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Introducing New Surflight Theatre
FOR IMMEDIATE RELEASE: Surflight Theatre Press Director Charlie Siedenburg, 551-655-0968 BROADWAY PRODUCER ROY MILLER NAMED SURFLIGHT THEATRE PRODUCER Broadway producer (and Surflight alum) joins notable New Jersey summer destination – Surflight Theatre during exciting transitional period. BEACH HAVEN, NJ, Tuesday, September 21, 2010 — Surflight Theatre Board President Gene Hammond announced today that Broadway producer (and Surflight alum) Roy Miller has been appointed to the leadership position of Producer at Surflight Theatre. A New Jersey native, Miller’s Broadway producing credits include the current revival of West Side Story (Tony nomination for Best Musical Revival and Grammy Award Winner for Best Musical Show Album), The Drowsy Chaperone (winner of five 2006 Tony Awards; Drama Desk and NY Drama Critics’ Circle Awards for Best Musical), and The Pee-wee Herman Show (opening October 26). Before crossing the river to New York, Miller was Associate Producer of the acclaimed Paper Mill Playhouse in Millburn, NJ, from 1991 to 2004 where he produced over eighty musicals and plays including Animal Crackers starring Kristin Chenoweth, Follies starring Ann Miller, Gypsy starring Betty Buckley and Deborah Gibson, and Stephen Schwartz’s new musical Children of Eden . Miller may be new to the leadership of Surflight, but he is no stranger to the Beach Haven theatre's 450- seat venue. While performing in a high school production of Funny Girl in his hometown of Irvington, NJ, Miller was offered an apprenticeship at Surflight by the show’s director and Surflight founder Joseph P. Hayes. That first introduction to summer theatre at the Jersey Shore in 1975 was followed by two subsequent seasons as an apprentice and, eventually, as a member of the acting company in 1978. -
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PLATES 1. Cole Porter, Yale yearbook photograph (1913). 2. Westleigh Farms, Cole Porter’s childhood home in Indiana (2011). 3. Cole Porter’s World War I draft registration card (5 June 1917). War Department, Office of the Provost Marshal General. 4. Linda Porter, passport photograph (1919). 5. Cole Porter, Linda Porter, Bernard Berenson and Howard Sturges in Venice (c.1923). 6. Gerald Murphy, Ginny Carpenter, Cole Porter and Sara Murphy in Venice (1923). 7. Serge Diaghilev, Boris Kochno, Bronislava Nijinska, Ernest Ansermet and Igor Stravinsky in Monte Carlo (1923). Library of Congress, Music Division, Reproduction number: 200181841. 8. Letter from Cole Porter to Boris Kochno (September 1925). Courtesy of The Cole Porter Musical and Literary Property Trusts. 9. Scene from the original stage production of Fifty Million Frenchmen (1929). PHOTOFEST. 10. Irene Bordoni, star of Porter’s show Paris (1928). 11. Sheet music, ‘Love for Sale’ from The New Yorkers (1930). 12. Production designer Jo Mielziner showing a set for Jubilee (1935). PHOTOFEST. 13. Cole Porter composing as he reclines on a couch in the Ritz Hotel during out-of-town tryouts for Du Barry Was a Lady (1939). George Karger / Getty Images. 14. Cole and Linda Porter (c.1938). PHOTOFEST. 15. Ethel Merman in the New York production of Cole Porter’s Panama Hattie (1940). George Karger / Getty Images. vi PLATES 16. Sheet music, ‘Let’s Be Buddies’ from Panama Hattie (1940). 17. Draft of ‘I Am Ashamed that Women Are So Simple’ from Kiss Me, Kate (1948), Library of Congress. Courtesy of The Cole Porter Musical and Literary Property Trusts. -
Understanding Steven Spielberg
Understanding Steven Spielberg Understanding Steven Spielberg By Beatriz Peña-Acuña Understanding Steven Spielberg Series: New Horizon By Beatriz Peña-Acuña This book first published 2018 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2018 by Beatriz Peña-Acuña Cover image: Nerea Hernandez Martinez All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-0818-8 ISBN (13): 978-1-5275-0818-7 This text is dedicated to Steven Spielberg, who has given me so much enjoyment and made me experience so many emotions, and because he makes me believe in human beings. I also dedicate this book to my ancestors from my mother’s side, who for centuries were able to move from Spain to Mexico and loved both countries in their hearts. This lesson remains for future generations. My father, of Spanish Sephardic origin, helped me so much, encouraging me in every intellectual pursuit. I hope that contemporary researchers share their knowledge and open their minds and hearts, valuing what other researchers do whatever their language or nation, as some academics have done for me. Love and wisdom have no language, nationality, or gender. CONTENTS Introduction ................................................................................................. 1 Chapter One ................................................................................................. 3 Spielberg’s Personal Context and Executive Production Chapter Two .............................................................................................. 19 Spielberg’s Behaviour in the Process of Film Production 2.1. -
TAP INTO HISTORY Study Guide for Educators
TAP INTO HISTORY Study Guide for Educators Highlights of Tap History: 1600’s: English people migrate to the United States, bringing social dance, waltzes, jigs, reels and clogs. At the same time, Africans come to America (as slaves) and bring percussive, grounded and syncopated rhythms. 1880’s: Vaudeville (a variety entertainment performance circuit) establishes tap as an American art form. 1915: Metal taps are added to shoes. 1930’s-50’s: The era of dance movies starring Fred Astaire, Ginger Rogers, Eleanor Powell, Bill Robinson, Buddy Ebsen, James Cagney, Gene Kelly, Donald O’Connor, Ann Miller, and others. 1970’s: Dance studios and colleges start teaching tap. Hip hop and other social dance forms eclipse tap’s popularity. 1980’s: The first tap companies are formed, primarily by women, and the first international tap festival takes place in New York City. 1989: Congress establishes National Tap Dance Day to honor Bill “Bojangles” Robinson’s birthday, May 25th. 1990’s: Tap/percussive dance shows such as Riverdance, Lord of the Dance, Stomp and Tap Dogs become popular worldwide. Savion Glover becomes the poster child for the genre for his appearances in shows like Bring in ‘da Noise, Bring in ‘da Funk and on Sesame Street. Present: Many veteran tap dancers pass away, giving rise to a new generation of tap dancers like Michelle Dorrance, Chloe Arnold, and Jason Samuels Smith. Contemporary tap dance pushes the boundaries of the art form beyond just tapping, exploring elements such as storytelling, technology, and fusion with other dance forms. Questions? [email protected] © 2020 Ryan P. -
June 1-3,2(>(>7
Leonard A. Anderson M. Seth Reines Executive Director Artistic Director June 1-3,2(>(>7 nte Media -I1 I - I , ,, This program is partially supportec grant from the Illinois Arts Council. Named a Partner In Excellence by the Illinois Arts Council. IF IT'S GOT OUR NAME ON IT YOlU'VE GOT OUR WORD ON If. attachments that are tough enough for folks Ib you. And then we put wr gllarantee on m,m, In fact,we ofb the WustryS only 3-year warm&, Visit mgrHd.com. Book By James Goldman Music Lyrics by Stephen Sondheim Produced Originally on Broadway by Harold Prince By special arrangement with Cameron Mackintosh Directed & Staged by Tony Parise Assistant To The Directorr AEA Stage Manager Marie Jagger-Taylor* Tom Reynolds* Lighting Designer Musical Director Sound Designer Joe Spratt P. Jason Yarcho David J. Scobbie The Cast (In Order of Appearance) Dimitri Weismann .............................................................................................Guy S. Little Jr.* Roscoe....................................................................................................................... Tom Bunfill Phyllis Rogers Stone................................................................................... Colleen Zenk Pinter* Benjamin Stone....................................................................................................... Mark Pinter* Sally Durant Plumrner........................................................................................ a McNeely* Buddy Plummer........................................................................................................ -
October 9, 2012 (XXV:6) David Miller, LONELY ARE the BRAVE (1962, 107 Min)
October 9, 2012 (XXV:6) David Miller, LONELY ARE THE BRAVE (1962, 107 min) Directed by David Miller Screenplay by Dalton Trumbo Based on the novel, The Brave Cowboy, by Edward Abbey Produced by Edward Lewis Original Music by Jerry Goldsmith Cinematography by Philip H. Lathrop Film Editing by Leon Barsha Art Direction by Alexander Golitzen and Robert Emmet Smith Set Decoration by George Milo Makeup by Larry Germain, Dave Grayson, and Bud Westmore Kirk Douglas…John W. "Jack" Burns Gena Rowlands…Jerry Bondi Walter Matthau…Sheriff Morey Johnson Michael Kane…Paul Bondi Carroll O'Connor…Hinton William Schallert…Harry George Kennedy…Deputy Sheriff Gutierrez Karl Swenson…Rev. Hoskins William Mims…First Deputy Arraigning Burns Martin Garralaga…Old Man Lalo Rios…Prisoner Bill Bixby…Airman in Helicopter Bill Raisch…One Arm Table Tennis, 1936 Let's Dance, 1935 A Sports Parade Subject: Crew DAVID MILLER (November 28, 1909, Paterson, New Jersey – April Racing, and 1935 Trained Hoofs. 14, 1992, Los Angeles, California) has 52 directing credits, among them 1981 “Goldie and the Boxer Go to Hollywood”, 1979 “Goldie DALTON TRUMBO (James Dalton Trumbo, December 9, 1905, and the Boxer”, 1979 “Love for Rent”, 1979 “The Best Place to Be”, Montrose, Colorado – September 10, 1976, Los Angeles, California) 1976 Bittersweet Love, 1973 Executive Action, 1969 Hail, Hero!, won best writing Oscars for The Brave One (1956) and Roman 1968 Hammerhead, 1963 Captain Newman, M.D., 1962 Lonely Are Holiday (1953). He was blacklisted for many years and, until Kirk the Brave, 1961 Back Street, 1960 Midnight Lace, 1959 Happy Douglas insisted he be given screen credit for Spartacus was often to Anniversary, 1957 The Story of Esther Costello, 1956 Diane, 1951 write under a pseudonym. -
®'N$\ in "Alias a at 8 06 Beery Gentleman," KEWTOM T a Unm a 4Th a Puttarnut Sts
amusements and Wild Bill Doolan been so In- nately, the the kids are all perfec- ventlon and reunion in Baltimore **■ All of West’s Bad Men sulted as by this implication that 3d headquar- tionists. August 13-14, Army HA SIM SPLITTING Scott could take them on as a MacMurray, in reading a speech ter! has announced. LAPP FESTIVAL Routed by Old Randy group. ,w of 10 lines, omitted one word. Little HOW—ENDS SAT. The script writers are a bit eva- HE 'Easter Parade’ Is Festival In Keith Feature immediately turned to Director l ho Gay sive on this point to be sure. From Gigi _AMUSEMENTS_ ho ‘RETURN Of THE BAD MEN." »n RKO time to time, the story suggests Claude Biryon. MMIRUnH by Nat Holt, directed HA Picture produced that outlaws were a temperamental she “that isn’t Astaire and Berlin by Ray Enright. original screenplay by “Mr. Binyon," said, I HA HiaQKuUw Jack Natteford and Lud Ward. At Keith *. lot and walked out on one another HE Honoring the it is in the script!” > THE CAST: Scott's work easier. way _,4_^><l _•_ Randolph Scott just to make HE By Jay Carmody Vance is now taking the | Sundance Kid_ Robert Ryan the MacMurray i ho ■i.i.HianifliiHG be life wretched for Anne Jeffreys As picture ends, however, The Democrats and Republicans may making Chevenne_ home with him every DEMOCRAT k ha ■ftSUMHHiWMMi Pettit _Oeorge "Gabby" Hayes Guthrie is as clean as a whistle, script night. each but wants to make I— 1 ha other, Metro-Goldwyn-Maver only everybody Jacqueline White LJ CONVENTION / Madge a town where gamblers and bar- And there’s a dangerous look in his he happy with Easter Parade.” It should have no trouble at all achieving Cole Younger_ Steve Brodie («i. -
Cozy up with a Movie Musical!
AXS ENTERTAINMENT / ARTS & ENTERTAINMENT / PERFORMING ARTS Snowed In, Cleveland? Cozy Up With a Movie Musical! December 13, 2010 6:13 PM MST Snowed in? Why not check out some movie musicals?! Here are just a few popcorn-by-the-fire movie musical picks from each decade to keep you entertained during our crazy Cleveland weather! What are YOUR favorites? Let us know in the Comments section. - Anything Goes (1936) - Ethel Merman, Bing Crosby - Shall We Dance (1937) - Ginger Rogers & Fred Astaire - The Wizard of Oz (1939) - Judy Garland, Ray Bolger, Jack Haley, Bert Lahr, Frank Morgan - Road to Singapore (1940) - Bing Crosby, Dorothy Lamour, Bob Hope - On the Town (1949) - Gene Kelly, Frank Sinatra, Ann Miller) - Singin' In the Rain (1952) - Gene Kelly, Donald O'Connor, Debbie Reynolds - A Star is Born (1954) - Judy Garland, James Mason - Guys and Dolls (1955) - Marlon Brando, Jean Simmons, Frank Sinatra Vivian Blaine - West Side Story (1961) - Natalie Wood, Rita Moreno, Richard Beymer - My Fair Lady (1964) - Audrey Hepburn, Rex Harrison - The Sound of Music (1965) - Julie Andrews, Christopher Plummer - Man of La Mancha (1972) - Peter O'Toole, Sophia Loren - Grease (1978) - John Travolta, Olivia Newton-John - The Wiz (1978) - Diana Ross, Michael Jackson, Lena Horne, Richard Pryor - Little Shop of Horrors (1986) - Rick Moranis, Ellen Greene, Steve Martin - Labyrinth (1986) - David Bowie, Jennifer Connelly - Sister Act (1992) - Whoopi Goldberg, Kathy Najimy, Maggie Smith - Newsies (1992) - Christian Bale, David Moscow, Bill Pullman - Moulin Rouge! (2001) - Ewan McGregor, Nicole Kidman - Chicago (2002) - Catherine Zeta-Jones, Renée Zellweger, and Richard Gere, also featuring Queen Latifah, John C. -
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. -
Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Finding Aid Prepared by Lisa Deboer, Lisa Castrogiovanni
Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Finding aid prepared by Lisa DeBoer, Lisa Castrogiovanni and Lisa Studier and revised by Diana Bowers-Smith. This finding aid was produced using the Archivists' Toolkit September 04, 2019 Brooklyn Public Library - Brooklyn Collection , 2006; revised 2008 and 2018. 10 Grand Army Plaza Brooklyn, NY, 11238 718.230.2762 [email protected] Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Table of Contents Summary Information ................................................................................................................................. 7 Historical Note...............................................................................................................................................8 Scope and Contents....................................................................................................................................... 8 Arrangement...................................................................................................................................................9 Collection Highlights.....................................................................................................................................9 Administrative Information .......................................................................................................................10 Related Materials ..................................................................................................................................... -
1947-08-22, [P ]
August it, 1847 TOLEDO UNION JOURNAL Five & Cry Wolf9 Combines Adventure, ttomance in Thrilling Tashion •T f A . I ‘ ' r - > r -------- --.-II.- I/-............................ ---------- I Warner Bros.’ screen version of Marjorie Carleton’s popular 'ftovel. “Cry Wolf,” which opened at the Paramount Theatre, RETURNS TO MGM proves to be a highly ^warding motion picture experience. Be MelcMor end 'Chief Heflin, Hart Join Calvert; To Appear HOLLYWOOD — For her role sides the superlative performances turned in by Errol Flynn and Give Duet ‘Weight1 Barbara Stanwyck 5X ith James Mason in “Cass Timberlane,” starring Barbara Stanwyck in this, their initial co starring venture, the HOLLYWOOD — Phyllis Cal picture boasts a remarkably HOLLYWOOD — “Luxury HOLLYWOOD — Outstand Spencer Tracy and Lana Turner, vert’s next film assignment, lively pace set down under the £ Liner,” Metro-Goldwyn-Mayer ing performances in Metro-Gold- Rose Hobart returned to Metro- Technicolor production, will wyn-Mayer’s soon to be rleased when she completes her starring able direction of Peter Godfrey role opposite Melvyn Douglas Goldwyn-Mayer after an ab in the film’s exciting opening feature the “heaviest” duet “Green Dolphin Street,” opposite in Paramount’s "My Own True sence of four years. She was sequence and artfully maintain ever seen on the nation’s mo- Lana Turner, have won for Van Love,” will be a bit part in an previously at M-G-M in "Su ed throughout, right up to the tion picture screens. san and God” and “Swing-shift Helfin and Richard Hart the untitled picture which James Maisie ” c’—^hing climax. “Five hundred thirty powerful male leading roles as Mason is writing »pd producing »L mie story, essentially a mod in New York. -
A ADVENTURE C COMEDY Z CRIME O DOCUMENTARY D DRAMA E
MOVIES A TO Z MAY 2020 h 2001: A Space Odyssey (1968) 5/2 h The Body Snatcher (1945) 5/30 h The Devil Bat (1940) 5/18 a w 36 Hours (1964) 5/9 R Born Reckless (1959) 5/30 R Devotion (1946) 5/13 ADVENTURE D m 42nd Street (1933) 5/11 m Born to Dance (1936) 5/11 The Diary of Anne Frank (1959) 5/13 c c Bowery Battalion (1951) 5/2 m Ding Dong Williams (1946) 5/8 COMEDY –––––––––––––––––––––– A ––––––––––––––––––––––– c Boys’ Night Out (1962) 5/2 c Dinner at Eight (1933) 5/13 D Abe Lincoln in Illinois (1940) 5/13 P h The Brain That Wouldn’t Die (1962) 5/18 w The Dirty Dozen (1967) 5/25 z CRIME D Ace in the Hole (1951) 5/9 R Break of Hearts (1935) 5/12 h Doctor X (1932) 5/18 c The Actress (1953) 5/22 c Brewster McCloud (1970) 5/9 D Dolls (1987) 5/15 o DOCUMENTARY a Adventures of Don Juan (1948) 5/14 c The Bride Came C.O.D. (1941) 5/29 R Don Juan (Or if Don Juan Were a Woman) (1973) 5/17 u After the Thin Man (1936) 5/3 z Brother Orchid (1940) 5/14 Hc Double Exposure (1935) 5/9 D DRAMA HD Age 13 (1955) 5/15 z Bullets or Ballots (1936) 5/7 S z Double Indemnity (1944) 5/21 S c Alice Adams (1935) 5/12 D Dr. Ehrlich’s Magic Bullet (1940) 5/28 S e EPIC Hm All Girl Revue (1940) 5/27 –––––––––––––––––––––– C ––––––––––––––––––––––– h Dr.