DOCSLIB.ORG

Appendix: Database of Irish Vaudeville Acts 1865–1905

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Appendix: Database of Irish Vaudeville Acts 1865–1905 A p p e n d i x : D a t a b a s e o f I r i s h Vaudeville Acts 1865–1905 his database lists Irish vaudeville acts as gleaned from the pages of US newspapers during the course of research for this book. It does T not aim to be exhaustive, and for a number of the acts and per- formers listed, no further information was found in other archive sources. Nevertheless, the database gives a flavor of how Ireland and the Irish were presented on the vaudeville stage, and would be helpful in supporting fur- ther research. In compiling the database, the original sources have been abbreviated as follows: A D D Akron Daily Democrat (Akron, OH) A R Arizona Republican (Phoenix, AR) B D E Brooklyn Daily Eagle B D R Bisbee Daily Review (Bisbee, AR) B N Bourbon News (Paris, KY) C B Cairo Bulletin (Cairo, IL) C D L Cleveland Daily Leader (Cleveland, OH) C D N Charleston Daily News C F Cambria Freeman (Ebensburg, PA) C L Cleveland Leader (Cleveland, OH) C M L Cleveland Morning Leader (Cleveland, OH) C S Coconino Sun (Flagstaff, AR) D A Daily Astorian (Astoria, OR) D B Daily Bulletin (Honolulu, HA) D C The Daily Critic (Washington, DC) D C J Daily Capital Journal (Salem, OR) D C T The Times (Washington, DC) D D Daily Dispatch (Richmond, VA) D G Daily Globe (St Paul, MN) D N R Daily National Republican (Washington, DC) 176 Appendix D P Daily Phoenix (Columbia, SC) D P L Daily Public Ledger (Maysville, KY) D T Daily Times (Richmond, VA) D Y J Yellowstone Journal (Miles City, MO) E A Elk Advocate (Elk County, PA) E B Evening Bulletin (Maysville, KY) E C Evening Critic (Washington, DC) E C J Evening Capital Journal (Salem, OR) E S Evening Star (Washington, DC) E T Evening Times (Washington, DC) E W New York Evening World G D L Guthrie Daily Leader (Guthrie, OK) H E B Honolulu Evening Bulletin H G Hawaiian Gazette H J Hancock Jeffersonian (Findlay, OH) H R Honolulu Republican H W N Highland Weekly News (Hillsborough, Highland County, OH) K C J Kansas City Journal K I A Kentucky Irish American L A D H LA Daily Herald L A H LA Herald L D I Lancaster Daily Intelligencer (Lancaster, PA) L R Logan Republican (Logan, UT) M C Morning Call (San Francisco) M D A Memphis Daily Appeal M D L Marietta Daily Leader (Marietta, OH) M J Minneapolis Journal M P Montana Post M T Morning Times (Washington, DC) N D U Nashville Daily Union N O C New Orleans Crescent N R National Republican (Washington, DC) N U A Nashville Union and American N Y S New York Sun N Y T New York Times N Y T r i b u n e New York Tribune O D B Omaha Daily Bee P C D R Petroleum Centre Daily Record ( P A ) P D Pittsburgh Dispatch Appendix 177 P E T Philadelphia Evening Telegraph P J Perrysburg Journal (Perrysburg, OH) P S Paducah Sun (Paducah, KY) R D Richmond Dispatch (Richmond, VA) R D G Rutland Daily Globe (Rutland, VT) R T The Times (Richmond, VA) S A L San Antonio Light (San Antonio, TX) S C D Stark County Democrat (Canton, OH) S D R Springfield Daily Republic (Springfield, OH) S D R U Sacramento Daily Record-Union S F C San Francisco Call S G R Springfield Globe-Republic (Springfield, OH) S H Sunday Herald (Washington, DC) S H W N I Sunday Herald & Weekly National Intelligencer (Washington, DC) S L E D Salt Lake Evening Democrat S L H Salt Lake Herald S L R St Louis Republic S M G Sunday Morning Globe (Washington, DC) S P A St Paul Appeal (St Paul, MN) S P D G St Paul Daily Globe (St Paul, MN) S P G St Paul Globe (St Paul, MN) S S Seattle Star S T Scranton Tribune (Scranton, PA) T C The Columbian (Bloomsburg, PA) T T Tacoma Times (Tacoma, WA) T T O Tiffin Tribune (Tiffin, OH) W A M Weekly Arizona Miner (Prescott, AR) W A T Whig and Tribune (Jackson, TN) W C Washington Critic W C E Wichita City Eagle (Wichita, KA) W D E Waco Daily Examiner (Waco, TX) W E Wichita Eagle (Wichita, KA) W S Watchman and Southron (Sumter, SC) W T Washington Times Name of Act Details Source 1865 “The Hibernicon” “A splendid panorama of Ireland,” with a lecture CML, February 24, 1865. by Professor McEvoy, Irish songs by “Misses Goodall and Taylor,” and “comicalities” from John Heron. John Heron Appeared in “The Hibernicon” in February and CML, March 14, 1865. March 1865, in a “matchless delineation of Irish CL, June, 10 1865. character.” Played the character of “Barney the Guide” in “the roaring farce The Irish Lion.” This character appears again in the Hibernicons 178 staged in 1867 and 1870. Dan Bryant Report on the former blackface performer’s Irish DNR, July 10, 1865. characters as he performed them in Dublin. DNR, September 13,1865. Later report notes that he had a “brilliant career as a delineator of Irish character.” J. J O’Sullivan Irish comedian. CDN, August 21,1865. Ben Wheeler Irish vocalist and comedian. NDU, October 17,1865. Mr and Mrs W. J “The Irish Boy and Yankee Girl.” Appeared DNR, October 19, 1865. Florence in sketches entitled “Born to Good Luck,” DNR, October 20,1865. “Mischievous Annie,” “Irish Lion,” “Twice Married,” and “The Yankee Housekeeper.” Mr and Mrs Frank Rea Performed a selection of American, English, DNR, December 4,1865. Scottish, and Irish melodies. 1866 ‘The Irish Republic’ A circus-type show, with acts including The PET, March 17, 1866, 3rd Edn.: 6. Fenian Brothers, “celebrated acrobats and tumblers”; a clown named Mr O’Myhoney who jumped and somersaulted through a British crown placed in the ring; a “learned elephant” named Mr Sweeney; and a musical interlude entitled “How Are You, Harp of Erin.” The Hibernicon With new scenes including the landing of St CDL, April 26, 1866. Patrick in Ireland, the Battle of Clontarf and a lake by moonlight. 179 “Andy Blake, Or The Sketch concluding a variety bill performed by MP, June 16, 1866. Irish Diamond” Walter Bray’s Dramatic and Concert Troupe. Mr and Mrs W.J “Mr Florence gives his inimitable ‘Paddy PET, September 10,1866, 4th Edn.: 8. Florence Rafferty’ and the ‘Returned Volunteer.’” Dan Bryant Performed four different characters, sang “The PET, November 17,1866, 4th Edn.: 3. Green Above the Red,” and danced “The Ruction Jig” and “Macgillicuddy’s Reel.” Mr and Mrs Barney “Original impersonators of Irish and Yankee life PET, December 21, 1866, Fourth Edn.: 3. Williams in America and Europe.” 1867 “The Hibernicon, or, A A “musical and panoramic exhibition” with CDN, May 08, 1867. Tour in Ireland ” Charles MacEvoy in the role of Barney the Guide. continued Name of Act Details Source “Our Father Sould Irish sketch. PET, September 3, 1867, 4th Edn.: 5. Charcoal” Mr and Mrs W.H Davis Appeared in a variety entertainment including EA, November 7, 1867. Irish singing. O’Baldwin “Irish giant and pugilist.” NR, December 13, 1867. 1868 The Florences “Delineations of Irish and Yankee characters.” NOC, March 17, 1868: 6. “Irish Soldier” A “comedietta” performed at the Varieties NOC, March 18, 1868: 4. 180 Theatre, New Orleans. William Carleton Irish comedian and vocalist. PET, July 20, 1868, 5th Edn.: 8. “The New Hibernicon” “A fine moving panorama illustrating some of NYS, September 7, 1868. the most striking scenery in the old country.” Miss Sallie Eldridge Irish “songster” and dancer. NUA, October 21, 1868. 1869 William Carleton Appeared in a burlesque entitled “The Dublin PET, March 9, 1869, 4th Edn.: 3. Dancing Master.” PET, March 11, 1869, 5th Edn.: 3. Also performed “his great Irish character, Pat McCann.” Dan Bryant Performed “some lively sketches in the Hibernian NOC, March 21, 1869, Morning Edn.: 3. line.” John Collins Irish comedian and vocalist. PET, May 11, 1869, 5th Edn.: 5. G.H. Grady Member of a troupe called Four Star Clowns, in HJ, May 14, 1869. which he performed Irish and Dutch delineations. Fannie DeVere and Irish jig dancers. MDA, October 6, 1869. Fanny May 1870 John Collins Irish comedian and vocalist. PET, January 24, 1870, 4th Edn.: 5. “The Hibernicon” Entertainment taking the form of a tour in CDN, March 19, 1870. Ireland, with music sung by Jerry Cohan who CDN, March 22, 1870. played the role of Barney the Guide. Mr and Mrs Barney Appeared in “Irish comicalities.” WAM, April 9, 1870. 181 Williams Harry and Rose Watkins “Irish delineations.” MDA, May 2, 1870. Wheeler Family Included Mr Wheeler as an Irish comedian. CF, August 4, 1870. Frank Drew “Irish comedian, vocalist and burlesque PET, November 4, 1870, 4th Edn.: 3. representative.” McCarthy Minstrels Included Harry McCarthy, a “first class minstrel NUA, December 20, 1870. and burlesque delineator of negro character” who also appeared in other comic characters including Ned Ryan, the Irish emigrant. 1871 Joe Murphy Performed Irish, Dutch, and Ethiopian ES, January 31, 1871. characters. continued Name of Act Details Source Dr Corry’s Ireland in “The largest and best panorama of the Emerald PET, April 7, 1871, 5th Edn.: 3. Shade and Sunshine Isle,” accompanied by songs, sketches, dances, and Irish vocalists and comedians. Ned O’Baldwin, the The “celebrated champion of the fistic arena” MDA, October 27, 1871. Irish Giant. appeared on the bill at the Olympic Varieties. Kirwin and Baskin’s Included Acton E.
Load more

Recommended publications
  • Television Satire and Discursive Integration in the Post-Stewart/Colbert Era
    University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 5-2017 On with the Motley: Television Satire and Discursive Integration in the Post-Stewart/Colbert Era Amanda Kay Martin University of Tennessee, Knoxville, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Journalism Studies Commons Recommended Citation Martin, Amanda Kay, "On with the Motley: Television Satire and Discursive Integration in the Post-Stewart/ Colbert Era. " Master's Thesis, University of Tennessee, 2017. https://trace.tennessee.edu/utk_gradthes/4759 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Amanda Kay Martin entitled "On with the Motley: Television Satire and Discursive Integration in the Post-Stewart/Colbert Era." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Science, with a major in Communication and Information. Barbara Kaye, Major Professor We have read this thesis and recommend its acceptance: Mark Harmon, Amber Roessner Accepted for the Council: Dixie L. Thompson Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) On with the Motley: Television Satire and Discursive Integration in the Post-Stewart/Colbert Era A Thesis Presented for the Master of Science Degree The University of Tennessee, Knoxville Amanda Kay Martin May 2017 Copyright © 2017 by Amanda Kay Martin All rights reserved.
    [Show full text]
  • Play-Guide Sunshine-Boys-FNL.Pdf
    TABLE OF CONTENTS ABOUT ATC 1 INTRODUCTION TO THE PLAY 2 SYNOPSIS 2 MEET THE CREATOR 2 MEET THE CHARACTERS 4 COMMENTS ON THE PLAY 4 COMMENTS ON THE PLAYWRIGHT 6 THE HISTORY OF VAUDEVILLE 7 FamOUS VAUDEVILLIANS 9 A VAUDEVILLE EXCERPT: WEBER AND FIELDS 11 MEDIA TRANSITIONS: THE END OF AN ERA 12 REFERENCES IN THE PLAY 13 DISCUSSION QUESTIONS AND ACTIVITIES 19 The Sunshine Boys Play Guide written and compiled by Katherine Monberg, ATC Literary Assistant. Discussion questions and activities provided by April Jackson, Education Manager, Amber Tibbitts and Bryanna Patrick, Education Associates Support for ATC’s education and community programming has been provided by: APS John and Helen Murphy Foundation The Maurice and Meta Gross Arizona Commission on the Arts National Endowment for the Arts Foundation Bank of America Foundation Phoenix Office of Arts and Culture The Max and Victoria Dreyfus Foundation Blue Cross Blue Shield Arizona PICOR Charitable Foundation The Stocker Foundation City of Glendale Rosemont Copper The William l and Ruth T. Pendleton Community Foundation for Southern Arizona Stonewall Foundation Memorial Fund Cox Charities Target Tucson Medical Center Downtown Tucson Partnership The Boeing Company Tucson Pima Arts Council Enterprise Holdings Foundation The Donald Pitt Family Foundation Wells Fargo Ford Motor Company Fund The Johnson Family Foundation, Inc Freeport-McMoRan Copper & Gold Foundation The Lovell Foundation JPMorgan Chase The Marshall Foundation ABOUT ATC Arizona Theatre Company is a professional, not-for-profit
    [Show full text]
  • The Artie Shaw Orchestra
    The Artie Shaw Orchestra On the eve of America's entry into World War II, TIME magazine reported that to the German masses the United States meant "sky-scrapers, Clark Gable, and Artie Shaw." Some 42 years after that, in December l983, Artie Shaw made a brief return to the bandstand, after thirty years away from music, not to play his world-famous clarinet but to launch his latest (and still touring) orchestra at the newly refurbished Glen Island Casino in New Rochelle, New York. This new Artie Shaw Orchestra remains one of the swingingest outfits around. Featuring clarinetist Matt Koza, the group hews to the Shaw legacy, and continues with the time-tested formula that has always pleased a full spectrum of audiences from the “Begin the Beguine” fans of yesteryear to the new jazz fans who want to imbibe in an exciting and heady evening of Swing. A Brief History Artie Shaw was born in New York City on May 23, 1910 and was in the top echelon of bandleader/soloists from the great swing era of 1935-45. He made his first public appearance as a leader in 1936, in a Swing Concert (history’s first) held at Broadway’s Imperial Theatre. Shaw could scarcely have known that within a short time he would make a hit record of a song called “Begin the Beguine,” which he once jokingly refers to as “a nice little tune from one of Cole Porter’s very few flop shows.” Shortly before that he had hired Billie Holiday as his band vocalist (the first white bandleader to employ a black female singer as a full-time member of his band).
    [Show full text]
  • Discourse Types in Stand-Up Comedy Performances: an Example of Nigerian Stand-Up Comedy
    http://dx.doi.org/10.7592/EJHR2015.3.1.filani European Journal of Humour Research 3 (1) 41–60 www.europeanjournalofhumour.org Discourse types in stand-up comedy performances: an example of Nigerian stand-up comedy Ibukun Filani PhD student, Department of English, University of Ibadan [email protected] Abstract The primary focus of this paper is to apply Discourse Type theory to stand-up comedy. To achieve this, the study postulates two contexts in stand-up joking stories: context of the joke and context in the joke. The context of the joke, which is inflexible, embodies the collective beliefs of stand-up comedians and their audience, while the context in the joke, which is dynamic, is manifested by joking stories and it is made up of the joke utterance, participants in the joke and activity/situation in the joke. In any routine, the context of the joke interacts with the context in the joke and vice versa. For analytical purpose, the study derives data from the routines of male and female Nigerian stand-up comedians. The analysis reveals that stand-up comedians perform discourse types, which are specific communicative acts in the context of the joke, such as greeting/salutation, reporting and informing, which bifurcates into self- praising and self denigrating. Keywords: discourse types; stand-up comedy; contexts; jokes. 1. Introduction Humour and laughter have been described as cultural universal (Oring 2003). According to Schwarz (2010), humour represents a central aspect of everyday conversations and all humans participate in humorous speech and behaviour. This is why humour, together with its attendant effect- laughter, has been investigated in the field of linguistics and other disciplines such as philosophy, psychology, sociology and anthropology.
    [Show full text]
  • 'Slivers' Oakley 1871-1916 the Premier Clown of His Day, Frank
    1 Frank 'Slivers' Oakley 1871-1916 The premier clown of his day, Frank 'Slivers' Oakley starred as a clown in the Barnum and Bailey circus and a star in vaudeville with his routine, 'The Baseball Game.' Born in Sweden his family moved to the U.S. When he was 14 he ran away from home and joined the circus. Noted as the most famous clown in the world he had an influence on Charlie Chaplin, Buster Keaton and many others. He is said to be the first to wear the 'big' clown shoes. With the popularity of baseball he performed an act that was about baseball that was extremely popular with the vaudeville audiences. What a night of entertainment when 'Slivers,' Joe Tinker and Jimmy Callahan appeared in the same bill. We find a number of descriptions of 'Slivers' in his baseball act. On the web site 'Our Game' we find a description of his act: 'Slivers, after setting up a diamond in the center ring of the big ten,' emerged as a catcher, with his 'bird cage' mask and heavily padded mitt. He popped his fist in the glove a few times and set up crouching behind the plate. He feigned receiving a pitch, and then n the midst of the motion of tossing the horsehide back to his battery- mate he suddenly wheeled to argue the call with the imaginary ump. throwing off the mask, gesticulating wildly and jawing with his 2 adversary. Later he took a turn at bat, and, after working the count full, 'it' one in the gap, but was thrown out trying to stretch three- bagger into a home run.' Another rhubarb with the umpire ensued.
    [Show full text]
  • Stand-Up Comedy in Theory, Or, Abjection in America John Limon 6030 Limon / STAND up COMEDY / Sheet 1 of 160
    Stand-up Comedy in Theory, or, Abjection in America John Limon Tseng 2000.4.3 18:27 6030 Limon / STAND UP COMEDY / sheet 1 of 160 Stand-up Comedy in Theory, or, Abjection in America 6030 Limon / STAND UP COMEDY / sheet 2 of 160 New Americanists A series edited by Donald E. Pease Tseng 2000.4.3 18:27 Tseng 2000.4.3 18:27 6030 Limon / STAND UP COMEDY / sheet 3 of 160 John Limon Duke University Press Stand-up Comedy in Theory, or, Abjection in America Durham and London 2000 6030 Limon / STAND UP COMEDY / sheet 4 of 160 The chapter ‘‘Analytic of the Ridiculous’’ is based on an essay that first appeared in Raritan: A Quarterly Review 14, no. 3 (winter 1997). The chapter ‘‘Journey to the End of the Night’’ is based on an essay that first appeared in Jx: A Journal in Culture and Criticism 1, no. 1 (autumn 1996). The chapter ‘‘Nectarines’’ is based on an essay that first appeared in the Yale Journal of Criticism 10, no. 1 (spring 1997). © 2000 Duke University Press All rights reserved Printed in the United States of America on acid-free paper ! Typeset in Melior by Tseng Information Systems, Inc. Library of Congress Cataloging-in-Publication Data appear on the last printed page of this book. Tseng 2000.4.3 18:27 6030 Limon / STAND UP COMEDY / sheet 5 of 160 Contents Introduction. Approximations, Apologies, Acknowledgments 1 1. Inrage: A Lenny Bruce Joke and the Topography of Stand-Up 11 2. Nectarines: Carl Reiner and Mel Brooks 28 3.
    [Show full text]
  • Sub-Group Ii—Thematic Arrangement
    U.S. SHEET MUSIC COLLECTION SUB-GROUP II—THEMATIC ARRANGEMENT Consists of vocal and instrumental sheet music organized by designated special subjects. The materials have been organized variously within each series: in certain series, the music is arranged according to the related individual, corporate group, or topic (e.g., Personal Names, Corporate, and Places). The series of local imprints has been arranged alphabetically by composer surname. A full list of designated subjects follows: ______________________________________________________________________________ Patriotic Leading national songs . BOX 458 Other patriotic music, 1826-1899 . BOX 459 Other patriotic music, 1900– . BOX 460 National Government Presidents . BOX 461 Other national figures . BOX 462 Revolutionary War; War of 1812 . BOX 463 Mexican War . BOX 464 Civil War . BOXES 465-468 Spanish-American War . BOX 469 World War I . BOXES 470-473 World War II . BOXES 474-475 Personal Names . BOXES 476-482 Corporate Colleges and universities; College fraternities and sororities . BOX 483 Commercial entities . BOX 484 1 Firemen; Fraternal orders; Women’s groups; Militia groups . BOX 485 Musical groups; Other clubs . BOX 486 Places . BOXES 487-493 Events . BOX 494 Local Imprints Buffalo and Western New York imprints . BOXES 495-497 Other New York state and Pennsylvania imprints . BOX 498 Rochester imprints . BOXES 499-511 ______________________________________________________________________________ 2 U.S. Sheet Music Collection Ruth T. Watanabe Special Collections, Sibley Music Library Sub-Group II PATRIOTIC SERIES Leading National Songs Box 458 Ascher, Gustave, arr. America: My Country Tis of Thee. For voice and piano. In National Songs. New York: S. T. Gordon, 1861. Carey, Henry, arr. America: The United States National Anthem.
    [Show full text]
  • CONSERVATIVE COMEDIAN MICHAEL LOFTUS Michael Loftus
    CONSERVATIVE COMEDIAN MICHAEL LOFTUS Michael Loftus is a writer, commentator, and standup comedian, and regular guest on Fox News. He has been a headlining talent nationwide for more than twenty years, has written for The George Lopez Show and Charlie Sheen’s Anger Management, and is currently a supervising producer on Kevin Can Wait, now entering its third season. With a voice that steers center right in the political spectrum, Loftus captures in candor and humor the views of those “fly over” states. His podcast, The Loftus Party, dissects the worlds of politics, social media and pop culture, and showcases his rare ability to take complex issues, distill them into simple discussion points, and bring genuine wit and style to the proceedings. In addition to his immense writing talents, his charm and affability on stage have placed him in the upper thresholds of live performers, and he continues to be an audience favorite everywhere he goes. MAGA COUNTRY COMEDY TOUR Everyone likes to say there are no funny conservatives - as if conservatives are incapable of humor. MAGA Country Comedy, presented by The Loftus Party, is here to change all that – once and for all. With a cast of incredibly talented performers who bring years of experience to the stage – this show is undeniably funny. Chad Prather has been described as “the modern-day Will Rogers”. He is a comedian, armchair philosopher, musician, and observational humorist. His social media viral videos are measured in the hundreds of millions. He has made numerous appearances on Fox News, CNN, A&E, and The Blaze.
    [Show full text]
  • Eddie Murphy in the Cut: Race, Class, Culture, and 1980S Film Comedy
    Georgia State University ScholarWorks @ Georgia State University African-American Studies Theses Department of African-American Studies 5-10-2019 Eddie Murphy In The Cut: Race, Class, Culture, And 1980s Film Comedy Gail A. McFarland Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/aas_theses Recommended Citation McFarland, Gail A., "Eddie Murphy In The Cut: Race, Class, Culture, And 1980s Film Comedy." Thesis, Georgia State University, 2019. https://scholarworks.gsu.edu/aas_theses/59 This Thesis is brought to you for free and open access by the Department of African-American Studies at ScholarWorks @ Georgia State University. It has been accepted for inclusion in African-American Studies Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. EDDIE MURPHY IN THE CUT: RACE, CLASS, CULTURE, AND 1980S FILM COMEDY by GAIL A. MCFARLAND Under the Direction of Lia T. Bascomb, PhD ABSTRACT Race, class, and politics in film comedy have been debated in the field of African American culture and aesthetics, with scholars and filmmakers arguing the merits of narrative space without adequately addressing the issue of subversive agency of aesthetic expression by black film comedians. With special attention to the 1980-1989 work of comedian Eddie Murphy, this study will look at the film and television work found in this moment as an incisive cut in traditional Hollywood industry and narrative practices in order to show black comedic agency through aesthetic and cinematic narrative subversion. Through close examination of the film, Beverly Hills Cop (Brest, 1984), this project works to shed new light on the cinematic and standup trickster influences of comedy, and the little recognized existence of the 1980s as a decade that defines a base period for chronicling and inspecting the black aesthetic narrative subversion of American film comedy.
    [Show full text]
  • FLM201 Film Genre: Understanding Types of Film (Study Guide)
    Course Development Team Head of Programme : Khoo Sim Eng Course Developer(s) : Khoo Sim Eng Technical Writer : Maybel Heng, ETP © 2021 Singapore University of Social Sciences. All rights reserved. No part of this material may be reproduced in any form or by any means without permission in writing from the Educational Technology & Production, Singapore University of Social Sciences. ISBN 978-981-47-6093-5 Educational Technology & Production Singapore University of Social Sciences 463 Clementi Road Singapore 599494 How to cite this Study Guide (MLA): Khoo, Sim Eng. FLM201 Film Genre: Understanding Types of Film (Study Guide). Singapore University of Social Sciences, 2021. Release V1.8 Build S1.0.5, T1.5.21 Table of Contents Table of Contents Course Guide 1. Welcome.................................................................................................................. CG-2 2. Course Description and Aims............................................................................ CG-3 3. Learning Outcomes.............................................................................................. CG-6 4. Learning Material................................................................................................. CG-7 5. Assessment Overview.......................................................................................... CG-8 6. Course Schedule.................................................................................................. CG-10 7. Learning Mode...................................................................................................
    [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]
  • History of Vaudeville in America…
    GLOBAL ARTS: Performances For Schools Presents Tomáš Kubínek Friday, February 13, 2009 Concert Hall at 10:00 am Study Guides for Teachers are also available on our website at www.fineartscenter.com - select For School Audiences under Education, then select Resource Room. Please fill out our online surveys at http://www.umass.edu/fac/centerwide/school/index.html for the Registration Process and each Event. Thank you Biography….. Who is Tomas Kubinek? Tomáš Kubínekʹs internationally acclaimed solo performances play to packed theaters around the world. After a sold‐out run on Broadway, The New York Times lauded his work as ʺAbsolutely expert!ʺ ʺHilarious and enormously talented!ʺ trumpeted Englandʹs Time Out, after appearances at Londonʹs Royal Festival Hall. A collision of theatre and music‐hall, his exuberant one‐man show is equal parts comic brilliance, virtuosic vaudeville and irresistible charm. ʺPhysical Poet and Verbal Acrobat! Needless Risk‐Taker...Professor of Fantastically Useless Inventions...Arduous Advocate of The Commonplace Miracle. Certified Lunatic and Master of the Impossible...ʺ The Early Years Tomás Kubínek ‐ (toh‐mawsh koo‐bee‐neck), was born in Prague and at the age of three was smuggled out of the country by his parents to escape the 1968 Soviet invasion of Czechoslovakia. After two months in a refugee camp in Austria, the Kubínek family was granted asylum in Canada and it was there, in St. Catharines, Ontario, that Tomas, age 5, witnessed his first circus. He became passionately interested in clowns, circus, theater and magic and his perplexed yet well‐adjusted parents took him to see every show that passed through town.
    [Show full text]