DOCSLIB.ORG

Pearl Bailey, Hello, Dolly!

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Pearl Bailey, Hello, Dolly! Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2011 "Baby, dream your dream": Pearl Bailey, Hello, Dolly!, and the negotiation of race in commerical American musical theatre Charles Eliot Mehler Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Theatre and Performance Studies Commons Recommended Citation Mehler, Charles Eliot, ""Baby, dream your dream": Pearl Bailey, Hello, Dolly!, and the negotiation of race in commerical American musical theatre" (2011). LSU Doctoral Dissertations. 4007. https://digitalcommons.lsu.edu/gradschool_dissertations/4007 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. ―BABY, DREAM YOUR DREAM:‖ PEARL BAILEY, HELLO, DOLLY!, AND THE NEGOTIATION OF RACE IN COMMERCIAL AMERICAN MUSICAL THEATRE A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of Theatre School of Music and Dramatic Arts by Charles Eliot Mehler B.A., Northwestern University, 1979 B.A. in Ed., Western Washington University, 1983 M.S., University of Colorado, 1987 M.A., Kansas State University, 2004 December, 2011 DEDICATION This study is dedicated to the small number of people who devote their lives to seeking a middle ground without compromising essential principle. This is substantially more difficult than existing at an extreme, and much more difficult than it appears. ii ACKOWLEDGEMENTS I would like to extend the most heartfelt thanks to all the people and associated institutions with whom it has been a pleasure to be acquainted: ACADEMIC/PROFESSIONAL: Les Wade (Ph.D. advisor), Femi Euba, Bill Grimes, Kristin Sosnowsky, Michael Tick, Jennifer Jones Cavenaugh, Leigh Clemons, John Fletcher, Mark Gasiorowski, Andreas Gieger, Allison McFarland, Sally Bailey, Dan Davy, Kate Anderson, Charlotte MacFarland, Lou Shelton, John Uthoff, Janice Stein, Barbara Napoli, Emily Kosh, Michael Dreznick, Elfi Sanderson, Cindy Cho, Roxanne Greenburger, Randee Blair, Bernie Beck, Sam Todes (dec.), Edris Cooper-Anifowoshe, Patrick Murphree, Miles Kreuger, Marty Jacobs and the staff at the Museum of the City of New York, the Lincoln Center Library, Tougaloo College (Jackson, Mississippi), State of Mississippi Archives, Alex Benjamin, Ben Medina, Hampton Williams (dec.?), Harold Sachs (dec.), Ellen Zuckerman Brandt, Marty Bass, Ervin Hart, and Francine Trombino. PERSONAL: Scott Wiersema, Elaine and David (dec.) Mehler, Evelyn and Bernie Seckler, Joseph Yichel (dec.) and Myrna Mehler, Steve London (dec.), Jeffrey and Blossom Mehler (and all of Blossom‘s ―sisters, cousins, and aunts‖ – and a special greeting to my brother and sister-in- law – I‘m handing in the draft of my dissertation on June 20, 2011, their 40th wedding anniversary), Max and Ruth Schlam (both dec.), Andrew and Ali Mehler, Lauren (Mehler) and Mark Strien (and little Kaitlyn Isabella, my newly arrived (7/31/10) great-niece), Eva Leskovac, Seymour and Jill Hirsh, Roseline Insdorf Horowitz, Patty Bugland, Jessica Kalish (dec.), Barry Elfant, Ronnie Gravino, Paul Siegel, Barrett Brick (and Antonio), Dean Spielvogel (dec.), Stuart iii Henlis, Michael Carr and Henry Siegel, Ken and Becky Klein, Brad Hennenfent, Alan Sachs, Paul Durfee (dec.), Joel Rose, Anne Larson, Warren and Stacey Silver (and ―Robbie,‖ ―Chip,‖ ―Ernie‖ and ―Dodie‖), Kenneth Hilton (and mama Erma) and Kenton Owens, Greg Nigosian, Barbara Georgans, Georgann Joseph, Steve and Lisa Young, Sean Dunham and Bill ―Woplock‖ Karnes, Sheila Schultz, Linda Kutner, Larry Toothman and Frank Bolick, Harley LeClere, Richard Cleaver, Jeanette and Vern Wiersema, Todd Wiersema, Andrew Wiersema, Ryan Wiersema, Jeff and Tina Wiersema, Bradd (―Bruno‖) Wiersema (dec.), Ed Parks, Tom Kinyon, Wolf Anglemeyer, Robert Krenek and Johnny Smith, Marilyn and Morty (dec.) Etra [Morty, you were right – I suppose based on the material in this dissertation, it was reasonable to describe me as ―some sort of nigger lover‖], Fran and Dave Marcus, Marcia and Murray (dec.) Wiener, Mary Margaret Rollins and Pam Bolton, Robert Olinde, Larry and Sylvia London (both dec.), and Tillie and Leo Mehler (both dec.). P.S.: If I left anyone out, let‘s attribute this to a ―middle aged moment‖ on my part. I love you all. iv PREFACE There are some atrocities for which even the most heartfelt of apologies will not suffice. The enslavement of Africans in the Western Hemisphere. Violence, subjugation, and ―therapy‖ directed at homosexuals. The slaughter of six million Jews in Hitler‘s ovens. Rape and brutality directed cross-culturally against women as they are treated as sexual chattel. The list goes on. David Merrick‘s attempt to rectify previous exclusionary practices against African- Americans attempting to partake in commercial American musical theatre, the Pearl Bailey-led production of Hello, Dolly!, probably does not even qualify as a ―most heartfelt apology.‖ There is no denial that Merrick‘s first motivation was making a buck. It‘s not that Merrick wasn‘t aware or concerned with the underlying issues of social justice involved in the production. The simple, perhaps inconvenient truth is that Merrick was motivated primarily by capitalist greed. David Merrick produced Broadway plays with the intent to make a profit for his investors. That was his job. Anything beyond that is gravy. Having said this, one must realize that it is equally true that the Bailey Dolly! represented a paradigm change in the way that African-American interests were treated in the venue of commercial American musical theatre. Before this production and for the overwhelming most part, the best a black performer could hope for was to land a part as some sort of exotic hot- house plant or to be relegated to servants‘ roles. Never mind the possibility of anything vaguely resembling the real interests of African-Americans being portrayed by black writing talent in commercial American musical theatre. It didn‘t happen. The era that followed the Bailey Dolly! displayed broader horizons for African-American talent in both these arenas. v We can look at the Bailey Dolly! as a feeble attempt to assuage the guilt that will not go away. Or we can look at the Bailey Dolly! as a point of light that showed the way to an era of greater cooperation. Or we can do both. Let us proceed. -- Charles Eliot Mehler Denham Springs, Louisiana July 5, 2011 vi TABLE OF CONTENTS Dedication ....................................................................................................................................... ii Acknowledgments.......................................................................................................................... iii Preface..............................................................................................................................................v List of Figures ..................................................................................................................................x Abstract .......................................................................................................................................... xi Introduction ......................................................................................................................................1 Problems Presented ..................................................................................................................3 Review of Scholarship ..............................................................................................................9 Methodology...........................................................................................................................18 Chapter Summaries ................................................................................................................19 Significance of the Study........................................................................................................24 Chapter I – Social Structures .........................................................................................................27 Chapter Introduction ...............................................................................................................27 Vertical Class Structures ........................................................................................................28 White Privilege/White Cooperation/White Condescension ...................................................41 Bucklin Moon and Adult Treatment.......................................................................................47 Fitful Attempts to Break Down Barriers ................................................................................53 Bourgeois Entrée and Imperfect Progress ..............................................................................55 The Case for African-American Bourgeois Assimilation ......................................................63 Chapter Conclusion ................................................................................................................64 Endnotes .................................................................................................................................66
Load more

Recommended publications
  • School of Drama 2020–2021
    BULLETIN OF YALE UNIVERSITY BULLETIN OF YALE BULLETIN OF YALE UNIVERSITY Periodicals postage paid New Haven ct 06520-8227 New Haven, Connecticut School of Drama 2020–2021 School of Drama 2020–2021 BULLETIN OF YALE UNIVERSITY Series 116 Number 13 August 30, 2020 BULLETIN OF YALE UNIVERSITY Series 116 Number 13 August 30, 2020 (USPS 078-500) The University is committed to basing judgments concerning the admission, education, is published seventeen times a year (one time in October; three times in September; four and employment of individuals upon their qualifications and abilities and a∞rmatively times in June and July; five times in August) by Yale University, 2 Whitney Avenue, New seeks to attract to its faculty, sta≠, and student body qualified persons of diverse back- Haven CT 06510. Periodicals postage paid at New Haven, Connecticut. grounds. In accordance with this policy and as delineated by federal and Connecticut law, Yale does not discriminate in admissions, educational programs, or employment against Postmaster: Send address changes to Bulletin of Yale University, any individual on account of that individual’s sex, race, color, religion, age, disability, PO Box 208227, New Haven CT 06520-8227 status as a protected veteran, or national or ethnic origin; nor does Yale discriminate on the basis of sexual orientation or gender identity or expression. Managing Editor: Kimberly M. Go≠-Crews University policy is committed to a∞rmative action under law in employment of Editor: Lesley K. Baier women, minority group members, individuals with disabilities, and protected veterans. PO Box 208230, New Haven CT 06520-8230 Inquiries concerning these policies may be referred to Valarie Stanley, Senior Direc- tor of the O∞ce of Institutional Equity and Access, 221 Whitney Avenue, 4th Floor, The closing date for material in this bulletin was July 30, 2020.
    [Show full text]
  • PLAYHOUSE SQUARE January 12-17, 2016
    For Immediate Release January 2016 PLAYHOUSE SQUARE January 12-17, 2016 Playhouse Square is proud to announce that the U.S. National Tour of ANNIE, now in its second smash year, will play January 12 - 17 at the Connor Palace in Cleveland. Directed by original lyricist and director Martin Charnin for the 19th time, this production of ANNIE is a brand new physical incarnation of the iconic Tony Award®-winning original. ANNIE has a book by Thomas Meehan, music by Charles Strouse and lyrics by Martin Charnin. All three authors received 1977 Tony Awards® for their work. Choreography is by Liza Gennaro, who has incorporated selections from her father Peter Gennaro’s 1977 Tony Award®-winning choreography. The celebrated design team includes scenic design by Tony Award® winner Beowulf Boritt (Act One, The Scottsboro Boys, Rock of Ages), costume design by Costume Designer’s Guild Award winner Suzy Benzinger (Blue Jasmine, Movin’ Out, Miss Saigon), lighting design by Tony Award® winner Ken Billington (Chicago, Annie, White Christmas) and sound design by Tony Award® nominee Peter Hylenski (Rocky, Bullets Over Broadway, Motown). The lovable mutt “Sandy” is once again trained by Tony Award® Honoree William Berloni (Annie, A Christmas Story, Legally Blonde). Musical supervision and additional orchestrations are by Keith Levenson (Annie, She Loves Me, Dreamgirls). Casting is by Joy Dewing CSA, Joy Dewing Casting (Soul Doctor, Wonderland). The tour is produced by TROIKA Entertainment, LLC. The production features a 25 member company: in the title role of Annie is Heidi Gray, an 11- year-old actress from the Augusta, GA area, making her tour debut.
    [Show full text]
  • Kert, Larry (1930-1991) Larry Kert and Carol Lawrence Performing on by Craig Kaczorowski the Ed Sullivan Show in 1958
    Kert, Larry (1930-1991) Larry Kert and Carol Lawrence performing on by Craig Kaczorowski the Ed Sullivan Show in 1958. Encyclopedia Copyright © 2015, glbtq, Inc. Film still from a YouTube video. Entry Copyright © 2010 glbtq, Inc. Reprinted from http://www.glbtq.com The gay actor and singer Larry Kert originated the lead romantic role of Tony in the landmark 1957 Broadway musical West Side Story. With his expressive, vibrant tenor, he introduced some of the most memorable songs in the Leonard Bernstein-Stephen Sondheim score, including "Maria," "Tonight," and "Something's Coming." In 1970, Kert triumphed again on Broadway in another Sondheim musical, Company, as Robert, a New York bachelor observing the strains and tensions in the marriages of his best friends, as well as struggling to commit emotionally to each of his three girlfriends. Other Broadway shows involving Kert were unfortunately short-lived, and his later career was devoted mainly to cabaret, television, and regional theater. He was born Frederick Lawrence Kert in Los Angeles, California on December 5, 1930 into a comfortably middle-class family. His father was a jeweler and his mother an actress. He had a brother, Morton, and two sisters, Evelyn and the singer later known as Anita Ellis. He initially attended Hollywood High School but transferred to the Hollywood Professional School in Los Angeles. While still in school, Kert performed as an extra and stunt double in several movies, including Lassie Come Home (1943), where he was a stand-in for the film's star Roddy McDowell. After graduation, Kert took some classes at Los Angeles City College but soon dropped out and moved to New York City where he studied with the celebrated acting teacher Sanford Meisner.
    [Show full text]
  • Indians in the American System: Past and Present, Student Book. the Lavinia and Charles P
    DOCUMENT RESUME ED 129 694 SO 009 474 AUTHOR Westbury, Ian; Westbury, Susan TITLE Indians in the American System: Past and Present, Student Book. The Lavinia and Charles P. Schwartz Citizenship Project. INSTITUTION Chicago Univ., Ill. Graduate School of Education. PUB nAT7 75 NOTE 80p.; For related documents, see SO 009 469-473 7,,DRS PRICE MF-$0.83 HC-$4.67 Plus Postage. DESCRIPTORS *American Indian Culture; *American Indians; Anthropology; *Citizenship; Cultural Differences; Culture Conflict; Ethnic.Groups; Ethnic Stereotypes; Life Style; Pol'tical Science; Political Socialization; Reservations (Indian) ;Secondary Educa+ion; Social Studies; *United States History; War ABSTRACT The purpose of this curriculum unit on citizenship education is to enrich the way students think about AmericanIndians by presenting the history of American Indians and their relationship with white Americans. The first chapter discusses the kindsof ideas people have about Indians, especially stereotypes of Indians being wild, red-colored, and uncivilized. The second chapterlooks at the prehistory of Indian culture to see the ways in which Indianpeoples learned to exploit the land. The excavations ofan Indian camp site at Green Point, Michigan, are described, including discussionof the dig, findings, and changes in Indian life from S00-1700A.D. Chapter three recounts Indian-white relations during 1600-1900 inorder to explore what happened when a stone-age culture facedan acquisitive white culture that was more highly developed and hadmore resources. The Iroquois Indians in the northeastserve as an example of how Indian life patterns were destroyed by European, occupationof America. The last chapter examines the Indian-whitecontact and the way it has caused recent problems for Indians.
    [Show full text]
  • PSC-CUNY Research Awards (Traditional A)
    PSC-CUNY Research Awards (Traditional A) Control No: TRADA-42-229 Name : Willinger, David Rank: Professor Address : Tenured: Yes Telephone : College: CITY COLLEGE Email: Panel: Performing Arts Performing Arts Discipline : Scholarship Human Subject Use No Animal Subject Use No Supplementary Materials No List of Supplementary Material Department THEATER Title of Proposed Project: IVO VAN HOVE: A MAJOR THEATRE ARTIST AND HIS WORK Brief Abstract This is a proposal for a major book-length retrospective study of Ivo Van Hove’s career as a theatre director. It would take on his design innovations and his revolutionary approach to text and theatrical ambiance as well as chart the relationships with specific theatres and theatre companies of this, one of the most prominent theatre iconoclasts alive today. Van Hove is particularly important in that he acts as one of the few long-time “bridges” between European and American praxis. His career, in itself, represents a model of cross-fertilization, as he has brought European radical interpretation of classics to America and American organic acting to Europe. This book, as conceived would contain a generous number of images illustrating his productions and archive a wide cross-section of critical and analytical responses that have engaged in the controversies his work has engendered, as well as posit new, overarching hypotheses. Relevant Publications PUBLICATIONS & Scholarship BOOKS A Maeterlinck Reader (co-edited with Daniel Gerould) New York, Francophone Belgian Series, Peter Lang Publications, 2011 Translations of The Princess Maleine, Pelleas and Melisande, The Intruder, The Blind, The Death of Tintagiles, and numerous essays, with an extensive historical and analytical introduction, 358 pp.
    [Show full text]
  • KS5 Exploring Performance Styles in Musical Theatre
    Exploring performance KS5 styles in Musical Theatre Heidi McEntee Heidi McEntee is a Dance and KS5 – BTEC LEVEL 3, UNIT D10 Performing Arts specialist based in the Midlands. She has worked in education for over fifteen years delivering a variety of Dance and Performing Arts qualifications at Introduction Levels 1, 2 and 3. She is a Senior Unit D10: Exploring Performance Styles is one of the three units which sit within Module D: Assessment Associate working on musical theatre Skills Development from the new BTEC Level 3 in Performing Arts Practice Performing Arts qualifications and (musical theatre) qualification. This scheme of work focuses on the first unit which introduces a contributing author for student and explores different musical theatre styles. revision guides. This unit requires learners to develop their practical skills in dance, acting and singing while furthering their understanding of musical theatre styles. The unit culminates in a performance of two extracts in two different styles of musical theatre as well as a critical review of the stylistic qualities within these extracts. This scheme of work provides a suggested approach to six weeks of introductory classes, as a part of a full timetable, which explores the development of performance styles through the history of musical theatre via practical activities, short projects and research tasks. Learning objectives By the end of this scheme, learners will have: § Investigated the history of musical theatre and the factors which have influenced its development Unit D10: Exploring Performance § Explored the characteristics of different musical theatre styles and how they have developed Styles from BTEC L3 Nationals over time Performing Arts Practice (musical § Applied stylistic conventions to the performance of material theatre) (2019) § Examined professional work through critical analysis.
    [Show full text]
  • Jazz – Pop – Rock Gesamtliste Stand Januar 2021
    Jazz – Pop – Rock Gesamtliste Stand Januar 2021 50 Cent Thing is back CD 1441 77 Bombay Str. Up in the Sky CD 1332 77 Bombay Street Oko Town CD 1442 77 Bombay Street Seven Mountains CD 1684 7 Dollar Taxi Bomb Shelter Romance CD 1903 Abba The Definitive Collection CD 1085 Abba Gold CD 243 Abba (Feat.) Mamma Mia! Feat. Abba CD 992 Above & Beyond We are all we need CD 1643 AC/DC Black Ice CD 1044 AC/DC Rock or Bust CD 1627 Adams, Bryan Tracks of my Years CD 1611 Adams, Bryan Reckless CD 1689 Adele Adele 19 CD 1009 Adele Adele: 21 CD 1285 Adele Adele 25 CD 1703 Aguilera, Christina Liberation CD 1831 a-ha 25 Twenty Five CD 1239 Airbow, Tenzin Reflecting Signs CD 1924 Albin Brun/Patricia Draeger Glisch d’atun CD 1849 Ali Erol CD 1801 Allen, Lily It’s not Me, it’s You CD 1550 Allen, Lily Sheezus CD 1574 Alt-J An Awsome Wave CD 1503 Alt-J This is all yours CD 1637 Alt-J This is all yours, too CD 1654 Amir Au Cœurs de moi CD 1730 Girac, Kendji Amigo CD 1842 Anastacia Heavy rotation CD 1301 Anastacia Resurrection CD 1587 Angèle Brol la Suite CD 1916 Anthony, Marc El Cantante CD 1676 Arctic Monkeys Whatever people say CD 1617 Armatrading, Joan Starlight CD 1423 Ärzte, Die Jazz ist anders CD 911 Aslan Hype CD 1818 Avicii Tim CD 1892 Avidan, Assaf Gold Shadow CD 1669 Azcano, Juli Distancias CD 1851 Azcano, Julio/Arroyo, M. New Tango Songbook CD 1850 Baba Shrimps Neon CD 1570 Baker, Bastian Tomorrow may not be better CD 1397 Baker, Bastian Noël’s Room CD 1481 Baker, Bastian Too old to die young CD 1531 Baker, Bastian Facing Canyons CD 1702 Bailey Rae, Corinne The Heart speaks in Whispers CD 1733 Barclay James H.
    [Show full text]
  • American Music Research Center Journal
    AMERICAN MUSIC RESEARCH CENTER JOURNAL Volume 19 2010 Paul Laird, Guest Co-editor Graham Wood, Guest Co-editor Thomas L. Riis, Editor-in-Chief American Music Research Center College of Music University of Colorado Boulder THE AMERICAN MUSIC RESEARCH CENTER Thomas L. Riis, Director Laurie J. Sampsel, Curator Eric J. Harbeson, Archivist Sister Mary Dominic Ray, O.P. (1913–1994), Founder Karl Kroeger, Archivist Emeritus William Kearns, Senior Fellow Daniel Sher, Dean, College of Music William S. Farley, Research Assistant, 2009–2010 K. Dawn Grapes, Research Assistant, 2009–2011 EDITORIAL BOARD C. F. Alan Cass Kip Lornell Susan Cook Portia Maultsby Robert R. Fink Tom C. Owens William Kearns Katherine Preston Karl Kroeger Jessica Sternfeld Paul Laird Joanne Swenson-Eldridge Victoria Lindsay Levine Graham Wood The American Music Research Center Journal is published annually. Subscription rate is $25.00 per issue ($28.00 outside the U.S. and Canada). Please address all inquiries to Lisa Bailey, American Music Research Center, 288 UCB, University of Colorado, Boulder, CO 80309-0288. E-mail: [email protected] The American Music Research Center website address is www.amrccolorado.org ISSN 1058-3572 © 2010 by the Board of Regents of the University of Colorado INFORMATION FOR AUTHORS The American Music Research Center Journal is dedicated to publishing articles of general interest about American music, particularly in subject areas relevant to its collections. We welcome submission of articles and pro- posals from the scholarly community, ranging from 3,000 to 10,000 words (excluding notes). All articles should be addressed to Thomas L. Riis, College of Music, University of Colorado Boulder, 301 UCB, Boulder, CO 80309-0301.
    [Show full text]
  • Student Guide Table of Contents
    GOODSPEED MUSICALS STUDENT GUIDE TABLE OF CONTENTS APRIL 13 - JUNE 21, 2018 THE GOODSPEED Production History.................................................................................................................................................................................3 Synopsis.......................................................................................................................................................................................................4 Characters......................................................................................................................................................................................................5 Meet the Writers.....................................................................................................................................................................................6 Meet the Creative Team........................................................................................................................................................................8 Presents for Mrs. Rogers......................................................................................................................................................................9 Will Rogers..............................................................................................................................................................................................11 Wiley Post, Aviation Marvel..............................................................................................................................................................16
    [Show full text]
  • (XXXIX:9) Mel Brooks: BLAZING SADDLES (1974, 93M) the Version of This Goldenrod Handout Sent out in Our Monday Mailing, and the One Online, Has Hot Links
    October 22, 2019 (XXXIX:9) Mel Brooks: BLAZING SADDLES (1974, 93m) The version of this Goldenrod Handout sent out in our Monday mailing, and the one online, has hot links. Spelling and Style—use of italics, quotation marks or nothing at all for titles, e.g.—follows the form of the sources. DIRECTOR Mel Brooks WRITING Mel Brooks, Norman Steinberg, Richard Pryor, and Alan Uger contributed to writing the screenplay from a story by Andrew Bergman, who also contributed to the screenplay. PRODUCER Michael Hertzberg MUSIC John Morris CINEMATOGRAPHY Joseph F. Biroc EDITING Danford B. Greene and John C. Howard The film was nominated for three Oscars, including Best Actress in a Supporting Role for Madeline Kahn, Best Film Editing for John C. Howard and Danford B. Greene, and for Best Music, Original Song, for John Morris and Mel Brooks, for the song "Blazing Saddles." In 2006, the National Film Preservation Board, USA, selected it for the National Film Registry. CAST Cleavon Little...Bart Gene Wilder...Jim Slim Pickens...Taggart Harvey Korman...Hedley Lamarr Madeline Kahn...Lili Von Shtupp Mel Brooks...Governor Lepetomane / Indian Chief Burton Gilliam...Lyle Alex Karras...Mongo David Huddleston...Olson Johnson Liam Dunn...Rev. Johnson Shows. With Buck Henry, he wrote the hit television comedy John Hillerman...Howard Johnson series Get Smart, which ran from 1965 to 1970. Brooks became George Furth...Van Johnson one of the most successful film directors of the 1970s, with Jack Starrett...Gabby Johnson (as Claude Ennis Starrett Jr.) many of his films being among the top 10 moneymakers of the Carol Arthur...Harriett Johnson year they were released.
    [Show full text]
  • Baseball Opera and Musical Theater Baseball Operas 1888
    Baseball Opera and Musical Theater Baseball Operas 1888 - “Angela: or the Umpire’s Revenge” - by Paul Eaton, features "He Stands in the Box with the Ball in His Hands," "The Umpire and the Dude," and "An Umpire I, Who Ne'er Say Die," scored by John Philip Sousa 1953 - “The Mighty Casey” - music by William Schuman, libretto by Jeremy Guy 2007 - “Cooperstown -- Jazz Opera in Nine Innings” - music by Sasha Matson, libretto by Mark Miller and Sasha Matson 2007 - “The Summer King” - music by Daniel Sonenberg, libretto by Daniel Nester & Sonenberg 2010 - “Shadowball” - music by Julian Joseph, libretto by Mike Phillips 2012 - “Play Ball” - by Warren Nelson 2013 - “Bambino” - by Richard Maltz 2019 – “The Fix” – music by Joel Puckett, libretto by Eric Simonson Baseball Operetta 1947 - “The Fighting Phillies” by Rod Johnston and Bill Schall Baseball Cantata 1948 - “Brooklyn Baseball Cantata” by George Kleinsinger Baseball Musicals 1905 - “The Umpire” - music by Joseph E. Howard, words by Will M. Hough & Frank R. Adams 1955 - “Damn Yankees” - music by Richard Adler, lyrics by Jerry Ross, book by George Abbott & Douglass Wallop 1966 - “Batter Up!” - by Chuck Puckett 1974 - “There Goes the Old Ball Game” - by Dick Poston 1981 - “1919: A Baseball Opera” - by Rusty (Benjamin Rush) Magee 1981 - “The First” - music by Bob Brush, words by Martin Charnin 1982 - “Seasons in the Sun” - music by Udo Jergens, words by Paul & Alan Rolnick 1985 - “Bingo!” - book by Ossie Davis and Hy Gilbert, lyrics by Gilbert, music by George Fischoff 1990 - “The Artful Dodgers” - by Mary Donnelly & George L. O. Strid 1990 - “Triple Play!” - by Larry Nestor 2010 - “Johnny Baseball” - music by Robert Reale, lyrics by Willie Reale, book by Richard Dresser 2010 - “National Pastime” - book by Tony Sportiello, music & lyrics by Albert M.
    [Show full text]
  • Rachel Chavkin Takes on Broadway
    Arts & Humanities High Art, High Ideals: Rachel Chavkin Takes on Broadway The Tony Award-winning director of Hadestown may be theater’s most forward- thinking artist. By Stuart Miller '90JRN | Fall 2019 Zack DeZon / Getty Images Making her way to the stage of Radio City Music Hall to accept the 2019 Tony Award for best direction of a musical, Rachel Chavkin ’08SOA was thinking about time. She had all of ninety seconds to get to the microphone and deliver her speech, which was written on a much-creased piece of paper folded in her hands. Seven months pregnant, Chavkin, thirty-eight, was not about to sprint. As she told Columbia Magazine days later, “I warned my husband: if they call my name, I won’t have time to hug you!” Hadestown, an enthralling, profoundly moving retelling of the myth of Orpheus and Eurydice, would, by night’s end, capture eight awards, including best original score and best musical. The accolades were not only hard won — Chavkin, a leading light of experimental theater, and Anaïs Mitchell, a singer-songwriter from Vermont, shaped and refined Hadestown for seven years — but also, some might say, overdue. In seventy-three years of the Tony Awards (named after Antoinette Perry, an actress, director, and theater advocate), Chavkin became just the fourth woman to win for best direction of a musical, joining Julie Taymor (The Lion King), Susan Stroman (The Producers), and Diane Paulus ’97SOA (Pippin). And in 2019, out of twelve new musicals on Broadway, Hadestown was the only one directed by a woman. The show, playing at the Walter Kerr Theatre on West 48th Street, is set mostly in a New Orleans–style barrelhouse at a time of economic and environmental decay.
    [Show full text]