DOCSLIB.ORG

J Fio I" N/~Uj T1 Mnsat '

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

THE IMPERIA~ T H EATRE .l" .,,.,, '"'"J fiO I" n/~uJ t1 mnsat ' Gentlemen: Let me tell you, gentlemen, how I came to be known as "The Headless Horseman"!! I wear a size sixteen shirt. But an eighteen felt so good, I always took a twenty to allow for shrinkage. One day I was lured by the good looks of an ARROW SHIRT -- SANFORIZED- SHRUNK . I bought it -­ size twenty. I always laundered my new shirts be­ fore I wore them. Then they s ort of fit me better. Well , almost ••• So it was with my new ARROW SHIRT. A few launderings and it was ready to be worn. It was the day of the Hi-Topped Hunt Club Horse Show. Esmerelda and I were entered for the jumps . Esmerelda is my hors e . Came the big event . The jumps! I galloped swiftly toward the towering hurdles , a s tride my trusty Esmerelda ••• we ros e!! Up! Up! Over the hurdle ! ! Ohh yes ! We rose all right ! I rose, Esmeralda rose • • • and my SANFORIZED-SHRUNK ARROW SHIRT rose too!! It ros e ' way over my head! With the collar snuggling to rest just under my hat brim. Ah, gentlemen, I made a picture! "The Headless Horseman"!! I no longer have my unshrinkable extra-size ARROW SHIRT. Nor have I any of my old shirts . That very day did I stock up on ARROW SANFORIZED- SHRUNK shirts! ••• All in my own hones t - to- goodness-forever- and-a-day size! ,...J_~--~a Cluelt P nhody &: C'o. Jne • TrM·. ~ '\"' \....~ ._.. r THE PLAYBILL I WHAT THE WOMAN WILL WEAR T has been brought home I to us with greater force than ever that Miss Muriel King knows all there is to know about designing clothes so full of feminine charm that they can scarcely help imparting some of it to their wearers. Miss King is never content with the mere cutting of a dress-with having achieved subtlety of color and good, slimming lines; t she is forever adding little touches of the sort that bring a costume to life and make •r <' it tick. The Muriel King clothes sketched on this page are from her current collection at Alt- LOl\DON'S SMART SET DAZZLED BY IIELE'I <\ Rl'B I ~STEI:\'S l\EW to,~vn & country make-up film • Engli~h beautiec; with their peri~hahle skins hail Town & Country )lake-up Film with enthusia!'.rn! This new scien­ tific di~covery fosters the mo"t prcciou::> elcmt•nt in your «kin-::ltOISTlRE. There is a secret ingredit·nt in Town & Country Make-up Film, a youth essence. Ti... sucs drink it in thirl'tily. Your ;.kin takes on a satiny bloom; make-up blends with new ea>.e and stays fresh hours. man's. The dress is two-piece, of Canton Again Helena Rubinstein makes cos· crepe trimmed with velvet bands; very Lit­ metic hi;.tory! Town & Country l\Iake-Up tle Women, with a dash of the military. The Film, Peachbloom and Terra-Cotta, 1.50. typical Murial King touch about this one is a fine batiste lining inside the peplum. The ... Visit Helena Rubinstein's Salons for lining is finished with a tiny lace edge which individual advice on your Fall beauty shows, matching another bil of lace edging care and the ncwe ... t ideas in make-up. at the neck. That little velvet bow is good llclt•na Rubin ... tein preparations at the for calling attention to the slimness of your Salons and at all "mart ::,torcs. waist. La King likes velvet this year. The sec­ ond costume in the sketch, an afternoon l1elena rubinstein suit, is velvet all over, The skirt has godets 8 East 57th Street, N('w Yot•k set in al the knees; the jacket fits like a PAJ\1'1 LO:'·WON smooth kid glove and juts out in a brief ruf­ fle below the waist in back. A white chiffon (Continued on page 4> THE IMPER I A L THEA TR E 3 CoRN ExcHANGE BANK TRusT Co. Estoblished 1853 A Bank Statement that any Afan or Woman can Understand Condensed Statement as of dose of business September 30th, 1935 Due Individuals, Firms, Corporations and Banks . $246,989,710.96 P .rcento1• of Towl To meet this indebtedness we have: nr,ourtf"l Cash in Vaults and Due from Ganks . $47,725,347.94 17.128% Checks on Other Banks 11,607,802.66 -4.1bb~~ U. S. Government Securities at par 121,263,500.00 -43.520% (Direct and fully guaranteed, including $b,050,000, pl edged to secure United States de posits of $4,333,800. and to qualify for fiduciary powers.) Canadian Government Securities at par . 1,000,000.00 0.359% State and Municipal Bonds . ... 7,445,985.00 2.b72% (Including $320,000. pledged to secure State deposits.) Other Tax Exempt Bonds . .. .. ..... 2,400,000.00 0.8bl% Railroad Bonds . ......... .. 8,497,213.75 3.0-49% Public Utility Bonds ........ ... ..... 4,975,213.00 1.786% Industrial and Other Bon-:!s ........... 2,306,823.00 0.8281. Foreign Bonds . 243,893.00 0.087% Stocks of Federal Reserve Bank, Corn Ex- change Safe Deposit Company and Dis­ count Corporation of New York 2,573,730.00 0.924% Sundry Securities . .. .... 218,800-00 0.079% Secured Demand Loans . ..... .... 16,859,117.86 6.050~{, Secured Time Loans . • ... .. .. ... 3,298,417.40 1. 184% Bills Discounted . .. .. ... ..... • . ..... I 0,398,504.43 3 732% First Mortgages 19,541,387.05 7.013o,'0 Customers' Liability on Acceptances . .. .. 858,061.68 0.308% Banking Houses Owned . .. .. ..... 12,284,497.27 4.624% Other Real Estate Owned . ..... .. .... 2,979,204.27 1.069% Accrut~d Interest Receivable . ... .. .... 1,288,407.27 0.462o,'0 Other Assets . .......... .. 275,171.64 0.099% Total to Meet Indebtedness . ......... $278,641,077.22 100o,'0 This leaves $31,651,366.26 i Capital $15,000,000. Surplus and Undivided Profits, $16,651 ,366.26 The Corn Exchange Bank Trust Co. can act as your Executor or Trustee, issue Letters of Credit, Travelers' Checks and Drafts on Foreign Countries, rent you a Safe Deposit box and provide every Banking and Trust Service. 73 Branches located in all Ports of the City of New York Member of the Federal Deposit Insurance Corporation. THE PLAYBI L L e What the Wom&ll Will Wear ( C:otttftllltd) blouse goes under this, with yards of the chiffon gathered in at neck and wrists by black velvet ribbon lied in bowknots. You would be well dressed for any afternoon party in these clothes, and the velvet suit can dine out or go to theatre with both grace and distinctiOn, saving the day for you when He Won't Dress. Saks-5th Avenue, always well out in front with new hand-made boudoir luxuries from Yolande, now has the polka-dotted sleeping attire shown in this column, as well as a lovely polka-dotted robe to go over either the gown or the pajamas. The material is satin, the colors dark (navy and dubonnet, piped and dotted in a contrast), the cut tailored, and the tailoring superb. Owning all three pieces would set you up with a weekend bedtime-and-breakfast wardrobe to arouse the envy of the entire party. You can sleep in the pajamas or lounge in them, and in combination with the matching robe, they make an ideal Pullman suit for winter trips. All Yolande things, as you doubtless know, arc hand-made throughout News £rom Elizabeth Hawes: They have a new department at this house, devoted to dresses for intimate evenings, "when," they say, "the men don't dress and the women do, a little." They shudder at the idea of calling the~e clothes ''hostess gowns," and prefer de­ fining them as "more-or-less-at-home..'" (Contiuuerl 011 prrge 6) THE PLAYBILL b THE PLAYBI LL e What the Woman WUl Wear (COiltinurd) Feminine allure is the basic idea of the whole collection, which consist<> of twelve original designs ranging from a pleated turquoise chifTon nightgown worn with a reversible jacket (scarlet on one side, brown on the other) to a picture dress of pale green stiff satin, enormously full in the skirt and topped ofT with a spectacular Queen Anne collar. For an evening in the bosom of your inti­ mate friends whom you long to dazzle with your originality and splendor, nothing could be more to the point. Dressing up the hair at night having be­ come practically compulsory, the coiffure and things to wear in it have taken on an im­ .. portance unknown smce the days when mother's hairdresser used to come in as a matter of course before every important ball and spend two hours rolling up her long tresses in a prodigious pompadour. Sketched below on this page are two new hair-do's using trimmings in the new manner. At the left is a loosely curled arrangement, with a pearl fancy tucked in among fluffed ringlets at the side of the head. At the right, twin camellias in black velvet are used to crown a topknot of curls; or, real camellias might be substituted for the velvet. Louis Parme has these coiffure decorations. He also invented the coi1Tures themselves. You will notice that the effect in each case is one of soft­ ness, fluffiness-the curls combed out so that FLEXEES •.• for a proud uplift of the· bosom you get feathery ends instead of the plastic and a slcnJcnzcd molding ol lnps •tnJ waist­ line.
Recommended publications
  • Tt Fall 12 Web.Pub

    Tt Fall 12 Web.Pub

    VOL. 53 No. 3 FALL 2012 Meet Michigan’s winning mini-Spingold squad Editor’s note: A team of five 20-something Ann Arbor players won the 0-1500 mini- Spingold KO, a multi- day limited national championship, at the summer North Ameri- can Bridge Champion- ships in Philadelphia. A month earlier, they also won the Sunday Winners of the mini-Spingold 0-1500 Swiss Teams at the KO Teams: (front) Jin Hu and Jonathan Fleischmann; (back) Max Glick, Zach- Toledo Regional. ary Scherr and Zachary Wasserman. Here are their stories: Jonathan Fleischmann ter. I'm an attorney less than a year out of law school. I'm 24 years old and live in I started playing in 1999 Bloomfield Hills with my fa- (Continued on page 22) ther, two brothers, and a sis- DON’T FORGET TO VOTE The annual election for MBA Board of Directors will be held during the last four days of the October regional. If you cannot be there on one of those days, you can still vote by complet- ing and sending in an absentee ballot. See page 5. Candi- dates’ pictures and statements appear on pages 6 and 7. Michigan Bridge Association Unit #137 2012 VINCE & JOAN REMEY MOTOR CITY REGIONAL October 8-14, 2012 Site: William Costick Center, 28600 Eleven Mile Road, Farmington Hills MI 48336 (between Inkster and Middlebelt roads) 248-473-1816 Intermediate/Newcomers Schedule (0-299 MP) Single-session Stratified Open Pairs: Tue. through Fri., 1 p.m. & 7 p.m.; Sat., 10 a.m. & 2:30 p.m.
  • Volume 40, Number 3

    Volume 40, Number 3

    ALEMBIC May 1961 THE ALEMBIC Published Q uarterly by THE STUDENTS OF PROVIDENCE COLLEGE Providence. R. I. The ALEMBIC is published bi-monthly by the students of Providence College, Providence, Rhode Island. Entered as second-class matter at the Post Office. Providence, Rhode Island, December 18, 1920, under Act of March 3, 1879. Subscription S2.00 the year. "Acceptance for mailing at special rate of postage provided for in Section 1103. Act of October 3, 1917; authorized April 9, 1932.” Primed at the Oxford Press, Providence, Rhode Island. THE STAFF EDITOR-IN-CHIEF G. Brian Sullivan................................................. Letters ’61 EDITORIAL STAFF Essay Editor C harles Caley . ............................................... Letters ’61 Fiction Editor Brian M ullaney Letters ’61 Poetry Editor Richard L eidig . ............................................... Letters ’62 ART EDITOR David Ca l e y ........... Letters ’61 BUSINESS MANAGER Stephen O ehmsen ............................................... Letters ’62 Assistant M ichael Sullivan . ............................................... Letters '64 FACULTY MODERATOR R everend R obert L inus W alker, O.P. ALEMBIC CONTENTS V o l. XL May, 1961 No. 3 Page Obituary: Robert Joseph Slavin, O.P........Richard Leidig, ’63 5 Pan-Americanism: Out of the Pan and into the Fire Charles J. Goetz, ’61 9 Marv-Joe ........................................ ..............Philip Dohertv, 61 15 Man and the Bomb......................... .... Raymond Lajeunesse, ’64 17 merger ...........................................
  • Hall of Fame Takes Five

    Hall of Fame Takes Five

    Friday, July 24, 2009 Volume 81, Number 1 Daily Bulletin Washington, DC 81st Summer North American Bridge Championships Editors: Brent Manley and Paul Linxwiler Hall of Fame takes five Hall of Fame inductee Mark Lair, center, with Mike Passell, left, and Eddie Wold. Sportsman of the Year Peter Boyd with longtime (right) Aileen Osofsky and her son, Alan. partner Steve Robinson. If standing ovations could be converted to masterpoints, three of the five inductees at the Defenders out in top GNT flight Bridge Hall of Fame dinner on Thursday evening The District 14 team captained by Bob sixth, Bill Kent, is from Iowa. would be instant contenders for the Barry Crane Top Balderson, holding a 1-IMP lead against the They knocked out the District 9 squad 500. defending champions with 16 deals to play, won captained by Warren Spector (David Berkowitz, Time after time, members of the audience were the fourth quarter 50-9 to advance to the round of Larry Cohen, Mike Becker, Jeff Meckstroth and on their feet, applauding a sterling new class for the eight in the Grand National Teams Championship Eric Rodwell). The team was seeking a third ACBL Hall of Fame. Enjoying the accolades were: Flight. straight win in the event. • Mark Lair, many-time North American champion Five of the six team members are from All four flights of the GNT – including Flights and one of ACBL’s top players. Minnesota – Bob and Cynthia Balderson, Peggy A, B and C – will play the round of eight today. • Aileen Osofsky, ACBL Goodwill chair for nearly Kaplan, Carol Miner and Paul Meerschaert.
  • Chance, Luck and Statistics : the Science of Chance

    Chance, Luck and Statistics : the Science of Chance

    University of Calgary PRISM: University of Calgary's Digital Repository Alberta Gambling Research Institute Alberta Gambling Research Institute 1963 Chance, luck and statistics : the science of chance Levinson, Horace C. Dover Publications, Inc. http://hdl.handle.net/1880/41334 book Downloaded from PRISM: https://prism.ucalgary.ca Chance, Luck and Statistics THE SCIENCE OF CHANCE (formerly titled: The Science of Chance) BY Horace C. Levinson, Ph. D. Dover Publications, Inc., New York Copyright @ 1939, 1950, 1963 by Horace C. Levinson All rights reserved under Pan American and International Copyright Conventions. Published in Canada by General Publishing Company, Ltd., 30 Lesmill Road, Don Mills, Toronto, Ontario. Published in the United Kingdom by Constable and Company, Ltd., 10 Orange Street, London, W.C. 2. This new Dover edition, first published in 1963. is a revised and enlarged version ot the work pub- lished by Rinehart & Company in 1950 under the former title: The Science of Chance. The first edi- tion of this work, published in 1939, was called Your Chance to Win. International Standard Rook Number: 0-486-21007-3 Libraiy of Congress Catalog Card Number: 63-3453 Manufactured in the United States of America Dover Publications, Inc. 180 Varick Street New York, N.Y. 10014 PREFACE TO DOVER EDITION THE present edition is essentially unchanged from that of 1950. There are only a few revisions that call for comment. On the other hand, the edition of 1950 contained far more extensive revisions of the first edition, which appeared in 1939 under the title Your Chance to Win. One major revision was required by the appearance in 1953 of a very important work, a life of Cardan,* a brief account of whom is given in Chapter 11.
  • Practical Slam Bidding Ebook

    Practical Slam Bidding Ebook

    Practical Slam Bidding ebook RON KLINGER MAKE THE MOST OF YOUR BIG HANDS INTRODUCTION Slam bidding brings an excitement all of its own. The pulse quickens, adrenalin is pumping, it’s all systems go. The culmination can be euphoria when you are successful, misery when the slam fails. The aim of this book is to increase your euphoria-to-misery ratio. Of all the skills in bridge, experts perform worst in the slam area. You do not need to go far to find the reason: Lack of experience. Slams occur on about 10% of all deals. Compare that with 50% for partscores and 40% for games. No wonder players are less familiar with the big hands. Half of the slam hands will be yours, half will go to your opponents. You can thus expect a slam your way about 5% of the time. That is roughly one deal per session. If you play twice a week, you can hope for about a hundred slams a year. Practise on the 120 deals in this book and study them, and you will have the equivalent of an extra year’s training under your belt. Your euphoria ratio is then bound to rise. How to use this ebook This is not so much an ebook for reading pleasure as a workbook. It is ideal for partnership practice but you can also use it on your own. For each set of hands, the dealer is given, followed by the vulnerability. You and partner are the East and West. If the dealer is North, East comes next; if the dealer is South, West is next.
  • Roadmap for Resilience: the California Surgeon General's

    Roadmap for Resilience: the California Surgeon General's

    DECEMBER 09, 2020 Roadmap for Resilience The California Surgeon General’s Report on Adverse Childhood Experiences, Toxic Stress, and Health Roadmap for Resilience: The California Surgeon General’s Report on Adverse Childhood Experiences, Toxic Stress, and Health Suggested citation for the report: Bhushan D, Kotz K, McCall J, Wirtz S, Gilgoff R, Dube SR, Powers C, Olson-Morgan J, Galeste M, Patterson K, Harris L, Mills A, Bethell C, Burke Harris N, Office of the California Surgeon General. Roadmap for Resilience: The California Surgeon General’s Report on Adverse Childhood Experiences, Toxic Stress, and Health. Office of the California Surgeon General, 2020. DOI: 10.48019/PEAM8812. OFFICE OF THE GOVERNOR December 2, 2020 In one of my first acts as Governor, I established the role of California Surgeon General. Among all the myriad challenges facing our administration on the first day, addressing persistent challenges to the health and welfare of the people of our state—especially that of the youngest Californians—was an essential priority. We led with the overwhelming scientific consensus that upstream factors, including toxic stress and the social determinants of health, are the root causes of many of the most harmful and persistent health challenges, from heart disease to homelessness. An issue so critical to the health of 40 million Californians deserved nothing less than a world-renowned expert and advocate. Appointed in 2019 to be the first- ever California Surgeon General, Dr. Nadine Burke Harris brought groundbreaking research and expertise in childhood trauma and adversity to the State’s efforts. In this new role, Dr. Burke Harris set three key priorities – early childhood, health equity and Adverse Childhood Experiences (ACEs) and toxic stress – and is working across my administration to give voice to the science and evidence-based practices that are foundational to the success of our work as a state.
  • Appendix 5 Selected Films in English of Operettas by Composers for the German Stage

    Appendix 5 Selected Films in English of Operettas by Composers for the German Stage

    Appendix 5 Selected Films in English of Operettas by Composers for the German Stage The Merry Widow (Lehár) 1925 Mae Murray & John Gilbert, dir. Erich von Stroheim. Metro- Goldwyn-Mayer. 137 mins. [Silent] 1934 Maurice Chevalier & Jeanette MacDonald, dir. Ernst Lubitsch. MGM. 99 mins. 1952 Lana Turner & Fernando Lamas, dir. Curtis Bernhardt. Turner dubbed by Trudy Erwin. New lyrics by Paul Francis Webster. MGM. 105 mins. The Chocolate Soldier (Straus) 1914 Alice Yorke & Tom Richards, dir. Walter Morton & Hugh Stanislaus Stange. Daisy Feature Film Company [USA]. 50 mins. [Silent] 1941 Nelson Eddy, Risë Stevens & Nigel Bruce, dir. Roy del Ruth. Music adapted by Bronislau Kaper and Herbert Stothart, add. music and lyrics: Gus Kahn and Bronislau Kaper. Screenplay Leonard Lee and Keith Winter based on Ferenc Mulinár’s The Guardsman. MGM. 102 mins. 1955 Risë Stevens & Eddie Albert, dir. Max Liebman. Music adapted by Clay Warnick & Mel Pahl, and arr. Irwin Kostal, add. lyrics: Carolyn Leigh. NBC. 77 mins. The Count of Luxembourg (Lehár) 1926 George Walsh & Helen Lee Worthing, dir. Arthur Gregor. Chadwick Pictures. [Silent] 341 Downloaded from https://www.cambridge.org/core. IP address: 170.106.33.14, on 01 Oct 2021 at 07:31:57, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://doi.org/10.1017/9781108614306 342 Appendix 5 Selected Films in English of Operettas Madame Pompadour (Fall) 1927 Dorothy Gish, Antonio Moreno & Nelson Keys, dir. Herbert Wilcox. British National Films. 70 mins. [Silent] Golden Dawn (Kálmán) 1930 Walter Woolf King & Vivienne Segal, dir. Ray Enright.
  • Jimmy Mchugh Collection of Sheet Music Title

    Jimmy Mchugh Collection of Sheet Music Title

    Cal State LA Special Collections & Archives Jimmy McHugh Collection of Sheet Music Title: Jimmy McHugh Collection of Sheet Music Collection Number: 1989.001 Creator: Jimmy McHugh Music Inc Dates: 1894 - 1969 Extent: 8 linear ft. Repository: California State University, Los Angeles, John F. Kennedy Memorial Library, Special Collections and Archives Location: Special Collections & Archives, Palmer, 4th floor Room 4048 - A Provenance: Donated by Lucille Meyers. Processing Information: Processed by Jennifer McCrackan 2017 Arrangement: The collection is organized into three series: I. Musical and Movie Scores; II. Other Scores; III. Doucments; IV: LP Record. Copyright: Jimmy McHugh Musical Scores Collection is the physical property of California State University, Los Angeles, John F. Kennedy Memorial Library, Special Collections and Archives. Preferred Citation: Folder title, Series, Box number, Collection title, followed by Special Collections and Archives, John F. Kennedy Memorial Library, California State University, Los Angeles Historical/Biographical Note Jimmy Francis McHugh was born in Boston, Massachusetts on July 10th, 1893 and is hailed as one of the most popular Irish-American songwriters since Victor Herbert. His father was a plumber and his mother was an accomplished pianist. His career began when he was promoted from a office boy to a rehearsal pianist at the Boston Opera House. As his desire was to write and perform “popular” music, he left the job in 1917 to become a pianist and song plugger in Boston with the Irving Berlin publishing company. In 1921, he moved to New York after getting married and started working for Jack Mills Inc. where he published his first song, Emaline.
  • Interpreting Musical Structure Through Choreography in Gershwin's

    Interpreting Musical Structure Through Choreography in Gershwin's

    University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 4-23-2019 Music in Motion: Interpreting Musical Structure through Choreography in Gershwin’s "An American in Paris" Spencer Reese University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Reese, Spencer, "Music in Motion: Interpreting Musical Structure through Choreography in Gershwin’s "An American in Paris"" (2019). Doctoral Dissertations. 2172. https://opencommons.uconn.edu/dissertations/2172 Abstract Music in Motion Interpreting Musical Structure through Choreography in Gershwin’s An American in Paris Spencer Matthew Reese, D.M.A. University of Connecticut, 2019 This dissertation explores the relationship between the theoretic interpretation of music (through analysis of a score) and the kinesthetic interpretation of it (through dance). While compelling choreography often evokes the same expressive qualities as a score, music and dance each have expressive and structural components. This study looks beyond expressive unity to examine how formal elements of a musical score are embodied in a choreographic interpretation of it. George Gershwin’s now-iconic symphonic poem An American in Paris, while conceived as concert music, was almost immediately interpreted in dance onstage. It also inspired larger narrative works, including a film choreographed by Gene Kelly and a musical helmed by Christopher Wheeldon. When a score is written for dance, the logistical considerations of choreography likely influence the piece’s composition. But in the case of Paris, the structural details of the music itself have consistently given artists the impression that it is danceable. Gershwin’s life and musical style are examined, including his synthesis of popular and Western art music.
  • The Drink Tank

    The Drink Tank

    Cover—A Tribute to Sweeney Todd by Maurine Starkey!!! Page 3—Editorial by Alissa McKersie Page 4—My Favorite Musicals by Chris Garcia Art from Sheryl Birkhead Page 6—How a Boy from Albuquerque Came to Love Musicals by Ron Oakes Art by Sheryl Birkhead Page 10—Theatrical Problems by Bernadette Durbin Art by Chris Page 12—Jubilee: Around the World with Cole Porter and Moss Hart by Laura Frankos Page 18—First Broadway: First Date by Steven H Silver and Melanie Silver Photo courtesy Steven H Silver Page 22—The Rocky Horror Picture Show by Juan Sanmiguel Page 24—Regina Love Victorious by Jay Hartlove Photos courtesy Jay Hartlove (And remember to nominate The Mirror’s Revenge for Best Dramatic Presentation Short Form in 2019!) Page 25—Two Shades of Musicals by Richard von Busack Art by Michele Wilson Page 34—Musicals on the Far East End of Broadway by Kurt Erichsen Page 45—Teaneck Tanzi by Chris Page 47—Some Quick Shots from Ron Oakes Page 49—Galavant by Espana Sheriff Page 51—Musicals by Graham CHarnock Page 53—Gilbert & Sullivan & Murder: 10 Mysteries Set around G&S Productions By Petrea Mitchell When I was four-years-old, my mum took me to audition for my first musical, The Sound of Music. I knew the song I was supposed to sing, and we practiced in the restroom be- forehand. When it came time to sing in front of people, I really did NOT want to sing “Do-Re -Mi”. I wanted to sing “Twinkle, Twinkle”, and they let me.
  • International Exchange in Dance Annual of Contemporary Dance Double Issue 3.50 1963 • 1964

    International Exchange in Dance Annual of Contemporary Dance Double Issue 3.50 1963 • 1964

    7 INTERNATIONAL EXCHANGE IN DANCE ANNUAL OF CONTEMPORARY DANCE DOUBLE ISSUE 3.50 1963 • 1964 • • WW * Copyright 1963 by Impulse Publications, Inc. l^yyKA' \s<s y Inde x S. I. Hayakawa THE UNACKNOWLEDGED LEGISLATORS 5 Rhoda Kellogg THE BIOLOGY OF ESTHETICS 9 Adele Wenig "IMPORTS AND EXPORTS" —1700-1940 16 Walter Sorell SOL THE MAGNIFICENT 29 Arthur Todd DANCE AS UNITED STATES CULTURAL AMBASSADOR 33 Walter Sorell A FAREWELL AND WELCOME 44 RECENT "EXPORTS" 46 as told to Rhoda Slanger Jean Erdman Meg Gordeau Paul Taylor as told to Joanna Gewertz Merce Cunningham Ann Halprin Jerry Mander THE UNKNOWN GUEST 56 Isadora Bennett SECOND THOUGHTS 63 Letter from Thomas R. Skelton STAGING ETHNIC DANCE 64 Thomas R. Skelton BALLET FOLKLORICO 71 Antonio Truyol NOTES FROM THE ARGENTINE 73 Ester Timbancaya DANCE IN THE PHILIPPINES^ 76 Joanna Gewertz THE BACCHAE 80 Ann Hutchinson NOTATION — A Means of International Communication 82 in Movement and Dance QLA Margaret Erlanger DANCE JOURNEYS 84 SPONSORSHIP AND SUPPORT 88 t> Editor: Marian Van Tuyl Editorial Board: Doris Dennison, Eleanor Lauer, Dorothy Harroun, Ann Glashagel, Joanna Gewertz; Elizabeth Harris Greenbie, Rhoda Kellogg, David Lauer, Bernice Peterson, Judy Foster, Adele Wenig, Rhoda Slanger, Ann Halprin, Dorrill Shadwell, Rebecca Fuller. Production Supervision: Lilly Weil Jaffe ACKNOWLEDGMENTS: Cover design by David Lauer Photographs by courtesy of: San Francisco Chronicle 15 Harvard Theatre Collection 18, 19, 22, 23 Dance Collection: New York Public Library 21, 25, 26 Hurok Attractions, New York 29, 30, 31 Studio Roger Bedard, Quebec 31 Fay Foto Service, Inc., Boston 32 U.S. Information Service, Press Section, Photo Laboratory, Saigon, Vietnam 33 U.S.
  • Valuations of Femininity in 1920S Stage Adaptations from Women's

    Valuations of Femininity in 1920S Stage Adaptations from Women's

    Capital Complex: Valuations of Femininity in 1920s Stage Adaptations from Women’s Culture By Bethany Wood A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Theatre and Drama) at the UNIVERSITY OF WISCONSIN-MADISON 2012 Date of final oral examination: 10/15/12 This dissertation is approved by the following members of the Final Oral Committee: Mary Trotter, Associate Professor, Theatre and Drama Aparna Bhargava Dharwadker, Professor, Theatre and Drama Michael Vanden Heuvel, Professor, Theatre and Drama Julie D’Acci, Professor, Gender and Women’s Studies Jonathan Gray, Professor, Communication Arts © Copyright by Bethany Wood 2012 All Rights Reserved i Acknowledgements I am truly grateful for the generous personal and institutional support I have received throughout the research and writing of this dissertation. I am deeply indebted to my advisor, Dr. Mary Trotter, for her careful reading and insightful comments and questions, which inspired and directed this dissertation. Her advice and queries consistently push and guide my work in productive directions, and I am thankful for her mentorship. I would also like to express my appreciation for my dissertation committee, Dr. Julie D’Acci, Dr. Aparna Dharwadker, Dr. Jonathan Gray, and Dr. Michael Vanden Heuvel, whose suggestions helped hone my initial proposal and advance the complexity of my analysis. I am grateful for their insights and inquiries. Financial support from several institutions assisted with the research and completion