The David H. Koch Theater is a theater for ballet and other forms of dance, part of the Lincoln Center for the Performing Arts located at the intersection of Columbus Avenue and 63rd Street in New York City, United States. Named the New York State Theater, the venue has been home to the New York City Ballet since its opening in 1964, the secondary venue for the American Ballet Theatre in the fall, served as home to the New York City Opera from 1964 to 2011; the theater occupies the south side of the main plaza of Lincoln Center, opposite David Geffen Hall. The New York State Theater was built with funds from the State of New York as part of New York State's cultural participation in the 1964–1965 World's Fair; the theater was designed by architects Philip Johnson and John Burgee, opened on April 23, 1964. After the Fair, the State transferred ownership of the theater to the City of New York; the City leases the theater to Lincoln Center for the Performing Arts, Inc. which subleases it to City Center of Music and Drama, Inc..
The present corporation of CCMD continues to manage the theater today. Along with the opera and ballet companies, another early tenant of the theater was the now defunct Music Theater of Lincoln Center whose president was composer Richard Rodgers. In the mid 1960s, the company produced staged revivals of classic Broadway musicals; these included The King and I. In July 2008, oil-and-gas billionaire David H. Koch pledged to provide $100 million over the next ten years to renovate the theater and provide an operating and maintenance endowment; the facility became the David H. Koch Theater at the New York City Ballet Winter gala, November 25 of that year; the theater is to bear his name for at least fifty years. Some people continue to refer to the theater by its original name; the theater seats 2,586 and features broad seating on the orchestra level, four main “Rings” and a small Fifth Ring, faced with jewel-like lights and a large spherical chandelier in the center of the gold latticed ceiling.
JCJ Architecture of New York City designed renovations with Schuler Shook as theater consultants. In patron areas, the plan reconfigured all seats and carpeting; the reconfiguration created two aisles in the orchestra level, which featured continental-style seating, with no center aisles. It upgraded restrooms to make them ADA compliant. Work backstage included a new stage lighting system, expansion of the orchestra pit, a mechanical lift in the pit floor allowing it to be raised to stage level when needed; the lobby areas of the theater feature many works of modern art, including pieces by Jasper Johns, Lee Bontecou and Reuben Nakian. Lincoln Center press release, July 9, 2008 David H. Koch Theater website New York City Ballet website JCJ Architecture, architects for 2009 renovation. New York City Opera press release, undated New York Times article by Robin Pogrebin, July 10, 2008
Keith Harling is an American former country music artist. He made his debut in 1998 with the album Write It in Stone, issued on the MCA Nashville label, it produced four singles on the Billboard Hot Country Tracks charts. A second album, Bring It On, was issued a year on the Giant Records label. Harling was born in South Carolina, his family moved to Tennessee when he was still young. At age ten, Harling constructed a drum kit. On, when in high school, Harling learned to play bass guitar and trumpet, all of which he played in several bands, he moved to Nashville, only to return to Chattanooga after failing to make himself known in Nashville. By 1996, however, he returned to Nashville, where he soon found work as a songwriter for MCA Nashville Records. After only six weeks as a session songwriter, he was signed to a record deal. In 1998, Harling's debut album, Write It in Stone, was released. Consisting of songs co-written by Harling, his debut album produced two Top 40 entries on the Billboard Hot Country Singles & Tracks charts in "Papa Bear" and "Coming Back for You", but additional singles proved less successful.
Having been dropped from MCA Nashville's roster in early 1999, Harling signed to Giant Records, releasing his second album Bring It On that year. On his second album, Harling was persuaded to record other writers' material instead of his own; the album's only official single, the title track, peaked at No. 52. Another selection from the album, "Santa's Got a Semi", charted in both 2000 and 2001 as a Christmas single before Harling exited Giant as well. Keith is living in the Chattanooga, Tn. area operating a small business with his wife
Florence Lawrence was a Canadian-American stage performer and film actress. She is referred to as the "first movie star," and was thought to be the first film actor to be named publicly until evidence published in 2019 indicated that the first named film star was French actor Max Linder. At the height of her fame in the 1910s, she was known as the "Biograph Girl" for work as one of the leading ladies in silent films from the Biograph Company, she appeared in 300 films for various motion picture companies throughout her career. Born Florence Annie Bridgwood in Hamilton, she was youngest of three children of George Bridgwood, an English-born carriage builder and Charlotte "Lotta" Bridgwood, a vaudeville actress. Charlotte Bridgwood had emigrated to Canada from Ireland after the Great Famine with her family as a child, she was known professionally as Lotta Lawrence and was the leading lady and director of the Lawrence Dramatic Company. At the age of three, Lawrence made her debut onstage with her mother in a dance routine.
When she was old enough to memorize lines of dialogue, she performed with her mother and other members of the Lawrence Dramatic Company in dramatic plays. After performing tear-jerking dramas like Dora Thorne and East Lynne began to depress Lawrence, her mother dropped them from the company's repertoire. While Lawrence performed on stage at the behest of her mother, she recalled that she enjoyed the work but did not like the traveling that all vaudeville performers were required to do. By the age of six, Lawrence had earned the nickname "Baby Flo, the Child Wonder". On February 18, 1898, George Bridgwood died from accidental coal gas poisoning at his home in Hamilton. Lotta Lawrence moved the family from Hamilton to Buffalo, New York, to live with her mother, Ann Dunn, she chose to stop bringing her children along for stage performances and for the first time, Florence was enrolled in school. After graduating, Lawrence rejoined her mother's dramatic company. However, her mother disbanded the Lawrence Dramatic Company shortly thereafter.
She was one of several Canadian pioneers in the film industry who were attracted by the rapid growth of the fledgling motion picture business. In 1906, she appeared in her first motion picture; the next year, she appeared in 38 movies for the Vitagraph film company. During the spring and summer of 1906, Lawrence auditioned for a number of Broadway productions, with no success. However, on December 27, 1906, she was hired by the Edison Manufacturing Company to play Daniel Boone's daughter in Daniel Boone, she got the part. Both she and her mother received parts and were paid five dollars a day for two weeks of outdoor filming in freezing weather. In 1907 she went to work for the Vitagraph Company in Brooklyn, New York acting as Moya, an Irish peasant girl in a one-reel version of Dion Boucicault's The Shaughraun, she returned to stage acting, playing the leading role in a road show production of Melville B. Raymond's Seminary Girls, her mother played her last role in this production. After touring with the roadshow for a year, Lawrence resolved that she would "never again lead that gypsy life".
In 1908 she returned to Vitagraph. As a result of her equestrian skills, she received parts in eleven films in the next five months. At Vitagraph was a young actor, Harry Solter, looking for "a young, beautiful equestrian girl" to star in a film to be produced by the Biograph Studios under the direction of D. W. Griffith. Griffith, the most prominent producer-director at Biograph Studios, had noticed the beautiful blonde-haired woman in one of Vitagraph's films; because the film's actors received no mention, Griffith had to make discreet inquiries to learn she was Florence Lawrence and to arrange a meeting. Griffith had intended to give the part to Biograph's leading lady, Florence Turner, but Lawrence managed to convince Solter and Griffith that she was the best suited for the starring role in The Girl and the Outlaw. With the Vitagraph Company, she had been earning $20 a week, working as a costume seamstress over and above acting. Griffith offered her a job, acting only, for $25 a week. After her success in this role, she appeared as a society belle in Betrayed by a Handprint and as an Indian in The Red Girl.
In total, she had parts in most of the 60 films directed by Griffith in 1908. Toward the end of 1908, Lawrence married Harry Solter. Lawrence gained much popularity, but because her name was never publicized, fans began writing the studio asking for it. After she had gained wide recognition after starring in the successful Resurrection, Biograph Studios refused to publicly announce her name and fans called her the "Biograph Girl". During cinema's formative years, silent screen actors were not named, because studio owners feared that fame might lead to demands for higher wages and because many actors were embarrassed to be performing pantomime in motion pictures, she continued to work for Biograph in 1909. Her demand to be paid by the week rather than daily was met, she received double the normal rate, she achieved great popularity in the "Jones" series, filmdom's first comedy series, in which she played Mrs. Jones in around a dozen films. More popular still were the dramatic love stories in which she co-starred with John R. Cumpson, as Mr. Jones, Arthur Johnson.