Brooklyn NY Daily Eagle 1945

Total Page:16

File Type:pdf, Size:1020Kb

Brooklyn NY Daily Eagle 1945 WMfMiwmmimmmmmmmHammssmmm mumsamwammnma ,1 CLOSE-UPS BROOKLYN EAGLE/SUN., JULY 22, 1945 • 21 PLAYTHINGS *»^ Beethoven and the Ballet Gertrude Lawrence Rings Up the Curtain Lawrence Brooks of 'Song of Norway' Featured at Stadium Concerts Of Her Own Drama Between Two Wars Proves Right Shy at Singing His Own Praises Beethoven and the ballet ''will vlej By VIOLET BROWN By ROBERT FRANCIS for audiences during the sixth week, Gertrude Lawrence was in a touring company at Yarmouth In This corner dropped into "The Song of Norway" the other night of stadium concerts. Record crowds 1911 when her big chance to go to London came. The only trouble to hear Lawrence-Brooks, who is the Edvard Grieg of the show, sing are expected for performances of | vas she hadn't a shilling to pay her fare. Six soldiers In a regiment his namesake's beautiful melodies. Larry has been at the'chore nearly the Beethoven Ninth Sympony and! of gunners drilling nearby decided to take a "filer" on her and a year now and the customers are still pouring in to hear him. A nice the dance program by Alicia Mar- financed her Journey. They escorted her to the London Express and start for a young baritone at his first Broadway try. waved her on her way. "Best of luck, Gertie!" they called. "Don't kova ahd Anton Dolin. Under the It is also pleasant to report that Larry's success hasn't gone to direction of Fabien Sevitzky, the let us down." .his head. music of Beethoven may be. heard /'Why should it?" he grins. "After all, I just met the right people. • • ~ .She didn't. And a whole era later she went back to blitzed Eng­ at the stadium three evenings this! I might just, as well still be knocking my brains out chasing odd radio land- just Before D-Day to join ENSA, the British USO. With it she week. The Markova-Dolin evening j ; jobs. toured the Western Front to within sound of Von Rtfndstedv s next Saturday, presenting the. "There a re. Jihj.ee. people to whom I'll always be eternally grateful," . mortars,.trying to pay back to the GIs and the"Tommies what.she famous dancers with a company ofi owed to those World War I gunners who gave Gertrude Lawrence, he goes on.- "When I came down to New" York from Portland in four other soloists Is one of the big­ ft chance'to become a star, before they sailed for Flanders. 1931 I didn't know a soul and,I didn't.have much else but nerve. gest nights-of .the stadium season.] Estelle Liebling thought I might have something and took me on for Maurice Abravanel will conduct for She tells what happened In between In a sparkling autobiography this concert. called "A Star/Danced," Just published by Doubleday, Doran/ It vocal lessons practically for-nothing. Gave me more time than her best-paying pupils,- too—and scouted me radio jobs. I'm not likely Tomorrow, Fabien Sevitzky. dis­ Is written with the same apparent artlessness, the skill disguised by tinguished conductor of the Indian­ to forget that. Then a couple of years ago I auditioned for a Summer spontaneity, that marcher acting. Since it Is the story of ah actress, PERENNIAL "MAMA"—Mady Christians (left) and apolis Symphony Orchestra, will of­ job at Camp Tamiment. Two boys, Bob Wright and George, Forrester, fer familiar classics for .his seventh It is all theater. And since It Is also the story of a woman with a Frances Heflin, whojdoes the remembering in "I Remember heart, It has real drama. were in charge of the Saturday night shows. I guess they liked me. stadium concert in the series of ten Marrfa/'-the John Van Druten play at the Music Box. Anyway, after a £i-\veek Summer session they wangled me three concerts under his leadership. In She was born Gertrude Alexandra Dagmar Lawrence Klasen, addition to the Beethoven 'Third! daughter of a stage-struck English woman who had to pad her tights weeks at the Copacabana. Guess Monte Proser must have liked me, Concerto with Ania Dorfmann at' when she appeared in the chorus, and of a Dane who was fonder of too, because I stayed there six months. the piano, Mr. Sevitzky has pro-BIRUT' A RAMOSKA, who "Of course," Larry smiles, "Bob and George had the music and grammed the. Hadley Overture, "In the. bottle than-of his family. Her career really began one bank Comden and Green Team Got Bohemia"; Brahms' Symphony No. .will be soprano soioist for lyrics for this show in mirw that Summer at Tamiment. And they holiday in Brighton when she sang a little song called "It Ain't All 3 in F major and the popular Polka the performance of Bee­ Honey, and It Ain't All Jam^' (Noel Coward was to use the Inci­ 7 used to say, when and if it came off, I was the guy to be Grieg. But and Fugue from Weinberger's opera, dent later In "Cavalcade.") She was six then. When she was ten 'On the Town the Hard Way I never took it too seriously." "Schwanda, the Bagpiper." \^A^ thoven's Ninth of "Choral" she had cards printed reading, "Little, Gertie Lawrence, Child Actress No'fairy godmothers with magic i also 26, was no boy wonder. He lived In the meantime, Larry continued at the Copa until a talent Tuesday will see an all-Russian Symphony at the Lewisohn and Danseuse.'_Not long after she was on her own. wands lurk behind the success story | in movies and at concerts. He was-i scout for Warners dropped in one night and'bld him for a screen test. program including two major sym­ of Betty. Comden and Adolph j a Wight but bad student. Stadium Wednesday and "I'd never.seen California,' he chuckles, "and it seemed like a phonies and an overture; Kabalev- Her first break, came soon after her Tommies seH$ her to London Green, authors and performers of| Finally, Brooklyn and Bronx met. sky's Overture to "Colas Breugnon"; Thursday evenings. when Beatrice Lillie, for whom she was understudy, was thrown from "On the Town," who found recog-JThfcn they met three other persons, good chance to get there. I took the test and after the usual post­ with .Tchaikovsky's "Pathetique" a horse. "Little Gertie" was/pregnant at tlae U:nd but for seven nltion the hard way, and worked j also looking for jobs on the stage, ponements, they offered me a six-month contract while they looked Symphony, No. 6, in,B minor and every bit of the way for It. JThe five pooled resources and late around ior a spot to-use me. No dice for me on that! I'd have gone the Shostakovich Fifth Symphony. where of the symphonic version^of months, to the steady delight of her audiences, she starred in "Char­ They met back In 1938 on the un- in '38 the "Revuers" were horn at .this madern composition, through iot's Revue." The day Miss Lillie came back to her part, Gertrude crazy. But I was lucky again. Edwin Lester hired me for the lead employment beat. Betty was doing J the Village Vanguard. Little by little SymphonyThe Beethove, will nb eNint presenteh ord Choral,Wed- which Milhaud describes for the Lawrence crawled into a nursing room and at the height of- the the "Subway Circuit" (Newark tojcolumnists and public alike passed in 'Sally.' He was prepping this show, too, at the time and this was American and Allied armies the Brooklyn, walk-ons six nights and the word around, and the quintetl what I wanted. But they'd already engaged Walter Castle for the nesday and Thursday, with Mri.|prench provinces in which they . biggest Zeppelin raid on London had her daughter Pamela. The" Sevitzky in the podium; the Philhar-; dom. For both three matinees for $5 pecyveek) andlmoved uptown and upstairs to the part, too, sb it was 'Sally' or nothing.' {ougnt for world free episode barely interrupted her career. She went on to become the Adolph was . a "camp follower"!Rainbow Roof. Next, the Music Hall. monlc-Symphony Orchestra, t h e. the orchestral and dance number* Apparently, however, Messrs. Wright and Forrester didn't forget Schola Cantorum of N'ew York andj Saturday program, the noted —tA»fi»r-rtf_t.tc^_pf>ntinPi-it.s, & member of the gay, sophisticated set (Bronx hillbilly waiting tables at Then. Muslcraft recorded their act. of the four young vocal artists. Including conductor Maurice Abravanel will headed by the then Prince ofWales She came to America wltrr rflrimmffr-^r^t^--w4iilft-^alting^or-_a-Thp.y_ ikehi, hack to. the basement the Tamiment talks', because when Castle decided to withdraw from break—just any kind of break, mis- though after a radio contract fell Biruta Ramoska, soprano; Nan[conduct _he Philharmonic Sym- Chariot; she went back to Europe with Gershwin's "Oh, Kay!" She "Norway,',' Larry was immediately tap3>edTo^te^nTo~"triS~Grleg"shoes— Merriman, conTralto; Donald" Dame, j phony"" OTcneitTaT ter). through. The World's Fair saw them at the end of the second week. fell In love with a titled English gentleman and received a betel nut Betty, tall, dark and sultry of;next. They toured the night clubs tenor, and Edwin Fowler, baritone,' Instead of a ruby she expected from an Indian prince. £>he met her voice, was born in Brooklyn 26!and ended up in Hollywood—on a "So you see." laughs Larry, "there's nothing to get swell-headed with Hugh Ross as choral conductor about.
Recommended publications
  • Hull Fa1nilies United States
    Hull Fa1nilies • lll The United States By REV. WILLIAM E. HULL Copyright 1964 by WILLIAM E. HULL Printed by WOODBURN PRINTING CO - INC. Terre Haute, Indiana CONTENTS PAGE Appreciation ii Introduction ......................... ......... .................................... ...................... iii The Hon. Cordell Hull.......................................................................... 1 Hull Family of Yorkshire, England .................................................. 2 Hull Families of Somersetshire, England ........................................ 54 Hull Families of London, England ........... ........................................ 75 Richard Anderson Hull of New Jer;;ey .......................................... 81 Hull Families of Ireland ...................................................................... 87 Hull-Trowell Lines of Florida ............................................................ 91 William Hu:l Line of Kansas .............................................................. 94 James Hull Family of New Jersey.................................................... 95 William Hull Family of New Foundland ........................................ 97 Hulls Who Have Attained Prominence ............................................ 97 Rev. Wm. E. Hull Myrtle Altus Hull APPRECIATION The writing of this History of the Hull Families in the United States has been a labor of love, moved, we feel, by a justifiable pride in the several family lines whose influence has been a source of strength wherever families bearing
    [Show full text]
  • Now That She's Gone
    The Carl Cherry Center for the Arts presents... Layne Littlepage in BROADWAY LEADING LADIES: Viva the Divas! With Rick Yramtegui at the piano July 27th – August 19th, 2012 Fridays and Saturdays at 7:30 pm, Sundays at 3 pm Layne Littlepage returns to the Carl Cherry Center with a new and delightful show about the leg- endary female stars of Broadway’s greatest musicals: Julie Andrews, Ethel Merman, Mary Mar- tin, Barbra Streisand, Fanny Brice, Beatrice Lillie, Carol Channing, Elaine Stritch and more! Un- forgettable songs and stories. What makes a legend a legend? And what happens when legends collide, or fight for the same role? Find out! Tickets: $25 Information and Reservations: (831)238-0092, or ticketguys.com Now That She’s Gone Written & Performed by Ellen Snortland Friday, August 24th at 7:30 pm Saturday, August 25th at 7:30 pm Sunday, August 26th at 2:00 pm & 7:30 pm “Now That She’s Gone” is a play that explores Ellen Snortland’s often hilarious, irreverent and sometimes torturous relationship with her Norwegian-American mother. “Now That She’s Gone” has been described as a Lily Tomlin / Garrison Keillor hybrid… passionate, poignant and funny in turns. A memoir piece with Eleanor Roosevelt, sex, drugs and lutefisk, the play and performance has received rave reviews and standing ovations in California, Minnesota, New York, and Washington, D.C., as well as France, Holland, Scotland… and Norway. Tickets are $20, and will be available at the door (if space is available), or can be purchased online at carlcherrycenter.org For more info, email [email protected] or call 626-798-8421, or visit Ellen’s website at http://www.snortland.com “An Evening with William Blake” with Norma and Richard Mayer, and Bill Minor Friday, August 31st, at 7:30pm Soprano Norma Mayer and flutist Richard Mayer will perform poems of William Blake set to music by Ralph Vaughan Williams and other composers.
    [Show full text]
  • [, F/ V C Edna Hammer Cooley 1986 APPROVAL SHEET
    WOMEN IN AMERICAN THEATRE, 1850-1870: A STUDY IN PROFESSIONAL EQUITY by Edna Hammer Cooley I i i Dissertation submitted to the Faculty of the Graduate School of the University of Maryland in parti.al fulfillment of the requirements for the degree of Doctor of Philosophy ~ /, ,, ·' I . 1986 I/ '/ ' ·, Cop~ I , JI ,)() I co uI (~; 1 ,[, f/ v c Edna Hammer Cooley 1986 APPROVAL SHEET Title of Dissertation: Women in American Theatre, 1850-1870: A Study in Professional Equity Name of Candidate: Edna Hammer Cooley Doctor of Philosophy, 1986 Dissertation and Approved: Dr. Roger Meersman Professor Dept. of Communication Arts & Theatre Date Approved: .;;Jo .i? p ,vt_,,/ /9Y ,6 u ABSTRACT Title of Dissertation: Women in American Theatre, 1850- 1870~ A Study_ in Professional Equi!:Y Edna Hammer Cooley, Doctor of Philosophy, 1986 Dissertation directed by: Dr. Roger Meersman Professor of Communication Arts and Theatre Department of Communication Arts and Theatre This study supports the contention that women in the American theatre from 1850 to 1870 experienced a unique degree of professional equity with men in the­ atre. The time-frame has been selected for two reasons: (1) actresses active after 1870 have been the subject of several dissertations and scholarly studies, while relatively little research has been completed on women active on the American stage prior to 1870, and (2) prior to 1850 there was limited theatre activity in this country and very few professional actresses. A general description of mid-nineteenth-century theatre and its social context is provided, including a summary of major developments in theatre in New York and other cities from 1850 to 1870, discussions of the star system, the combination company, and the mid-century audience.
    [Show full text]
  • ANTA Theater and the Proposed Designation of the Related Landmark Site (Item No
    Landmarks Preservation Commission August 6, 1985; Designation List 182 l.P-1309 ANTA THFATER (originally Guild Theater, noN Virginia Theater), 243-259 West 52nd Street, Manhattan. Built 1924-25; architects, Crane & Franzheim. Landmark Site: Borough of Manhattan Tax Map Block 1024, Lot 7. On June 14 and 15, 1982, the Landmarks Preservation Commission held a public hearing on the proposed designation as a Landmark of the ANTA Theater and the proposed designation of the related Landmark Site (Item No. 5). The hearing was continued to October 19, 1982. Both hearings had been duly advertised in accordance with the provisions of law. Eighty-three witnesses spoke in favor of designation. Two witnesses spoke in opposition to designation. The owner, with his representatives, appeared at the hearing, and indicated that he had not formulated an opinion regarding designation. The Commission has received many letters and other expressions of support in favor of this designation. DESCRIPTION AND ANALYSIS The ANTA Theater survives today as one of the historic theaters that symbolize American theater for both New York and the nation. Built in the 1924-25, the ANTA was constructed for the Theater Guild as a subscription playhouse, named the Guild Theater. The fourrling Guild members, including actors, playwrights, designers, attorneys and bankers, formed the Theater Guild to present high quality plays which they believed would be artistically superior to the current offerings of the commercial Broadway houses. More than just an auditorium, however, the Guild Theater was designed to be a theater resource center, with classrooms, studios, and a library. The theater also included the rrost up-to-date staging technology.
    [Show full text]
  • Cole Porter: the Social Significance of Selected Love Lyrics of the 1930S
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Unisa Institutional Repository Cole Porter: the social significance of selected love lyrics of the 1930s by MARILYN JUNE HOLLOWAY submitted in accordance with the requirements for the degree of MASTER OF ARTS in the subject of ENGLISH at the UNIVERSITY OF SOUTH AFRICA SUPERVISOR: PROFESSOR IA RABINOWITZ November 2010 DECLARATION i SUMMARY This dissertation examines selected love lyrics composed during the 1930s by Cole Porter, whose witty and urbane music epitomized the Golden era of American light music. These lyrics present an interesting paradox – a man who longed for his music to be accepted by the American public, yet remained indifferent to the social mores of the time. Porter offered trenchant social commentary aimed at a society restricted by social taboos and cultural conventions. The argument develops systematically through a chronological and contextual study of the influences of people and events on a man and his music. The prosodic intonation and imagistic texture of the lyrics demonstrate an intimate correlation between personality and composition which, in turn, is supported by the biographical content. KEY WORDS: Broadway, Cole Porter, early Hollywood musicals, gays and musicals, innuendo, musical comedy, social taboos, song lyrics, Tin Pan Alley, 1930 film censorship ii ACKNOWLEDGEMENTS I should like to thank Professor Ivan Rabinowitz, my supervisor, who has been both my mentor and an unfailing source of encouragement; Dawie Malan who was so patient in sourcing material from libraries around the world with remarkable fortitude and good humour; Dr Robin Lee who suggested the title of my dissertation; Dr Elspa Hovgaard who provided academic and helpful comment; my husband, Henry Holloway, a musicologist of world renown, who had to share me with another man for three years; and the man himself, Cole Porter, whose lyrics have thrilled, and will continue to thrill, music lovers with their sophistication and wit.
    [Show full text]
  • 2019 EVITA Lloyd Webber & Rice the Marriage of Figaro Mozart the Manchurian Candidate Puts & Campbell Oklahoma! Rodgers & Hammerstein
    seagle music colony 2019 EVITA Lloyd Webber & Rice The Marriage of Figaro Mozart The Manchurian Candidate Puts & Campbell Oklahoma! Rodgers & Hammerstein Vespers Monkey & Francine Concerts in the City of Tigers * seaglecolony.org Bringing Music to the Adirondacks Since 1915 The Beechwood Group of Wells Fargo Advisors is proud to support The Seagle Music Colony Joseph Steiniger Senior Vice President - Investment Officer CERTIFIED FINANCIAL PLANNER™ [email protected] Mary E. McDonald First Vice President - Investments [email protected] The Beechwood Group 845-483-7943 www.thebeechwoodgroup.com Investment and Insurance Products: NOT FDIC Insured NO Bank Guarantee MAY Lose Value Wells Fargo Advisors, LLC, Member SIPC, is a registered broker-dealer and a separate non-bank affiliate of Wells Fargo & Company. ©2013 Wells Fargo Advisors, LLC. All rights reserved. 1113-02329 [74127-v4] Table of Contents General Information About Seagle Music Colony Restrooms are located in the Shames Rehearsal Notes from the Directors 3 Studio. Handicapped accessible restroom Seagle Music Colony Board of Directors 4 is at the rear of the theatre lobby. Seagle Music Colony Guild 4 History of Seagle Music Colony 7 Refreshments are provided in the theatre lobby 2018-2019 Seagle Music Colony Donors 8 by the Seagle Music Colony Guild. Donor Opportunities 12 2018-19 Alumni Updates 35 So that all our patrons may enjoy the performance, please turn all cell phones and pagers The Seagle Music Colony Gala 17 to the silent or off positions. The Productions Thank you for attending today’s performance. Evita 14 Monkey & Francine in the City of Tigers 16 The Marriage of Figaro 18 The Manchurian Candidate 22 Seagle Music Colony Oklahoma! 24 999 Charley Hill Road 2019 Fall Season 26 PO Box 366 Schroon Lake, NY 12870 2019 Faculty/Staff & Emerging Artists (518) 532-7875 Faculty & Staff 27 Emerging Artists 33 seaglecolony.org [email protected] Our Mission To identify, train and develop gifted singers and to present quality opera and musical theatre performances to the public.
    [Show full text]
  • C:\Users\Sally\Documents\Sally
    Spotlight News • Fall 2018 Page 1 Fall 2018 WHAT’S NEXT: November 4 and 5, 2018 Auditions for Executive Director The Ladies Foursome Langdon Playhouse While Robert Burns Other ways you can (See page 4) may have been correct in support us financially — aside November 8-18, 2018 noting that “The best laid from buying tickets, of course Arsenic and Old Lace schemes o’ mice an’ men — include advertising in the Langdon Playhouse (See page 4) Gang aft a-gley,” it’s nice Playbill or joining the when your plans don’t go Producers Circle. Individuals November 20, 2018 awry, or “a-gley.” The and businesses can participate Theatre of the Mind Langdon Playhouse point is our decision to alike. Ads are reasonably (See page 2) expand the Langdon priced, ranging in size from an Playhouse — in terms of seating eighth of a page to a full page, and single- November 29-December 1, 2018 Fourth Annual Madrigal Dinner capacity and the number of shows issue insertions are also available. First Alliance Church presented — has been successful so Producer’s Circle members pick a (See page 6) far. show they’d like to sponsor and their December 2 and 3, 2018 Through the efforts of our scenic level of commitment: Executive Producer, Auditions for designer and all-around handyman Co-Producer and Associate Producer. Singin’ in the Rain Chris Smith and other volunteers, we Producers are recognized in the Playbill Langdon Playhouse (See page 4) increased seating in the theater to a and on stage. capacity of nearly 100 and raised the Last but not least, you can become a December 2 and 3, 2018 stage so everyone has a great view.
    [Show full text]
  • THE WELTE Philharmonic Organ Vorsetzer
    IHTERHATlOHAL CHAPTER OFFICERS OFFICERS NO. CALIFORNIA Pres.: Phil McCoy PRESIDENT Vice Pres.: Isadora Kolt Bob Rosencrans Treas.: Bob Wilcox 36 Hampden Rd. Sec.lReporter: Jack & Upper Darby, PA 19082 Dianne Edwards VICE PRESIDENT SO. CALIFORNIA Bill Eicher Pres.: Francis Cherney 465 Winding Way Vice Pres.: Mary Lilien Day1on, OH 45429 Sec.: Evelyn Meerler SECRETARY Treas: Roy Shelso Jim Weisenborne Reporter: Bill Toeppe 73 Nevada St TEXAS Rochester, MI 48063 Pres. Jim Phillips PUBLISHER Vice Pres: Merrill Baltzley AMICA MEMBERSHIP RATES: Tom Beckett Sec/Treas.: Janet Tonnesen Reporter James Kelsey Continuing Members: $15 Dues 6817 Cliltbrook Dallas, TX 75240 MIDWEST New Members, add $5 processing fee MEMBERSHIP SECRETARY Pres.: Bennet Leedy Lapsed Members, add $3 processing fee (New memberships and Vice Pres.: Jim Prendergast mailing problems) Sec.: Jim Weisenborne Bobby Clark Jr Treas.: Alvin Wulfekuhl P O. Box 172 Reporter: Molly Yeckley Columbia SC 29202 PHILADELPHIA AREA TREASURER Pres.: Len Wert THE AMICA NEWS BULLETIN Jack & Mary Riffle Vice Pres.: Harvard Wood 5050 Eastside Calpella Rd. Sec.: Beverly Naddeo Published by the Automatic Musicsllnstrument Collectors' Association, a non­ Ukiah, CA 95482 Treas.: Doris Berry profrt club devoted to the restoration, distribution and enloyment of musical Reporter: Dick Price instruments using perforated paper music rolls. BOARD REPRESENTATIVES N. Cal: Howie Koff SOWNY (So. Ontario, West NY) Contributions: All subjects of interest to readers of the Bulletin are S Cal Dick Rigg Pres: Bruce Bartholomew encouraged and invited by the publisher. All articles must be received by the Texas: Wade Newton Vice Pres: Mike Walter 10th of the preceeding month Every attempt will be made to publish all articles Phil: Bob Taylor Sec.
    [Show full text]
  • Oscar Hammerstein II Collection
    Oscar Hammerstein II Collection Guides to Special Collections in the Music Division of the Library of Congress Music Division, Library of Congress Washington, D.C. 2018 Contact information: http://hdl.loc.gov/loc.music/perform.contact Catalog Record: https://lccn.loc.gov/2014565649 Additional search options available at: https://hdl.loc.gov/loc.music/eadmus.mu018003 Processed by the Music Division of the Library of Congress Finding aid encoded by Library of Congress Music Division, 2018 Collection Summary Title: Oscar Hammerstein II Collection Span Dates: 1847-2000 Bulk Dates: (bulk 1920-1960) Call No.: ML31.H364 Creator: Hammerstein, Oscar, II, 1895-1960 Extent: 35,051 items Extent: 160 containers Extent: 72.65 linear feet Language: Collection material in English Location: Music Division, Library of Congress, Washington, D.C. LC Catalog record: https://lccn.loc.gov/2014565649 Summary: Oscar Hammerstein II was an American librettist, lyricist, theatrical producer and director, and grandson of the impresario Oscar Hammerstein I. The collection, which contains materials relating to Hammerstein's life and career, includes correspondence, lyric sheets and sketches, music, scripts and screenplays, production materials, speeches and writings, photographs, programs, promotional materials, printed matter, scrapbooks, clippings, memorabilia, business and financial papers, awards, and realia. Selected Search Terms The following terms have been used to index the description of this collection in the LC Catalog. They are grouped by name of person or organization, by subject or location, and by occupation and listed alphabetically. People Brill, Leighton K.--Correspondence. Buck, Pearl S. (Pearl Sydenstricker), 1892-1973--Correspondence. Buck, Pearl S. (Pearl Sydenstricker), 1892-1973. Crouse, Russel, 1893-1966.
    [Show full text]
  • National Endowment for the Arts FY 2017 Fall Grant Announcement
    National Endowment for the Arts FY 2017 Fall Grant Announcement State and Jurisdiction List Project details are accurate as of December 7, 2016. For the most up to date project information, please use the NEA's online grant search system. The following categories are included: Art Works, Art Works: Creativity Connects, Challenge America, and Creative Writing Fellowships in Poetry. The grant category is listed with each recommended grant. All are organized by state/jurisdiction and then by city and then by name of organization/fellow. Click the state or jurisdiction below to jump to that area of the document. Alabama Louisiana Oklahoma Alaska Maine Oregon Arizona Maryland Pennsylvania Arkansas Massachusetts Rhode Island California Michigan South Carolina Colorado Minnesota South Dakota Connecticut Mississippi Tennessee Delaware Missouri Texas District of Columbia Montana Utah Florida Nebraska Vermont Georgia Nevada Virginia Hawaii New Hampshire Virgin Islands Illinois New Jersey Washington Indiana New Mexico West Virginia Iowa New York Wisconsin Kansas North Carolina Wyoming Kentucky Ohio Some details of the projects listed are subject to change, contingent upon prior Arts Endowment approval. Information is current as of December 7, 2016. Alabama Number of Grants: 6 Total Dollar Amount: $120,000 Alabama Dance Council, Inc. (aka Alabama Dance Council) $30,000 Birmingham, AL Art Works - Dance To support the 20th anniversary of the Alabama Dance Festival. The statewide festival will feature performances and a residency by CONTRA-TIEMPO. The festival also will include a New Works Concert featuring choreographers from the South, regional dance company showcases, master classes, workshops, community classes, and a Dance for Schools program.
    [Show full text]
  • Faculty Bulletins University Publications
    La Salle University La Salle University Digital Commons Faculty Bulletins University Publications 5-25-1966 Faculty Bulletin: May 25, 1966 La Salle University Follow this and additional works at: http://digitalcommons.lasalle.edu/faculty_bulletins Recommended Citation La Salle University, "Faculty Bulletin: May 25, 1966" (1966). Faculty Bulletins. 102. http://digitalcommons.lasalle.edu/faculty_bulletins/102 This Book is brought to you for free and open access by the University Publications at La Salle University Digital Commons. It has been accepted for inclusion in Faculty Bulletins by an authorized administrator of La Salle University Digital Commons. For more information, please contact [email protected]. Vol. VIII, No. VI Philadelphia 41, Pa. May 25, 1966 CALENDAR OF EVENTS (To August 25, 1966) Senior Grades Due (5:00 P.M.).......................... May 25 Memorial Day (Holiday) ................................. May 30 Final Grades Due (Freshman, Sophomores, Juniors)Noon....June 1 Faculty Picnic (Fischer's Pool, 1:00 P.M.)..............June 1 Baccalaureate Mass (McCarthy Stadium, 11:00 A.M.).......June 4 Commencement Exercises (Convention Hall, 4:00 P.M.).....June 4 Summer Sessions Begin (First Session).................. June 20 MUSIC THEATRE ’ 66 Opens ("Most Happy Fella")...........July 8 Summer Sessions (Second Session)...... July 25 MUSIC THEATRE ("Lady in the Dark") Opens...............August 12 Deadline, Mid-summer Faculty Bulletin. ........August 19 Publication, Mid-summer Faculty Bulletin............... August 25 Faculty Bulletin-Cont'd Page Two PRESIDENT'S OFFICE: The faculty awards, made pos­ sible by a $2000 grant from the La Salle’s Accreditation Christian R. and Mary F. Lindback Reaffirmed Foundation, were given at the traditional Founder's Day Dinner Brother Daniel Bernian, F.S.C., at the Four Chef's Banquet Hall, President, has been notified by Hellerman and Sackett sts., Sun­ the Evaluation Committee of the day evening.
    [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]