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31 Days of Oscar® 2010 Schedule
31 DAYS OF OSCAR® 2010 SCHEDULE Monday, February 1 6:00 AM Only When I Laugh (’81) (Kevin Bacon, James Coco) 8:15 AM Man of La Mancha (’72) (James Coco, Harry Andrews) 10:30 AM 55 Days at Peking (’63) (Harry Andrews, Flora Robson) 1:30 PM Saratoga Trunk (’45) (Flora Robson, Jerry Austin) 4:00 PM The Adventures of Don Juan (’48) (Jerry Austin, Viveca Lindfors) 6:00 PM The Way We Were (’73) (Viveca Lindfors, Barbra Streisand) 8:00 PM Funny Girl (’68) (Barbra Streisand, Omar Sharif) 11:00 PM Lawrence of Arabia (’62) (Omar Sharif, Peter O’Toole) 3:00 AM Becket (’64) (Peter O’Toole, Martita Hunt) 5:30 AM Great Expectations (’46) (Martita Hunt, John Mills) Tuesday, February 2 7:30 AM Tunes of Glory (’60) (John Mills, John Fraser) 9:30 AM The Dam Busters (’55) (John Fraser, Laurence Naismith) 11:30 AM Mogambo (’53) (Laurence Naismith, Clark Gable) 1:30 PM Test Pilot (’38) (Clark Gable, Mary Howard) 3:30 PM Billy the Kid (’41) (Mary Howard, Henry O’Neill) 5:15 PM Mr. Dodd Takes the Air (’37) (Henry O’Neill, Frank McHugh) 6:45 PM One Way Passage (’32) (Frank McHugh, William Powell) 8:00 PM The Thin Man (’34) (William Powell, Myrna Loy) 10:00 PM The Best Years of Our Lives (’46) (Myrna Loy, Fredric March) 1:00 AM Inherit the Wind (’60) (Fredric March, Noah Beery, Jr.) 3:15 AM Sergeant York (’41) (Noah Beery, Jr., Walter Brennan) 5:30 AM These Three (’36) (Walter Brennan, Marcia Mae Jones) Wednesday, February 3 7:15 AM The Champ (’31) (Marcia Mae Jones, Walter Beery) 8:45 AM Viva Villa! (’34) (Walter Beery, Donald Cook) 10:45 AM The Pubic Enemy -
April 26, 27, & 28 2012
Volume XV Issue 3 The Horace Mann Theatre Company's Tri-Annual Publication Spring 2012 April 26, 27, & 28 2012 Cover Art by Jean Mariano (‘12) 2 Off icers Notes FROM: Thespian Editors Gamblers, showgirls, drunks, preaching “mission dolls,” and Mindy’s cheesecake (or was it stru- del?). What a way to end the year. All the way back in May 2011, we were so excited to hear that the HMTC would perform Frank Loesser’s Guys and Dolls. The show has fun dancing, a hilarious book, memorable lyrics, and exceptional music. The slapstick comedy and larger-than-life characters translate well into high school theatre, allowing students to step out of their comfort zones whether they’re singing, dancing, acting, or design- ing. It’s a classic. But there’s something more about Guys and Dolls. Maybe it’s the famous Brooklyn accents. Maybe it’s the homage to a fairytale New York that existed somewhere between 1950 and our imaginations. Or maybe it’s the way sitting in the audience or even listening to the CD can immediately put a huge grin on our faces. Like Clark Field in spring or cotton candy, Guys and Dolls is just plain good. We’re hoping this issue of The Thespian, which of course focuses on Guys and Dolls, captures the musical’s essence of simple delight against a backdrop of American history. Explore the many iterations of Guys and Dolls – from 1950 to today! Check out our spotlight on our new musical director Bill Stanley! And fill out our hilarious crossword puzzle mixingG+D and HMTC trivia! As we wrap up our APs, SATs, and even our high school careers, we can’t think of a better way to launch into summer break than ripping open your Thes- pian and watching us shimmy and sneeze our way through Gross Theatre. -
Guys and Dolls 14
120786bk Guys&Dolls 4/11/04 4:42 PM Page 2 Guys And Dolls 14. Sue Me 2:25 21. Make a Miracle 3:29 All Music & Lyrics by Frank Loesser Original Broadway Cast Vivian Blaine & Sam Levene Ray Bolger & Allyn McLerie, with orchestra Transfers & Production: David Lennick 15. Sit Down,You’re Rocking the Boat conducted by Sy Oliver Digital Restoration: Graham Newton 1. Runyonland Music; Fugue for Decca 40065, mx W 74760 2:11 Original 78s from the collections of David Tinhorns 2:05 Recorded 15 February 1949 Stubby Kaye, Johnny Silver & Douglas Deane Stubby Kaye & Chorus Lennick and the Belfer Audio Laboratory and 22. The New Ashmolean (Marching Archive, Syracuse University 2. Follow the Fold 1:15 16. Marry the Man Today 2:53 Society And Students Conservatory Cover: 1929 poster of New York Broadway (Mary Isabel Bigley & The Mission Group Vivian Blaine & Isabel Bigley Band) 2:31 Evans Picture Library); ‘dollies’ by Ron Hoares 3. The Oldest Established 2:35 17. Guys and Dolls: Reprise 0:38 Johnny Mercer with Paul Weston’s Orchestra Guys And Dolls Chorus Sam Levene, Stubby Kaye, Johnny Silver & Capitol 15385, mx 3881-3D-4 Producer’s Note Chorus Orchestra conducted by Irving Actman Recorded April 1949, Hollywood By the time Guys And Dolls came to Broadway, 4. I’ll Know 3:29 Decca 27379/85, mx W 80219/32 23. My Darling, My Darling 2:30 Issued as 78 album Decca DA 825 and ‘LP’ the long-playing record (‘LP’) had been Robert Alda & Isabel Bigley Jo Stafford & Gordon MacRae & The established as the favoured format for Original DL 8036 Starlighters, with orchestra 5. -
Steve Fogleman Thesis
Distribution Agreement In presenting this thesis or dissertation as a partial fulfillment of the requirements for an advanced degree from Emory University, I hereby grant to Emory University and its agents the non-exclusive license to archive, make accessible, and display my thesis or dissertation in whole or in part in all forms of media, now or hereafter known, including display on the world wide web. I understand that I may select some access restrictions as part of the online submission of this thesis or dissertation. I retain all ownership rights to the copyright of the thesis or dissertation. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. Signature: ________________________________ _____________ Stephen Fogleman Date The Rózsa Touch: Challenging Classical Hollywood Norms Through Music By Stephen Fogleman Master of Arts Film Studies ____________________________________ Matthew H. Bernstein, Ph.D. Advisor ____________________________________ Karla Oeler, Ph.D. Committee Member ____________________________________ Michele Schreiber, Ph.D. Committee Member Accepted: ____________________________________ Lisa A. Tedesco, Ph.D. Dean of the James T. Laney School of Graduate Studies ____________________________________ Date The Rózsa Touch: Challenging Classical Hollywood Norms through Music By Stephen Fogleman B.A. Appalachian State University, 2009 Advisor: Matthew H. Bernstein, Ph.D. An abstract of A thesis submitted to the Faculty of the James T. Laney School of Graduate Studies of Emory University in partial fulfillment of the requirements for the degree of Master of Arts in Film Studies 2011 Abstract The Rózsa Touch: Challenging Classical Hollywood Norms through Music By Stephen Fogleman If film noir is a body of work that is partially characterized by its difference from other Classical Hollywood films, many of the scores for these films work to reinforce that difference. -
Theatre Music on LP Larry Hart Wrote Falls Away Without Much Magnitude
3t) Nighl Was Made lor Love' and "She Didn't Say 'Yes'." One of the RCA Victor "Show Time" series, LPM-3151, .$3.15. "CONNECTICUT YANKEE" (R Rodgers and L Hart). This score is not done justice by the cast on this RCA recoiding. The incomplete presen tation of some fine songs that Dick Rodgers and Theatre Music on LP Larry Hart wrote falls away without much magnitude. Al Goodman's orchestra, Earl Wrightson. and Elaine Malbin. Numbers like "Thou Swell" and "My Heart Stood Still" are out of Messrs. Rodgers and Hart top drawer. RCA LK-10L:6. S4.19: Tliiiiies. Thii ifccortiiiig is iroai tiie =0Uiiutt-ack. EW things of the LP era have Fred Astaire, Nanette Fabra\, Cyd Chars^ise are "CONVERSATION PIECE" (Noel Coward). Noel been more gratifying than the fine. One of the highspots is Astaire's very Coward. Lily Pons, and Columbia records ful relaxed singing of 'By Myself." The songs are fil their mission in this original recording ovi F"candid" exposures permitted of briUiant. Mary Martin's ver.sion, C-Ml 4751. is two twelve-inch Col. SL-163, $11.90. This is a good too, but not complete. Victor LPM-3155 play with music. Although this recording does the great, good, and perhaps not-so- features Harold Lang and Edith Adams, both not star musically, its stars give better than good products of the Broadway musi worth hearing. average perlormances. Mr. Coward presents his part artfully in his inimitable style. Lily Pons cal stage in the last half-dozen years, "BLACKBIRDS OF T928" (McHugli-Fields). -
Al Pacino À La Découverte Du Grandcinéma
4 LA D5COU6ERTE DU GRAND CIN5MA GROS PLAN Novem bre 2009 I- THÈME DU MOIS : AL PACINO Tous les jeudi de novembre à partir de 20:40 et la journée spéciale du samedi 28 novembre. 9 films La fureur de jouer Avec s vo!" r #$#e% so& re' r( )er* &+ e+ so& +em ),r m e&+ ) ss!o&&,% A- P c!&o cr.ve -/,cr & (e)#!s ses )rem !.res )) r!+!o&s0 U&e )#!ss &ce !rr,s!s+!b-e $#! ++e!&+ so& ) ro"1sm e vec so& r2-e c#-+e ( &s Sc r3 ce « Sur le tournage du Parrain, chaque fois que je donnais la réplique à Marlon Brandon, je devais me retenir de rire tant cette situation me semblait improbable » raconte Al Pacino. Depuis, malgré son mètre soixante dix, l’acteur est devenu lui-même un géant doublé d’un disciple tout aussi emblématique de l’Actor’s Studio. Al Pacino a d rire aussi en découvrant dans le scénario du Parrain, qu’il porterait dans ce !ilm le nom du village natal de son père, un immigré sicilien qui divor"a de sa mère deux ans seulement après sa naissance # $e% &or' en ()*+. ,levé dans le -ronx c.e/ ses grands-parents, il découvre très 0eune que rien ne l’intéresse autant que de reproduire les répliques des acteurs qu’il voit # l’écran. 1oil# pourquoi, # l’2ge de (3 ans, il renonce # !aire des études classiques pour s’inscrire # la 4ig. Sc.ool o! Per!orming Arts o5 il ne restera que deux ans !aute d’argent ainsi que d’intérêt pour l’enseignement dispensé dans cet établissement. -
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 -
Rediscovering Me and Juliet and Pipe Dream , the Forgotten Musicals of Rodgers and Hammerstein
ABSTRACT Title of Thesis: “WHO EXPECTS A MIRACLE TO HAPPEN EVERY DAY?”: REDISCOVERING ME AND JULIET AND PIPE DREAM , THE FORGOTTEN MUSICALS OF RODGERS AND HAMMERSTEIN Bradley Clayton Mariska, Master of Arts, 2004 Thesis directed by: Assistant Professor Jennifer DeLapp Department of Musicology Me and Juliet (1953) and Pipe Dream (1955) diverged considerably from Rodgers and Hammerstein’s influential and commercially successful 1940s musical plays. Me and Juliet was the team’s first musical comedy and had an original book by Hammerstein. Pipe Dream was based on a John Steinbeck novel and featured bums and prostitutes. This paper documents the history of Me and Juliet and Pipe Dream , using correspondence, early drafts of scripts, interviews with cast members, and secondary sources. I analyze the effectiveness of plot, music, and lyrics, while considering factors in each show’s production that may have led to their respective failures. To better understand reception, emphasis is placed upon each show’s relationship to the political and cultural landscape of 1950s America. Re-examining these musicals helps document the complete history of the Rodgers and Hammerstein collaboration and provides valuable insights regarding the duo’s social values and personal philosophies of musical theatre. “WHO EXPECTS A MIRACLE TO HAPPEN EVERY DAY?”: REDISCOVERING ME AND JULIET AND PIPE DREAM , THE FORGOTTEN MUSICALS OF RODGERS AND HAMMERSTEIN by Bradley Clayton Mariska Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park in partial fulfillment of the requirement for the degree of Master of Arts 2004 Advisory Committee: Professor Jennifer DeLapp, Chair Professor Barbara Haggh-Huglo Professor Richard King © Copyright by Bradley Clayton Mariska 2004 To Grandma Bonnie, for The Sound of Music To my parents, for Joseph ii ACKNOWLEDGEMENTS I am indebted to many individuals who have helped in the completion of this document. -
MEDIA CONTACT: Scott Horton Communications 510-735-9200 [email protected]
MEDIA CONTACT: Scott Horton Communications 510-735-9200 [email protected] FOR IMMEDIATE RELEASE OAKLAND SYMPHONY CLOSES SEASON WITH CONCERT VERSION OF GUYS AND DOLLS FRIDAY, MAY 19, AT THE PARAMOUNT THEATRE Oakland, CA, March 13, 2017 – Continuing its long-standing and popular American Masterworks series exploring important works of musical theater, the Oakland Symphony will close its 2016-2017 season with a concert version of the 1950 Tony-Award winning Guys and Dolls with music by Frank Loesser and book by Jo Swerling and Abe Burrows Friday, May 19, at 8 pm at the Paramount Theatre in Oakland. Conducted by Music Director Michael Morgan, the performance will feature the Oakland Symphony, members of the Oakland Symphony Chorus, Lynne Morrow, Director; and singers Ben Jones, Annie Sherman, Tami Dahbura, J. Raymond Meyers, Adam Flowers and Blake Cline. The evening will also feature Brian Nies conducting Richard Rodgers’ Overture to Oklahoma and Waltz from Carousel and Jule Styne’s Overture to Gypsy. A pre-performance talk will be given by John Kendall Bailey at 7 pm and is free to ticket holders. The performance is sponsored in part by Bell Investment Advisors. Tickets are priced $25-$80 and may be purchased at www.oaklandsymphony.org. “This has always been one of my favorite musicals and considered by many a great one,” says Music Director Michael Morgan. “It was only after I started talking about including it as an American Masterwork that I learned how very many fans the piece has amongst the public. I am happy to be able to share my admiration of the piece with the symphony audience. -
Guys and Dolls
Illinois State University ISU ReD: Research and eData School of Music Programs Music 10-14-1995 Guys and Dolls School of Music Illinois State University Follow this and additional works at: https://ir.library.illinoisstate.edu/somp Part of the Music Performance Commons Recommended Citation School of Music, "Guys and Dolls" (1995). School of Music Programs. 1349. https://ir.library.illinoisstate.edu/somp/1349 This Concert Program is brought to you for free and open access by the Music at ISU ReD: Research and eData. It has been accepted for inclusion in School of Music Programs by an authorized administrator of ISU ReD: Research and eData. For more information, please contact [email protected]. Ul'pot • J /\Ill \Vail I ng: • : \11H.'rlCi:i. t ·1un~i!l • I nc l'\.1111..:r • !\-1;,111 lll l,.;_i;\•1;.i(kil:!"' l'.!H.l;'c~:1ii)i' • uv, and Dol L, • Th,: Sehr,<>! hir Scand.ii • A RL'a l Fa,t Cater;,i!L,r • I 'SA • Th,: Li,,n i \\ "' · h:1k,,socarc' Now' • Th(· !\L!rr iagc 01 Fi ~,ll'U • \l;;darne Buttcrflv • C'h:,rnh,·• \Lsic • f),,d, H• i,_ lu , ~ha • l brvc>y • l\·1y Fair L:Hi"y • The' fka1h and Li fe nr Sn,:aky hlL'h • 10!.1 -n 01:, k ,,n • ',i: O\ \1e • The Birthday Party• lbrukt • Snip,'.r in ,he Pa rk• On Yciur r,:L,;, • Th,· f'ctn!,Lilirk.- • Tl, ioman in Shakc'~pcare's History Plays • Blues hlr !\fr. Charlie· • The H,ltnel·omin): • Fulko • J,,1;,1111 ,,: i\1·1igston Sea.gull • Th,: Physicists • And Mi ss Re~udnn.Drink,.· ;\Little• Keep. -
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. -
The History of CBS New York Television Studios: 1937-1965
1 The History of CBS New York Television Studios: 1937-1965 By Bobby Ellerbee and Eyes of a Generation.com Preface and Acknowledgements This is the first known chronological listing that details the CBS television studios in New York City. Included in this exclusive presentation by and for Eyes of a Generation, are the outside performance theaters and their conversion dates to CBS Television theaters. This compilation gives us the clearest and most concise guide yet to the production and technical operations of television’s early days and the efforts at CBS to pioneer the new medium. This story is told to the best of our abilities, as a great deal of the information on these facilities is now gone…like so many of the men and women who worked there. I’ve told this as concisely as possible, but some elements are dependent on the memories of those who were there many years ago, and from conclusions drawn from research. If you can add to this with facts or photos, please contact me, as this is an ongoing project. (First Revision: August 6, 2018). Eyes of a Generation would like to offer a huge thanks to the many past and present CBS people that helped, but most especially to television historian and author David Schwartz (GSN), and Gady Reinhold (CBS 1966 to present), for their first-hand knowledge, photos and help. Among the distinguished CBS veterans providing background information are Dr. Joe Flaherty, George Sunga, Dave Dorsett, Allan Brown, Locke Wallace, Rick Scheckman, Jim Hergenrather, Craig Wilson and Bruce Martin.