DOCSLIB.ORG

An Interview with Jimmy Stewart

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
An Interview with Jimmy Stewart New Orleans Review Summer /Fall 1983 Editors John Biguenet, Art and Literature Bruce Henricksen, Theory and Criticism John Mosier, Film, General Editor Executive Assistant to General Editor Sarah Elizabeth Spain Design Vilma Pesciallo Contributing Editor Raymond McGowan Founding Editor Miller Williams Advisory Editors Doris Betts Joseph Fichter, S.J. Dawson Gaillard Alexis Gonzales, F.S.C. John Irwin Wesley Morris Walker Percy Herman Rapaport Robert Scholes Marcus Smith Miller Williams The New Orleans Review is published by Loyola University, New Orleans, Louisiana 70118, United States. Copyright ©1983 by Loyola University. Critical essays relating to film or literature of up to ten thousand words should be prepared to conform with MLA guidelines and sent to the appropriate editor, together with a stamped, self­ addressed envelope. The address is New Orleans Review, Box 195, Loyola University, New Orleans, Louisiana 70118. Fiction, poetry, photography or related artwork should be sent to the Art and Literature Editor. A stamped, self-addr~ssed envelope should be enclosed. Reasonable care is taken in the handling of material, but no responsibility is assumed for the loss of unsolicited material. Accepted manuscripts are the property of the NOR. The New Orleans Review is published in February, May, August and November. Annual Subscription Rate: Institutions $20.00, Individuals $15.00, Foreign Subscribers $30.00. Contents listed in the PMLA Bibliography and the Index of American Periodical Verse. US ISSN 0028-6400. THE MANY-SPLENDORED ACTOR: AN INTERVIEW WITH JIMMY STEWART Conducted by Neil P. Hurley, 5./. INTRODUCTION n August 17, 1981 Loyola alumna, Melissa meet in the real Jimmy Stewart is what you get OClare, and I were privileged to have a one hour enlarged and enhanced in the movie theatre - a interview with the now legendary Hollywood star, disarming, winning, amiable man with an infectious James Stewart, in his Beverly Hills home. Following smile, g~ntle manners and that chief "Stewart-ism" the taped session which is printed here, the exuber­ - the halting speech with its suspenseful hesitations ant Melissa turned to me on the steps of the simple incandescent with burning sincerity. Tudor home of the Stewarts and remarked with a Jimmy Stewart is a natural actor - like Gable, mixture of awe and personal gratitude: "Father, I'll Tracy and Cagney - so irrepressibly convincing never forget this as long as I live. He was great!" in presence and performance that you tend to over­ Meeting stars can lead to an "off-screen" experience look how supremely good an actor each is and how which de-mystifies what one is used to seeing on hard the acting craft is. Let me- for the sake of the the screen. In Jimmy Stewart's case, the charisma reader - roll my many celluloid memories of is there- without the make-up, the flattering play Stewart roles as if they were a mosaic of moments of light and shadow and the 40 foot magnification, pieced together in one lengthy movie. For using this all of which contribute to movie magic and star fictional stratagem, one sees the compleat actor, appeal. Despite the absence of that curious Jimmy Stewart, a man capable of a range, a depth chemistry of continuous celluloid frames, what you and a subtle variety for which he has not been given NEIL HURLEY, S.J. 5 due credit. In the shadow of the stereotypical screen persona as a serious actor. Adapted from a Stewart persona is another, more hidden, Stewart play based on the notorious Leopold-leob "thrill­ - a strong rebellious type which does not contra­ murders" of the 1920's, Rope starred Stewart as a dict, but rather complements, that whimsical "man­ college professor who influenced the playboy­ child" innocent we have come to love and accept murderers through his teachings of amoral, Nietzsche­ as - together with Gary Cooper - the quintes­ like principles. This unusual movie was shot con­ sential "common man" embodying all the best traits tinuously in sequence as if it were a photoplay. (The of goodwill, generosity and gentleness to be found accompanying interview casts light on the in America. mechanics of shooting this truly unique and rarely­ Stewart began his career on the stage with the viewed film.) In Malaya (1950), an unscrupulous, University Players (Josh Logan, Henry Fonda, rather unlikeable Jimmy Stewart gives no quarter Margaret Sullavan, Arlene Francis and Martin in his scenes with Spencer Tracy, known for Gabel). He was a contract player in the large stable "knocking off the screen" rival actors. of M-G-M's stable of actors. Ironically, some of his In 1950 Stewart began an association with earliest roles featured Stewart as a villain - a Anthony Mann, a fine director of Westerns. The renegade brother of Jeannette MacDonald in the film, Winchester 73, picked up the threads of Destry operetta, Rose Marie (1936), and a killer in After Rides Again (1939), a Western spoof in which the Thin Man (1936). His image, changed with his Stewart did a broad caricature of a frontiersman role as a midshipman in Navy, Blue and Gold opposite Marlene Dietrich who, in her smoky voice, (1937), Frank Capra was impressed with the sang: "See what the boys in the backroom will have, gangling star, seeing great potentialities for selfless and tell 'em that I'll have the same." A new facet roles as a willing "auto-victim" to subvert evil forces of the Stewart persona emerged with his Western threatening community and the democratic system. roles: Broken Arrow (1950), Bend of the River Stewart admits that his roles in You Can't Take It (1952), Carbine Williams (1952), The Naked Spur with You, Mr. Smith Goes to Washington and It's (1953), The Man from Laramie (1955) and three a Wonderful Life helped his career greatly. John Ford vehicles: Two Rode Together (1961), The His career was interrupted by World War II; he Man Who Shot Liberty Valance (1962) and served for four years as an army pilot, leading men Cheyenne Autumn (1964). on combat missions in the European Theatre of It is an assumption - unexamined and purely operations. Following his discharge, he forbade the gratuitous - that Jimmy Stewart invariably plays studio publicity departments to exploit his himself. That he does often as, for example, in his accomplishments as a patriot and decorated hero roles in It's a Wonderful Life, Harvey and Cecil for the sake of box office appeal. The celebrated DeMille's The Greatest Show on Earth. A closer modesty of James Stewart, the actor, is not cosmetic study of Stewart's filmology will demonstrate that but bone-deep. he is capable of great passion, inner torment and The return to Hollywood meant adaptation to self-doubt. Hitchcock recognized this darker, more new circumstances; gone was the mood of Franklin troubled side to Stewart's persona and played him D. Roosevelt's New Deal. The American audience against type - the professor-accomplice in Rope, was more sophisticated, having seen films which the voyeuristic "wheel chair-ridden" photographer featured more violence and relaxed sexual standards in Rear Window, the anxiety-lashed father of the of conduct than in 1941 when Stewart made the kidnapped child in The Man Who Knew Too Much. fluffy Pot of Gold. Two of his films failed Add to this the bravura performance of Vertigo commercially: Capra's It's a Wonderful Life (1946) and, later, Otto Preminger's Anatomy of a Murder, and William Wellman's Magic Town (1947). and one revises the conventional image we have of However, Stewart succeeded in accommodating Stewart - not false, merely incomplete. Frank himself to the new genre - the "black-thriller" Capra saw this other side of Stewart and brought (known in French as the film nair). Stewart it out in the final scenes of Mr. Smith Goes to presented a new character, a tight-lipped "no-non­ Washington and It's a Wonderful Life. These scenes sense" reporter out to prove the innocence of a rank with the finest in Stewart's career- yes, even falsely-accused man. As a popular TV rerun, the in the annals of Hollywood acting. film holds up well today: Lee J. Cobb, Thelma Audiences remember Stewart as the quiet, un­ Ritter and Richard Conte help Stewart to give the troubled country boy fighting "big city" political film durable "legs." machines and unpatriotic movements or romancing Hitchcock's Rope (1948) confirmed Stewart's new attractive women in a "golly, gee whiz" manner. 6 NEW ORLEANS REVIEW These are certainly unforgettable "bits of time," to as long as film classics are shown in revival, reruns use the phrase that Jimmy Stewart has coined to and retrospectives. describe the arbitrary workings of memory. We do recall in a selective fashion scenes which, though Mr. Stewart, when you first came to Hollywood, part of a seamless movie plot, become unstiched in you began to work for the large studios, MGM in our subjective memory-bank and stick there as particular. Could you say a word about your highlights, pushing into the shadows of oblivion experience there? We would also like to know about other scenes and bits of celluloid. Among my "bits your experiences with directors: over your long of time" relating to James Stewart's performances career you have worked with Lubitsch, DeMille, are the typical ones of the playful, ear-pulling, Capra, Hitchcock, Ford, Wellman, Wilder, and gulling and gagging innocent. But alongside of these King Vidor. are other memorable "snatches" of Stewart-on­ I came to Hollywood in 1935 as a contract player; screen, various instances of that diamond-hard, MGM probably had the biggest list of such players tousled-haired Stewart who resists and resents in town.
Load more

Recommended publications
  • Before the Forties
    Before The Forties director title genre year major cast USA Browning, Tod Freaks HORROR 1932 Wallace Ford Capra, Frank Lady for a day DRAMA 1933 May Robson, Warren William Capra, Frank Mr. Smith Goes to Washington DRAMA 1939 James Stewart Chaplin, Charlie Modern Times (the tramp) COMEDY 1936 Charlie Chaplin Chaplin, Charlie City Lights (the tramp) DRAMA 1931 Charlie Chaplin Chaplin, Charlie Gold Rush( the tramp ) COMEDY 1925 Charlie Chaplin Dwann, Alan Heidi FAMILY 1937 Shirley Temple Fleming, Victor The Wizard of Oz MUSICAL 1939 Judy Garland Fleming, Victor Gone With the Wind EPIC 1939 Clark Gable, Vivien Leigh Ford, John Stagecoach WESTERN 1939 John Wayne Griffith, D.W. Intolerance DRAMA 1916 Mae Marsh Griffith, D.W. Birth of a Nation DRAMA 1915 Lillian Gish Hathaway, Henry Peter Ibbetson DRAMA 1935 Gary Cooper Hawks, Howard Bringing Up Baby COMEDY 1938 Katharine Hepburn, Cary Grant Lloyd, Frank Mutiny on the Bounty ADVENTURE 1935 Charles Laughton, Clark Gable Lubitsch, Ernst Ninotchka COMEDY 1935 Greta Garbo, Melvin Douglas Mamoulian, Rouben Queen Christina HISTORICAL DRAMA 1933 Greta Garbo, John Gilbert McCarey, Leo Duck Soup COMEDY 1939 Marx Brothers Newmeyer, Fred Safety Last COMEDY 1923 Buster Keaton Shoedsack, Ernest The Most Dangerous Game ADVENTURE 1933 Leslie Banks, Fay Wray Shoedsack, Ernest King Kong ADVENTURE 1933 Fay Wray Stahl, John M. Imitation of Life DRAMA 1933 Claudette Colbert, Warren Williams Van Dyke, W.S. Tarzan, the Ape Man ADVENTURE 1923 Johnny Weissmuller, Maureen O'Sullivan Wood, Sam A Night at the Opera COMEDY
    [Show full text]
  • The College Student in the American Novel: 1930-1939 and 1964-1967
    THE COLLEGE STUDENT IN THE AMERICAN NOVEL: 1930-1939 AND 1964-1967 Thesis for the Degree of Ph. D. MICHIGAN STATE UNIVERSITY HERMAN C. KISSIAH 1969 J :11 /2 4111141112117; 91/ 171 "’L LIBMRY “J“ 99 Michiganme University i; m This is to certify that the thesis entitled THE COLLEGE STUDENT IN THE AMERICAN NOVEL: 1930-1939 AND 1964-1967 presented by Herman C. Kissiah has been accepted towards fulfillment of the requirements for Ph.D. degree in Education 5,214“ f? MM Major professor Date October 14, 1969 0-169 "31'1”? SONS' "' ' 300K mung! _mc_ LI...“ ABSTRACT THE COLLEGE STUDENT IN THE AMERICAN NOVEL: 1930-1939 AND 1964-1967 BY Herman C. Kissiah Purpose of the Study The purpose of this study is to investigate the image of the college student and his environment presented by the novel to the public. This image, or those images projected by the current novel, are then compared with the perceptions presented during a different period of time. The images of these two Periods are then examined to determine whether or not the novels within a given period present similar characterizations 01‘ themes in dealing with the college student, and whether or not the novels reflect the concerns of society of that period. Ethod of Study Works chosen for this study will include the significant novels that have dealt with the college student in his environ- ment. Inclusion of a college novel in the Book Review Digest is uSed as the index of significance. Excluded from the selections are comic novels, juveniles, murder mysteries, historical fiction, drama, and anthologies of short stories.
    [Show full text]
  • Berkeley Art Museum·Pacific Film Archive W in Ter 20 19
    WINTER 2019–20 WINTER BERKELEY ART MUSEUM · PACIFIC FILM ARCHIVE UNIVERSITY OF CALIFORNIA PROGRAM GUIDE ROSIE LEE TOMPKINS RON NAGLE EDIE FAKE TAISO YOSHITOSHI GEOGRAPHIES OF CALIFORNIA AGNÈS VARDA FEDERICO FELLINI DAVID LYNCH ABBAS KIAROSTAMI J. HOBERMAN ROMANIAN CINEMA DOCUMENTARY VOICES OUT OF THE VAULT 1 / 2 / 3 / 4 / 5 / 6 CALENDAR DEC 11/WED 22/SUN 10/FRI 7:00 Full: Strange Connections P. 4 1:00 Christ Stopped at Eboli P. 21 6:30 Blue Velvet LYNCH P. 26 1/SUN 7:00 The King of Comedy 7:00 Full: Howl & Beat P. 4 Introduction & book signing by 25/WED 2:00 Guided Tour: Strange P. 5 J. Hoberman AFTERIMAGE P. 17 BAMPFA Closed 11/SAT 4:30 Five Dedicated to Ozu Lands of Promise and Peril: 11:30, 1:00 Great Cosmic Eyes Introduction by Donna Geographies of California opens P. 11 26/THU GALLERY + STUDIO P. 7 Honarpisheh KIAROSTAMI P. 16 12:00 Fanny and Alexander P. 21 1:30 The Tiger of Eschnapur P. 25 7:00 Amazing Grace P. 14 12/THU 7:00 Varda by Agnès VARDA P. 22 3:00 Guts ROUNDTABLE READING P. 7 7:00 River’s Edge 2/MON Introduction by J. Hoberman 3:45 The Indian Tomb P. 25 27/FRI 6:30 Art, Health, and Equity in the City AFTERIMAGE P. 17 6:00 Cléo from 5 to 7 VARDA P. 23 2:00 Tokyo Twilight P. 15 of Richmond ARTS + DESIGN P. 5 8:00 Eraserhead LYNCH P. 26 13/FRI 5:00 Amazing Grace P.
    [Show full text]
  • UCLA Electronic Theses and Dissertations
    UCLA UCLA Electronic Theses and Dissertations Title Doing the Time Warp: Queer Temporalities and Musical Theater Permalink https://escholarship.org/uc/item/1k1860wx Author Ellis, Sarah Taylor Publication Date 2013 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Doing the Time Warp: Queer Temporalities and Musical Theater A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Theater and Performance Studies by Sarah Taylor Ellis 2013 ABSTRACT OF THE DISSERTATION Doing the Time Warp: Queer Temporalities and Musical Theater by Sarah Taylor Ellis Doctor of Philosophy in Theater and Performance Studies University of California, Los Angeles, 2013 Professor Sue-Ellen Case, Co-chair Professor Raymond Knapp, Co-chair This dissertation explores queer processes of identification with the genre of musical theater. I examine how song and dance – sites of aesthetic difference within the musical – can warp time and enable marginalized and semi-marginalized fans to imagine different ways of being in the world. Musical numbers can complicate a linear, developmental plot by accelerating and decelerating time, foregrounding repetition and circularity, bringing the past to life and projecting into the future, and physicalizing dreams in a narratively open present. These excesses have the potential to contest naturalized constructions of historical, progressive time, as well as concordant constructions of gender, sexual, and racial identities. While the musical has historically been a rich source of identification for the stereotypical white gay male show queen, this project validates a broad and flexible range of non-normative readings.
    [Show full text]
  • An Interview with BEN WASSON Interviewed by Charlotte Capers
    An Interview With BEN WASSON Interviewed by Charlotte Capers November 1, 1977 Greenville, Mississippi MISSISSIPPI DEPARTMENT OF ARCHIVES AND HISTORY Post Office Box 571 Jackson, Mississippi 39205 / This transcription has been edited by the informant. Title to the material on the audio tape and in the typewritten transcription and all literary property rights and copyright belong to the Hississippi Department of Archives and History. Permission to cite, quote or reproduce tllis interview, in whole or part, must be obtained in writing from the Mississippi Department of Archives and History. The tape recording of this interview is available for listening with permission of the Director, Archives and Library Division, Missis- sippi Department of Archives and History. Permission to reproduce the tape recording, in whole or part, must be obtained in writing from the Mississippi Department of Archives and History. The permanent file, containing the verbatim and edited transcripts of this interview, correspondence relating to the interview and any ]lictures relating to the interview, is available for use by scholars. Inquiries concerning the permanent file for this interview should be addressed to the Director, Archives and Library Division, Hississippi Department of Archives and History. / Wasson - 1 Capers: And one reason that it didn't record the first time is that I did not punch the little red button which says "record." So, let me announce that this is Charlotte Capers punching the little red button. Now, here we go. I would like for Nary to announce herself here for a few minutes, so we'll get a real family atmosphere at this interview.
    [Show full text]
  • An End to Antisemitism!
    Confronting Antisemitism in Modern Media, the Legal and Political Worlds An End to Antisemitism! Edited by Armin Lange, Kerstin Mayerhofer, Dina Porat, and Lawrence H. Schiffman Volume 5 Confronting Antisemitism in Modern Media, the Legal and Political Worlds Edited by Armin Lange, Kerstin Mayerhofer, Dina Porat, and Lawrence H. Schiffman ISBN 978-3-11-058243-7 e-ISBN (PDF) 978-3-11-067196-4 e-ISBN (EPUB) 978-3-11-067203-9 DOI https://10.1515/9783110671964 This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. For details go to https://creativecommons.org/licenses/by-nc-nd/4.0/ Library of Congress Control Number: 2021931477 Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. © 2021 Armin Lange, Kerstin Mayerhofer, Dina Porat, Lawrence H. Schiffman, published by Walter de Gruyter GmbH, Berlin/Boston The book is published with open access at www.degruyter.com Cover image: Illustration by Tayler Culligan (https://dribbble.com/taylerculligan). With friendly permission of Chicago Booth Review. Printing and binding: CPI books GmbH, Leck www.degruyter.com TableofContents Preface and Acknowledgements IX LisaJacobs, Armin Lange, and Kerstin Mayerhofer Confronting Antisemitism in Modern Media, the Legal and Political Worlds: Introduction 1 Confronting Antisemitism through Critical Reflection/Approaches
    [Show full text]
  • Confronting Antisemitism in Modern Media, the Legal and Political Worlds an End to Antisemitism!
    Confronting Antisemitism in Modern Media, the Legal and Political Worlds An End to Antisemitism! Edited by Armin Lange, Kerstin Mayerhofer, Dina Porat, and Lawrence H. Schiffman Volume 5 Confronting Antisemitism in Modern Media, the Legal and Political Worlds Edited by Armin Lange, Kerstin Mayerhofer, Dina Porat, and Lawrence H. Schiffman ISBN 978-3-11-058243-7 e-ISBN (PDF) 978-3-11-067196-4 e-ISBN (EPUB) 978-3-11-067203-9 DOI https://10.1515/9783110671964 This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. For details go to https://creativecommons.org/licenses/by-nc-nd/4.0/ Library of Congress Control Number: 2021931477 Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. © 2021 Armin Lange, Kerstin Mayerhofer, Dina Porat, Lawrence H. Schiffman, published by Walter de Gruyter GmbH, Berlin/Boston The book is published with open access at www.degruyter.com Cover image: Illustration by Tayler Culligan (https://dribbble.com/taylerculligan). With friendly permission of Chicago Booth Review. Printing and binding: CPI books GmbH, Leck www.degruyter.com TableofContents Preface and Acknowledgements IX LisaJacobs, Armin Lange, and Kerstin Mayerhofer Confronting Antisemitism in Modern Media, the Legal and Political Worlds: Introduction 1 Confronting Antisemitism through Critical Reflection/Approaches
    [Show full text]
  • Federico Fellini and the Experience of the Grotesque and Carnavalesque – Dis-Covering the Magic of Mass Culture 2013
    Repositorium für die Medienwissenschaft Annie van den Oever Federico Fellini and the experience of the grotesque and carnavalesque – Dis-covering the magic of mass culture 2013 https://doi.org/10.25969/mediarep/15114 Veröffentlichungsversion / published version Rezension / review Empfohlene Zitierung / Suggested Citation: van den Oever, Annie: Federico Fellini and the experience of the grotesque and carnavalesque – Dis-covering the magic of mass culture. In: NECSUS. European Journal of Media Studies, Jg. 2 (2013), Nr. 2, S. 606– 615. DOI: https://doi.org/10.25969/mediarep/15114. Erstmalig hier erschienen / Initial publication here: https://doi.org/10.5117/NECSUS2013.2.VAND Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0 Attribution - Non Commercial - No Derivatives 4.0 License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0 https://creativecommons.org/licenses/by-nc-nd/4.0 NECSUS – EUROPEAN JOURNAL OF MEDIA STUDIES About the author Francesco Di Chiara (University of Ferrara) 2013 Di Chiara / Amsterdam University Press. This is an Open Access article distributed under the terms of the Creative Commons Attribution License (http:// creativecommons.org/licenses/by/2.0), which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly
    [Show full text]
  • Download the Complete Issue Here
    Theatre for Change 1 Editorial ‘The very process of the workshop does so much for women. The process is an end in itself. For women who are not given to articulating their views, women who are not given to exploring their bodies in a creative way, for feeling good, for feeling fresh. Just doing physical and breathing exercises is a liberating experience for them. Then sharing experiences with each other and discovering that they are not insane, you know, discovering that every woman has dissatisfaction and negative feelings, touching other lives . When you come together in a space, you develop a trust, sharing with each other, enjoying just being in this space, enjoying singing and creating, out of your own experiences, your own plays’—Tripurari Sharma Theatre as process—workshopping—is an empowering activity. It encourages self- expression, develops self-confidence and communication skills, and promotes teamwork, cooperation, sharing. It is also therapeutic, helping individuals to probe within and express—share—deeply emotional experiences. Role-playing enables one to ‘enact’ something deeply personal that one is not otherwise able to express, displacing it and rendering it ‘safe’, supposedly ‘fictionalized’. In short, workshopping can be a liberatory experience. For women who, in our society especially, are not encouraged to develop an intimacy with their bodies, who are conditioned to be ashamed or uncomfortable about their physicality, the process of focusing on the body, on exercises which change one’s awareness of and relationship with and deployment of one’s body, offers an additional benefit, opening up a dimension of physicality which is normally out of bounds.
    [Show full text]
  • 2015 Next Wave Festival DEC 2015
    2015 Next Wave Festival DEC 2015 Shinique Smith, Abiding Light, 2015 Published by: Season Sponsor: #BAMNextWave #SteelHammer Brooklyn Academy of Music Alan H. Fishman, Chairman of the Board William I. Campbell, Vice Chairman of the Board Adam E. Max, Vice Chairman of the Board Katy Clark, President Joseph V. Melillo, Executive Producer Steel Hammer BAM Harvey Theater Dec 2—5 at 7:30pm; Dec 6 at 3pm Running time: one hour & 55 minutes, no intermission Julia Wolfe and SITI Company Bang on a Can All-Stars Directed by Anne Bogart Music & lyrics by Julia Wolfe Original text by Kia Corthron, Will Power, Carl Hancock Rux, and Regina Taylor Music performed by Bang on a Can All-Stars Play performed & created by SITI Company Scenic & costume design by James Schuette Lighting by Brian H Scott Sound design by Andrew Cotton and Christian Frederickson Choreography by Barney O’Hanlon Season Sponsor: Steel Hammer premiered at Actors Theatre of Louisville in the 2014 Humana Festival of New American Plays In memory of Robert W. Wilson, with gratitude for his visionary and generous support of BAM STEEL HAMMER Akiko Aizawa Ashley Bathgate Eric Berryman Robert Black Patrice Johnson Vicky Chow David Cossin Emily Eagen Chevannes Katie Geissinger Gian-Murray Gianino Barney O’Hanlon Molly Quinn Mark Stewart Ken Thomson Stephen Duff Webber Steel Hammer CAST Akiko Aizawa* Eric Berryman* Patrice Johnson Chevannes* Gian-Murray Gianino* Barney O’Hanlon* Stephen Duff Webber* BANG ON A CAN ALL-STARS Ashley Bathgate cello Robert Black bass Vicky Chow piano David Cossin
    [Show full text]
  • Savoy and Regent Label Discography
    Discography of the Savoy/Regent and Associated Labels Savoy was formed in Newark New Jersey in 1942 by Herman Lubinsky and Fred Mendelsohn. Lubinsky acquired Mendelsohn’s interest in June 1949. Mendelsohn continued as producer for years afterward. Savoy recorded jazz, R&B, blues, gospel and classical. The head of sales was Hy Siegel. Production was by Ralph Bass, Ozzie Cadena, Leroy Kirkland, Lee Magid, Fred Mendelsohn, Teddy Reig and Gus Statiras. The subsidiary Regent was extablished in 1948. Regent recorded the same types of music that Savoy did but later in its operation it became Savoy’s budget label. The Gospel label was formed in Newark NJ in 1958 and recorded and released gospel music. The Sharp label was formed in Newark NJ in 1959 and released R&B and gospel music. The Dee Gee label was started in Detroit Michigan in 1951 by Dizzy Gillespie and Divid Usher. Dee Gee recorded jazz, R&B, and popular music. The label was acquired by Savoy records in the late 1950’s and moved to Newark NJ. The Signal label was formed in 1956 by Jules Colomby, Harold Goldberg and Don Schlitten in New York City. The label recorded jazz and was acquired by Savoy in the late 1950’s. There were no releases on Signal after being bought by Savoy. The Savoy and associated label discography was compiled using our record collections, Schwann Catalogs from 1949 to 1982, a Phono-Log from 1963. Some album numbers and all unissued album information is from “The Savoy Label Discography” by Michel Ruppli.
    [Show full text]
  • 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.
    [Show full text]