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The Dublin Gate Theatre Archive, 1928 - 1979
Charles Deering McCormick Library of Special Collections Northwestern University Libraries Dublin Gate Theatre Archive The Dublin Gate Theatre Archive, 1928 - 1979 History: The Dublin Gate Theatre was founded by Hilton Edwards (1903-1982) and Micheál MacLiammóir (1899-1978), two Englishmen who had met touring in Ireland with Anew McMaster's acting company. Edwards was a singer and established Shakespearian actor, and MacLiammóir, actually born Alfred Michael Willmore, had been a noted child actor, then a graphic artist, student of Gaelic, and enthusiast of Celtic culture. Taking their company’s name from Peter Godfrey’s Gate Theatre Studio in London, the young actors' goal was to produce and re-interpret world drama in Dublin, classic and contemporary, providing a new kind of theatre in addition to the established Abbey and its purely Irish plays. Beginning in 1928 in the Peacock Theatre for two seasons, and then in the theatre of the eighteenth century Rotunda Buildings, the two founders, with Edwards as actor, producer and lighting expert, and MacLiammóir as star, costume and scenery designer, along with their supporting board of directors, gave Dublin, and other cities when touring, a long and eclectic list of plays. The Dublin Gate Theatre produced, with their imaginative and innovative style, over 400 different works from Sophocles, Shakespeare, Congreve, Chekhov, Ibsen, O’Neill, Wilde, Shaw, Yeats and many others. They also introduced plays from younger Irish playwrights such as Denis Johnston, Mary Manning, Maura Laverty, Brian Friel, Fr. Desmond Forristal and Micheál MacLiammóir himself. Until his death early in 1978, the year of the Gate’s 50th Anniversary, MacLiammóir wrote, as well as acted and designed for the Gate, plays, revues and three one-man shows, and translated and adapted those of other authors. -
Local Pictures Needed for Coming Celebration
VOL. Ill, NO. 49 • $1.00 A YEAR "~potllgllt NOVEMBER 13, 1958 • TEN CENTS A WEEKLY NEWSMAGAZINE A· D A I L Y H A B I T Will You Be There? "YEARS AGO" SCHEDULED LOCAL PICTURES NEEDED FOR BY LOCAL PLAYERS Mrs. Betty Sherwin, Chairman1 Motor Service, Albany County COMING CELEBRATION "Years Ago, 11 a comedy by Chapter, American Red Cross, Ruth Gordon, will open at the announced today the second an Hudson and Champlain sail a pictorial history exhibit, includ Bethlehem Central Junior High nual training •course for those in gain • • • and ideas about their ing many periods of town his School on Wednesday, Novem terested in joining as volunteer historical time and period are tory, is being sought. ber 19, at 8:30 p.m. The play, drivers. The course, under the causing many a group and com It is not necessary to have a which is presented in arena style leadership of Mrs. E.L. Larcher, mittee to unfurl their sails and pictme of Hemy Hudson riding by the Slingerlands Community Training Chairman for the Ser establish their communities par at anchor at the mouth of the Players, will run for four suc 1 vice, is scheduled for November ticipation in New York State s Normanskill; or of Albery Bradt, cessive nights. All seats are re 12, 19, and 25, and December year of Historical obserVances, who leased mill privileges on the served. Tickets may be ordered 3 and 10, fl'om 7:30 to 9:30 which begins January 1, 1959. No"rmanskill in 1630, and is con by telephoning 9-4158 or may be p.m. -
ANTA Theater and the Proposed Designation of the Related Landmark Site (Item No
Landmarks Preservation Commission August 6, 1985; Designation List 182 l.P-1309 ANTA THFATER (originally Guild Theater, noN Virginia Theater), 243-259 West 52nd Street, Manhattan. Built 1924-25; architects, Crane & Franzheim. Landmark Site: Borough of Manhattan Tax Map Block 1024, Lot 7. On June 14 and 15, 1982, the Landmarks Preservation Commission held a public hearing on the proposed designation as a Landmark of the ANTA Theater and the proposed designation of the related Landmark Site (Item No. 5). The hearing was continued to October 19, 1982. Both hearings had been duly advertised in accordance with the provisions of law. Eighty-three witnesses spoke in favor of designation. Two witnesses spoke in opposition to designation. The owner, with his representatives, appeared at the hearing, and indicated that he had not formulated an opinion regarding designation. The Commission has received many letters and other expressions of support in favor of this designation. DESCRIPTION AND ANALYSIS The ANTA Theater survives today as one of the historic theaters that symbolize American theater for both New York and the nation. Built in the 1924-25, the ANTA was constructed for the Theater Guild as a subscription playhouse, named the Guild Theater. The fourrling Guild members, including actors, playwrights, designers, attorneys and bankers, formed the Theater Guild to present high quality plays which they believed would be artistically superior to the current offerings of the commercial Broadway houses. More than just an auditorium, however, the Guild Theater was designed to be a theater resource center, with classrooms, studios, and a library. The theater also included the rrost up-to-date staging technology. -
Cole Porter: the Social Significance of Selected Love Lyrics of the 1930S
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Unisa Institutional Repository Cole Porter: the social significance of selected love lyrics of the 1930s by MARILYN JUNE HOLLOWAY submitted in accordance with the requirements for the degree of MASTER OF ARTS in the subject of ENGLISH at the UNIVERSITY OF SOUTH AFRICA SUPERVISOR: PROFESSOR IA RABINOWITZ November 2010 DECLARATION i SUMMARY This dissertation examines selected love lyrics composed during the 1930s by Cole Porter, whose witty and urbane music epitomized the Golden era of American light music. These lyrics present an interesting paradox – a man who longed for his music to be accepted by the American public, yet remained indifferent to the social mores of the time. Porter offered trenchant social commentary aimed at a society restricted by social taboos and cultural conventions. The argument develops systematically through a chronological and contextual study of the influences of people and events on a man and his music. The prosodic intonation and imagistic texture of the lyrics demonstrate an intimate correlation between personality and composition which, in turn, is supported by the biographical content. KEY WORDS: Broadway, Cole Porter, early Hollywood musicals, gays and musicals, innuendo, musical comedy, social taboos, song lyrics, Tin Pan Alley, 1930 film censorship ii ACKNOWLEDGEMENTS I should like to thank Professor Ivan Rabinowitz, my supervisor, who has been both my mentor and an unfailing source of encouragement; Dawie Malan who was so patient in sourcing material from libraries around the world with remarkable fortitude and good humour; Dr Robin Lee who suggested the title of my dissertation; Dr Elspa Hovgaard who provided academic and helpful comment; my husband, Henry Holloway, a musicologist of world renown, who had to share me with another man for three years; and the man himself, Cole Porter, whose lyrics have thrilled, and will continue to thrill, music lovers with their sophistication and wit. -
Title: Title: Title
Title: 45 Seconds from Broadway Author: Simon, Neil Publisher: Samuel French 2003 Description: roy comedy - friendship - Broadway twelve characters six male; six female two acts interior set; running time: more than 120 minutes; 1 setting From America's master of Contemporary Broadway Comedy, here is another revealing comedy behind the scenes in the entertainment world, this time near the heart of the theatre district. 45 Seconds from Broadway takes place in the legendary "Polish Tea Room" on New York's 47th Street. Here Broadway theatre personalities washed-up and on-the-rise, gather to schmooz even as they Title: Aberhart Summer, The Author: Massing, Conni Publisher: NeWest Press 1999 Description: roy comedy - historical - Alberta playwright - Canadian eleven characters eight male; three female two acts "Based on Bruce Allen Powe's 1984 novel [of the same name], Massing's marvelous play is at once a gripping Alberta history lesson, a sweetly nostalgic comedy and a cracking-good-murder-mystery, all rolled up into one big, bright ball of theatrical energy and verve..." Calgary Herald "At its best, Aberhart Summer is a vivid and unsentimental depiction of small-town Canadian life in Title: Accidents Happen Seven short plays Author: DeAngelis, J. Michael Barry, Pete Publisher: Samuel French 2010 Description: roy comedy large cast flexible casting seven one acts Seven of The Porch Room's best short plays collected together into an evening of comedy that proves that no matter what you plan for - accidents happen. The shorts can be performed together as a full-length show or on their own as one acts. -
Cole Albert Porter (June 9, 1891 October 15, 1964) Was An
Cole Albert Porter (June 9, 1891 October 15, 1964) was an American composer and songwriter. Born to a wealthy family in Indiana, he defied the wishes of his dom ineering grandfather and took up music as a profession. Classically trained, he was drawn towards musical theatre. After a slow start, he began to achieve succe ss in the 1920s, and by the 1930s he was one of the major songwriters for the Br oadway musical stage. Unlike many successful Broadway composers, Porter wrote th e lyrics as well as the music for his songs. After a serious horseback riding accident in 1937, Porter was left disabled and in constant pain, but he continued to work. His shows of the early 1940s did not contain the lasting hits of his best work of the 1920s and 30s, but in 1948 he made a triumphant comeback with his most successful musical, Kiss Me, Kate. It w on the first Tony Award for Best Musical. Porter's other musicals include Fifty Million Frenchmen, DuBarry Was a Lady, Any thing Goes, Can-Can and Silk Stockings. His numerous hit songs include "Night an d Day","Begin the Beguine", "I Get a Kick Out of You", "Well, Did You Evah!", "I 've Got You Under My Skin", "My Heart Belongs to Daddy" and "You're the Top". He also composed scores for films from the 1930s to the 1950s, including Born to D ance (1936), which featured the song "You'd Be So Easy to Love", Rosalie (1937), which featured "In the Still of the Night"; High Society (1956), which included "True Love"; and Les Girls (1957). -
Life with Father on the Screen 7
The American Century Theater Presents… “LifeWithFather” (Based on the writings of Clarence Day, Jr.) by Howard Lindsay and Russel Crouse Audience Guide Audience Guide Nov.About 25–Dec. The American 6 2008; Jan. Century 8-24, Theater2009 Compiled and Edited by Jack Marshall The American Century Theater was founded in 1994. We are a professional company dedicated to presenting great, important, and neglected American plays of the Twentieth Century… what Henry Luce called “the American Century.” The company’s mission is one of rediscovery, enlightenment, and perspective, not nostalgia or preservation. Americans must not lose the extraordinary vision and wisdom of past playwrights, nor can we afford to surrender our moorings to our shared cultural heritage. Our mission is also driven by a conviction that communities need theater, and theater needs audiences. To those ends, this company is committed to producing plays that challenge and move all Americans, of all ages, origins and points of view. In particular, we strive to create theatrical experiences that entire families can watch, enjoy, and discuss long afterward. These study guides are part of our effort to enhance the appreciation of these works, so rich in history, content, and grist for debate. 2 Table of Contents The Playwrights 4 Life With Father on the Screen 7 Clarence Shepard Day, Jr. 13 The Gift of Song 14 By Clarence Shepard Day, Jr. TV Domestic Comedy 18 American Century Theater Season 22 3 The Playwrights: Howard Lindsay (1889-1968) and Russel Crouse (1893-1966) Lindsay and Crouse were one of the most dynamic, successful and long-lasting theatrical teams in American theater history, though they are almost forgotten today. -
Good Chemistry James J
Columbia College Fall 2012 TODAY Good Chemistry James J. Valentini Transitions from Longtime Professor to Dean of the College your Contents columbia connection. COVER STORY FEATURES The perfect midtown location: 40 The Home • Network with Columbia alumni Front • Attend exciting events and programs Ai-jen Poo ’96 gives domes- • Dine with a client tic workers a voice. • Conduct business meetings BY NATHALIE ALONSO ’08 • Take advantage of overnight rooms and so much more. 28 Stand and Deliver Joel Klein ’67’s extraordi- nary career as an attorney, educator and reformer. BY CHRIS BURRELL 18 Good Chemistry James J. Valentini transitions from longtime professor of chemistry to Dean of the College. Meet him in this Q&A with CCT Editor Alex Sachare ’71. 34 The Open Mind of Richard Heffner ’46 APPLY FOR The venerable PBS host MEMBERSHIP TODAY! provides a forum for guests 15 WEST 43 STREET to examine, question and NEW YORK, NY 10036 disagree. TEL: 212.719.0380 BY THOMAS VIncIGUERRA ’85, in residence at The Princeton Club ’86J, ’90 GSAS of New York www.columbiaclub.org COVER: LESLIE JEAN-BART ’76, ’77J; BACK COVER: COLIN SULLIVAN ’11 WITHIN THE FAMILY DEPARTMENTS ALUMNI NEWS Déjà Vu All Over Again or 49 Message from the CCAA President The Start of Something New? Kyra Tirana Barry ’87 on the successful inaugural summer of alumni- ete Mangurian is the 10th head football coach since there, the methods to achieve that goal. The goal will happen if sponsored internships. I came to Columbia as a freshman in 1967. (Yes, we you do the other things along the way.” were “freshmen” then, not “first-years,” and we even Still, there’s no substitute for the goal, what Mangurian calls 50 Bookshelf wore beanies during Orientation — but that’s a story the “W word.” for another time.) Since then, Columbia has compiled “The bottom line is winning,” he said. -
Ii. Theory and Practice of Editing New Yorker Articles
II. THEORY AND PRACTICE OF EDITING NEW YORKER ARTICLES This was written by Wolcott Gibbs around 1937, apparently at the request of Katharine White, who was then trying out a succession of new fiction editors. Though it has passed into New Yorker legend, "Theory and Practice" was a working document and fairly reflected the magazine's guidelines and tastes of the time. [--from Genius in Disguise: Harold Ross of the New Yorker, by Thomas Kunkel (Carroll & Graf,NY 1995] THE AVERAGE CONTRIBUTOR TO THIS MAGAZINE IS SEMI-LITERATE; that is, he is ornate to no purpose, rull of senseless and elegant variations, and can be relied on to use three sentences where a word would do. It is impossible to lay down any exact and complete formula for bringing order out of this underbrush, but there are a few general rules. 1. Writers always use too damn many adverbs. On one page, recently, I found eleven modifying the verb "said": "He said morosely, violently, eloquently," and so on. Editorial theory should probably be that a writer who can't make his context indicate the way his character is talking ought to be in another line of work. Anyway, it is impossible for a character to go through all these emotional states one after the other. Lon Chancy might be able to do it, but he is dead 2. Word "said" is O.K. Efforts to avoid repetition by inserting "grunted," "snorted," etc., are waste motion, and offend the pure in heart. 3. Our writers are full of cliches, just as old barns are full of bats. -
The Great American Songbook in the Classical Voice Studio
THE GREAT AMERICAN SONGBOOK IN THE CLASSICAL VOICE STUDIO BY KATHERINE POLIT Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May, 2014 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music. ___________________________________ Patricia Wise, Research Director and Chair __________________________________ Gary Arvin __________________________________ Raymond Fellman __________________________________ Marietta Simpson ii For My Grandmothers, Patricia Phillips and Leah Polit iii ACKNOWLEDGMENTS I wish to express my sincerest thanks to the members of my committee—Professor Patricia Wise, Professor Gary Arvin, Professor Marietta Simpson and Professor Raymond Fellman—whose time and help on this project has been invaluable. I would like to especially thank Professor Wise for guiding me through my education at Indiana University. I am honored to have her as a teacher, mentor and friend. I am also grateful to Professor Arvin for helping me in variety of roles. He has been an exemplary vocal coach and mentor throughout my studies. I would like to give special thanks to Mary Ann Hart, who stepped in to help throughout my qualifying examinations, as well as Dr. Ayana Smith, who served as my minor field advisor. Finally, I would like to thank my family for their love and support throughout my many degrees. Your unwavering encouragement is the reason I have been -
Portraits in the Life of Oliver Wolcott^Jn
'Memorials of great & good men who were my friends'': Portraits in the Life of Oliver Wolcott^Jn ELLEN G. MILES LIVER woLCOTT, JR. (1760-1833), like many of his contemporaries, used portraits as familial icons, as ges- Otures in political alliances, and as public tributes and memorials. Wolcott and his father Oliver Wolcott, Sr. (i 726-97), were prominent in Connecticut politics during the last quarter of the eighteenth century and the first quarter of the nineteenth. Both men served as governors of the state. Wolcott, Jr., also served in the federal administrations of George Washington and John Adams. Withdrawing from national politics in 1800, he moved to New York City and was a successful merchant and banker until 1815. He spent the last twelve years of his public life in Con- I am grateful for a grant from the Smithsonian Institution's Research Opportunities Fund, which made it possible to consult manuscripts and see portraits in collecdüns in New York, Philadelphia, Boston, New Haven, î lartford. and Litchfield (Connecticut). Far assistance on these trips I would like to thank Robin Frank of the Yale Universit)' Art Gallery, .'\nne K. Bentley of the Massachusetts Historical Society, and Judith Ellen Johnson and Richard Malley of the Connecticut Historical Society, as well as the society's fonner curator Elizabeth Fox, and Elizabeth M. Komhauscr, chief curator at the Wadsworth Athenaeum, Hartford. David Spencer, a former Smithsonian Institution Libraries staff member, gen- erously assisted me with the VVolcott-Cibbs Family Papers in the Special Collectiims of the University of Oregon Library, Eugene; and tht staffs of the Catalog of American Portraits, National Portrait Ciallery, and the Inventory of American Painting. -
The Rita Williams Popular Song Collection a Handlist
The Rita Williams Popular Song Collection A Handlist A wide-ranging collection of c. 4000 individual popular songs, dating from the 1920s to the 1970s and including songs from films and musicals. Originally the personal collection of the singer Rita Williams, with later additions, it includes songs in various European languages and some in Afrikaans. Rita Williams sang with the Billy Cotton Club, among other groups, and made numerous recordings in the 1940s and 1950s. The songs are arranged alphabetically by title. The Rita Williams Popular Song Collection is a closed access collection. Please ask at the enquiry desk if you would like to use it. Please note that all items are reference only and in most cases it is necessary to obtain permission from the relevant copyright holder before they can be photocopied. Box Title Artist/ Singer/ Popularized by... Lyricist Composer/ Artist Language Publisher Date No. of copies Afrikaans, Czech, French, Italian, Swedish Songs Dans met my Various Afrikaans Carstens- De Waal 1954-57 1 Afrikaans, Czech, French, Italian, Swedish Songs Careless Love Hart Van Steen Afrikaans Dee Jay 1963 1 Afrikaans, Czech, French, Italian, Swedish Songs Ruiter In Die Nag Anton De Waal Afrikaans Impala 1963 1 Afrikaans, Czech, French, Italian, Swedish Songs Van Geluk Tot Verdriet Gideon Alberts/ Anton De Waal Afrikaans Impala 1970 1 Afrikaans, Czech, French, Italian, Swedish Songs Wye, Wye Vlaktes Martin Vorster/ Anton De Waal Afrikaans Impala 1970 1 Afrikaans, Czech, French, Italian, Swedish Songs My Skemer Rapsodie Duffy