retrofitting of har- THE ACADEMY OF TELEVISION where the Federal Government often vesting equipment. -
The Relevance of Tennessee Williams for the 21St- Century Actress
Ouachita Baptist University Scholarly Commons @ Ouachita Honors Theses Carl Goodson Honors Program 2009 Then & Now: The Relevance of Tennessee Williams for the 21st- Century Actress Marcie Danae Bealer Ouachita Baptist University Follow this and additional works at: https://scholarlycommons.obu.edu/honors_theses Part of the American Film Studies Commons, and the Theatre and Performance Studies Commons Recommended Citation Bealer, Marcie Danae, "Then & Now: The Relevance of Tennessee Williams for the 21st- Century Actress" (2009). Honors Theses. 24. https://scholarlycommons.obu.edu/honors_theses/24 This Thesis is brought to you for free and open access by the Carl Goodson Honors Program at Scholarly Commons @ Ouachita. It has been accepted for inclusion in Honors Theses by an authorized administrator of Scholarly Commons @ Ouachita. For more information, please contact [email protected]. Then & Now: The Relevance of Tennessee Williams for the 21st- Century Actress Marcie Danae Bealer Honors Thesis Ouachita Baptist University Spring 2009 Bealer 2 Finding a place to begin, discussing the role Tennessee Williams has played in the American Theatre is a daunting task. As a playwright Williams has "sustained dramatic power," which allow him to continue to be a large part of American Theatre, from small theatre groups to actor's workshops across the country. Williams holds a central location in the history of American Theatre (Roudane 1). Williams's impact is evidenced in that "there is no actress on earth who will not testify that Williams created the best women characters in the modem theatre" (Benedict, par 1). According to Gore Vidal, "it is widely believed that since Tennessee Williams liked to have sex with men (true), he hated women (untrue); as a result his women characters are thought to be malicious creatures, designed to subvert and destroy godly straightness" (Benedict, par. -
Read Ebook {PDF EPUB} Sunset Boulevard by Christopher Hampton Sunset Boulevard by Christopher Hampton
Read Ebook {PDF EPUB} Sunset Boulevard by Christopher Hampton Sunset Boulevard by Christopher Hampton. Sunset Boulevard weaves a magnificent tale of faded glory and unfulfilled ambition. Silent movie star Norma Desmond longs for a return to the big screen, having been discarded by tinsel town with the advent of “talkies.” Her glamour has faded in all but her mind. When she meets struggling Hollywood screenwriter Joe Gillis in dramatic circumstances, their subsequent passionate and volatile relationship leads to an unforeseen and tragic conclusion. Videos. Based on the Billy Wilder film, the musical version of Sunset Boulevard, with music by Andrew Lloyd Webber and lyrics by Christopher Hampton and Don Black, had its world premiere at London’s Adelphi Theatre on July 12th, 1993. The show received its American premiere in December 1993 at the Shubert Theatre in Los Angeles starring Glenn Close as Norma Desmond. The show opened on Broadway at the Minskoff Theatre in November 1994 with the highest advance in Broadway history at the time ($37.5 million in ticket sales). The show has been staged across the world with productions in Canada, the Netherlands, Australia, and tours in the US and UK. Sunset Boulevard returned to Broadway in 2017 at the Palace Theatre with Glenn Close reprising her role as Norma Desmond, following a sold out run in the West End at the London Coliseum. Gallery. I first saw Sunset Boulevard sometime in the early 70s. It inspired a tune. This tune was supposed to be the title song. However, I neither had the rights to the film, nor at that time was likely to be able to obtain them. -
Screen Plays: from Broadway to Hollywood, 1920-1966
The Museum of Modern Art For Immediate Release June 1995 SCREEN PLAYS: FROM BROADWAY TO HOLLYWOOD, 1920 - 1966 June 30 - October 3, 1995 A major retrospective of Hollywood films adapted from the Broadway stage opens at The Museum of Modern Art on June 30, 1995. SCREEN PLAYS: FROM BROADWAY TO HOLLYWOOD, 1920 - 1966 presents more than 100 films that drew their commercially and critically successful plots and characters, and their talented actors, writers, and directors from Broadway. The series, which continues through October 3, features such Broadway actors as George Arliss, the Barrymores, Shirley Booth, Marlon Brando, Ina Claire, John Garfield, Julie Harris, Helen Hayes, Judy Holliday, the Lunts, Fredric March, Sidney Poitier, Otis Skinner, Laurette Taylor, and Mae West re-creating on film the roles that made them stage legends. While the relationship between the Broadway musical and the Hollywood musical is well-established, this exhibition spotlights the relationship between the Broadway play and the Hollywood film. Since the beginning of the studio system, Hollywood has sought plays that could be adapted into so-called prestige films, adding a patina of class and sophistication. The retrospective places particular emphasis on films made from plays produced by the Theatre Guild, the Group Theatre, and the Playwrights' Company, since many members of these companies made lasting contributions both on Broadway and in Hollywood. Highlights of the series include Alfred Lunt and Lynn Fontanne in the only film they made together, The Guardsman (Sidney Franklin, 1931; play by Ferenc Molnar); Anna Magnani in the film version of The Rose Tattoo (Daniel - more - 11 West 53 Street, New York, NY. -
DKA-02-23-1966.Pdf
Mr. Bernard R. Kantor Department of Cinema University of Southern California University Park Los Angeles, California 90007 .JAMES STEWART 9 2 01 WILSHIRE: BOULEVARD BEVERLY HILLS, C AL I FORNI A December 8, 1966 Mr. Bernard R. Kantor Department of Cinema University of Southern California University Park Los Angeles, California 90007 Dear Mr. Kantor: I would like very much to attend the banquet planned by the Cinema Department on January 15, 1967 and appear on the panel for Frank Capra. I am just starting a picture but I am quite sure that our location work will be finished before January 15th. Sincerely, lm .., JAMES STEWART -=--~ - 9201 WILSHIRE BOULEVARD___. BEVERLY HILLS, CALIFORNIA - . --~ Delta Kappa Alpha National Honorary Cinema Fraternity HONORARY AWARDS BANQUET honoring Lucille Ball Gregory Peck Hal Wallis January 30, 1966 TOWN and GOWN University of Southern California PROGRAM I. Opening Dr. Norman Topping, President of USC II. Representing Cinema Dr. Bernard R. Kantor, Chairman, Cinema Ill. Representing DKA Howard A. Myrick Presentation of Associate Awards to Barye Collen, Art Jacobs, Howard Jaffe, Anne Kramer, Robert Knutson, Jerry Wunderlich IV. Presentation of Film Pioneer Award to Frances Marion and Sol Lesser V. Master of Ceramonies Bob Crane VI. Tribute to honorary members of DKA VII. Presentation of Honorary Awards to: Hal Wallis Gregory Peck Lucille Ball VIII. In closing Dr. Norman Topping Banquet Committee of USC Friends and Alumni Mr. Edward Anhalt Mr. Paul Nathan Mr. and Mr. Jim Backus Mr. Tony Owen Mr. Earl Bellamy Mr. Marvin Paige Miss Shirley Booth Miss Mary Pickford Mrs. Harry Brand Miss Debbie Reynolds Mr. -
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. -
1937-05-27 [P C-3]
Disney SUly a travel PIERCE HALL PLAYERS Symphony, film the gay French return* for a Keith’s New Film entitled farce, Farce "Norwegian Sketches" are the A short repeat engagement. This one open* Conference Between Scenes TO PRESENT “HOLIDAY” subjects. The feature Is 40 min- Opening utes of Saturday, not up-to-the-minute news flashes today. Not an as seen by roving cameramen. Inspiring Item Philip Barry’s Play to Close Suc- Tomorrow cessful Season for Group Columbia—"A Star Is Bom,” that fine technicolor tale of Hollywood life, TRANS-LUX Alan June Mowbray Adds to 2 and 3. returns for another week. Janet Laughs “As Good as New Filins at Gay- THE CORONATION WITH the production of Appear nor, Fredric March, Adolphe Menjou | Jttilip Jm» And Latest News but It’s Just a . and Lionel Stander are the stars. Married,” Mostly Holly- Barry'* ‘’Holiday,’* June 2 apd 3, Downtown Cinema the Pierce Hall will draw to a Players Belaseo—"Carnival In wood Marital close one Flanders," Battle. of their most successful Theaters. jkshor^ubjectsI£sJ seasons in many years. by ROBERT fe. PHILLIPS, Jr. TrTH "Holiday” is the story of*a lad Off the Moon,” a sledge hammer and cold chisel In hand, an energetic chan \ \ who believes that what you have is musical that advance reports hurrowlng his way through the of \/\/ underpinning R-K-O-Keith’s less important than what you make indicate Is a pleasant one. Cast yesterday during the second show. It is V V flri to be hoped of it and the difficulties he has when EARLE—“Turntopped by Charlie Ruggles In- thathe was digging for gold, and most fervently prayed that he he falls in love with the daughter cludes Eleanore Whitney, Johnny thC at present on at that display theater is not apt to of a man who believes Downs, Ben Blue, Kenny Phil prove a bonanza SmTafor its exhibitors. -
The Heart Breaks Just Like 'Glass' EIU's Theatre Department Is Snemles Aesperately to Do Her Best Winding up an Eight-Performance by Them
Thursday. February 23.1989-TIME8-COURIER, Charleston, D-C-7 The heart breaks just like 'Glass' EIU's theatre department is sneMles aesperately to do her best winding up an eight-performance by them. Eudeikis works bravely, run of C.P. Blanchette's produc but little of this comes through, nor tion of Tennessee Williams' The is there the quality of the Glass Menagerie in the Fine Arts aristocrat, broken down, wasted Center Playroom. and lost. Written in 1944, The Glass Me As Tom, Gerald M. Lunsford is nagerie is perhaps the very best of somewhat too shrill, perhaps Williams, an unsentimental story overstating the bitterness and of loneliness and hurt, poetically anger of the frustrated poet at the told. Nearly all of its understated expense of the sadness. drama is spelled out by Tom, the The first act, concentrating on play's narrator. The time is 1945 these two characters, is slow-going and back into the 1930s. Tom tells lebovitz is revtewer-aHarge for the Journal at times, but, happily, everything us of his ambitions to be a writer Gazette and Times-Courier comes beautifully to life in the se and escape the trap of his meager cond act during Laura's brief en life with his prattling mother spent and where she refused the counter with the Gentleman Amanda and his crippled sister rich planters' sons because she lost Caller. Looking like sort of a cross Laura. He focuses on an episode her heart to a man who worked for between Joan Allen, who played when Amanda persuaded him to the phone company, is one of the Laura at Eastern in 1975 and to bring home a "Gentleman Caller" great roles of American theatre, whom the current production is as a possible match for Laura. -
Autograph Albums - ITEM 936
Autograph Albums - ITEM 936 A Jess Barker Jocelyn Brando Lex Barker Marlon Brando Walter Abel Binnie Barnes Keefe Brasselle Ronald Adam Lita Baron Rossano Brazzi Julie Adams Gene Barry Teresa Brewer (2) Nick Adams John Barrymore, Jr. (2) Lloyd Bridges Dawn Addams James Barton Don Briggs Brian Aherne Count Basie Barbara Britton Eddie Albert Tony Bavaar Geraldine Brooks Frank Albertson Ann Baxter Joe E. Brown Lola Albright John Beal Johnny Mack Brown Ben Alexander Ed Begley, Sr. Les Brown John Alexander Barbara Bel Geddes Vanessa Brown Richard Allan Harry Belafonte Carol Bruce Louise Allbritton Ralph Bellamy Yul Brynner Bob “Tex” Allen Constance Bennett Billie Burke June Allyson Joan Bennett George Burns and Gracie Allen Kirk Alyn Gertrude Berg Richard Burton Don Ameche Polly Bergen Spring Byington Laurie Anders Jacques Bergerac Judith Anderson Yogi Berra C Mary Anderson Edna Best Susan Cabot Warner Anderson (2) Valerie Bettis Sid Caesar Keith Andes Vivian Blaine James Cagney Dana Andrews Betsy Blair Rory Calhoun (2) Glenn Andrews Janet Blair Corinne Calvet Pier Angeli Joan Blondell William Campbell Eve Arden Claire Bloom Judy Canova Desi Arnaz Ben Blue Macdonald Carey Edward Arnold Ann Blyth Kitty Carlisle Mary Astor Humphrey Bogart Richard Carlson Jean-Pierre Aumont Ray Bolger Hoagy Carmichael Lew Ayres Ward Bond Leslie Caron B Beulah Bondi John Carradine Richard Boone Madeleine Carroll Lauren Bacall Shirley Booth Nancy Carroll Buddy Baer Ernest Borgnine Jack Carson (2) Fay Bainter Lucia Bose Jeannie Carson Suzan Ball Long Lee Bowman -
Women's Leadership in Primetime Television an Introductory Study
Women’s Leadership in Primetime Television An Introductory Study Natalie Greene Spring 2009 General University Honors Capstone Advisor: Karen O’Connor Greene 1 Women’s Leadership in Prime-time Television: An Introductory Study Introduction When television executives report their core audience, women always come out ahead. A 2007 Nielsen Media Research report showed that, with only two exceptions, every broadcast network channel had more female viewers than men. ABC’s female audience almost doubled its male audience during the 2007-08 season (Atkinson, 2008). 1 Women onscreen, however, seem to reflect a different reality, making up only 43% of characters in the prime-time 2007-08 season (Lauzen, 2008). 2 As studies going back as far as the 1970s show, women on screen not only fail to represent the proportional makeup of women in society, they also overwhelmingly show a stereotypically gendered version of women (McNeil, 1975; Signorielli and Bacue, 1999; United States Commission on Civil Rights, 1977). This paper aims to address the evolution of women’s leadership in prime-time network scripted television from 1950 to 2008. Because of the way that women have been traditionally marginalized in television, it is important to study the shows that have featured women as lead characters. Characters such as Lucy Ricardo ( I Love Lucy, 1951-1960) influenced later female leads such as Ann Marie ( That Girl, 1966-1971), Mary Richards ( The Mary Tyler Moore Show, 1970-1977) and Murphy Brown ( Murphy Brown, 1988-1998). Thus, along with an introduction to socialization theory and feminist television criticism, this paper covers a selection of some of the most influential female characters and women-centered shows of this period. -
Cost Stress Hard;
THE PASSING SHOW Cost Stress Hard; On Latest 'Porgy! By JAY CARMODY effect of the cleanliness, but Drunk Editor ol Th* Star the fact remains that it re- Possessed as it is of a soul duces the squalor of that fairly Catfish reeks with human Row life which is such ah CT charity, this corner hopes essential part of its drama. fCT that Samuel Ooldwyn gets It is responsible, too, for thft ipp2 (fiMIOP his anticipated return on h<s criticism that Director Pra- * a X “seven million dollar ‘Porgy mlnger, bom, Iph ” German hab iJnfil Ir \r -M ll\ xS? and Bess.’ photographed “Porgy ana s FlJf/C Nevertheless. It does regret Bess” as if it were an Old Hawk that the sum ever was Heldelburg musical mentioned. Why? festival. zffil Well, because “Porgy and Is It Overdressed? Bess” Is essentially a drama poverty. every Although Mr. Goldwyn, a of Its exciting proud narrative man and a confident element from its one, may quibble, haunting, misshapen call it a love ground story through Its alternating there is for argument that his “Porgy” is sadly B moods of dark violence and sunlit hope, grow overdressed. out of a Its slum setting called Catfish wardrobe is the work of Row. Irene Sharafl, a designer who has all of the Catfish Row Is a water* learned dra- ruin, specimen matic tricks of costuming front a classic performers of that time-wrought shabbl- working before v large, color cameras. There is zct\ ness which Its name suggests H’ —but no question that these are \ \ not In the movie seven U -1 million dollars and the beautifully harmonized as to poverty implied In the name toner and that they look like Catfish Row are irreconcil- paintings as they flash on x x able. -
Film Noir Database
www.kingofthepeds.com © P.S. Marshall (2021) Film Noir Database This database has been created by author, P.S. Marshall, who has watched every single one of the movies below. The latest update of the database will be available on my website: www.kingofthepeds.com The following abbreviations are added after the titles and year of some movies: AFN – Alternative/Associated to/Noirish Film Noir BFN – British Film Noir COL – Film Noir in colour FFN – French Film Noir NN – Neo Noir PFN – Polish Film Noir www.kingofthepeds.com © P.S. Marshall (2021) TITLE DIRECTOR Actor 1 Actor 2 Actor 3 Actor 4 13 East Street (1952) AFN ROBERT S. BAKER Patrick Holt, Sandra Dorne Sonia Holm Robert Ayres 13 Rue Madeleine (1947) HENRY HATHAWAY James Cagney Annabella Richard Conte Frank Latimore 36 Hours (1953) BFN MONTGOMERY TULLY Dan Duryea Elsie Albiin Gudrun Ure Eric Pohlmann 5 Against the House (1955) PHIL KARLSON Guy Madison Kim Novak Brian Keith Alvy Moore 5 Steps to Danger (1957) HENRY S. KESLER Ruth Ronan Sterling Hayden Werner Kemperer Richard Gaines 711 Ocean Drive (1950) JOSEPH M. NEWMAN Edmond O'Brien Joanne Dru Otto Kruger Barry Kelley 99 River Street (1953) PHIL KARLSON John Payne Evelyn Keyes Brad Dexter Frank Faylen A Blueprint for Murder (1953) ANDREW L. STONE Joseph Cotten Jean Peters Gary Merrill Catherine McLeod A Bullet for Joey (1955) LEWIS ALLEN Edward G. Robinson George Raft Audrey Totter George Dolenz A Bullet is Waiting (1954) COL JOHN FARROW Rory Calhoun Jean Simmons Stephen McNally Brian Aherne A Cry in the Night (1956) FRANK TUTTLE Edmond O'Brien Brian Donlevy Natalie Wood Raymond Burr A Dangerous Profession (1949) TED TETZLAFF George Raft Ella Raines Pat O'Brien Bill Williams A Double Life (1947) GEORGE CUKOR Ronald Colman Edmond O'Brien Signe Hasso Shelley Winters A Kiss Before Dying (1956) COL GERD OSWALD Robert Wagner Jeffrey Hunter Virginia Leith Joanne Woodward A Lady Without Passport (1950) JOSEPH H.