DOCSLIB.ORG

Short Report

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Short Report COLLECTION FINDING AID Googie Withers, CBE AO (1917-2011) Performing Arts Programs and Ephemera (PROMPT) Australian Collection Development Born Georgette Lizette Withers but known as "Googie" from an early age. This finding aid lists programs and ephemera which document all aspects of Googie Withers’ stage acting career in Australia and overseas. Material on her film and television screen career is not generally collected by the Library. The list is based on imperfect holdings and is updated as gaps in the Library’s holdings for this artist are filled. Printed materials in the PROMPT collection include programs and printed ephemera such as brochures, leaflets, tickets, etc. Theatre programs are taken as the prime documentary evidence of a performance by Withers. In a few cases however, the only evidence of a performance is a piece of printed ephemera. In these cases the type of piece is identified, eg, brochure. The list is based on imperfect holdings and is updated as gaps in the Library’s holdings for this artist are filled. Unless otherwise stated, all entries are based on published programs in the PROMPT collection. The Googie Withers PROMPT files may be accessed through the Library’s Petherick Reading Room by eCallslip request: http://nla.gov.au/nla.cat-vn3532224. The Withers material in the PROMPT Collection is in the chronological order of her Australian and overseas performance and this list reflects this arrangement. Entries identify the city and the venue. All the information is taken from programs, flyers and ephemera. www.nla.gov.au Creative Commons Attribution-NonCommercial-ShareAlike 2.1 Australia July 2011 PROMPT COLLECTION FINDING AID Googie Withers, CBE AO (1917-2011) Entries for each program are arranged as follows: Year, day/s and month; Venue/Theatre (Location) Company Name of production / Creator Withers’ role or other involvement. See also the Library's collection of J.C. Williamson theatre programs for Withers' performances in productions staged by James Cassius Williamson in Australia. Books and biographical cuttings Pictures Oral history recordings See also: Googie Withers information and resources listed within the TROVE discovery service See also Digitised Australian newspaper coverage of Googie Withers (including news of international performance dates, review and celebrity gossip). 14 May; Comedy Theatre (Melbourne, Victoria) The Deep Blue Sea / Terence Rattigan Googie Withers as Hester Collyer. 24 November; Comedy Theatre (Melbourne, Victoria) Winter Journey / Clifford Odets Googie Withers as Georgie Elgin. 20 May; Theatre Royal (Sydney, New South Wales) The Constant Wife / Somerset Maugham Googie Withers as Constance Middleton. 2│13 www.nla.gov.au July 2011 Creative Commons Attribution-NonCommercial-ShareAlike 2.1 Australia PROMPT COLLECTION FINDING AID Googie Withers, CBE AO (1917-2011) 9 November; Comedy Theatre (Melbourne, Victoria) Woman in a Dressing Gown / Ted Willis Googie Withers as Amy Preston. 22 November; Theatre Royal (Sydney, New South Wales) Woman in a Dressing Gown / Ted Willis Googie Withers as Amy Preston. 11 July; Theatre Royal (Sydney, New South Wales) The First 400 Years Googie Withers in 6 different roles. 5 May; Comedy Theatre (Melbourne, Victoria) Desire of the Moth / James Brazill Googie Withers as Edith Cassidy. 28 July; Venue (Sydney, New South Wales) Beekman Place / Samuel Taylor Googie Withers as Pamela Piper. 3-4 December; Canberra Theatre (Canberra, Australian Capital Territory) Beekman Place / Samuel Taylor Googie Withers as Pamela Piper. Canberra Theatre (Canberra, Australian Capital Territory) Relatively Speaking / Alan Ayckbourn Googie Withers as Sheila. Australian Tour High Spirits – with Googie Withers, “a pot-pourri of excerpts from their past successes, designed by their son, Nicholas … presented by John Frost”. Booklet filed under John McCallum 1969 Comedy Theatre, Melbourne www.nla.gov.au 3 13 Creative Commons Attribution-NonCommercial-ShareAlike 2.1 Australia June 2010 PROMPT COLLECTION FINDING AID Googie Withers, CBE AO (1917-2011) Plaza Suite directed by John McCallum Googie Withers as Karen Nash, Muriel Tate and Norma Hubley Program filed under JC Williamson’s Plaza Suite See also Digitised Australian newspaper coverage of Googie Withers (including news of international performance dates, review and celebrity gossip). Apollo Theatre (London, England) Private Lives / Noël Coward Googie Withers as Amanda. 19--?; Globe Theatre (London, England) They Came to a City / J.B. Priestley Googie Withers as Alice Foster. 19--?; Duke of York’s Theatre (London, England) Happy Week-End! Googie Withers as Betty. Strand Theatre (London, England) Nice Goings On! Googie Withers as one of Buddy Bradley’s Rhythm Girls. 8 November; Circle Theatres (Richmond, England) Hand in Glove Googie Withers as Sally Pilgrim. Opera House (Manchester, England) They Came to a City / J.B. Priestley Googie Withers as Alice Foster. New Theatre (Oxford, England) They Came to a City / J.B. Priestley Googie Withers as Alice Foster. 4│13 www.nla.gov.au July 2011 Creative Commons Attribution-NonCommercial-ShareAlike 2.1 Australia PROMPT COLLECTION FINDING AID Googie Withers, CBE AO (1917-2011) Globe Theatre (London, England) They Came to a City / J.B. Priestley Googie Withers as Alice Foster. Two programs. New Theatre (London, England) Champagne for Delilah / Ronald Millar Googie Withers as Lee. 2 May; Grand Theatre and Opera House (Leeds, England) Champagne for Delilah / Ronald Millar Googie Withers as Lee. 6 March; Duchess Theatre (London, England) The Deep Blue Sea / Terence Rattigan Googie Withers as Hester Collyer. 17 March; Opera House (Manchester, England) Winter Journey / Clifford Odets Googie Withers as Georgie Elgin. 24 March; Royal Court Theatre (Liverpool, England) Winter Journey / Clifford Odets Googie Withers as Georgie Elgin. 3 April; St James’ Theatre (London, England) Winter Journey / Clifford Odets Googie Withers as Georgie Elgin. Five programs. Duchess Theatre (London, England) The Deep Blue Sea / Terence Rattigan Googie Withers as Hester Collyer. 18 March; London Palladium (London, England) Midnight Cavalcade – “A Gala Night of World-Famous Stars in aid of The Actors' Orphanage, the Charitable Funds of the Grand Order of the Water Rats and the J.N.F. Charitable Trust.” www.nla.gov.au 5 13 Creative Commons Attribution-NonCommercial-ShareAlike 2.1 Australia June 2010 PROMPT COLLECTION FINDING AID Googie Withers, CBE AO (1917-2011) 12 April; The Opera House (Manchester, England) Waiting for Gillian / Ronald Millar and Nigel Balchin Googie Withers as Jill Manning. 21 April; St James’ Theatre (London, England) Waiting for Gillian / Ronald Millar and Nigel Balchin Googie Withers as Jill Manning. 19 March; Grand Opera House (Wellington, New Zealand) The Deep Blue Sea / Terence Rattigan Googie Withers as Hester Collyer. ?April; Royal Lyceum Theatre Edinburgh (Edinburgh, Scotland) Janus / Carolyn Green Googie Withers as Jessica. 15 April; Theatre Royal (Brighton, England) Janus / Carolyn Green Googie Withers as Jessica. 24 April; Aldwych Royal (London, England) Janus / Carolyn Green Googie Withers as Jessica. 12 August; Golders Green Hippodrome (London, England) Janus / Carolyn Green Googie Withers as Jessica. 13 October; Theatre Royal Haymarket (London, England) The Circle / W. Somerset Maugham Googie Withers as Lady Catherine Champion-Cheney. 6│13 www.nla.gov.au July 2011 Creative Commons Attribution-NonCommercial-ShareAlike 2.1 Australia PROMPT COLLECTION FINDING AID Googie Withers, CBE AO (1917-2011) 3 June; Shakespeare Memorial Theatre (Straford-Upon-Avon, England) Hamlet / William Shakespeare Googie Withers as Gertrude, Queen of Denmark. 26 August; Shakespeare Memorial Theatre (Straford-Upon-Avon, England) Much Ado About Nothing / William Shakespeare Googie Withers as Beatrice. October; Theatre World / London Theatre Guide (England) Photograph of Googie Withers in Hamlet / William Shakespeare 7 October; Grand Opera House (Wellington, New Zealand) Roar Like a Dove / Lesley Storm Googie Withers as Lady Dungavel. 13 November; Ethel Barrymore Theatre, Playbill (New York NY, United States of America) Crescendo Googie Withers as Mary Rhodes. 25 March; Grand Opera House (Wellington, New Zealand) Woman in a Dressing Gown / Ted Willis Googie Withers as Amy Preston. ?September; Royal Lyceum Theatre Edinburgh (Edinburgh, Scotland) Exit the King / Eugene Ionesco Googie Withers as Queen Marguerite. September; Royal Court Theatre (London, England) Exit the King / Eugene Ionesco Googie Withers as Queen Marguerite. 15 November; Theatre Royal (Christchurch, New Zealand) Beekman Place / Samuel Taylor Googie Withers as Pamela Piper. www.nla.gov.au 7 13 Creative Commons Attribution-NonCommercial-ShareAlike 2.1 Australia June 2010 PROMPT COLLECTION FINDING AID Googie Withers, CBE AO (1917-2011) 20 March; Theatre Royal (Newcastle-Upon-Tyne, England) Getting Married / George Bernard Shaw Googie Withers as Mrs George. 3 April; Royal Court Theatre (Liverpool, England) Getting Married / George Bernard Shaw Googie Withers as Mrs George. 10 April; New Theatre (Oxford, England) Getting Married / George Bernard Shaw Googie Withers as Mrs George. 19 April; Strand Theatre (London, England) Getting Married / George Bernard Shaw Googie Withers as Mrs George. Four programs. 8 September; Theatre Royal (Nottingham, England) Dandy Dick / Arthur Wing Pinero Googie Withers as Georgiana Tidman. 23 March; Grand Opera House (Wellington, New Zealand) Plaza Suite / Neil Simon Googie Withers in three roles, directed
Load more

Recommended publications
  • 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
    [Show full text]
  • An Analysis and Evaluation of the Acting Career Of
    AN ANALYSIS AND EVALUATION OF THE ACTING CAREER OF TALLULAH BANKHEAD APPROVED: Major Professor m Minor Professor Directororf? DepartmenDepa t of Speech and Drama Dean of the Graduate School AN ANALYSIS AND EVALUATION OF THE ACTING CAREER OF TALLULAH BANKHEAD THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF SCIENCE By Jan Buttram Denton, Texas January, 1970 TABLE OF CONTENTS Chapter Page I. THE BEGINNING OF SUCCESS 1 II. ACTING, ACTORS AND THE THEATRE 15 III. THE ROLES SHE USUALLY SHOULD NOT HAVE ACCEPTED • 37 IV. SIX WITH MERIT 76 V. IN SUMMARY OF TALLULAH 103 APPENDIX 114 BIBLIOGRAPHY. 129 CHAPTER I THE BEGINNING OF SUCCESS Tallulah Bankhead's family tree was filled with ancestors who had served their country; but none, with the exception of Tallulah, had served in the theatre. Both her grandfather and her mother's grandfather were wealthy Alabamians. The common belief was that Tallulah received much of her acting talent from her father, but accounts of her mother1s younger days show proof that both of her parents were vivacious and talented. A stranger once told Tallulah, "Your mother was the most beautiful thing that ever lived. Many people have said you get your acting talent from your father, but I disagree. I was at school with Ada Eugenia and I knew Will well. Did you know that she could faint on 1 cue?11 Tallulahfs mother possessed grace and beauty and was quite flamboyant. She loved beautiful clothes and enjoyed creating a ruckus in her own Southern world.* Indeed, Tallulah inherited her mother's joy in turning social taboos upside down.
    [Show full text]
  • Applause Magazine, Applause Building, 68 Long Acre, London WC2E 9JQ
    1 GENE WIL Laughing all the way to the 23rd Making a difference LONDON'S THEATRE CRITI Are they going soft? PIUS SAVE £££ on your theatre tickets ,~~ 1~~EGm~ Gf1ll~ G~rick ~he ~ ~ e,London f F~[[ IIC~[I with ever~ full price ticket purchased ~t £23.50 Phone 0171-312 1991 9 771364 763009 Editor's Letter 'ThFl rul )U -; lmalid' was a phrase coined by the playwright and humourl:'t G eorge S. Kaufman to describe the ailing but always ~t:"o lh e m Broadway Theatre in the late 1930' s . " \\ . ;t" )ur ul\'n 'fabulous invalid' - the West End - seems in danger of 'e:' .m :: Lw er from lack of nourishmem, let' s hope that, like Broadway - presently in re . \ ,'1 'n - it too is resilient enough to make a comple te recovery and confound the r .: i " \\' ho accuse it of being an en vironmenta lly no-go area whose theatrical x ;'lrJ io n" refuse to stretch beyond tired reviva ls and boulevard bon-bons. I i, clUite true that the season just past has hardly been a vintage one. And while there is no question that the subsidised sector attracts new plays that, =5 'ears ago would a lmost certainly have found their way o nto Shaftes bury Avenue, l ere is, I am convinced, enough vitality and ingenuity left amo ng London's main -s tream producers to confirm that reports of the West End's te rminal dec line ;:m: greatly exaggerated. I have been a profeSSi onal reviewer long enough to appreciate the cyclical nature of the business.
    [Show full text]
  • Text Pages Layout MCBEAN.Indd
    Introduction The great photographer Angus McBean has stage performers of this era an enduring power been celebrated over the past fifty years chiefly that carried far beyond the confines of their for his romantic portraiture and playful use of playhouses. surrealism. There is some reason. He iconised Certainly, in a single session with a Yankee Vivien Leigh fully three years before she became Cleopatra in 1945, he transformed the image of Scarlett O’Hara and his most breathtaking image Stratford overnight, conjuring from the Prospero’s was adapted for her first appearance in Gone cell of his small Covent Garden studio the dazzle with the Wind. He lit the touchpaper for Audrey of the West End into the West Midlands. (It is Hepburn’s career when he picked her out of a significant that the then Shakespeare Memorial chorus line and half-buried her in a fake desert Theatre began transferring its productions to advertise sun-lotion. Moreover he so pleased to London shortly afterwards.) In succeeding The Beatles when they came to his studio that seasons, acknowledged since as the Stratford he went on to immortalise them on their first stage’s ‘renaissance’, his black-and-white magic LP cover as four mop-top gods smiling down continued to endow this rebirth with a glamour from a glass Olympus that was actually just a that was crucial in its further rise to not just stairwell in Soho. national but international pre-eminence. However, McBean (the name is pronounced Even as his photographs were created, to rhyme with thane) also revolutionised British McBean’s Shakespeare became ubiquitous.
    [Show full text]
  • NEW Media Document.Indd
    MEDIA RELEASE WICKED is coming to Australia. The hottest musical in the world will open in Melbourne’s Regent Theatre in July 2008. With combined box office sales of $US 1/2 billion, WICKED is already one of the most successful shows in theatre history. WICKED opened on Broadway in October 2003. Since then over two and a half million people have seen WICKED in New York and just over another two million have seen the North American touring production. The smash-hit musical with music and lyrics by Stephen Schwartz (Godspell, Pippin, Academy Award-winner for Pocahontas and The Prince of Egypt) and book by Winnie Holzman (My So Called Life, Once And Again and thirtysomething) is based on the best-selling novel by Gregory Maguire. WICKED is produced by Marc Platt, Universal Pictures, The Araca Group, Jon B. Platt and David Stone. ‘We’re delighted that Melbourne is now set to follow WICKED productions in New York, Chicago, Los Angeles, the North American tour and London’s West End,’ Marc Platt and David Stone said in a joint statement from New York. ‘Melbourne will join new productions springing up around the world over the next 16 months, and we’re absolutely sure that Aussies – and international visitors to Melbourne – will be just as enchanted by WICKED as the audiences are in America and England.’ WICKED will premiere in Tokyo in June; Stuttgart in November; Melbourne in July 2008; and Amsterdam in 2008. Winner of 15 major awards including the Grammy Award and three Tony Awards, WICKED is the untold story of the witches of Oz.
    [Show full text]
  • Reviewer Response to Pinter's the Caretaker
    UDK 821.111.09-2 Pinter H.(497.4) REVIEWER RESPONSE TO PINTER'S THE CARETAKER Tomaz Onic Abstract The Caretaker is one of Harold Pinter's early plays. It was an immediate success, and it drew the attention of many critics, who started judging this contemporary British playwright's works from a new perspective. Therefore, many scholars consider The Caretaker an important turning point in the reception of Pinter's works. The play has seen many stagings all over the world, two of them in Slovenia. This article sets out its most prominent productions, analyses and comments on their critical reviews, and compares these to the response to Pinter in Slovene cultural space. International productions of The Caretaker Harold Pinter's The Caretaker1 was first published in 1959 together with four other plays in the second volume of the author's collected works. It was premiered in April 1960 at the Arts Theatre in London and moved to the Duchess Theatre a month after the first production. This early play by Harold Pinter was enthusiastically ac­ cepted by the general public and the critics. It was his sixth theatre piece, presented only three years after his first two plays, The Room and The Birthday Party. The first reviews of the former were favourable, but, surprisingly, this was not the case with The Birthday Party, which is today one of his most frequently staged pieces; some even number it among the best achievements of contemporary British theatre. Its first pro­ duction ran only a week, and it took most of the critics some time to realise that there was more to it than mere »verbal anarchy«, as Milton Shulman (1958) labelled what later became known as typical pinteresque dialogue.
    [Show full text]
  • S011630 Brettenham House Brochure V10.Indd
    Striking. The Thames & Covent Garden on your doorstep. Brettenham House is a magnificent building adjacent to Waterloo Bridge overlooking the Thames. Its powerful presence is accentuated by its Art Deco façade and positioning on the west side of Lancaster Place. Hyde Park Green Park Mayfair Oxford Street Regent Street Tottenham Court Road St James’s Charing Cross Station Covent Garden Holborn Waterloo Temple CHANCERY LANE HOLBORN CULTURE O R N H O L B H I G H 1 Adelphi Theatre 9 Theatre Royal, Drury Lane 10 M Lincoln’s I 2 Savoy Theatre 10 National Theatre TOTTENHAM COURT ROAD N Inn Fields U 4 Place. T A 3 London Coliseum 11 S E T E Royal Festival Hall T R E S A G S T 4 I L H E S H I G K 4 Noël Coward Theatre 12 Cambridge Theatre 0 The area benefi ts from I 0 N G 5 Garrick Theatre 13 Proud Galleries 15 S W London’s most historic A 6 14 6 Y Lyceum Theatre National Portrait Gallery 5 M theatres, galleries and 7 The Duchess Theatre 15 Southbank Centre IN Seven U 4 8 Dials T A Fortune Theatre E opera houses that are 12 12 S A 4 COVENT GARDEN 8 8 steeped in tradition A 9 7 WINE & DINE 4 0 10 13 16 0 and history. 1 Savoy Kaspar’s 10 Ivy COVENT D Seafood Bar & Grill 11 N 11 R A Inner Cucina Asellina GARDEN 7 4 S T 6 A Temple 2 Savoy American Bar 3 6 5 12 Hawksmoor Seven Dials LEICESTER SQUARE 17 7 Gardens Amenities are unrivalled with some 14 15 4 3 Gordon’s Wine Bar 13 Dishoom 4 8 Somerset House TEMPLE A 3 2 1 1 of the best eateries, hotels and cafés 5 4 Polpo Covent Garden 4 14 Petersham Nurseries Leicester the city has to off er on your doorstep.
    [Show full text]
  • Celebrates Its First Birthday at the Duchess Theatre with Booking Period Extended to September 2016
    Press Release: 8 September 2015 CELEBRATES ITS FIRST BIRTHDAY AT THE DUCHESS THEATRE WITH BOOKING PERIOD EXTENDED TO SEPTEMBER 2016 THE ORIGINAL CAST ARE BACK IN THE WEST END WITH A SEASONAL RUN OF PETER PAN GOES WRONG AT THE APOLLO THEATRE The Play That Goes Wrong, the Olivier Award-winning box office hit, celebrates its first, triumphant year in the West End, and as a new booking period opens with tickets going on sale until 11 September 2016, the show's phenomenal popularity with audiences looks set to continue. For a limited run over the festive season at the Apollo Theatre, the original cast of The Play That Goes Wrong will bring their trademark comic mayhem to the J.M. Barrie classic and timeless favourite, Peter Pan. In Peter Pan Goes Wrong, the members of The Cornley Polytechnic Drama Society once again battle against technical hitches, flying mishaps and cast disputes on their way to Neverland with hilarious and disastrous results. Awarded the 2014 Whatsonstage.com Best New Comedy and the 2015 Olivier Award for Best New Comedy, The Play That Goes Wrong continues to thrive and it is a remarkable rags-to-riches story. The production's unparalleled trajectory of success began in 2013, when it opened as a one-act show at the Old Red Lion in London with only four paying members of the public at the first performance. This was followed by a transfer to the Trafalgar Studios, where the show's unique potential was spotted by producers Kenny Wax and Stage Presence, and subsequently to the Duchess Theatre.
    [Show full text]
  • The Cambridge Companion to Harold Pinter Edited by Peter Raby Frontmatter More Information
    Cambridge University Press 0521651239 - The Cambridge Companion to Harold Pinter Edited by Peter Raby Frontmatter More information The Cambridge Companion to Harold Pinter The Cambridge Companion to Harold Pinter provides an introduction to one of the world’s leading and most controversial writers, whose output in many genres and roles continues to grow. Harold Pinter has written for the theatre, radio, television and screen, in addition to being a highly successful director and actor. This volume examines the wide range of Pinter’s work (including his recent play Celebration). The first section of essays places his writing within the critical and theatrical context of his time, and its reception worldwide. The Companion moves on to explore issues of performance, with essays by practi- tioners and writers. The third section addresses wider themes, including Pinter as celebrity, the playwright and his critics, and the political dimensions of his work. The volume offers photographs from key productions, a chronology and bibliography. © Cambridge University Press www.cambridge.org Cambridge University Press 0521651239 - The Cambridge Companion to Harold Pinter Edited by Peter Raby Frontmatter More information CAMBRIDGE COMPANIONS TO LITERATURE The Cambridge Companion to Greek Tragedy The Cambridge Companion to the French edited by P. E. Easterling Novel: from 1800 to the Present The Cambridge Companion to Old English edited by Timothy Unwin Literature The Cambridge Companion to Modernism edited by Malcolm Godden and Michael edited by Michael Levenson Lapidge The Cambridge Companion to Australian The Cambridge Companion to Medieval Literature Romance edited by Elizabeth Webby edited by Roberta L. Kreuger The Cambridge Companion to American The Cambridge Companion to Medieval Women Playwrights English Theatre edited by Brenda Murphy edited by Richard Beadle The Cambridge Companion to Modern British The Cambridge Companion to English Women Playwrights Renaissance Drama edited by Elaine Aston and Janelle Reinelt edited by A.
    [Show full text]
  • Lavender Hill "Serious Competition for 'GUYS AND
    On Wifely Constancy The Passing Show Miss Cornell Poetic Speaks Playwrights Of Those She Go on Plays Right Writing Star of Maugham Revival Sees Lesson in Classic Hits Way Is Hard and Rewards Fewer, By Mark Barron But, Like Anouilh, They Work On NEW YORK. [sake, just because it was a great A veteran from in the * By Jay Carmody trouper coast play past. to coast, Miss Katharine Cornell “It is just as Maugham writes The is that so sensitive surprise many humans go on writing in ‘The Constant Wife’ when I for the theater. was still traveling the other eve- am fighting to hold my husband The insensitive ones, no. are ning after her They gamblers, betting that their Broadway premiere from a beautiful blond who is al- literal reports on life or their broad jokes about will catch the it, in W. Somerset Maugham’s artful most stealing him from me.’’ she public fancy and make them rich. They know the odds and the comedy, "The Constant Wife.” said. consequences involved in failure and nature armed them with the This “As the wife in Maugham’s toughness to both. These are time, however, Miss Cor- play, accept the addicts and there is I am faced with nell took only a hop-skip-and- the realization little need to give them a second thought. that Jump from National every marriage needs a great It is different with the other, smaller group. They are crea- Broadway’s Theater to her deal more thought than most tive, artistic and idealistic. They write plays because they want long-established home on Manhattan’s East wives devote to it.
    [Show full text]
  • 113 Winter 2004
    ISSN 1478-0186 1 The Charles Williams Society www.geocities.com/charles_wms_soc Newsletter The Charles Williams Society Newsletter No. 113 Winter 2004 2 THE SOCIETY The Charles Williams Society The Society was founded in 1975, thirty years after Charles Williams’s sudden death at the end of the Second World War. It exists to celebrate Charles Wil- liams and to provide a forum for the exchange of views and information about his life and work. Members of the Society receive a quarterly newsletter and may attend the Society’s meetings which are held three times a year. Facilities for members also include a postal lending library and a reference library housed at The Centre for Medieval Studies in Oxford. Officers of the Society President: John Heath-Stubbs OBE Chairman: Librarian: Mrs Eileen Mable Dr Brian Horne 28 Wroxham Way Flat 8, 65 Cadogan Gardens Harpenden London, SW3 2RA Herts, AL5 4PP 020 7581 9917 01582 713641 [email protected] Secretary: Membership Secretary: Revd Dr Richard Sturch Mr Guy Carter 35 Broomfield 67B Ulverston Road Stacey Bushes Walthamstow Milton Keynes MK12 6HA London, E17 4NB 01908 316779 020 8523 3465 [email protected] [email protected] Treasurer: Newsletter Editor: Mr Stephen Barber Mr Edward Gauntlett Greystones 21 Downsway, Lawton Avenue, Carterton Whyteleafe Oxon OX18 3JY Surrey, CR3 0EW 01993 841219 020 8660 1402 [email protected] ste- [email protected] Winter 2004 THE NEWSLETTER 3 Contents Newsletter No. 113 Winter 2004 Officers of the Society 2 Reading Groups 3 From the Editor 4 Society News & Notes 5 Forthcoming Meetings 6 Council Meeting 7 Questionnaire Summary 8 The Future of the Society 9 Waiting for Conflict: A Creative Response to the Experience of War Michael Hampel 11 Book Reviews 23 Letters 26 Editorial Policy and Copyright 27 Reading groups For information about the Oxford reading group please contact Brenda Boughton, tel: 01865 515589.
    [Show full text]
  • Ronald Davis Oral History Collection on the Performing Arts
    Oral History Collection on the Performing Arts in America Southern Methodist University The Southern Methodist University Oral History Program was begun in 1972 and is part of the University’s DeGolyer Institute for American Studies. The goal is to gather primary source material for future writers and cultural historians on all branches of the performing arts- opera, ballet, the concert stage, theatre, films, radio, television, burlesque, vaudeville, popular music, jazz, the circus, and miscellaneous amateur and local productions. The Collection is particularly strong, however, in the areas of motion pictures and popular music and includes interviews with celebrated performers as well as a wide variety of behind-the-scenes personnel, several of whom are now deceased. Most interviews are biographical in nature although some are focused exclusively on a single topic of historical importance. The Program aims at balancing national developments with examples from local history. Interviews with members of the Dallas Little Theatre, therefore, serve to illustrate a nation-wide movement, while film exhibition across the country is exemplified by the Interstate Theater Circuit of Texas. The interviews have all been conducted by trained historians, who attempt to view artistic achievements against a broad social and cultural backdrop. Many of the persons interviewed, because of educational limitations or various extenuating circumstances, would never write down their experiences, and therefore valuable information on our nation’s cultural heritage would be lost if it were not for the S.M.U. Oral History Program. Interviewees are selected on the strength of (1) their contribution to the performing arts in America, (2) their unique position in a given art form, and (3) availability.
    [Show full text]