DOCSLIB.ORG

Ki^Aso^^Pf^C^^IALOUOBRIGIDA

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Ki^Aso^^Pf^C^^IALOUOBRIGIDA VHE EVENING STAR, Washington, D. C. - on A-16 WIMMT, AUGUST IS, ISS4 Tonight 8 P.M. Stag# A Somi-Finoh of "Mist Washington" Contort The Passing Show 11 i© NOW . Open 12:30 i usr Q© CMTMUQK KiFMMMKES ||a L GREATER THAN EVER w&jß lOSKIeii!? That Apple Really Golden ON WIDE SCREEN! PAYS* In Rock Creek Musical 1 s±°^ By Jay Carmody | That long dreamed of dlrect-from-Broadway musical arrived 11 KW-12:30-2:20 night GONE I last at Carter Barron Amphitheater. I 4}lo-6:00»7:50-4:40 A prise Indeed It turns out to be, this “Golden Apple” which , WITH THE 1 "BEST MUSICAL OF 1954" earned its creators, John Latouche and Jerome Moross, all of last | season’s garlands. LDfmBO.SOZMCK’S ItIs inescapable, of course, that the transplanting of any apple, a WIND' or musical, presents perils. This-*• DAYS ¦ 1 **72cAetcco&t MG S-1326 1 aba is especially true of one as inti- “THX QOLDKN APPLE,” « musical mate leanly produced as in, two acta with book and lyrics by and John Latouche and muaic by Jerome 'Vive U this one, a freely fancied para- Moross. produced by Alfred De Liaarle difference!.. Wf Jr., and Roger L. Stevens in association phrase of the Trojan war era T. Hambleton and Norris Houghton,with Edwarddirected by Norman Lloyd, legends in ~ from which relocates the chorography by Hanva Holm, and get- direct I Washington State at the close of tings by William and Jean Eckhart. At K *“iT. the Spanish-American War. Carter Barron Amphitheater. BROADWAYS I At Oast. haeMl 1 . Happily, however, i- Sam# Broodway Prsductiss Some Broadway Cost I “The Golden Helen ta farmer's daughter) has a folksy patina. Kaye Ballard Bi Mm<m Apple” I TICKETS ON SALS ... AU SEATS Loyey Mars (the local matchmaker) nHSHHOBTI v *r f Under an August sky here in Blbl Osterwald a ff SUPER MUSIC CITY SOX OFFICE RESERVED: Mrs. Juniper (the mayor’s wife) i* rf -4th Hit Week! I 1330 F St. N.W. ST. 3 3916 or NA. S-679S $1.23. $1.75. $2.30. 1 1954, it nestles cozily into tlme- Charlotte Rse such fury 1 At The Amphitheater After 6 P.M., TU. 2-9734 $3.00, $3.30 Tex Inci. 1 lessness. Timelessness, every Miss Minerva Oliver (the village school marm) , Portia Nelson (the mystic) mil mmm: one knows, is tjje happiest of Mother Hare local MSB woman BUI *LbK « * Certainly Martha Larrlmore L'' v r A all times. Latouche Penelope (Ulysses’ wife) jhß V 3 TtANS-lUX Virginia iftWhKTAUADRfIW.. Moross know it in this youth- ~ Copeland ¦ and Menelaus (the old sheriff) such ful, bright and mocking musical Dean Mlchtnsr gtejygl ©MNNMrMnCe G. B. SHAW'S r The Heroes: !li W// A A/9rJftM which the company imbues with Captain Mars Prank Beabolt an irresistible airy freshness in Ajax Marten Bameth Agamemnon Crandall Diehl "Heartbreak ii the big Rock Creek bowl. Nestor Maurice Edwards ii Murray Ottlin II BURT LANCASTER "The Golden Apple,” with flueyhlrsty Don Redlich ’Mas# . House" gaUTW i: ™ Stephen Douglas, Silas Peter de Mayo ffl^ Kaye Ballard, Homer Barton Mumaw * MARGARET PHILLIPS HL «u4tlPf •FWi, Jack Whiting, Bibi Osterwald, Diomede Robert Flavelle II Achilles Julian Patrick 7 Lucas, Hermany JEAN PETERS •JtifiWi Patroclus I Jonathan is the summer’s Richard II eater- by A Doc MacCahan . .... OaryjOordon Mth H N.W. J happiest entertainment harvest. Ulysses (a veteran) --Stephen Douglass Technicolor Ed Grace ..... ** * * Theron ha h I ¦ - 0 Mayor Juniper Jerry Stiller if vpe. ..... ..a. i . Paris (a traveling salesman) Neither the comfortable nor Jonathan Lucas the profitable ruts others mu- The Figurehead Dee Harless of Hector Charybdis sic makers tempt Latouche and Rhodendron) Whiting _¦\EnEEIQ3S9|| NOW Oh* l*!*S (Msyor of Jack ¦ ¦¦! new* M«*C. SWCXM6 DRAMS’ § Moross in “The Golden Apple." THE LOCAL OIRLS: Sara Bettis. W: go alluringly Dee Harless, Janet Haves. Ann Need- They their own off- ham. Joli Roberts. Jere Stevens. Tso 111 PRISONER way,’fixing the audience’s Strong, Helen Ahols. Anntliese Wid- beat man, Mitsl Wilson. Patti 'Parsons, I OF WAR” gaze Strong. II (ONAID on the fact that man is the Jean Hsuloose, Rod KAGAN JTIVf FOttfST II Films of divinely comic figure of creation. THE LOCAL BOYS: Santo Anselmo, More Thon Routine Merit Stanley Warner theaters Bob Gray. Bill Nuss. Charlie Post, THE In terms of Angel’s Roost, Wash., Arthur Schoep. “THE BAD AND BEAUTIFUL”—Kirk Douglas as an STANLEY WARNER THEATRES and the year 1900, they retell the RETURNS TO LONDON LIRE—Her one-year sentence ~ amoral moviemaker. ARE ALL AIR-CONPITIONEP lor “BEAT THE Homeric legends of the Iliad and Apple” company fairly burglary terminated, prison try to DEVIL”—Comic olf-beat suspense yarn by John ”*• t Golden I Yvonne Mitchell leaves to A MOMS HUH m,m A ) Qdyssey. reeks with deftness. Jonathan a life, in the film, "Turn the Key Softly,” show- Huston. fcsss~ follow lawful VVf J “BLACKBEARD THE Lustily In this fashion, they make it Lucas’ dancing Paris; Bibi Oster- ing at the MacArthur Theater. PlßATE”— caricatured by Robert AMBASSADOR that the characters of Ulys- Newton. plain wald’s robustly guileful Lovely Thai “DIAL M FOR S? r jFln In ClnemeScope. ses, Penelope. Helen, Paris and repre- TONIGHT It MURDER”—Suspsßseful screen version of the Kinir Richards- and the Crusaders,'* Mars; and the others stage Hex Harrlgon, Virglnlm Meyo. George the others change little over a sented by Charlotte Rae, Portia thriller. Sender*, l, A:O6. f:l6, 7:gS, 8-3” couple Ulysses T tniA “GENTLEMAN’S AGREEMENT ”—On the viciousness of preju- of millenia. still Nelson, and Martha Larrlmore. •in WO •-*«••• "Heidi,” Diary #.75-s2.a dice, jrellmade. nVAIeURAVALON 1;6 - Hollywood ”” 4; , 7;00i wants to wander, Penelope wants 77 5. 26 9:35 The Latouche and , tax mciMwcr music Xma “THE NAKED SPUR”—James Stewart hi a superior outdoor r£D eryut Winner a home, Helen wants a man, and wrote these Wonder fwo maims vomv) et Cenneg), 1:06,nP 6:08.A adventure. Moross for gifted Powell Hesitates drama. 8:46. Paris wants amorous creatures to sing is sort' Otfiw Their hungers are expressed in not the LiL. “THE STUDENT PRINCE”—FuIIy revived with lavish produc- that finds its way onto hit pa- Over RKO Offer and Ann Blyth. BEVERLY-Perking.hl- "Secret of lyrics, melody and dance that re- W WCNNtCOtOt tion , tne Inceg,” Cherlton Heston. 7. 9-30 But even if it is the — wardingly the rades. not By Sheilah JjjJIJJJ “YOU CAN’T CHEAT AN HONEST MAN”—The late, great forsake tired paths to whistlers, Graham of musical drama. kind inspire it is W. C. Fields at work. CALVERT correlatively mpre pleasant and HOLLYWOOD. John Huston: “Hm Long Gray ll,,u‘ M”1 *** * B—VaifTag* amusing to listen to within the Dick wait until • Pox.” ¦mem XpaiMMIMOBMI i Powril- will *•*» *-** - The premise of “The Golden context. * *• ? * _ ft] Mitw m 4l N#er musical’s “Th« ConQueror” is out of the mote n mams I Wineland Theaters CENTRALS-Mfcperkl»g. I . "Border Apple” is that so superb a clown Speaking at aupersititions, ¦» OvOtewby tel AIE CONDITIONED r 1 M a Better than mere hit numbers way 6.30,« ™ ’ o^ . £l* “ 3:30, should his act of before giving Howard flying PUMEB DUTE-n 9:36. ’Thec Lont Welt,’ 1 as man enjoy are such songs as “My Love Is Anne Baxter who la to Anthony Quinn. 11:00, living. and Moross Hughes “yes” or a “no” on Parisj on On GNni Palmer Highway (Ml. ANACOSTIA 1:66, 6, 0. Latouche see on the Way,” “It’s the Going a Friday the 13. to do Rente 704) Bean!el by Annapolis Cinemascope with Stereophonic that he does. They grant him taking entire RKO pro- “The Paris Story.” will board Rd. (t. S. BO) and Landover Rd. Sound and Tachnicolor. ANN RA 8 <wo°- Home Together,” “Lazy Aft- over the WARNER^,- <Md. 202). Children Under 12 Free- BLYTH, EDMUND KENNEDYHMinbWl neM plane 12th, Cedar PURDOM and t 0 Murder.” exuberance in the chase after the on the and she MwetreSeelA of PHILADELPHIA 6771. OARY COOPER In “THE singing ° » ernoon,” “Helen Is Always Will- duction. A lot depends on how The ONLY at the voice of MARIO LANZA «\ U Ck Qe r, BM>dcr»’ tempting Helen, as willingly is dropping one piece of baggage, WESTERNER." 10:50 and JOEL * T5' T8:0$ £Zl the ing,” “Goona-Goona” and a the John Wayne-Susan Hayward ; McCRBA In "DEAD END." at 9:06, g*'" grant him delight when he lugs keep portmanteaux * p » to the a 2523 E • “““ Frt rki“«. number of others. film¦comes out. SUPER CHIEF DRIVE-IN s PENN In Cinemascope. his exhausted body back to round doaen. HIGHLAND sr«w ' "The Stu- ** * * Celeste Holm, manages set On Indian Head Hwy„ ala. 8. Capital 2Big dent Prince.’* Ann Blyth, 2:35, 6:00, Penelope On who The UM-HMftri Bridge. Technicolor Hitt. CHARLTON and domestic bliss. Esther Williams is in Florida St. «V* Miles from D C. Line ROBERT YOUNG in They Won’t Me,’ 1 lady through bumps , The in HESTON, * Believe Those who saw Golden to be a the Leopard meet nßr on the rlxht. LO. 7-8700. "SECRET OP INCAS,” ? 0/ ,b rt -Toung, Susan Heyward, l:lb, the town, or on the farm, Angel, “The for a week for- underwater J THE at 6:20, 4.4 U, York’s and grinds of her last number mortal combat!. , Children nnder 12 admitted Free. 9:20.
Load more

Recommended publications
  • Council Gets First Look At
    50 fears and counting '"', 1 IT Klaudts celebrate golden anniversary Since 1981 Stfii first on Sanibeland Capisva islands VOL. 33, NO. 25 TUESDAY, JUNE 21, 1994 3 SECTIONS, 32 PAGES 50 CENTS Items examined at city workshop •••'••I 'i\-''f,'-- -^ * "• ** Council gets first look at '94-95 budget By Steve Ruediger Islander staff writer Some preliminary cuts were made Wednesday, Sanibel June 15, as the Sanibel City Council got its first look at the proposed city budget for the upcoming fiscal sunrise year. A slope mower and a plan for Dunlop Road were While on a dawn sea turtle chopped. No final decision was made but the council beach patrol at the Sani- members seemed to have primarily negative reac- bel Lighthouse recently, tions to a plan to spend $95,000 for additional space Islander staffer Tracey for the Sanibel police. Markwaiter, an amateur Salary discussions took up some time. A graph photographer, captured this postcard-like view of was presented which showed that Sanibel city the sun slowly rising in salaries in the top few pay grades are above pay the east. Accompanying ranges for positions with the same title in other the patrol group, for a Florida cities under 10,000 in population. short stretch, was a great The council was also presented a preliminary five- blue heron, shown wading through the shallows of year financial plan. It was not" discussed and it was the bay. emphasized the numbers in it were very preliminary. The budget workshop allowed the council to work its way down a list of budget items and hear from department heads why each felt the requested items were necessary.
    [Show full text]
  • Listening to Movies: Film Music and the American Composer Charles Elliston Long Middle School INTRODUCTION I Entered College
    Listening to Movies: Film Music and the American Composer Charles Elliston Long Middle School INTRODUCTION I entered college a naïve 18-year-old musician. I had played guitar for roughly four years and was determined to be the next great Texas blues guitarist. However, I was now in college and taking the standard freshman music literature class. Up to this point the most I knew about music other than rock or blues was that Beethoven was deaf, Mozart composed as a child, and Chopin wrote a really cool piano sonata in B-flat minor. So, we’re sitting in class learning about Berlioz, and all of the sudden it occurred to me: are there any composers still working today? So I risked looking silly and raised my hand to ask my professor if there were composers that were still working today. His response was, “Of course!” In discussing modern composers, the one medium that continuously came up in my literature class was that of film music. It occurred to me then that I knew a lot of modern orchestral music, even though I didn’t really know it. From the time when I was a little kid, I knew the name of John Williams. Some of my earliest memories involved seeing such movies as E.T., Raiders of the Lost Ark, and The Empire Strikes Back. My father was a musician, so I always noted the music credit in the opening credits. All of those films had the same composer, John Williams. Of course, I was only eight years old at the time, so in my mind I thought that John Williams wrote all the music for the movies.
    [Show full text]
  • JOAN CRAWFORD Early Life and Inspiration Joan Crawford Was Born Lucille Fay Lesueur on March 23, 1908, in San Antonio, Texas
    JOAN CRAWFORD Early Life and Inspiration Joan Crawford was born Lucille Fay LeSueur on March 23, 1908, in San Antonio, Texas. Her biological father, Thomas E. LeSueur, left the family shortly after Lucille’s birth, leaving Anna Bell Johnson, her mother, behind to take care of the family. page 1 Lucille’s mother later married Henry J. Cassin, an opera house owner from Lawton, Oklahoma, which is where the family settled. Throughout her childhood there, Lucille frequently watched performances in her stepfather’s theater. Lucille, having grown up watching the many vaudeville acts perform at the theater, grew up wanting to pursue a dancing career. page 2 In 1917, Lucille’s family moved to Kansas City after her stepfather was accused of embezzlement. Cassin, a Catholic, sent Lucille to a Catholic girls’ school by the name of St. Agnes Academy. When her mother and stepfather divorced, she remained at the academy as a work student. It was there that she began dating and met a man named Ray Sterling, who inspired her to start working hard in school. page 3 In 1922, Lucille registered at Stephens College in Columbia, Missouri. However, she only attended the college for a few months before dropping out when she realized that she was not prepared enough for college. page 4 Early Career After her stint at Stephens, Lucille began dancing in various traveling choruses under the name Lucille LeSueur. While performing in Detroit, her talent was noticed by a producer named Jacob Shubert. Shubert gave her a spot in his 1924 Broadway show Innocent Eyes, in which she performed in the chorus line.
    [Show full text]
  • Schedule of Activities and Programs
    Kansas State University Libraries New Prairie Press 2014 – Flint Hills Land, Sky, and People (Cathy Symphony in the Flint Hills Field Journal Hoy, Jim Hoy, Marty White, Editors) Schedule of Activities and Programs Follow this and additional works at: https://newprairiepress.org/sfh Recommended Citation (2014). "Schedule of Activities and Programs," Symphony in the Flint Hills Field Journal. https://newprairiepress.org/sfh/2014/contents/2 To order hard copies of the Field Journals, go to shop.symphonyintheflinthills.org. The Field Journals are made possible in part with funding from the Fred C. and Mary R. Koch Foundation. This is brought to you for free and open access by the Conferences at New Prairie Press. It has been accepted for inclusion in Symphony in the Flint Hills Field Journal by an authorized administrator of New Prairie Press. For more information, please contact [email protected]. SYMPHONY IN THE FLINT HILLS JUNE 14, 2014 Flint Hills Land, Sky, and People SCHEDULE OF ACTIVITIES 1:00 p.m. Ticket gate opens Rides to concert site begin from Wait and Ride Tent Wildflower walking trail to concert site opens Food Tent and Beverage Tent open until 11 p.m. 1:00 – Intermission Prairie Art Silent Auction A juried selection of paintings inspired by the Flint Hills will be offered by silent auction in the Prairie Art Tent. One painting has been chosen for the 2014 limited edition fine art print. 1:00 – 6:00 Horse-drawn covered wagon rides Musical Instrument Petting Zoo Roving Music by Tallgrass Express String Band Prairie Walks and Interpretation Learn about native grasses, wildflowers, birds and other wildlife, habitats, geologic formations, and cattle grazing on the tallgrass prairie from knowledgeable prairie enthusiasts.
    [Show full text]
  • Original Music in Film - Part One - Clips Shown for Educational Purposes Only
    Original Music In Film - Part One - Clips Shown for Educational Purposes Only: The Gold Rush (Cabin Scene) - Charlie Chaplin Street Scene (Main Title and Cityscape) - Alfred Newman King Kong (Main Title and Sacrifice of Maiden) - Max Steiner Lawrence of Arabia (The Desert) - Maurice Jarre Captain Blood (Main Title) - Erich Wolfgang Korngold Swing Time (The Way You Look Tonight) - Jerome Kern, Dorothy Fields Coco and Igor (‘The Rite of Spring’ - premiere Paris 1913) - Stravinsky Lost Horizon - (Main Title and Panic) Dimitri Tiomkin (cond. by Max Steiner) The Adventures of Robin Hood (Main Title) - Erich Wolfgang Korngold Alexander Nevsky (Battle on the Ice) - Sergei Prokofiev Gone with the Wind (Main Title) - Max Steiner The Sea Hawk (Main Title) - Erich Wolfgang Korngold The Sea Hawk (Strike for the Shores of Dover - Shanty) - Erich Wolfgang Korngold Citizen Kane (Opening - Xanadu) - Bernard Herrmann The Devil and Daniel Webster (AKA - All that Money Can Buy) - (Main Title) - Bernard Herrmann The Devil and Daniel Webster (The Devil’s Hoedown) - Bernard Herrmann King’s Row (Main Title ) - Erich Wolfgang Kornold Star Wars (Opening) - John Williams Casablanca (Main Title and Spy Round-up) - Max Steiner Laura (Main Title) - David Raksin The Lost Week-End (Hallucinations) - Miklos Rozsa Spellbound (Open Doors - Love Theme) - Miklos Rozsa The Best Years of Our Lives (Homecoming) - Hugo Friedhofer Henry V (Opening) - Sir William Walton The Killers (Main Title) - Miklos Rozsa Lost Horizon (Main Title/Crowd Panic) - Dimitri Tiomkin (cond. M. Steiner)
    [Show full text]
  • 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........................................................................................................
    [Show full text]
  • The American Stravinsky
    0/-*/&4637&: *ODPMMBCPSBUJPOXJUI6OHMVFJU XFIBWFTFUVQBTVSWFZ POMZUFORVFTUJPOT UP MFBSONPSFBCPVUIPXPQFOBDDFTTFCPPLTBSFEJTDPWFSFEBOEVTFE 8FSFBMMZWBMVFZPVSQBSUJDJQBUJPOQMFBTFUBLFQBSU $-*$,)&3& "OFMFDUSPOJDWFSTJPOPGUIJTCPPLJTGSFFMZBWBJMBCMF UIBOLTUP UIFTVQQPSUPGMJCSBSJFTXPSLJOHXJUI,OPXMFEHF6OMBUDIFE ,6JTBDPMMBCPSBUJWFJOJUJBUJWFEFTJHOFEUPNBLFIJHIRVBMJUZ CPPLT0QFO"DDFTTGPSUIFQVCMJDHPPE THE AMERICAN STRAVINSKY THE AMERICAN STRAVINSKY The Style and Aesthetics of Copland’s New American Music, the Early Works, 1921–1938 Gayle Murchison THE UNIVERSITY OF MICHIGAN PRESS :: ANN ARBOR TO THE MEMORY OF MY MOTHERS :: Beulah McQueen Murchison and Earnestine Arnette Copyright © by the University of Michigan 2012 All rights reserved This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publisher. Published in the United States of America by The University of Michigan Press Manufactured in the United States of America ϱ Printed on acid-free paper 2015 2014 2013 2012 4321 A CIP catalog record for this book is available from the British Library. ISBN 978-0-472-09984-9 Publication of this book was supported by a grant from the H. Earle Johnson Fund of the Society for American Music. “Excellence in all endeavors” “Smile in the face of adversity . and never give up!” Acknowledgments Hoc opus, hic labor est. I stand on the shoulders of those who have come before. Over the past forty years family, friends, professors, teachers, colleagues, eminent scholars, students, and just plain folk have taught me much of what you read in these pages. And the Creator has given me the wherewithal to ex- ecute what is now before you. First, I could not have completed research without the assistance of the staff at various libraries.
    [Show full text]
  • Glorious Technicolor: from George Eastman House and Beyond Screening Schedule June 5–August 5, 2015 Friday, June 5 4:30 the G
    Glorious Technicolor: From George Eastman House and Beyond Screening Schedule June 5–August 5, 2015 Friday, June 5 4:30 The Garden of Allah. 1936. USA. Directed by Richard Boleslawski. Screenplay by W.P. Lipscomb, Lynn Riggs, based on the novel by Robert Hichens. With Marlene Dietrich, Charles Boyer, Basil Rathbone, Joseph Schildkraut. 35mm restoration by The Museum of Modern Art, with support from the Celeste Bartos Fund for Film Preservation; courtesy The Walt Disney Studios. 75 min. La Cucaracha. 1934. Directed by Lloyd Corrigan. With Steffi Duna, Don Alvarado, Paul Porcasi, Eduardo Durant’s Rhumba Band. Courtesy George Eastman House (35mm dye-transfer print on June 5); and UCLA Film & Television Archive (restored 35mm print on July 21). 20 min. [John Barrymore Technicolor Test for Hamlet]. 1933. USA. Pioneer Pictures. 35mm print from The Museum of Modern Art. 5 min. 7:00 The Wizard of Oz. 1939. USA. Directed by Victor Fleming. Screenplay by Noel Langley, Florence Ryerson, Edgar Allan Woolf, based on the book by L. Frank Baum. Music by Harold Arlen, E.Y. Harburg. With Judy Garland, Frank Morgan, Ray Bolger, Bert Lahr, Ray Bolger, Margaret Hamilton, Billie Burke. 35mm print from George Eastman House; courtesy Warner Bros. 102 min. Saturday, June 6 2:30 THE DAWN OF TECHNICOLOR: THE SILENT ERA *Special Guest Appearances: James Layton and David Pierce, authors of The Dawn of Technicolor, 1915-1935 (George Eastman House, 2015). James Layton and David Pierce illustrate Technicolor’s origins during the silent film era. Before Technicolor achieved success in the 1930s, the company had to overcome countless technical challenges and persuade cost-conscious producers that color was worth the extra effort and expense.
    [Show full text]
  • South Hill Park Cinema · Bracknell
    Film and Live Screenings South Hill Park Cinema · Bracknell Last Christmas wilde theatre · mansion house · cinema · italian gardens · studio theatre · gallery bars · licensed wedding venue · recital room · art and dance studios · restaurant Noveber – December 2019 Members can book from Fri 18 Oct southhillpark.org.uk Non-members from Wed 23 Oct HEARING LOOP Dementia-Friendly and Relaxed Screenings ALL TICKETS The cinema is fitted with £5.50 each an audio induction loop. Customers can use the Specially-designed screenings for people living with dementia, T-setting on their hearing their carers and anyone preferring to experience cinema in calm aids for clear film sound. surroundings. With lights left on low and sound level reduced, these relaxed screenings are on the second Monday of each month. Key to Symbols Doors open 1.30pm for a 2pm start, with a short interval. Silver Screening Si Complimentary refreshments will be provided after each film screening. All staff and volunteers are Dementia Friends. Bringing in Baby BiB Not for Bringing in Baby Not BiB When booking please advise if wheelchair access is required. Family Screening F An American in Paris Gold Diggers of 1933 Hard of Hearing HoH Mon 11 Nov 2pm Mon 13 Jan 2pm Dir. Vincente Minnelli, US, 1951, 111 mins Dir. Mervyn LeRoy, US, 1933, 96 mins Family Super Deal F Gene Kelly, Leslie Caron, Oscar Levant Dick Powell, Ruby Keeler, Ginger Rogers Special prices for families. Things become complicated when A wealthy composer secretly rescues Please check film certificate two friends fall in love with the unemployed Broadway performers and content before booking same woman.
    [Show full text]
  • Information to Users
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type o f computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zed) Road, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 TWILIGHT AND SHADOWS: THE LESBIAN PRESENCE IN HLM NOIR DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University By Terry L.
    [Show full text]
  • “Can't Help Singing”: the “Modern” Opera Diva In
    “CAN’T HELP SINGING”: THE “MODERN” OPERA DIVA IN HOLLYWOOD FILM, 1930–1950 Gina Bombola A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the College of Arts and Sciences. Chapel Hill 2017 Approved by: Annegret Fauser Tim Carter Mark Katz Chérie Rivers Ndaliko Jocelyn Neal ©2017 Gina Bombola ALL RIGHTS RESERVED ii ABSTRACT Gina Bombola: “Can’t Help Singing”: The “Modern” Opera Diva in Hollywood Film, 1930–1950 (Under the direction of Annegret Fauser) Following the release of Columbia Pictures’ surprise smash hit, One Night of Love (1934), major Hollywood studios sought to cash in on the public’s burgeoning interest in films featuring opera singers. For a brief period thereafter, renowned Metropolitan Opera artists such as Grace Moore and Lily Pons fared well at the box office, bringing “elite” musical culture to general audiences for a relatively inexpensive price. By the 1940s, however, the studios began grooming their own operatic actresses instead of transplanting celebrities from the stage. Stars such as Deanna Durbin, Kathryn Grayson, and Jane Powell thereby became ambassadors of opera from the highly commercial studio lot. My dissertation traces the shifts in film production and marketing of operatic singers in association with the rise of such cultural phenomena as the music-appreciation movement, all contextualized within the changing social and political landscapes of the United States spanning the Great Depression to the Cold War. Drawing on a variety of methodologies—including, among others, archival research, film analysis, feminist criticisms, and social theory—I argue that Hollywood framed opera as less of a European theatrical art performed in elite venues and more of a democratic, albeit still white, musical tradition that could be sung by talented individuals in any location.
    [Show full text]
  • Great Instrumental
    I grew up during the heyday of pop instrumental music in the 1950s and the 1960s (there were 30 instrumental hits in the Top 40 in 1961), and I would listen to the radio faithfully for the 30 seconds before the hourly news when they would play instrumentals (however the first 45’s I bought were vocals: Bimbo by Jim Reeves in 1954, The Ballad of Davy Crockett with the flip side Farewell by Fess Parker in 1955, and Sixteen Tons by Tennessee Ernie Ford in 1956). I also listened to my Dad’s 78s, and my favorite song of those was Raymond Scott’s Powerhouse from 1937 (which was often heard in Warner Bros. cartoons). and to records that my friends had, and that their parents had - artists such as: (This is not meant to be a complete or definitive list of the music of these artists, or a definitive list of instrumental artists – rather it is just a list of many of the instrumental songs I heard and loved when I was growing up - therefore this list just goes up to the early 1970s): Floyd Cramer (Last Date and On the Rebound and Let’s Go and Hot Pepper and Flip Flop & Bob and The First Hurt and Fancy Pants and Shrum and All Keyed Up and San Antonio Rose and [These Are] The Young Years and What’d I Say and Java and How High the Moon), The Ventures (Walk Don't Run and Walk Don’t Run ‘64 and Perfidia and Ram-Bunk-Shush and Diamond Head and The Cruel Sea and Hawaii Five-O and Oh Pretty Woman and Go and Pedal Pusher and Tall Cool One and Slaughter on Tenth Avenue), Booker T.
    [Show full text]