The General Cinema Northpark I & Ii: a Case

Total Page:16

File Type:pdf, Size:1020Kb

The General Cinema Northpark I & Ii: a Case THE GENERAL CINEMA NORTHPARK I & II: A CASE STUDY OF A THIRD GENERATION MOVIE THEATER by JEREMY FLOYD SPRACKLEN Presented to the Faculty of the Graduate School of The University of Texas at Arlington in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS IN HISTORY THE UNIVERSITY OF TEXAS AT ARLINGTON MAY 2015 Copyright © by Jeremy Floyd Spracklen 2015 All Rights Reserved ii Acknowledgements I would like to express my appreciation for all of the friends and family who encouraged and assisted me throughout my academic career and the writing of this thesis. Specifically, Bob and Diana Cunningham, Cindy and Gary Sharp, and Jessica Tedder. I am humbled by the amount of support that I have been given. I am thankful to my committee, Bart Weiss, Dr. Gerald Saxon, and chair Dr. Robert Fairbanks. Their suggestions and guidance throughout the research and writing of this work cannot be understated. Additionally, I am thankful to Adam Martin for his encyclopedic knowledge of theater buildings. But most of all, I would like to thank Ron Beardmore. His infectious love for the art of projecting film, and the theaters that show them, was the primary factor in choosing this subject for study. April 14, 2015 iii Abstract THE GENERAL CINEMA NORTHPARK I & II: A CASE STUDY OF A THIRD GENERATION MOVIE THEATER Jeremy Spracklen, MA The University of Texas at Arlington, 2015 Supervising Professor: Robert Fairbanks The purpose of this thesis is to present a typology of movie exhibition eras and then explore one of those eras in greater detail by studying a specific market and theater within that market. This methodology allows for influential industrial, social, and economic trends to be tracked before, during, and after the operational life of what is identified as a third generation movie theater. By choosing a single theater as a case study for this thesis, national shifts in business practices and economics are examined in order to study how these affected theaters at a micro level. iv Table of Contents Acknowledgements .................................................................................................................. iii Abstract .................................................................................................................................... iv List of Illustrations ................................................................................................................... vii List of Tables ........................................................................................................................... ix Chapter 1 Introduction .............................................................................................................. 1 The Third Generation Movie Theater .................................................................................. 4 First and Second Generation Theaters in Dallas ................................................................ 5 Dallas’ First Theater Row .................................................................................................... 7 Notes on Form and Structure .............................................................................................. 9 Chapter 2 Why A Twin For NorthPark? ..................................................................................12 Population Migration.......................................................................................................... 13 Raymond Nasher and the Development of NorthPark Center .......................................... 16 Changes in the Movie Industry .......................................................................................... 19 The General Cinema Corporation Comes to Town ........................................................... 22 Functionality over Aesthetics: Designing the NorthPark ................................................... 24 Opening Night ................................................................................................................... 32 Conclusion ......................................................................................................................... 34 Chapter 3 From Roadshow to Multiple Run Bookings at NorthPark, 1965–1974 ..................36 Booking Strategies and the Paramount Decrees .............................................................. 37 First Runs and Roadshows ............................................................................................... 38 The System in Practice ..................................................................................................... 42 1971–1974 ........................................................................................................................ 46 1974: A Case Study .......................................................................................................... 48 The End of NorthPark’s First Decade ............................................................................... 52 Movies Exhibited at NorthPark 1965–1974 ....................................................................... 52 v Chapter 4 Competition and Saturation Bookings, 1975–1984 ...............................................56 Northern Expansion........................................................................................................... 56 Saturation Booking ............................................................................................................ 60 The Movies: From Star Wars to Return of the Jedi ........................................................... 64 The Effects of Saturation Booking on North Dallas Theaters ........................................... 70 Conclusion ......................................................................................................................... 72 Movies Exhibited at NorthPark 1975–1984 ....................................................................... 72 Chapter 5 Industry Expansion and the Return of Vertical Integration, 1985–1994 ................76 Industry Expansion – National .......................................................................................... 76 Theater Expansion – Dallas .............................................................................................. 81 Stagnation and Decline ..................................................................................................... 85 The Movies ........................................................................................................................ 88 Conclusion ......................................................................................................................... 92 Movies Exhibited at NorthPark 1985–1994 ....................................................................... 92 Chapter 6 Industry Expansion and Contraction, 1995–1998 ..................................................97 The Fifth Generation – The Grand Megaplex ................................................................... 97 NorthPark in the Fifth Generation ................................................................................... 103 The Last Picture Shows .................................................................................................. 107 Movies Exhibited at NorthPark 1995–1998 ..................................................................... 110 Chapter 7 Epilogue and Conclusion .....................................................................................113 The New NorthPark and the Future of Dallas Cinema .................................................... 117 Conclusion ....................................................................................................................... 124 Bibliography ..........................................................................................................................127 Biographical Information .......................................................................................................132 vi List of Illustrations Figure 1 - Dallas Theater Row Circa 1948 ............................................................................... 8 Figure 2 - Opening Day Promotional Brochure ......................................................................13 Figure 3 - Map of Future NorthPark Center Site from the 1948 Dallas City Planning Commission ............................................................................................................................16 Figure 4 - 1959 Southern-Facing Aerial View from www.texasfreeway.com .........................17 Figure 5 - Aerial Photo of NorthPark Center 1965 .................................................................18 Figure 6 - Charlottetown Mall .................................................................................................24 Figure 7 - Scan from Original Blueprint ..................................................................................25 Figure 8 - NorthPark Cinema I & II Exterior ............................................................................26 Figure 9 - NorthPark Cinema I Interior ...................................................................................27 Figure 10 - Blueprint Design of Cinema I Shadowbox ...........................................................30 Figure 11 - Example of Proscenium (Fox Theatre, Atlanta) ...................................................31 Figure 12 - Example of a Shadow Box Screen Frame ...........................................................32
Recommended publications
  • October 12-18 Videofest.Org Video Association of Dallas Make Films That Matter
    ANGELIKA FILM CENTER OCTOBER 12-18 VIDEOFEST.ORG VIDEO ASSOCIATION OF DALLAS MAKE FILMS THAT MATTER UNIVERSITY OF The Department of Art and TEXAS ARLINGTON Art History at UTA has an ART+ART HISTORY excellent reputation for FILM/VIDEO PROGRAM grooming young filmmakers, preparing WWW.UTA.EDU/ART 817-272-2891 them for the creative challenges and emotional rigors of the motion picture industry. Call our advising sta to find out how you can train to be a vital part of the film industry. Art Art History Department 2 CONTENTS 2 BROUGHT TO YOU BY 3 2015 BOARD OF DIRECTORS 4 SPONSORS & CONTRIBUTORS 8 WELCOME BY BART WEISS 10 ABOUT OUR JURORS 14 TEXAS SHOW JURORS 16 KOVACS AWARD 18 HONOREES 26 SCREENINGS 52 SCHEDULE 1 BROUGHT TO YOU BY BARTON WEISS YA’KE SMITH Artistic Director Festival Bumpers RAQUEL CHAPA MARK WICKERSHAM Managing Director KARL SCHAEFFER Transportation BOXOFFICE: PREKINDLE SELIG POLYSCOPE COMPANY CAMERON NELSON Videography Technical Supervisor REDMAN I AM CHRISTIAN VASQUEZ Trophies DAVID GRANDBERRY Technical Assistant MATTHIEU CARTAL DAKOTA FORD MARISSA ALANIS MATTHEW GEISE MARGARITA BIRNBAUM VIVIAN GRAY AMY MARTIN Outreach MIKE MILLER YUMA MORRIS KELLY J KITCHENS ELEONORA SOLDATI Interns RONI HUMMEL Media Relations/Entertainment Publicity BETH JASPER ALVIN HYSONG DANA TURNER MARSHALL PITMAN Program Editor WES SUTTON Programmers TAMITHA CURIEL Newsletter Editor RON SIMON Curator of Television Pasily Center CYNTHIA CHAPA Program Content ED BARK Critic Uncle Barkey SULLIVANPERKINS MICHAEL CAIN Graphic Design Filmmaker, former head of AFI Dallas Festival DESIGN TEXAS - UT ARLINGTON JOSH MILLS Program Book Design It’s Alive! Media & Management DEV SHAPIRO Kovacs Committee DARREN DITTRICH Webpage 2 BOARD OF DIRECTORS JEFFREY A.
    [Show full text]
  • Bayou Place Houston, Texas
    Bayou Place Houston, Texas Project Type: Commercial/Industrial Case No: C031001 Year: 2001 SUMMARY A rehabilitation of an obsolete convention center into a 160,000-square-foot entertainment complex in the heart of Houston’s theater district. Responding to an international request for proposals (RFP), the developer persevered through development difficulties to create a pioneering, multiuse, pure entertainment destination that has been one of the catalysts for the revitalization of Houston’s entire downtown. FEATURES Rehabilitation of a "white elephant" Cornerstone of a downtown-wide renaissance that has reintroduced nighttime and weekend activity Maximized leasable floor area to accommodate financial pro forma requirements Bayou Place Houston, Texas Project Type: Adaptive Use/Entertainment Volume 31 Number 01 January-March 2001 Case Number: C031001 PROJECT TYPE A rehabilitation of an obsolete convention center into a 160,000-square-foot entertainment complex in the heart of Houston’s theater district. Responding to an international request for proposals (RFP), the developer persevered through development difficulties to create a pioneering, multiuse, pure entertainment destination that has been one of the catalysts for the revitalization of Houston’s entire downtown. SPECIAL FEATURES Rehabilitation of a "white elephant" Cornerstone of a downtown-wide renaissance that has reintroduced nighttime and weekend activity Maximized leasable floor area to accommodate financial pro forma requirements DEVELOPER The Cordish Company 601 East Pratt Street, Sixth Floor Baltimore, Maryland 21202 410-752-5444 www.cordish.com ARCHITECT Gensler 700 Milam Street, Suite 400 Houston, Texas 77002 713-228-8050 www.gensler.com CONTRACTOR Tribble & Stephens 8580 Katy Freeway, Suite 320 Houston, Texas 77024 713-465-8550 www.tribblestephens.com GENERAL DESCRIPTION Bayou Place occupies the shell of the former Albert Thomas Convention Center in downtown Houston’s theater district.
    [Show full text]
  • READING INTERNATIONAL, INC. (Exact Name of Registrant As Specified in Its Charter)
    UNITED STATES SECURITIES AND EXCHANGE COMMISSION Washington, D.C. 20549 FORM 10-K þ ANNUAL REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the fiscal year ended December 31, 2020 or ¨ TRANSITION REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the transition period from _______ to ______ Commission File No. 1-8625 READING INTERNATIONAL, INC. (Exact name of registrant as specified in its charter) Nevada 95-3885184 (State or other jurisdiction of incorporation or organization) (I.R.S. Employer Identification Number) 5995 Sepulveda Boulevard, Suite 300 Culver City, CA 90230 (Address of principal executive offices) (Zip Code) Registrant’s telephone number, including Area Code: (213) 235-2240 Securities Registered pursuant to Section 12(b) of the Act: Title of each class Trading Symbol Name of each exchange on which registered Class A Nonvoting Common Stock, $0.01 par value RDI NASDAQ Class B Voting Common Stock, $0.01 par value RDIB NASDAQ Securities registered pursuant to Section 12(g) of the Act: None Indicate by check mark if the registrant is a well-known seasoned issuer, as defined in Rule 405 of the Securities Act. Yes ¨ No þ Indicate by check mark if the registrant is not required to file reports pursuant to Section 13 or 15(d) of the Securities Exchange Act of 1934. Yes ¨ No þ Indicate by check mark whether registrant (1) has filed all reports required to be filed by Section 13 or 15(d) of the Exchange Act of 1934 during the preceding 12 months (or for shorter period than the Registrant was required to file such reports), and (2) has been subject to such filing requirements for the past 90 days.
    [Show full text]
  • Introduction
    NOTES INTRODUCTION 1. Nathanael West, The Day of the Locust (New York: Bantam, 1959), 131. 2. West, Locust, 130. 3. For recent scholarship on fandom, see Henry Jenkins, Textual Poachers: Television Fans and Participatory Culture (New York: Routledge, 1992); John Fiske, Understanding Popular Culture (New York: Routledge, 1995); Jackie Stacey, Star Gazing (New York: Routledge, 1994); Janice Radway, Reading the Romance (Chapel Hill: University of North Carolina, 1991); Joshua Gam- son, Claims to Fame: Celebrity in Contemporary America (Berkeley: Univer- sity of California Press, 1994); Georganne Scheiner, “The Deanna Durbin Devotees,” in Generations of Youth, ed. Joe Austin and Michael Nevin Willard (New York: New York University Press, 1998); Lisa Lewis, ed. The Adoring Audience: Fan Culture and Popular Media (New York: Routledge, 1993); Cheryl Harris and Alison Alexander, eds., Theorizing Fandom: Fans, Subculture, Identity (Creekskill, N.J.: Hampton Press, 1998). 4. According to historian Daniel Boorstin, we demand the mass media’s simulated realities because they fulfill our insatiable desire for glamour and excitement. To cultural commentator Richard Schickel, they create an “illusion of intimacy,” a sense of security and connection in a society of strangers. Ian Mitroff and Warren Bennis have gone as far as to claim that Americans are living in a self-induced state of unreality. “We are now so close to creating electronic images of any existing or imaginary person, place, or thing . so that a viewer cannot tell whether ...theimagesare real or not,” they wrote in 1989. At the root of this passion for images, they claim, is a desire for stability and control: “If men cannot control the realities with which they are faced, then they will invent unrealities over which they can maintain control.” In other words, according to these authors, we seek and create aural and visual illusions—television, movies, recorded music, computers—because they compensate for the inadequacies of contemporary society.
    [Show full text]
  • 3.50 Story by Joe Quesada and Jimmy Palmiotti
    http://www.dynamiteentertainment.com/cgi-bin/solicitations.pl 1. PAINKILLER JANE #1 Price: $3.50 STORY BY JOE QUESADA AND JIMMY PALMIOTTI; WRITTEN BY JIMMY PALMIOTTI; ART BY LEE MODER; COVER ART BY RON ADRIAN, STJEPAN SEJIC, GEORGES JEANTY, AND AMANDA CONNER Jane is back! The creative team of Joe Quesada, Jimmy Palmiotti and Lee Moder return for an all-new Painkiller Jane event! Picking up from the explosive events of issue #0, PKJ #1 hits the ground running as Jane faces international terrorists and the introduction of a brand new character - "The Infidel" who will change her world forever! Featruing cover art by Ron (Supergirl, RED SONJA) Adrian, Georges (Buffy) Jeanty, Amanda (Supergirl) Conner, and Stjepan (Darkness) Sejic! Find out for yourself why reviewers have described Jane and her creators as "Jimmy Palmiotti has a sick, twisted imagination, and he really cut it loose here. But the book really works because Lee Moder draws the hell out of it, depicting every gruesome moment with grisly adoration for the script." (Marc Mason, ComicsWaitingRoom.com) FANS! ASK YOUR LOCAL RETAILER ABOUT THE AMANDA CONNER BLACK AND WHITE SKETCH INCENTIVE COVER! FANS! ASK YOUR LOCAL RETAILER ABOUT THE RON ADRIAN NEGATIVE ART INCENTIVE COVER! FANS! ASK YOUR LOCAL RETAILER ABOUT THE AMANDA CONNER VARIANT SIGNED BY AMANDA CONNER AND JIMMY PALMIOTTI! 2. PAINKILLER JANE #1 - RON ADRIAN COVER AVAILABLE AS A BLOOD RED FOIL Price: $24.95 Jane is back! The creative team of Joe Quesada, Jimmy Palmiotti and Lee Moder return for an all-new Painkiller Jane event!
    [Show full text]
  • MEMOIRS of a GEISHA John Williams, Composer Dreamworks SKG Ian Bryce, Lucy Fisher, Steven Spielberg, Douglas Wick, Prods
    KENNETH WANNBERG MUSIC EDITOR MEMOIRS OF A GEISHA John Williams, Composer DreamWorks SKG Ian Bryce, Lucy Fisher, Steven Spielberg, Douglas Wick, prods. Rob Marshall, dir. STAR WARS: EPISODE 3-REVENGE John Williams, Composer OF THE SITH Lucas Film Rick McCallum, prod. George Lucas, dir. THE TERMINAL John Williams, Composer DreamWorks SKG Laurie MacDonald, Walter Parkes, Steven Spielberg, prods. Steven Spielberg, dir. HARRY POTTER AND THE PRISONER John Williams, Composer OF AZKABAN Warner Bros. David Heyman, prod. Alfonso Cuaron, dir. CATCH ME IF YOU CAN John Williams, Composer DreamWorks SKG Walter Parkes, Steven Spielberg, prods. Steven Spielberg, dir. MINORITY REPORT John Williams, Composer 20th Century Fox Walter Parkes, Jan De Bont, Gerald Molen, Bonnie Curtis, prods. Steven Spielberg, dir. STAR WARS: EPISODE 2-ATTACK OF John Williams, Composer THE CLONES LucasFilm / JAK Productions Rick McCallum, prod. George Lucas, dir. HARRY POTTER AND THE John Williams, Composer SORCERER’S STONE Warner Bros. David Heyman, prod. Chris Columbus, dir. The Gorfaine/Schwartz Agency, Inc. (818) 260-8500 1 KENNETH WANNBERG MUSIC EDITOR A.I.: ARTIFICIAL INTELLIGENCE John Williams, Composer DreamWorks / Warner Bros. Kathleen Kennedy, Bonnie Curtis, Steven Spielberg, prods. Steven Spielberg, dir. THE PATRIOT John Williams, Composer Sony Pictures Dean Devlin, Mark Gordon (II), Gary Levinson, prods. Roland Emmerich, dir. ANGELA’S ASHES John Williams, Composer Paramount Pictures David Brown, Alan Parker, Scott Rudin, prods. Alan Parker, dir. STAR WARS: THE PHANTOM John Williams, Composer MENACE Lucas Film Rick McCallum, prod. George Lucas, dir. STEPMOM John Williams, Composer Sony Pictures Wendy Finerman, Mark Radcliffe, Michael Barnathan, prods. Chris Columbus, dir. SAVING PRIVATE RYAN John Williams, Composer DreamWorks SKG Steven Spielberg, Mark Gordon, Ian Bryce, Gary Levinson, prods.
    [Show full text]
  • 10700990.Pdf
    The Dolby era: Sound in Hollywood cinema 1970-1995. SERGI, Gianluca. Available from the Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/20344/ A Sheffield Hallam University thesis This thesis is protected by copyright which belongs to the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Please visit http://shura.shu.ac.uk/20344/ and http://shura.shu.ac.uk/information.html for further details about copyright and re-use permissions. Sheffield Hallam University jj Learning and IT Services j O U x r- U u II I Adsetts Centre City Campus j Sheffield Hallam 1 Sheffield si-iwe Author: ‘3£fsC j> / j Title: ^ D o ltiu £ r a ' o UJTvd 4 c\ ^ £5ori CuCN^YTNCa IQ IO - Degree: p p / D - Year: Q^OO2- Copyright Declaration I recognise that the copyright in this thesis belongs to the author. I undertake not to publish either the whole or any part of it, or make a copy of the whole or any substantial part of it, without the consent of the author. I also undertake not to quote or make use of any information from this thesis without making acknowledgement to the author. Readers consulting this thesis are required to sign their name below to show they recognise the copyright declaration. They are also required to give their permanent address and date.
    [Show full text]
  • 08 SM 6/15 (TV Guide)
    Page 8 THE NORTON TELEGRAM Tuesday, June 15, 2004 Monday Evening June 21, 2004 7:00 7:30 8:00 8:30 9:00 9:30 10:00 10:30 11:00 11:30 KHGI/ABC Wife & Kid GLopez According Hope/Fait Weddings Gone Wild Local Local Local Local KBSH/CBS Standing Yes Dear Raymond 21/2Men CSI: Miami Local Late Show Late Late KSNK/NBC Fear Factor For Love Or Money 3 Who Wants to Marry Local Tonight Show Conan FOX North Shore The Casino Local Local Local Local Local Local Cable Channels A&E Pride Pride Pride AMC Mississippi Burning Jaws 2 Escape Fr ANIM Growing Up Cell Dogs Animal Precinct Growing Up Cell Dogs CNN Paula Zahn Now Larry King Live Newsnight Lou Dobbs Larry King Norton TV DISC Mythbusters Biker Girl Biker Build Off Monster House Biker Girl DISN Kim Possible Raven Sis Bug Juice Lizzie Boy Meets Even E! High Price of Fame Scream Play THS Howard Stern Celebrities Uncensore ESPN Monday Night Baseball Sportscenter Outside Sportscen ESPN2 NCAA College World Series Today At Wimbledon Streetball NBA Final FAM Addams Family Values Whose Lin Whose Lin The 700 Club Funniest Funniest FX Sleeping With The Enemy Nip/Tuck Nip/Tuck Sleeping With the Ene HGTV Smrt Dsgn Decor Ce Organize Dsgn Chal Dsgn Dim Dsgn Dme To Go Hunters Smrt Dsgn Decor Ce HIST Mail Call Color of W Band of Brothers Investigating History Question of Conspirac Mail Call Color of W LIFE Providence Stranger at the Door Golden Gr Golden Gr Nanny Nanny MTV Newlywed Must List Road Rule Road Rule Road Rule Faking Vid Making/G Special Video Clash Listings: NICK Fairly Odd Sabrina Full Hous Full Hous
    [Show full text]
  • PLAYNOTES Season: 43 Issue: 05
    PLAYNOTES SEASON: 43 ISSUE: 05 BACKGROUND INFORMATION PORTLANDSTAGE The Theater of Maine INTERVIEWS & COMMENTARY AUTHOR BIOGRAPHY Discussion Series The Artistic Perspective, hosted by Artistic Director Anita Stewart, is an opportunity for audience members to delve deeper into the themes of the show through conversation with special guests. A different scholar, visiting artist, playwright, or other expert will join the discussion each time. The Artistic Perspective discussions are held after the first Sunday matinee performance. Page to Stage discussions are presented in partnership with the Portland Public Library. These discussions, led by Portland Stage artistic staff, actors, directors, and designers answer questions, share stories and explore the challenges of bringing a particular play to the stage. Page to Stage occurs at noon on the Tuesday after a show opens at the Portland Public Library’s Main Branch. Feel free to bring your lunch! Curtain Call discussions offer a rare opportunity for audience members to talk about the production with the performers. Through this forum, the audience and cast explore topics that range from the process of rehearsing and producing the text to character development to issues raised by the work Curtain Call discussions are held after the second Sunday matinee performance. All discussions are free and open to the public. Show attendance is not required. To subscribe to a discussion series performance, please call the Box Office at 207.774.0465. By Johnathan Tollins Portland Stage Company Educational Programs are generously supported through the annual donations of hundreds of individuals and businesses, as well as special funding from: The Davis Family Foundation Funded in part by a grant from our Educational Partner, the Maine Arts Commission, an independent state agency supported by the National Endowment for the Arts.
    [Show full text]
  • Film Printing
    1 2 3 4 5 6 7 8 9 10 1 2 3 Film Technology in Post Production 4 5 6 7 8 9 20 1 2 3 4 5 6 7 8 9 30 1 2 3 4 5 6 7 8 9 40 1 2 3111 This Page Intentionally Left Blank 1 2 3 Film Technology 4 5 6 in Post Production 7 8 9 10 1 2 Second edition 3 4 5 6 7 8 9 20 1 Dominic Case 2 3 4 5 6 7 8 9 30 1 2 3 4 5 6 7 8 9 40 1 2 3111 4 5 6 7 8 Focal Press 9 OXFORD AUCKLAND BOSTON JOHANNESBURG MELBOURNE NEW DELHI 1 Focal Press An imprint of Butterworth-Heinemann Linacre House, Jordan Hill, Oxford OX2 8DP 225 Wildwood Avenue, Woburn, MA 01801-2041 A division of Reed Educational and Professional Publishing Ltd A member of the Reed Elsevier plc group First published 1997 Reprinted 1998, 1999 Second edition 2001 © Dominic Case 2001 All rights reserved. No part of this publication may be reproduced in any material form (including photocopying or storing in any medium by electronic means and whether or not transiently or incidentally to some other use of this publication) without the written permission of the copyright holder except in accordance with the provisions of the Copyright, Designs and Patents Act 1988 or under the terms of a licence issued by the Copyright Licensing Agency Ltd, 90 Tottenham Court Road, London, England W1P 0LP. Applications for the copyright holder’s written permission to reproduce any part of this publication should be addressed to the publishers British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging in Publication Data A catalogue record
    [Show full text]
  • Kcfringe2013online.Pdf
    WELCOME to FRINGE Welcome to the 9th annual Kansas City Fringe Festival! Thanks to our amazing group of over 200 volunteers we are able to produce the KC Fringe Festival — an eleven day celebration of all things art in Kansas City. The Board of Direc- tor and Committee of Operations includes more than 20 volunteers that work year round to make this Festival happen. All of these volunteers I consider family — the Fringe Family. A growing community that comes together to work, support and promote artists of all genres. Here in KC we host one of the most diverse Fringes in existence. We provide space for ANY artist of ANY genre to present their work — as long as we have room for them! The KC Fringe Festival continues to get bigger and better each year. This year the Festival presents 134 art- ists/groups performing 363 shows along with the Fruck! (That’s the Fringe Art Truck) We have developed a diverse and huge audience that continues to grow each year. KC Fringe has truly become Kansas City’s Premiere Arts Festival and is a key component of Kansas City’s grow- ing reputation as America’s Creative Crossroads. I trust that most of you know that the Fringe is an unjuried, uncensored arts Festival and therefore unpredictable! We pro- vide artists the freedom to explore and experiment, freedom to develop without predetermined outcomes, freedom to chal- lenge assumptions and freedom to take a creative leap that will shape our world in years to come. We thank our Strategic Partners — Samuel Bennett with the William T Kemper Foundation, Commerce Bank, Trustee, RareWire and VML Inc.
    [Show full text]
  • Che Kokosnuss
    Samstag, 4.5., 15.00 Uhr Samstag, 11.5., 15.00 Uhr Samstag, 18.5., 15.00 Uhr Samstag, 25.5., 15.00 Uhr Samstag, 1.6., 15.00 Uhr Samstag, 8.6., 15.00 Uhr Samstag, 15.6., 15.00 Uhr Sonntag, 5.5., 15.00 Uhr Sonntag, 12.5., 15.00 Uhr Sonntag, 19.5., 15.00 Uhr Sonntag, 26.5., 15.00 Uhr Sonntag, 2.6., 15.00 Uhr Sonntag, 9.6., 15.00 Uhr Sonntag, 16.6., 15.00 Uhr DIE WILDHEXE EINMAL MOND PETS RUDOLF DER KLEINE BENJI – SEIN DER KLEINE DRA- UND ZURÜCK DER SCHWARZE SPIROU GRÖSSTES CHE KOKOSNUSS KATER ABENTEUER – AUF IN DEN Der bekannte Showhund Benji DSCHUNGEL Clara ist eigentlich ein ganz Mike Goldwing, ein tapferer, Ein Wohnhaus in Manhattan: Rudolf ist ein kleiner schwar- Mit DER KLEINE SPIROU Der kleine Feuerdrache Kokos- geht auf einem Angeltrip verlo- normaler Teenager. Mit 12 entschlossener 12-jähriger Nachdem die Zweibeiner zur zer Kater, der ein behütetes, findet eine der beliebtesten nuss hofft sehr, dass er auf der ren und strandet in der verlas- Jahren hat sie andere Dinge Junge, ist der Sohn und Enkel Schule oder Arbeit gegangen aber auch ein ruhiges Leben frankobelgischen Comicfigu- Ferieninsel einen Wasserdra- senen Wildnis Oregons. Nun im Kopf als alte Sagen und von NASA-Astronauten. Sein sind, versammeln sich die als Hauskatze führt. Von ren ihren Weg auf die große chen trifft, so wie sein Opa ist er auf sich allein gestellt. Märchen. Das ändert sich, Großvater Frank, ein einst ver- Haustiere und verbringen der Abenteuerlust gepackt, Leinwand.
    [Show full text]