Teresaknight

Total Page:16

File Type:pdf, Size:1020Kb

Teresaknight HOME GIRLS AND UNDERSTUDIES: SHY WOMEN IN COLD WAR THEATRE AND FILM A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Teresa Jean Knight May 2016 © 2016 Teresa Jean Knight HOME GIRLS AND UNDERSTUDIES: SHY WOMEN IN COLD WAR THEATRE AND FILM Teresa Jean Knight, Ph.D. Cornell University 2016 In contrast to studies of U.S. Cold War theatre and film which typically focus on the era’s “crisis of masculinity,” portrayals of mother-son relationships, and portrayals of dynamic and ‘dangerous’ women, this project examines constructions of shy young women. Primary play and musical texts, their film adaptations, and original films are read through a lens of feminist materialism and emotional labor, in tandem with mid-twentieth century texts on popular psychology, psychosociology, self-improvement, and sexuality. Such texts show how shyness in young women is negatively constructed as a threat to personal and professional efficiency, as selfishness which breaks familial and social bonds, as a precursor to mental and physical collapse, as a symptom of modern urban alienation, as a sign of emotional vulnerability, and as a tool for infiltration. The shy girl’s weakness thus rhetorically links her with other ‘threats’ to national security in the early Cold War era: communists, racial/ethnic Others, homosexuals, and other subalterns. Consequently, these suspicions about shyness lead to the physical, mental, and emotional disciplining of young women who would otherwise pursue solitary and independently meaningful interests. !iii BIOGRAPHICAL SKETCH Teresa Jean Knight holds a B.A. in English from Westminster College, an M.A. in Comparative Literature from King’s College London, and an M.A./Ph.D. in Theatre Arts from Cornell University. !iv For Moose and Squirrel !v ACKNOWLEDGEMENTS Many, many thanks first to my Special Committee at Cornell University: Sara Warner, Nick Salvato, and Sabine Haenni. You’ve been gracious in giving thoughtful guidance, helpful questions, and your time. And I always appreciate laughing with you! Thanks also to the late Donald Fredericksen, who served on my committee, and whose reading of introversion and extroversion in Bergman’s Persona partly inspired my investigation of shyness. Thanks, too, to the other professors at Cornell who brought me much insight and offered encouragement: Margo Crawford, Mary Pat Brady, Sara Pritchard, Jeffrey Rusten, Byron Suber, and E.D. Intemann. I’m also grateful to have had guidance and support from many professors as an undergraduate. Thanks in particular to Sydney Cheek O’Donnell, Tim Slover, Bob Nelson, and Jesse Portillo at the University of Utah; to Nick More, Fatima Mujcinovic, Susan Gunter, Emily Smith, Peter Goldman, Doug Wright, Michael Popich, David Stanley, and Michael and Nina Vought at Westminster College; and to Beth Leonard at Stephens College. To my family and friends: I love you, and I deeply appreciate your kindness and patience, always. Thank you for whispering support for my writing efforts even when you could hardly talk anymore, Grandpa Del. And special thanks to Ducky: you are my moose, my squirrel, my everything. !vi TABLE OF CONTENTS Biographical Sketch . iii Dedication . iv Acknowledgements . v Introduction . 1 Part I: Home Girls . 41 Chapter 1: Personal Inefficiency in The Glass Menagerie . 45 Chapter 2: Selfishness in The Dark at the Top of the Stairs . 71 Chapter 3: Vulnerability in The Heiress . 89 Chapter 4: Mental Collapse in The Three Faces of Eve . 107 The Problem of Home Girls . 134 Part II: Understudies . 136 Chapter 5: Professional Inefficiency in Gypsy . 141 Chapter 6: Physical Collapse in Limelight . 171 Chapter 7: Alienation in Show Boat . 187 Chapter 8: Infiltration in All About Eve . 221 The Problem of Understudies . 241 Conclusion . 244 Bibliography . 262 !1 INTRODUCTION Upon seeing his daughter Catherine’s socially awkward behavior at a party, Dr. Sloper gives his usual lament about the young woman’s shyness and failed marriage prospects in The Heiress (1947): She has gone to the best schools in the city. She has had the finest training I could get her in music and dancing. She has sat here with me evenings on end, and I have tried to make conversation with her, and give her some social adeptness. […] I have given her freedom wherever I could. The result is what you see—an entirely mediocre and defenseless creature with not a shred of poise. What did I do wrong, my dear sister?1 Catherine’s lack of social graces, compounded by her plain appearance, lead her father to conclude that she is “dull”; she must be “stupid” because she is a conversational bore and has no overall charm. Upon seeing the play on Broadway in 1947, New York Times theatre critic Brooks Atkinson declared, “It is difficult to make a stupid woman the heroine of an interesting drama. Probably that is the basic infirmity of this elusive play. […] The heroine cannot be acted; she can only be acted against.”2 Atkinson’s criticism of the lead character Catherine thus matches that of her father, who vehemently desires her to be more social, less withdrawn, and a more “clever” and “entertaining companion.”3 Because Catherine ultimately tricks and rejects a returning suitor who once deceived and spurned her, some have more recently cited her as a feminist heroine.4 But Atkinson concludes that Catherine’s “revenge is tiny compensation for the desolation of an old maid’s life.”5 This suggests that the central conflict of the play is Catherine’s wavering 1 Ruth and Augustus Goetz, The Heiress (1948; repr., New York: Dramatists Play Service, 1975), 18-19. 2 Brooks Atkinson, “The New Play,” New York Times (New York, NY), Sep. 30, 1947. 3 Goetz, The Heiress, 9; 57. 4 See, for example, Neil Sinyard, A Wonderful Heart: The Films of William Wyler (Jefferson, NC: McFarland, 2013), 130. 5 Atkinson, “The New Play,” 22. !2 between unsociability and attachment, wherein her solitary equilibrium is regained but at the expense of the heteronormative happy ending of coupledom. In this sense, The Heiress puts a twist on socialization narratives which bring socially awkward characters peace in the form of social integration. And in the postwar U.S., the drama also acts as a cautionary tale about both the need for charismatic social performance and the danger of deception. The present study examines how U.S. theatre and film of the early Cold War (1945-62) depict shy young women. Analyzing socialization narratives about “home girls” who enter society through heterosexual courtship rituals, and shy female understudies who enter society through the successful performance of captivating entertainment, I argue that shyness is treated as an undesirable, masculine trait that threatens the shy characters’ economic and social success. Moreover, because shyness may be read as secrecy, socially withdrawn behaviors can be used as ciphers for treachery. Thus, in the paranoia of a spy and surveillance culture, shy behaviors seem to threaten personal and national security. We might wonder why The Heiress, an adaptation of Henry James’s 1880 novel Washington Square, was adapted for and successful with audiences during the Cold War. Why would a stifling Victorian worldview resonate in the mid-twentieth century? To begin, there was the matter of re-domesticating women after their expanded involvement in the WWII workforce; in a postwar natalist frenzy, women were encouraged to marry and have children. As in Victorian Anglo-American culture, the housewife—a domestic goddess of fecundity and tranquility—was the glue that held the family unit together.6 James’s character, whom he dubbed “Poor Catherine,” was a tragic figure who was too headstrong and awkward to take a chance on 6 Bruce McConachie, American Theater in the Culture of the Cold War: Producing and Contesting Containment, 1947-1962 (Iowa City: University of Iowa Press, 2003), 130. !3 matrimonial bliss. In one especially tearful scene, Catherine gives away the fancy Parisian baby clothes she had thought she would one day use. Overall, she fails to achieve the ideal postwar American femininity—the supposedly happy convergence of repopulation, consumption, and nurturance within a nuclear family unit—envisioned by Broadway’s largely white, upper-midde- class audience.7 Though Catherine’s inheritance guarantees that she can afford to live alone if she chooses, her choice is unwise in the context of Cold War U.S. culture. Nuclear families were upheld as the basic unit of national character and security. Not only did a family offer safety and the possibility of regeneration in the event of a nuclear disaster, but single family units, with their houses, participation in the workforce (father) and in child-rearing (mother), and consumption of commercial goods, signaled all that was unique and desirable about life in a developed capitalist nation. Soviet communism, on the other hand, had supposedly dissolved traditional family units through an expanded workforce, and limited the consumption of goods.8 Moreover, in the context of anti-communist rhetoric and Cold War paranoia, having a family and friends to vouch for one’s character, and not being seen as a secretive (read: suspicious) person, were important safeguards against ostracism. It is partly the need for openness and sociability, and partly the need for heterosexual nuclear arrangements, that makes “Poor Catherine” a cautionary figure to postwar critics. Her shyness is a threat to the U.S. social order and to national security. 7 McConachie, American Theater in the Culture of the Cold War, 3. Luxury ads in playbills suggest that the average Broadway patron between 1947 and 1962 was upper-middle-class, a supposition further supported by the high cost of tickets. It is estimated that only 10 percent of 1950s Broadway patrons were from the working classes, 1.
Recommended publications
  • “Why So Serious?” Comics, Film and Politics, Or the Comic Book Film As the Answer to the Question of Identity and Narrative in a Post-9/11 World
    ABSTRACT “WHY SO SERIOUS?” COMICS, FILM AND POLITICS, OR THE COMIC BOOK FILM AS THE ANSWER TO THE QUESTION OF IDENTITY AND NARRATIVE IN A POST-9/11 WORLD by Kyle Andrew Moody This thesis analyzes a trend in a subgenre of motion pictures that are designed to not only entertain, but also provide a message for the modern world after the terrorist attacks of September 11, 2001. The analysis provides a critical look at three different films as artifacts of post-9/11 culture, showing how the integration of certain elements made them allegorical works regarding the status of the United States in the aftermath of the attacks. Jean Baudrillard‟s postmodern theory of simulation and simulacra was utilized to provide a context for the films that tap into themes reflecting post-9/11 reality. The results were analyzed by critically examining the source material, with a cultural criticism emerging regarding the progression of this subgenre of motion pictures as meaningful work. “WHY SO SERIOUS?” COMICS, FILM AND POLITICS, OR THE COMIC BOOK FILM AS THE ANSWER TO THE QUESTION OF IDENTITY AND NARRATIVE IN A POST-9/11 WORLD A Thesis Submitted to the Faculty of Miami University in partial fulfillment of the requirements for the degree of Master of Arts Department of Communications Mass Communications Area by Kyle Andrew Moody Miami University Oxford, Ohio 2009 Advisor ___________________ Dr. Bruce Drushel Reader ___________________ Dr. Ronald Scott Reader ___________________ Dr. David Sholle TABLE OF CONTENTS ACKNOWLEDGMENTS .......................................................................................................................... III CHAPTER ONE: COMIC BOOK MOVIES AND THE REAL WORLD ............................................. 1 PURPOSE OF STUDY ...................................................................................................................................
    [Show full text]
  • Dragon Con Progress Report 2021 | Published by Dragon Con All Material, Unless Otherwise Noted, Is © 2021 Dragon Con, Inc
    WWW.DRAGONCON.ORG INSIDE SEPT. 2 - 6, 2021 • ATLANTA, GEORGIA • WWW.DRAGONCON.ORG Announcements .......................................................................... 2 Guests ................................................................................... 4 Featured Guests .......................................................................... 4 4 FEATURED GUESTS Places to go, things to do, and Attending Pros ......................................................................... 26 people to see! Vendors ....................................................................................... 28 Special 35th Anniversary Insert .......................................... 31 Fan Tracks .................................................................................. 36 Special Events & Contests ............................................... 46 36 FAN TRACKS Art Show ................................................................................... 46 Choose your own adventure with one (or all) of our fan-run tracks. Blood Drive ................................................................................47 Comic & Pop Artist Alley ....................................................... 47 Friday Night Costume Contest ........................................... 48 Hallway Costume Contest .................................................. 48 Puppet Slam ............................................................................ 48 46 SPECIAL EVENTS Moments you won’t want to miss Masquerade Costume Contest ........................................
    [Show full text]
  • Edna Ferber Last
    EDNA FERBER’S WOMEN CHARACTERS, 1911 – 1930, AND THE REINTERPRETATION OF THE AMERICAN DREAM THROUGH A FEMALE LENS A Thesis Submitted to the Faculty of The School of Continuing Studies And the Graduate School of Arts and Sciences In partial fulfillment of the requirements for the degree of Master of Arts In Liberal Studies By Anne Efman Abramson, B.A. Georgetown University Washington, D.C. April 30, 2010 EDNA FERBER’S WOMEN CHARACTERS, 1911 – 1930, AND THE REINTERPRETATION OF THE AMERICAN DREAM THROUGH A FEMALE LENS Anne E. Abramson, B.A. Mentor: Michael Collins, Ph. D. ABSTRACT Edna Ferber (1885‐1963) was a Pulitzer Prize‐winning author and one of the most popular writers of her time. Today, however, she is rarely read in schools or colleges, although her plays are still produced, and the films based on her novels, plays and short stories continue to be appreciated by classic film lovers. This thesis demonstrates how Edna Ferber created female characters in the early years of the twentieth century who struggled against the constraints of society’s traditional female roles, who were the first in their nontraditional professions, and who achieved their own version of the American Dream. Edna Ferber also revisited American history with stories that highlighted women’s contributions to America. This thesis first introduces Edna Ferber, her background and her early years drawing from Ferber’s two autobiographies, A Peculiar Treasure, 1939, and ii A Kind of Magic, 1963. Second, it discusses the New Woman at the turn of the century; the American Dream, historically and in relation to Ferber’s female characters; and Edna Ferber as a middlebrow modern writer whose literary output had powerful cultural agency.
    [Show full text]
  • Arguing Their World: the Representation of Major Social and Cultural Issues in Edna Ferber’S and Fannie Hurst’S Fiction, 1910-1935
    1 ARGUING THEIR WORLD: THE REPRESENTATION OF MAJOR SOCIAL AND CULTURAL ISSUES IN EDNA FERBER’S AND FANNIE HURST’S FICTION, 1910-1935 A dissertation presented By Kathryn Ruth Bloom to The Department of English In partial fulfillment of the reQuirements for the degree of Doctor of Philosophy In the field of English Northeastern University Boston, Massachusetts April 2018 2 ARGUING THEIR WORLD: THE REPRESENTATION OF MAJOR SOCIAL AND CULTURAL ISSUES IN EDNA FERBER’S AND FANNIE HURST’S FICTION, 1910-1935 A dissertation presented By Kathryn Ruth Bloom ABSTRACT OF DISSERTATION Submitted in partial fulfillment of the reQuirements for the degree of Doctor of Philosophy in English in the College of Social Sciences and Humanities of Northeastern University April 2018 3 ABSTRACT BetWeen the early decades of the twentieth-century and mid-century, Edna Ferber and Fannie Hurst were popular and prolific authors of fiction about American society and culture. Almost a century ago, they were writing about race, immigration, economic disparity, drug addiction, and other issues our society is dealing with today with a reneWed sense of urgency. In spite of their extraordinary popularity, by the time they died within a feW months of each other in 1968, their reputations had fallen into eclipse. This dissertation focuses on Ferber’s and Hurst’s fiction published betWeen approximately 1910 and 1935, the years in Which both authors enjoyed the highest critical and popular esteem. Perhaps because these realistic narratives generally do not engage in the stylistic experimentation of the literary world around them, literary scholars came to undervalue their Work.
    [Show full text]
  • The 1958 Summer of Musicals
    I); Welcome to the 1958 Summer of Musicals . Welcome to Broadway in the country. Last season was the first time Guy S. Little, Jr., presented his SUMMER OF MUSI- CALS in Sullivan. That season was the culmination of many years of planning and dreaming. When very young he spent three seasons in summer stock at Keene, New Hampshire, and at Gateway Musical Playhouse at Ocean City, New Jersey. There he learned theatre business from the ground up . from making negligees for the leading lady to building scenery and stages. He was so enthralled with the theatre that he majored in drama at the University of Miami. While there he played numerous roles at the Ring Theatre and appeared in six operas with the Miami Opera Guild in support to Metropolitan opera stars. At Miami he met his wife, Jerili, who was a voice and drama major also. There he also had experience in directing, designing and publicity work. After receiving his B.A. he did graduate work at The American Theatre Wing and at Columbia University in New York City to further prepare himself to be a theatre producer. For the past ten years he familiarized himself with all Broadway productions of the past and present. He col- lected props and costumes for the day when he would operate a summer theatre. All during these years of preparation his dream was to bring the theatre to the Midwest, to the country. Why should New England be the only place where one could see the best of Broadway in summer stock? Would not the Mid- west, would not his home town support a SUMMER OF MU- SICALS? And so SUMMER OF MUSICALS opened July 3, 1957, with ERIGADOON featuring a New York cast.
    [Show full text]
  • Microsoft Visual Basic
    $ LIST: FAX/MODEM/E-MAIL: aug 23 2021 PREVIEWS DISK: aug 25 2021 [email protected] for News, Specials and Reorders Visit WWW.PEPCOMICS.NL PEP COMICS DUE DATE: DCD WETH. DEN OUDESTRAAT 10 FAX: 23 augustus 5706 ST HELMOND ONLINE: 23 augustus TEL +31 (0)492-472760 SHIPPING: ($) FAX +31 (0)492-472761 oktober/november #557 ********************************** __ 0079 Walking Dead Compendium TPB Vol.04 59.99 A *** DIAMOND COMIC DISTR. ******* __ 0080 [M] Walking Dead Heres Negan H/C 19.99 A ********************************** __ 0081 [M] Walking Dead Alien H/C 19.99 A __ 0082 Ess.Guide To Comic Bk Letterin S/C 16.99 A DCD SALES TOOLS page 026 __ 0083 Howtoons Tools/Mass Constructi TPB 17.99 A __ 0019 Previews October 2021 #397 5.00 D __ 0084 Howtoons Reignition TPB Vol.01 9.99 A __ 0020 Previews October 2021 Custome #397 0.25 D __ 0085 [M] Fine Print TPB Vol.01 16.99 A __ 0021 Previews Oct 2021 Custo EXTRA #397 0.50 D __ 0086 [M] Sunstone Ogn Vol.01 14.99 A __ 0023 Previews Oct 2021 Retai EXTRA #397 2.08 D __ 0087 [M] Sunstone Ogn Vol.02 14.99 A __ 0024 Game Trade Magazine #260 0.00 N __ 0088 [M] Sunstone Ogn Vol.03 14.99 A __ 0025 Game Trade Magazine EXTRA #260 0.58 N __ 0089 [M] Sunstone Ogn Vol.04 14.99 A __ 0026 Marvel Previews O EXTRA Vol.05 #16 0.00 D __ 0090 [M] Sunstone Ogn Vol.05 14.99 A IMAGE COMICS page 040 __ 0091 [M] Sunstone Ogn Vol.06 16.99 A __ 0028 [M] Friday Bk 01 First Day/Chr TPB 14.99 A __ 0092 [M] Sunstone Ogn Vol.07 16.99 A __ 0029 [M] Private Eye H/C DLX 49.99 A __ 0093 [M] Sunstone Book 01 H/C 39.99 A __ 0030 [M] Reckless
    [Show full text]
  • Film Soleil 28/9/05 3:35 Pm Page 2 Film Soleil 28/9/05 3:35 Pm Page 3
    Film Soleil 28/9/05 3:35 pm Page 2 Film Soleil 28/9/05 3:35 pm Page 3 Film Soleil D.K. Holm www.pocketessentials.com This edition published in Great Britain 2005 by Pocket Essentials P.O.Box 394, Harpenden, Herts, AL5 1XJ, UK Distributed in the USA by Trafalgar Square Publishing P.O.Box 257, Howe Hill Road, North Pomfret, Vermont 05053 © D.K.Holm 2005 The right of D.K.Holm to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form, or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of the publisher. Any person who does any unauthorised act in relation to this publication may beliable to criminal prosecution and civil claims for damages. The book is sold subject tothe condition that it shall not, by way of trade or otherwise, be lent, re-sold, hired out or otherwise circulated, without the publisher’s prior consent, in anyform, binding or cover other than in which it is published, and without similar condi-tions, including this condition being imposed on the subsequent publication. A CIP catalogue record for this book is available from the British Library. ISBN 1–904048–50–1 2 4 6 8 10 9 7 5 3 1 Book typeset by Avocet Typeset, Chilton, Aylesbury, Bucks Printed and bound by Cox & Wyman, Reading, Berkshire Film Soleil 28/9/05 3:35 pm Page 5 Acknowledgements There is nothing
    [Show full text]
  • Sep CUSTOMER ORDER FORM
    OrdErS PREVIEWS world.com duE th 18 FeB 2013 Sep COMIC THE SHOP’S pISpISRReeVV eeWW CATALOG CUSTOMER ORDER FORM CUSTOMER 601 7 Sep13 Cover ROF and COF.indd 1 8/8/2013 9:49:07 AM Available only DOCTOR WHO: “THE NAME OF from your local THE DOCTOR” BLACK T-SHIRT comic shop! Preorder now! GODZILLA: “KING OF THANOS: THE SIMPSONS: THE MONSTERS” “INFINITY INDEED” “COMIC BOOK GUY GREEN T-SHIRT BLACK T-SHIRT COVER” BLUE T-SHIRT Preorder now! Preorder now! Preorder now! 9 Sep 13 COF Apparel Shirt Ad.indd 1 8/8/2013 9:54:50 AM Sledgehammer ’44: blaCk SCienCe #1 lightning War #1 image ComiCS dark horSe ComiCS harleY QUinn #0 dC ComiCS Star WarS: Umbral #1 daWn of the Jedi— image ComiCS forCe War #1 dark horSe ComiCS Wraith: WelCome to ChriStmaSland #1 idW PUbliShing BATMAN #25 CATAClYSm: the dC ComiCS ULTIMATES’ laSt STAND #1 marvel ComiCS Sept13 Gem Page ROF COF.indd 1 8/8/2013 2:53:56 PM Featured Items COMIC BOOKS & GRAPHIC NOVELS Shifter Volume 1 HC l AnomAly Productions llc The Joyners In 3D HC l ArchAiA EntErtAinmEnt llc All-New Soulfire #1 l AsPEn mlt inc Caligula Volume 2 TP l AvAtAr PrEss inc Shahrazad #1 l Big dog ink Protocol #1 l Boom! studios Adventure Time Original Graphic Novel Volume 2: Pixel Princesses l Boom! studios 1 Ash & the Army of Darkness #1 l d. E./dynAmitE EntErtAinmEnt 1 Noir #1 l d. E./dynAmitE EntErtAinmEnt Legends of Red Sonja #1 l d. E./dynAmitE EntErtAinmEnt Maria M.
    [Show full text]
  • Hugh Panaro Is Perhaps Best Known for Having Played the Coveted Role
    Hugh Panaro is perhaps best known for having played the coveted role of the Phantom in Broadway's The Phantom of the Opera over 2,000 times, including the 25th Anniversary production. In fact, Hugh is one of the few actors to be cast by Harold Prince as both The Phantom and Raoul in the show's Broadway production. Hugh made his Broadway debut in the original production of Les Misérables as Marius, the role he originated in the First National Company. He also created the roles of Buddy in the original Side Show (Sony cast recording); Julian Craster in Jule Styne's last musical, The Red Shoes; and the title role in the American premiere of Cameron Mackintosh's Martin Guerre. Hugh was nominated for an Outer Critics Circle Award for his performance in the title role of Elton John's Lestat, based on Anne Rice's Vampire Chronicles. He made his West End debut in the original London company of Harold Prince's Show Boat as Gaylord Ravenal, the role he previously played in the Broadway and Toronto productions. At the prestigious 5th Avenue Theater in Seattle, Hugh played George Seurat in Sam Buntrock's Tony Award-winning production of Sunday in the Park with George, and Robert in Stephen Sondheim's Company. Hugh's performance as Jean Valjean in the Walnut Street Theater's production of Les Misérables earned him the prestigious Barrymore Award, for which he was again nominated after a turn as Fagin in Oliver! In 2012, Hugh was honored with the Edwin Forrest Award for his long-term contribution to the theater.
    [Show full text]
  • Magazines V17N9.Qxd
    Apr COF C1:COF C1.qxd 3/10/2011 9:19 AM Page 1 ORDERS DUE th 18APR 2011 APR E E COMIC H H T T SHOP’S CATALOG COF FI page:FI 3/10/2011 2:50 PM Page 1 FEATURED ITEMS COMICS & GRAPHIC NOVELS DIARY OF A ZOMBIE KID TP G ANTARCTIC PRESS THE ARCHIE BABIES GN G ARCHIE COMICS KANNAGI VOLUME 1 GNG BANDAI ENTERTAINMENT 1 1 HAPPINESS IS A WARM BLANKET, CHARLIE BROWN! HC G BOOM! STUDIOS/KABOOM! WAR GODDESS #0 G BOUNDLESS COMICS KIRBY: GENESIS #1 G D. E./DYNAMITE ENTERTAINMENT VAMPIRELLA #8 G D. E./DYNAMITE ENTERTAINMENT GHOST IN SHELL: STAND ALONE COMPLEX VOLUME 1 GN G KODANSHA COMICS PIRATE PENGUIN VS. NINJA CHICKEN VOLUME 1 HC G TOP SHELF PRODUCTIONS CHIBISAN DATE GN G TOKYOPOP BOOKS & MAGAZINES ALTER EGO #102 G COMICS DC COMICS: THE ULTIMATE CHARACTER GUIDE HC G COMICS HORRORHOUND #30 G HORROR CALENDARS BORIS VALLEJO & JULIE BELL FANTASY 2012 WALL CALENDAR G FANTASY/SCI-FI CAPT AMERICA: THE FIRST AVENGER 16-MONTH WALL CALENDAR G MOVIE/TV CONAN THE BARBARIAN 2012 WALL CALENDAR G COMICS GREEN LANTERN DIE-CUT 2012 CALENDAR G COMICS 2 2 OLIVIA: BETTIE PAGE 16-MONTH 2012 WALL CALENDAR G BABES THOR 16-MONTH WALL CALENDAR G MOVIE/TV VINTAGE MARVEL COMICS 2012 12-MONTH WALL CALENDAR G COMICS WILLIAM STOUT: ZOMBIES 2012 WALL CALENDAR G ZOMBIES! TRADING CARDS TOPPS 2011 PRO DEBUT BASEBALL T/C BOX G TOPPS COMPANY THE WALKING DEAD TRADING CARDS G CRYPTOZOIC ENTERTAINMENT THE COMPLETE STAR TREK: THE NEXT GENERATION SERIES 1 TRADING CARDS G RITTENHOUSE ARCHIVES MARVEL: CAPTAIN AMERICA MOVIE TRADING CARDS G THE UPPER DECK COMPANY APPAREL MARVEL VS CAPCOM: CAPCOM
    [Show full text]
  • South Pacific
    THE MUSICO-DRAMATIC EVOLUTION OF RODGERS AND HAMMERSTEIN’S SOUTH PACIFIC DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By James A. Lovensheimer, M.A. ***** The Ohio State University 2003 Dissertation Committee: Approved by Professor Arved Ashby, Adviser Professor Charles M. Atkinson ________________________ Adviser Professor Lois Rosow School of Music Graduate Program ABSTRACT Since its opening in 1949, Rodgers and Hammerstein’s Pulitzer Prize- winning musical South Pacific has been regarded as a masterpiece of the genre. Frequently revived, filmed for commercial release in 1958, and filmed again for television in 2000, it has reached audiences in the millions. It is based on selected stories from James A. Michener’s book, Tales of the South Pacific, also a Pulitzer Prize winner; the plots of these stories, and the musical, explore ethnic and cutural prejudice, a theme whose treatment underwent changes during the musical’s evolution. This study concerns the musico-dramatic evolution of South Pacific, a previously unexplored process revealing the collaborative interaction of two masters at the peak of their creative powers. It also demonstrates the authors’ gradual softening of the show’s social commentary. The structural changes, observable through sketches found in the papers of Rodgers and Hammerstein, show how the team developed their characterizations through musical styles, making changes that often indicate changes in characters’ psychological states; they also reveal changing approaches to the musicalization of the novel. Studying these changes provides intimate and, occasionally, unexpected insights into Rodgers and Hammerstein’s creative methods.
    [Show full text]
  • High Sierra Theatres Announces San Francisco Opera’S Show Boat
    FOR IMMEDIATE RELEASE HIGH SIERRA THEATRES ANNOUNCES SAN FRANCISCO OPERA’S SHOW BOAT THE CLASSICAL AMERICAN MUSIC THEATRE EXCLUSIVE Santa Fe, NM (March 24, 2015) – HIGH SIERRA THEATRES today announced that they will be premiering San Francisco Opera’s Show Boat on June 6 at 4:00 PM and June 10 at 7:00 PM Instead of just showing Hollywood Blockbusters, the Desert Sky Cinema and The Movie Picture Showhouse present alternative programs such as Operas, Broadway Shows and Art Exhibits. Presentation A true classic of American musical theater, this tale of life on the Mississippi from the 1880s to the 1920s is both a poignant love story and a powerful reminder of the bitter legacy of racism. Director Francesca Zambello’s grand-scale production is "a triumph—a stylish, fast-paced and colorful show that had the capacity audience on its feet, cheering loud and long" (Chicago Classical Review). The magnificent Jerome Kern-Oscar Hammerstein II score, which includes such classic songs as "Ol’ Man River," "Can’t Help Lovin’ Dat Man," "Make Believe" and "You Are Love," will sound glorious "under the authoritative baton of music-theater maestro John DeMain" (Chicago Tribune). "No one should miss it" (Chicago Sun- Times). According to General Director David Gockley, "Show Boat will be done in grand opera fashion in the way the creators conceived. The Opera House is—I believe—the appropriate venue for these great classic musicals that require full-voiced, 'legit' singing." "One memorable song follows another, each an enduring thread in the fabric of American
    [Show full text]