DOCSLIB.ORG

The Inventory of the June Havoc Collection #1805

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Inventory of the June Havoc Collection #1805 The Inventory of the June Havoc Collection #1805 Howard Gotlieb Archival Research Center Havoc, June #1805 4/2/03 Preliminary Listing (NB: Materials removed from Manuscript File in August 2012 to be inserted into June Havoc collection.) I. Correspondence. Box 1 A. ALS, JH to “Dan,” 2 p., n.d. [F. 1] II. Photographs. [Env. 2] A. “Dainty June Havick [ill.],” black and white print, re: young JH, unidentified boy in Vaudeville, n.d.; includes holograph note on back. B. 18 color prints re: JH, unidentified others; includes holograph notes on back. C. 13 black and white prints re: JH, unidentified others; includes holograph notes on back. D. 6 black and white prints re: Helen Hayes performing; notable includes: 1. Erickson, Leif. E. 1 black and white print, re: unidentified men on airport tarmac, American Repertory Company event, n.d. Pkg. 46 F. JH, 11”x 14”, n.d.; includes handwritten note: “and we shall sit at endless feast; enjoying each the other’s good” (from Lord Alfred Tennyson poem). III. Printed Materials. A. The New York Times, advertisement for play “Marathon ’33” by JH, n.d. Havoc, June (4/2/03) Page 1 of 1 Havoc, June #1805 7/24/12 Preliminary Listing I. Film and Video. Box 1 A. “June Havoc home movies, ‘Pal Joey,’ and ‘Rain,’ 1940,” DVD, includes footage of Gene Kelly. [Env. 1] Havoc, June (7/24/12) Page 1 of 1 Havoc, June #1805 12/9/15 Preliminary Listing I. Manuscripts. A. Files. Box 2 1. “1960’s Marathon Dinner at 8, etc.,” n.d. [F. 1] 2. “All My Children,” ca. 7/19/1983; includes correspondence. [F. 2] 3. “Early Havoc,” n.d. [F. 3-4] 4. “Editorial Note Revision Copy 12/77,” ca. 1977-1982; includes correspondence; printed material. [F. 5] 5. “Extras + Revisions,” n.d. [F. 6] 6. “Hilary Knight,” n.d.; includes professional materials. [F. 7] 7. “Hilly Knight: Baby June,” ca. 4/12/2004-11/1/2004; includes correspondence. [F. 8] 8. “June Havoc, Author: A Story,” n.d.; includes photocopied drafts of “Nuts for the Underman” and “Vignettes.” 9. “Library Books,” n.d. [F. 9] 10. “Love Regatta Lyrics – Old/New Wail, Chicot, Love Regatta March,” n.d.; includes correspondence; professional materials. 11. “More Havoc ‘It was a holiday…’ original, yellows, carbon,” n.d. [F. 10] 12. “Nuts 1977, White Barn Acting Scripts,” n.d.; includes subfiles: [F. 11-13] a. “I, Said the Fly: A Souvenir,” 1972. b. “June Havoc Play,” n.d. c. “Oh Glorious Tintinnabulation,” n.d.; includes printed material; professional materials. d. Re: “Oh Glorious Tintinnabulation,” n.d. e. Re: “Super Super-Chief” and “I, Said the Fly,” n.d. 13. “‘Nuts’ (Fly) Orig. Typescript Post-Guthrie Production (1973).” [F. 14] 14. “‘O Glorious T.’ After Workshop,” 1967, n.d.; includes printed material. [F. 15] 15. “‘O Glorious T.’ After Workshop,” n.d. [F. 16] Box 3 16. “Return to Salem’s Lot,” 1986; includes correspondence; professional materials. [F. 1] 17. “Songs To Do: Have Recorded to Music,” n.d. [F. 2] 18. “‘Tintinnabulation’ (parts from) and ‘This Could Be the Best Acte’ Mel Marvin Real NY Pops Charts,” n.d.; includes subfile: a. “‘Oh’ Score Words Missing,” n.d. 19. “Turcaret,” ca. 3/15/1981-4/1/1981; includes correspondence; printed material; photographs. [F. 3] 20. “Very Early Marathon,” 1962. [F. 4] 21. “Writings – Dagger – Plastered Koten,” 1944, n.d. [F. 5] Havoc, June (12/9/15) Page 1 of 26 22. “Wm. Spier Silver Frame,” ca. January-February 1958. 23. Re: The family vignettes, n.d.; includes correspondence. [F. 6] 24. Re: “The Mother Bit” by Adrian Spies, n.d. 25. Re: The Vaudville Times, 1999-ca. 2003; includes printed material; subfiles: a. “Hillary K.,” n.d. [F. 7] b. “New Book Manuscript,” n.d. c. “Career Chronology – 1913 to ? – List of works of all kinds – the Loves,” n.d. [F. 8] 26. Re: Havoc Song Performances, n.d. [F. 9] 27. Re: Notes from the pen and pencil vignettes, n.d. 28. Re: Vignette plays and entertainment, 12/15/1971, n.d. [F. 10-11] 29. Re: Plays and reviews, 1973-1977, n.d.; includes printed material; financial materials; subfiles: [F. 12] a. Re: Clippings about “I, Said the Fly,” December 1973. b. Re: Newspaper, 1921. B. Stageplays. 1. “Affairs of State,” by Louis Verneuil, TS with holograph notes, approx. 125 p., December 1949; includes photographs. [F. 13] 2. “Annie,” by Thomas Meehan and Martin Charnin, TS with holograph notes, approx. 50 p., 1/6/1978; includes printed materials. [F. 14] 3. “Burd (Great State of Hysteria),” photocopied TS with holograph notes, 40 p., n.d. [F. 15] 4. “A Delicate Balance,” by Edward Albee, TS with holograph notes, 2 copies, approx. 100 p. each, 1966-1967; includes memorabilia; professional materials; photographs. [F. 16-17] 5. “The Desk Set,” by William Marchant, TS with holograph notes, approx. 100 p., 12/13/1955; includes printed materials; photographs. [F. 18] 6. “Dinner at Eight,” by George S. Kaufman and Edna Ferber, TS with holograph notes, 175 p., 1966. [F. 19] 7. “Dream Girl,” by Elmer Rice, TS with holograph notes, 115 p., n.d. [F. 20] 8. “Gypsy,” by Arthur Laurents, Jule Styne, and Stephen Sondheim, TS with holograph notes, approx. 100 p., n.d. [F. 21] 9. “Gypsy – Estimating Script,” by Arthur Laurents, TS with holograph notes, 134 p., 1961. [F. 22] 10. “Gypsy – Final,” by Arthur Laurents, TS with holograph notes, 130 p., 1961. [F. 23] Box 4 11. “Gypsy – Rev. Final,” by Arthur Laurents, TS with holograph notes, 127 p., 1961. [F. 1] 12. “Habeas Corpus,” by Alan Bennett, TS with holograph notes, 108 p., n.d. [F. 2] 13. “The Infernal Machine,” by Jean Cocteau, TS with holograph notes, approx. 90 p., n.d. [F. 3] Havoc, June (12/9/15) Page 2 of 26 14. “Jitters,” by David French, TS with holograph notes, approx. 100 p., 1979; includes printed material. [F. 4] 15. “Love Letters,” by A.R. Gurney, TS with holograph notes, 2 copies, approx. 50 p. each, n.d. [F. 5] 16. “A Midsummer Night’s Dream,” by William Shakespeare, TS with holograph notes, approx. 100 p., 1958. [F. 6] 17. “The Naked Genius,” by Gypsy Rose Lee, TS with holograph notes, 2 copies, 120 p. each, n.d. [F. 7] 18. “New School for Scandal,” TS, 96 p., n.d. [F. 8] 19. “The Old Lady’s Guide to Survival” by Mayo Simon, TS with holograph notes, 2 copies, approx. 80 p. each, 2/26/1993- 3/15/1994; includes photographs; professional materials. [F. 9] 20. “The Ryan Girl,” by Edmund Goulding, TS, approx. 100 p., 1945. [F. 10] 21. “Sadie Thompson,” TS with holograph notes, approx. 80 p., 3 copies, 1979, n.d. [F. 11-12] 22. “The Shanghai Gesture” by John Colton, TS, 125 p., n.d. [F. 13] 23. “Sweeney Todd: The Demon Barber of Fleet Street” by Hugh Wheeler and Stephen Sondheim, TS with holograph notes, approx. 130 p., n.d. [F. 14] C. Radioplays. 1. “Blues in the Night,” from “Report from Steve Black,” by William Spier, 23 p., TS, n.d. [F. 15] 2. “Chronicle of the Condemned Girl Who Read a Book,” from “The Adventure of Daniel Sunday,” TS with holograph notes, 34 p., n.d. 3. “Conversation by Night with a Despised Man (Instruction for Contemporaries),” by Friedrich Durrenmatt, translated by David Ober and Georg H. Fromm, TS, 15 p., n.d. 4. “Pearls Are a Nuisance,” by Raymond Chandler, adapted by Ranald MacDougall, TS, 27 p., n.d. 5. “The San Quentin Rescue,” from “Report from Steve Black,” by William Spier, TS, 24 p., n.d. D. Teleplays. 1. “Anna Christie,” by Eugene O’Neill, adapted by Norman Lessing, 109 p., TS with holograph notes, 1952. [F. 16] 2. “The Balzac Murder,” by Joseph Cochrane, TS with holograph notes, 2 copies, 49 p. each, 1951. [F. 17] 3. “The Bartlett Desk,” by Louis Pelletier, TS, 44 p., 1953. [F. 18] 4. “The Consul,” by Richard Harding Davis, adapted by Thomas Phipps, TS, 39 p., 1953. 5. “The Grand Cross of the Crescent,” by Richard Harding Davis, adapted by marc Siegel, TS, 53 p., 1953. 6. “Happy Birthday, Aunt Sarah,” by George Oppenheimer, TS, 23 p., 1953. 7. “The Quiet Village,” by Rod Serling, TS, 35 p., 1953. [F. 19] Havoc, June (12/9/15) Page 3 of 26 8. “Sarah Was There,” (formerly “Aunt Sara’s Antics”) by George Oppenheimer, TS with holograph notes, approx. 40 p., revisions and drafts, 1951. 9. “The Strangest of Bargains,” from “Murder, She Wrote,” by Philip Gerson, TS with holograph notes, 89 p., 1986. 10. “Theatre,” by Somerset Maugham, adapted by Elspeth Cochrane, TS with holograph notes, 88 p., 1956. [F. 20] E. Scripts by JH. 1. “Early Havoc,” TS, approx. 100 p., 3 copies, n.d. [F. 21-22] 2. “I Said the Fly,” TS, approx. 70 p., 3 copies, n.d. [F. 23] Box 5 3. “Marathon ’33,” TS, 92 p., 6 copies, 1982; includes printed material; correspondence. [F. 1-4] 4. “Nuts for the Underman,” TS with holograph notes, 2 copies, approx. 90 p. each, 1977; includes printed material; professional materials; photographs. [F. 5-6] 5. “Oh Glorious Tintinnabulation,” TS with holograph notes, approx. 70 p., 5 copies, n.d. [F. 7-8] 6. “An Unexpected Evening with June Havoc,” TS with holograph notes, approx. 30 p., 3 copies, 1988. [F. 9] 7. “Untitled Play,” TS, approx. 80 p., n.d.; includes correspondence, photographs; memorabilia. [F. 10] 8. “Vignettes,” TS, 2 copies, approx. 50 p. each, n.d.; includes correspondence; photographs; memorabilia.
Load more

Recommended publications
  • Pani Bp4 Scenic Projectors
    RON HAYS PRODUCTIONS MEGAVISION , PANT BP4 SCENIC PROJECTORS RON HAYS-DESIGNER/DIRECTOR LONG AND SHORT TERM PROJECTOR RENTALS For the first time in the United States, the spectacular image projection and special effect capabilities of Austria's PANT SCENIC PROJECTORS can be yours!! I have 8 Projectors worth more than $300,000. I also design and direct multi-image slide shows and multi-media shows . I have designed and "performed" over twenty-five major productions using these projectors along with lasers, lights and effects. Images can range from twenty feet by twenty feet to two-hundred feet by two-hundred feet with a depth of field of seventy-five feet! Project on buildings, giant screens or scrims, snow or sidewalks, or any light colored surface with 400,000 lumens of light. Available from RON HAYS PRODUCTIONS - complete PANT PROJECTION packages are now available on a daily or weekly rental basis with rates as low as $1200 a week for performing arts users. PRODUCTION DESIGN and SOFTWARE GRAPHIC SERVICES SLIDE PRODUCTION AUTOMATIC SLIDE CHANGERS Experienced TECHNICAL CREWS STURDY TRAVEL CASES LENSES AND EFFECTS (Fire, rain, snow, clouds, water, etc.) COMPUTER CONTROLLED FADE-UPS AND DISSOLVES Tech specs-see over TECHNICAL SPECIFICATIONS 2'-4 3/16" THE PROJECTORS PANT BP4 HMI Weight: 150 Ib in"y' .w TOa ~omuw Size: 40" x 36" x 48" Shipping Weight : 195 Ib THE BALLAST 4000W / 380V 160Hz Weight: 175 Ib Size : 30"x 9" x 16" Shipping Weight: 205 Ib MIX THE TRANSFORMER Step-up (208V / 380V) Weight : 125 Ib 1 3/16" Size: 24" x 24" x 1 /2" W.
    [Show full text]
  • GYPSY CHARACTER DESCRIPTIONS: • Momma Rose
    GYPSY CHARACTER DESCRIPTIONS: • Momma Rose (age from 35 - 50) The ultimate stage mother. Lives her life vicariously through her two daughters, whom she's put into show business. She is loud, brash, pushy and single- minded, but at times can be doting and charming. She is holding down demons of her own that she is afraid to face. Her voice is the ultimate powerful Broadway belt. Minimal dance but must move well. Comic timing a must. Strong Mezzo/Alto with good low notes and belt. • Baby June (age 9-10) is a Shirley Temple-like up-and-coming vaudeville star, and Madam Rose's youngest daughter. Her onstage demeanor is sugary-sweet, cute, precocious and adorable to the nth degree. Needs to be no taller than 3', 5". An adorable character - Mama Rose's shining star. Strong child singer, strong dancer. Mezzo. • Young Louise (about 12) She should look a couple years older than Baby June. She is Madam Rose's brow-beaten oldest daughter, and has always played second fiddle to her baby sister. She is shy, awkward, a little sad and subdued; she doesn't have the confidence of her sister. Strong acting skills needed. The character always dances slightly out of step but the actress playing this part must be able to dance. Mezzo singer. • Herbie (about 45) agent for Rose's children and Rose's boyfriend and a possible husband number 4. He has a heart of gold but also has the power to defend the people he loves with strength. Minimum dance. A Baritone, sings in one group number, two duets and trio with Rose and Louise.
    [Show full text]
  • Guest Artists
    Guest Artists George Hamilton, Broadway and Film Actor, Broadway Actresses Charlotte D’Amboise & Jasmine Guy speaks at a Chicago Day on Broadway speak at a Chicago Day on Broadway Fashion Designer, Tommy Hilfiger, speaks at a Career Day on Broadway SAMPLE BROADWAY GUEST ARTISTS CHRISTOPHER JACKSON - HAMILTON Christopher Jackson- Hamilton – original Off Broadway and Broadway Company, Tony Award nomination; In the Heights - original Co. B'way: Orig. Co. and Simba in Disney's The Lion King. Regional: Comfortable Shoes, Beggar's Holiday. TV credits: "White Collar," "Nurse Jackie," "Gossip Girl," "Fringe," "Oz." Co-music director for the hit PBS Show "The Electric Company" ('08-'09.) Has written songs for will.i.am, Sean Kingston, LL Cool J, Mario and many others. Currently writing and composing for "Sesame Street." Solo album - In The Name of LOVE. SHELBY FINNIE – THE PROM Broadway debut! “Jesus Christ Superstar Live in Concert” (NBC), Radio City Christmas Spectacular (Rockette), The Prom (Alliance Theatre), Sarasota Ballet. Endless thanks to Casey, Casey, John, Meg, Mary-Mitchell, Bethany, LDC and Mom! NICKY VENDITTI – WICKED Dance Captain, Swing, Chistery U/S. After years of practice as a child melting like the Wicked Witch, Nicky is thrilled to be making his Broadway debut in Wicked. Off-Broadway: Trip of Love (Asst. Choreographer). Tours: Wicked, A Chorus Line (Paul), Contact, Swing! Love to my beautiful family and friends. BRITTANY NICHOLAS – MEAN GIRLS Brittany Nicholas is thrilled to be part of Mean Girls. Broadway: Billy Elliot (Swing). International: Billy Elliot Toronto (Swing/ Dance Captain). Tours: Billy Elliot First National (Original Cast), Matilda (Swing/Children’s Dance Captain).
    [Show full text]
  • GIANTKILLERS! I1
    . Song” Cadillac” and “The Olrls in i Drum sat with Billy! Moscow July 4. Is‘seeking 60 law officers they 509.” George Abbott, the vet- Pearson, the Jockey and if violate tbeir THE EVENING STAR ¦ art young Americans who speak Youth Turned 18 probation. r A-21 eran prqducer-d ire cto r, ex- • While they terms of Washington, D. C. ?* 1 dealer. listened to to amined the old photos on the > Jimmy Durante and watched Russian serve as guides and Denied Probation Bhort was arrested with his , Thursday, January 39^19 S 9 HOLLYWOOD walls and recognised the pic- ¦ Johnny Mack dance, they ne- Interpreters. Preference will be 1 15-year-old brother and 16- tures of the child-actors he s gotiated their own deal; Blyden given those who can pay their year-old tutored In Auto Theft friend in the 2600 once had tor Belasco. bought a Madras bronze from own fare. The States block of Twenty-second By SHIILAH who paid him >3O a week for Pearson. Terms; United street Bfc GRAHAM f >3O a month will pay for their 40-day stay A youth who became IS years N.E. Police said the youths •• ,£ the job. “Belasco’d have meals i for life. Mrs. Josephine Bay Paul, old ago were removing sent in for said two weeks was sen- a radio and the cast.” see* of At Co. and the tires a they * Abbott. "Once, when he had head Kidder tenced to pty >IOO or serve 30 from oar had THE LIFTED American Export Lines, la at stolen, and that tripe—Jeanne Easels said ’l’ll CENSORSHIP: days in jail yesterday by Mu- Short had a Time’s Latin-Amerlcan edition, Harkness Pavilion for surgery dagger In his possession.
    [Show full text]
  • Rose La Rose and the Re-Ownership of American Burlesque, 1935-1972
    TAUGHT IT TO THE TRADE: ROSE LA ROSE AND THE RE-OWNERSHIP OF AMERICAN BURLESQUE, 1935-1972 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Elizabeth Wellman Graduate Program in Theatre The Ohio State University 2015 Dissertation Committee: Jennifer Schlueter, Advisor Beth Kattelman Joy Reilly Copyright by Elizabeth Wellman 2015 ABSTRACT Declaring burlesque dead has been a habit of the twentieth century. Robert C. Allen quoted an 1890s letter from the first burlesque star of the American stage, Lydia Thompson in Horrible Prettiness: Burlesque and American Culture (1991): “[B]urlesque as she knew it ‘has been retired for a time,’ its glories now ‘merely memories of the stage.’”1 In 1931, Bernard Sobel opined in Burleycue: An Underground History of Burlesque Days, “Alas! You will never get a chance to see one of the real burlesque shows again. They are gone forever…”2 In 1938, The Billboard published an editorial that began, “On every hand the cry is ‘Burlesque is dead.’”3 In fact, burlesque had been declared dead so often that editorials began popping up insisting it could be revived, as Joe Schoenfeld’s 1943 op-ed in Variety did: “[It] may be in a state of putrefaction, but it is a lusty and kicking decomposition.”4 It is this “lusty and kicking decomposition” which characterizes the published history of burlesque. Since its modern inception in the late nineteenth century, American burlesque has both been framed and framed itself within this narrative of degeneration.
    [Show full text]
  • Behind the Burly Q
    BEHIND THE BURLY Q A film by Leslie Zemeckis HDCAM SR, 98 minutes, 2010 First Run Features 630 Ninth Avenue, Suite 1213 New York, NY 10036 [email protected] (212) 243-0600 PRAISE FOR BEHIND THE BURLY Q “Utterly entertaining Behind the Burly Q is a painstakingly researched love letter to the women and men who once made up the community of burlesque performers…its treasure trove of vintage photographs and performance footage is enough to make historians and fans of classic erotica swoon…insightful, fascinating.” –Ernest Hardy, The Village Voice CRITICS’ PICK! “Intriguing…fans of theatrical history are well advised to check it out” -New York Magazine “Charming, entertaining…a delight!” –Manohla Dargis, Behind the Burly Q “Provides a privileged front-row seat to sample several of the form's most memorable practitioners… stories run from raunchy to touching to funny to flat-out incredible.” –Ronnie Scheib, Variety “Affectionate and engaging…wonderful vintage footage, a fascinating glimpse into a corner of American history.” –New York Daily News “Fascinatingly strips away at the myths surrounding the most popular American entertainment form of the first half of the 20th century.” –Michael Musto, The Sundance Channel “Quickly paced, absorbing.” –Kyle Smith, The New York Post “History done right: informative, entertaining, funny and finally rather moving…jam-packed with juicy detail, and most of that jam is tasty indeed.”-James van Maanen, Trustmovies “Delightful, engaging…A veritable who's who of the grande dames of the burlesque stage…for
    [Show full text]
  • February (Gypsy)
    Gypsy is a 1959 musical with music by Jule Styne, lyrics by Stephen Sondheim, and a book by Arthur Laurents. Gypsy is loosely based on the 1957 memoirs of Gypsy Rose Lee, the famous striptease artist, entitled Gypsy: Memoirs of America’s Most Celebrated Stripper and focuses on her mother, Rose, whose name has become synonymous with "the ultimate show business mother." Gypsy tells the story of the dreams and efforts of one hungry, powerhouse of a woman to get her two daughters into show business. It follows the dreams and efforts of Rose to raise two daughters to perform onstage and casts an affectionate eye on the hardships of show business life. The character of Louise is based on Lee, and the character of June is based on Lee's sister, the actress June Havoc. Gypsy is famous for helping launch lyricist Stephen Sondheim’s career, and features a book by Arthur Laurents that is widely considered to be one of the classic examples of a traditional “book musical.” At the heart of the musical is the gregarious Rose, whose journey made critic Frank Rich call Gypsy, “Broadway’s own brassy, unlikely answer to King Lear.” The musical features songs that have become standards of the musical theatre canon, including “Some People,” “Let Me Entertain You,” “Rose’s Turn,” and the show-stopping “Everything’s Coming Up Roses”. It is frequently considered one of the crowning achievements of the mid-twentieth century's conventional musical theatre art form. Gypsy has been referred to as the greatest American musical by numerous critics and writers, among them Ben Brantley who wrote ”what may be the greatest of all American musicals...".
    [Show full text]
  • P R E S S R E L E A
    P R E S S R E L E A S E From: Clear Space Theatre Company Contact: Wesley Paulson Phone: 302.227.2270 Email: [email protected] February 17, 2017: FOR IMMEDIATE RELEASE “Let Me Entertain You,” invites Louise, as GYPSY comes to Clear Space Theatre for a three-week run. And entertain you this show surely will, weekends from March 10 through March 26. With music by Jule Styne, lyrics by Stephen Sondheim and book by Arthur Laurents, Gypsy contains some of the most well- known – and best-loved – show music of all time, including, “Everything’s Coming Up Roses,” “Small World,” and “You Gotta Get a Gimmick.” Based loosely on the memoirs of striptease artist Gypsy Rose Lee, GYPSY traces Lee’s improbable rise to burlesque fame from her shy beginnings as Louise (Katharine Ariyan), the reluctant half of a vaudeville sister act featuring her younger, talented, extroverted sister, June (Grace Morris). It also reveals the formidable force behind that rise: Rose (Yvonne Erickson), the girls’ driven, relentless, mother-of-all- stage-mothers, who propels their careers through the waning days of vaudeville and delivers Louise onto the burlesque stage. Says Erickson, “Appearing as Rose is a long-time dream fulfilled! I saw Angela Lansbury in the 1974 Broadway revival of GYPSY and was just mesmerized. I had just begun to think about acting as a career, and after seeing that performance – I knew, ‘Yes! That’s what I want to do!’ The role of Rose is often referred to as the “King Lear role of musical theater” - it requires both gravitas and humanity.
    [Show full text]
  • The Eclectic Collection of the Legendary Gypsy Rose Lee Featured in Julien’S Auctions’ Icons & Idols: Hollywood
    For Immediate Release: THE ECLECTIC COLLECTION OF THE LEGENDARY GYPSY ROSE LEE FEATURED IN JULIEN’S AUCTIONS’ ICONS & IDOLS: HOLLYWOOD The World’s Most Famous Burlesque Artist Celebrated at Auction Event SPECIAL MEDIA PREVIEW OF COLLECTION IS MONDAY, DECEMBER 1, 2014 AUCTION IS DECEMBER 5, 2014 Beverly Hills, California – (November 24, 2014) – Famed burlesque artist and actress Gypsy Rose Lee will be celebrated at the Julien’s Auctions “Icons & Idols: Hollywood” event to take place on Friday, December 5, 2014. The eclectic collection of the remarkable entertainer is being presented by her son whose vast array of personal items and career effects is an emotional construct of his mother. Gypsy Rose Lee’s storied life included vaudeville at an early age and later when she became America’s most famed burlesque performer. She was a dancer, author, comedian, actress and even a playwright. Her mother Rose put her on the stage to perform her first strip tease at the age of 15. Gypsy later chose to embellish the act with comedy and acting and soon became a hit. Gypsy can often be credited as the originator of burlesque and the acts that followed thereafter. The fabled American Broadway musical “Gypsy” was based on Gypsy’s life and became a huge hit. As Gypsy herself once said, “If a thing is worth doing, it is worth doing slowly,” and so she did on stage when she performed to thousands in her lifetime. The collection includes the gloves that were a trademark of the Gypsy Rose Lee strip, a set of towels that were monogrammed with her initials, the rhinestone studded heels from her act, the foxtail fur from the Tiger Rag shimmy dance that was the finale of her acts, her personal stone martin stole that she wore all the time and numerous other items including original art, jewelry, furnishings and other memorabilia which have kept her alive in the minds of fans, collectors and family for years.
    [Show full text]
  • National Delta Kappa Alpha
    ,...., National Delta Kappa Alpha Honorary Cinema Fraternity. 31sT ANNIVERSARY HONORARY AWARDS BANQUET honoring GREER GARSON ROSS HUNTER STEVE MCQUEEN February 9, 1969 TOWN and GOWN University of Southern California PROGRAM I. Opening Dr. Norman Topping, President of USC II. Representing Cinema Dr. Bernard R. Kantor, Chairman, Cinema III. Representing DKA Susan Lang Presentation of Associate Awards IV. Special Introductions Mrs. Norman Taurog V. Master of Ceremonies Jerry Lewis VI. Tribute to Honorary l\llembers of DKA VII. Presentation of Honorary Awards to: Greer Garson, Ross Hunter, Steve McQueen VIII. In closing Dr. Norman Topping Banquet Committee of USC Friends and Alumni Mrs. Tichi Wilkerson Miles, chairman Mr. Stanley Musgrove Mr. Earl Bellamy Mrs. Lewis Rachmil Mrs. Harry Brand Mrs. William Schaefer Mr. George Cukor Mrs. Sheldon Schrager Mrs. Albert Dorskin Mr. Walter Scott Mrs. Beatrice Greenough Mrs. Norman Taurog Mrs. Bernard Kantor Mr. King Vidor Mr. Arthur Knight Mr. Jack L. Warner Mr. Jerry Lewis Mr. Robert Wise Mr. Norman Jewison is unable to be present this evening. He will re­ ceive his award next year. We are grateful to the assistance of 20th Century Fox, Universal studios, United Artists and Warner Seven Arts. DEPARTMENT OF CINEMA In 1929, the University of Southern California in cooperation with the Academy of Motion Picture Arts and Sciences offered a course described in the Liberal Arts Catalogue as : Introduction to Photoplay: A general introduction to a study of the motion picture art and industry; its mechanical founda­ tion and history; the silent photoplay and the photoplay with sound and voice; the scenario; the actor's art; pictorial effects; commercial requirements; principles of criticism; ethical and educational features; lectures; class discussions, assigned read­ ings and reports.
    [Show full text]
  • 'Gypsy' Opens the 27Th Season at Danbury's Richter Park
    'Gypsy' opens the 27th season at Danbury's Richter Park David Begelman, (Danbury) News-Times Theater Critic Published 11:15 a.m., Wednesday, June 22, 2011 Mama Rose (Martha Lerman of Bethel, in pink robe at center) makes plans for her daughters and their performing troupe in "Gypsy," Jule Styne and Stephen Sondheim's brassy show business portrait, playing outdoors under the stars through July 2 at Danbury's Musicals at Richter. Shows are on the grounds of the Richter Arts Center, 100 Aunt Hack Road, in Danbury (next to Richter Park Golf Course) Friday through Sunday evenings through Saturday, July 2 at 8:30 p.m. Grounds open at 7:15 for picnicking; snack concession and chair rentals are available onsite. Tickets are $23 for adults, $18 for seniors, and $15 for students and children. Special rates Sunday, June 26: $18 for adults, $14 for seniors, and $12 for students and children. For reservations and further information, visit www.musicalsatrichter.org, leave a message at 203-748-6873 or e-mail [email protected]. Left to right with Lerman are Keenan Martin, Rose Bisogno, Bobby Eddy, Megan Corcoran, Sammy Panzarino, Billy Hicks and James Hussey. Photo: Contributed Photo, Contributed Photo/David Henningsen Hold onto your hats! Musicals at Richter has opened its 2011 season with "Gypsy," one of the most memorable shows of American Musical Theater in the last century -- and maybe even in this one. Make no mistake about it. "Gypsy" may have had a power team of notable originators, like David Merrick, Jule Styne, Stephen Sondheim, Jerome Robbins and Ethel Merman -- to name a few.
    [Show full text]
  • The Last Days of Judas Iscariot
    THE LAST DAYS OF JUDAS ISCARIOT BY STEPHEN ADLY GUIRGIS DIRECTED BY DAVID VEGH C A S E W E S T E R N RESERVE UNIVERSITY // CLEVELAND PLAY HOUSE MFA ACTING PROGRAM DECEMBER 2 - 6 // ONLINE PERFORMANCES DEAR FRIENDS WELCOME to the CWRU/CPH MFA Acting Program’s first remote production,The Last Days of Judas Iscariot by Pulitzer Prize-winning playwright Stephen Adly Guirgis. The Class of 2022 has adjusted to a very different training model since last March, with the majority of their classes transitioning to remote experiences. Despite the unforeseen challenges and continuous adjustments, our training continues, discoveries are made, breakthroughs occur, and productions — which serve as the application of training — take place. Last spring, the cohort performed its dress rehearsal of Middletown, giving a heartfelt single performance for an invited audience, only to learn within hours that Cleveland Play House was forced to close its operations due to the growing pandemic. This fall, our students have the chance for their work to be seen by a wider audience beyond Cleveland, which might include friends and family who might not have had the chance to see them perform otherwise. The class also has the opportunity to grow more comfortable with filmed media which, along with live theatre, will hopefully be part of their futures. The upcoming spring will see recruitment of a new class, and that too will happen in a different fashion with preliminary auditions taking place remotely. We will see once again hundreds of candidates from across the country and increasingly from across the world.
    [Show full text]