Internet Broadway Database
The Internet Broadway Database is an online database of Broadway theatre productions and their personnel. It was conceived and created by Karen Hauser in 1996 and is operated by the Research Department of The Broadway League, the website has a corresponding app for both the IOS and Android. This comprehensive history of Broadway provides records of productions from the beginnings of New York theatre in the 18th century up to today, details include cast and creative lists for opening night and current day, song lists and other interesting facts about every Broadway production. Other features of IBDB include an archive of photos from past and present Broadway productions, links to cast recordings on iTunes or Amazon, gross. Its mission was to be an interactive, user-friendly, searchable database for League members, researchers, the League recently added Broadway Touring shows to the database for ease of tracking shows that play in theatres across the country. It is managed by Karen Hauser, Michael Abourizk, and Mark Smith of the Broadway League, Internet Theatre Database – ITDb Internet Movie Database – IMDb Internet Book Database – IBookDb Lortel Archives – IOBDb The Broadway League Official website Broadway League website
The New York Times
The New York Times is an American daily newspaper and continuously published in New York City since September 18,1851, by The New York Times Company. The New York Times has won 119 Pulitzer Prizes, more than any other newspaper, the papers print version in 2013 had the second-largest circulation, behind The Wall Street Journal, and the largest circulation among the metropolitan newspapers in the US. The New York Times is ranked 18th in the world by circulation, following industry trends, its weekday circulation had fallen in 2009 to fewer than one million. Nicknamed The Gray Lady, The New York Times has long been regarded within the industry as a newspaper of record. The New York Times international version, formerly the International Herald Tribune, is now called the New York Times International Edition, the papers motto, All the News Thats Fit to Print, appears in the upper left-hand corner of the front page. On Sunday, The New York Times is supplemented by the Sunday Review, The New York Times Book Review, The New York Times Magazine and T, some other early investors of the company were Edwin B.
Morgan and Edward B. We do not believe that everything in Society is either right or exactly wrong, —what is good we desire to preserve and improve, —what is evil, to exterminate. In 1852, the started a western division, The Times of California that arrived whenever a mail boat got to California. However, when local California newspapers came into prominence, the effort failed, the newspaper shortened its name to The New-York Times in 1857. It dropped the hyphen in the city name in the 1890s, One of the earliest public controversies it was involved with was the Mortara Affair, the subject of twenty editorials it published alone. At Newspaper Row, across from City Hall, Henry Raymond and editor of The New York Times, averted the rioters with Gatling guns, in 1869, Raymond died, and George Jones took over as publisher. Tweed offered The New York Times five million dollars to not publish the story, in the 1880s, The New York Times transitioned gradually from editorially supporting Republican Party candidates to becoming more politically independent and analytical.
In 1884, the paper supported Democrat Grover Cleveland in his first presidential campaign, while this move cost The New York Times readership among its more progressive and Republican readers, the paper eventually regained most of its lost ground within a few years. However, the newspaper was financially crippled by the Panic of 1893, the paper slowly acquired a reputation for even-handedness and accurate modern reporting, especially by the 1890s under the guidance of Ochs. Under Ochs guidance and expanding upon the Henry Raymond tradition, The New York Times achieved international scope, circulation, in 1910, the first air delivery of The New York Times to Philadelphia began. The New York Times first trans-Atlantic delivery by air to London occurred in 1919 by dirigible, airplane Edition was sent by plane to Chicago so it could be in the hands of Republican convention delegates by evening. In the 1940s, the extended its breadth and reach. The crossword began appearing regularly in 1942, and the section in 1946
Church of the Messiah (Manhattan)
The Second Congregational Church in New York, organized in 1825, was a Unitarian congregation which had three permanent homes in Manhattan, the second of which became a theater after they left it. In 1919 the congregation became non-denominational and changed its name to Community Church of New York, the same year, its church on 34th Street was damaged by fire. Since 1948 the congregation has been located at 40 East 35th Street, the Church of the Messiah at 728-730 Broadway, near Waverly Place, was dedicated in 1839 and operated as such until 1864. In January 1865 it was sold to department store magnate A. T. Stewart and converted into a theater which subsequently operated under a series of names, ending with The New Theatre Comique. 2 CCNY, The Community Church of New York website Dewey, Mary Autobiography and Letters of Orville Dewey, edited by his Daughter Dunlap, David W. From Abyssinian to Zion, A Guide to Manhattans Houses of Worship, at New York Public Library Digital Gallery Image ID,1615960 Stern, Robert A. M.
Mellins and Fishman, David. New York 1880, Architecture and Urbanism in the Gilded Age
David Braham
David Braham was a London-born musical theatre composer most famous for his work with Edward Harrigan and Tony Hart. He has been called the American Offenbach, David Braham was born in London in 1834. As a young man, he aspired to become a musician and began studying the harp. However, because he was unable to get his bulky instrument on board a stagecoach and he proved to be an adept violinist, performing in concerts at a young age. He was the uncle of John J. Braham, the Braham family immigrated to New York City when David was 15. Upon arriving in New York, Braham began working as a violinist in the orchestra accompanying the Pony Moore Minstrels. He played in the pit orchestras of various New York auditoriums, headed an 18-piece orchestra at the New Canterbury concert saloon at 585 Broadway, the first Broadway musical to feature music by David Braham was Pluto, produced by William Horace Lingard at the Theatre Comique in 1869. In 1873, David Braham collaborated with Edward Harrigan and Tony Hart on the song The Mulligan Guard, with music by Braham, the song was presented on July 15,1873 as part of a vaudeville sketch which featured Harrigan and Hart wearing unusual American Civil War-era military costumes.
This collaboration marked the first of many between Braham and Hart, from that point onwards, Braham became firmly associated with the two. Although he did go on to write melodies for other lyricists, his success in Broadway theater came almost entirely as a result of his Harrigan, in November 1876, Harrigan married Brahams daughter Annie. The success of The Mulligan Guard led to a series of burlesques which would become known as the Mulligan plays. The Mulligan plays focused on the life of New York City, appealing to a variety of racial groups, including Irish Americans, German Americans. The first of these Mulligan plays was The Mulligan Guards Ball, followed by The Mulligan Guards Picnic, The Mulligan Guards Chowder, The Mulligan Guards Christmas, and various others. Although most of the Mulligan plays followed the naming pattern. The Mulligan plays featured several songs, all of which were written by Braham, including The Pitcher of Beer. The last Mulligan play to be produced was Dans Tribulations on April 7,1884, shortly after it opened, the New Theatre Comique, at which many of the Harrigan and Hart shows had been produced, burned down.
In 1885, Harrigan and Hart separated, and neither they nor Braham were ever able to attain the same level of success that they had achieved as a team. On May 21,1906, Harrigan produced a revival of Old Lavender, in 1985, a musical titled Harrigan n Hart was produced at the Longacre Theatre, featuring songs by Harrigan and Braham
Tony Hart (theater)
Tony Hart, born Anthony J. Cannon, was an American actor and singer. He is best known for working with Edward Harrigan in the late 19th century comedy team of Harrigan & Hart, the two became a fixture at the Theatre Comique in New York City by the mid-1870s performing in Harrigans farcical sketches. The slight and short Hart usually portrayed the roles in their comic sketches. Their breakthrough hit was the 1873 song and sketch The Mulligan Guard and it became their signature piece, and they featured it in many of their slapstick skits and plays. The teams last Broadway performance was in May 1885, Harts health and financial condition both deteriorated, and he died at the age of 36. Hart was born in Worcester and began his career in Boston and he met Harrigan in Chicago in 1870 and soon changed his name to Tony Hart. Harrigan and Hart went in 1871 to Boston, where they had their first big success at John Stetsons Howard Athenaeum and they moved on to New York, where they first worked with Tony Pastor before beginning a long run at Josh Harts Theatre Comique.
By the mid-1870s they began moving from the variety show toward musical theatre, Harrigans sketches on the Comiques crowded bill featured comic Irish and black characters drawn from everyday life on the streets of New York. The slight and short Hart usually portrayed the roles in their comic sketches. They began moving from the variety show toward musical theatre and it became their signature piece, and they featured it in many of their slapstick skits and plays. In 1876, Harrigan took over the Comique himself, along with Hart, by 1878, with The Mulligan Guard Picnic, Harrigan & Hart settled down on Broadway and performed in seventeen of their shows over the next seven years. Their most popular musical was the Mulligan Guards Ball, though still broad and farcical, full of chaos and hilarity, these shows integrated music with a more literary story line, together with dance, and they began to resemble modern musical comedy. Harrigan wrote the stories and lyrics, and Braham wrote the music, Harrigan played the politically ambitious Irish saloon owner Dan Mulligan, and Hart played the African-American washerwoman Rebecca Allup.
The building they renovated was originally the home of the Church of the Messiah but had hosted many other throughout the years. However, this theatre was not to last, it burned to the ground in 1884, after the theatre collapsed, so did the partnership. Harrigans habit of hiring relatives soured his partnership with Hart, in May 1885, five months after the fire and Hart appeared on Broadway together for the last time. Hart and his wife, Gertie Granville, went on to appear in other productions and his medical problems stemming from paresis and syphilis increased, as his financial condition worsened. His friends and fans mounted a production, on March 22,1888, to raise funds for his living expenses
Mark Hamill
Mark Richard Hamill is an American actor, voice actor and writer. He is known for playing Luke Skywalker in the Star Wars film series and his other works include Corvette Summer and The Big Red One, among other television shows and movies. Hamill has appeared on stage in several productions, primarily during the 1980s. He currently recurs in the The CW television series The Flash as James Jesse / Trickster, Hamill is a prolific voice actor who has voiced characters in many animated television shows and video games since the 1970s. He is known for his role as DC Comics the Joker, commencing with Batman. Hamill was born in Oakland, California, to Virginia Suzanne and he is one of seven children, having two brothers and Patrick, and four sisters, Jan and Kim. His father has English, Scottish and Welsh ancestry and his mother was of half Swedish and his fathers changes of station and attendant family moves led to the Hamill children changing schools often. In his elementary years, he went to Walsingham Academy and Poe Middle School, at age 11, he moved to the 5900 block of Castleton Drive in San Diego, where he attended Hale Junior High School.
During his first year at James Madison High School, his family moved to Virginia, by his junior year, his father was stationed in Japan, where Hamill attended and was a member of the Drama Club at Nile C. Kinnick High School, from which he graduated in 1969 and he enrolled at Los Angeles City College, majoring in drama. Hamill was raised as a Roman Catholic, and described his father as a Nixon Republican, Hamills early career included a recurring role on the soap opera General Hospital, and a starring role on the short-lived sitcom The Texas Wheelers. He portrayed the oldest son, David, in the episode of Eight Is Enough, though the role was performed by Grant Goodeve. He had guest appearances on The Bill Cosby Show, The Partridge Family, Room 222 and he appeared in multiple television films such as The City, and Sarah T. - Portrait of a Teenage Alcoholic, Robert Englund was auditioning for a role in Apocalypse Now when he walked across the hall where auditions were taking place for George Lucass Star Wars.
After watching the auditions for a while, he realized that Hamill, his friend and he suggested to Hamill that he audition for the role, Hamill did and won the role. Released in May 1977, Star Wars was an unexpected success and had a huge effect on the film industry. Hamill appeared in the Star Wars Holiday Special in 1978 and starred in the successful sequels The Empire Strikes Back, during the time between the first two films, Hamill was involved in a serious automobile accident, fracturing his nose and left cheekbone. The injuries required surgery on his face which made him look different during the filming of The Empire Strikes Back
Tony Pastor
Tony Pastor was an American impresario, variety performer and theatre owner who became one of the founding forces behind American vaudeville in the mid- to late-nineteenth century. He was sometimes referred to as the Father of Vaudeville, after his Spanish father came to New York and met his future wife Cornelia Buckley, from New Haven, they lived in Manhattan. Their third child, and first son, Antonio Pastor, was born in Manhattan on May 28,1832, at his parents residence at 400 Greenwich Street and his father was a Spanish immigrant who supported his family as a barber and part-time musician. Pastor embarked on a business career at a very young age. During the next few years he worked in minstrel shows, the circus business, Pastor published songsters, books of his lyrics which were sung to popular tunes. The music had no notation, as it was assumed that the audience had a knowledge of popular song. The subject matter of his music was intended to be bawdy, though Pastor was popular with the nearly all-male variety theater audiences, he knew that his ticket sales would double if he attracted a female audience.
Soon he began to produce variety shows, presenting an evening of fun that was a distinct alternative to the bawdy shows of the time. In 1865 Pastor opened Tony Pastors Opera House on the Bowery in partnership with minstrel show performer, Sam Sharpley, the same year he organized traveling minstrel troupes who toured the country annually between April and October. With shows that appealed to women and children as well as the male audience, his theater. In 1874, Pastor moved his company a few blocks to take over Michael Bennett Leavitts former theater at 585 Broadway. The theater district was moving uptown to Union Square, however and he alternated his theaters presentations between operettas and family-oriented variety shows, creating what became known as vaudeville. Harry S. Sanderson was his business manager from 1878 until 1908, the business records from this period are available to researchers. The song Put On Your Sunday Clothes includes the line, Well join the Astors at Tony Pastors and it references seeing the shows at Delmonicos, which suggests that the character does not really know about upper class social life in New York.
Tony Pastor died in Elmhurst, New York on August 26,1908 and was interred in the Cemetery of the Evergreens, in Brooklyn. He was 71, and though greatly mourned at his death as one of the last gentlemen of the early vaudeville halls, Pastor had remained a local showman in an epoch that increasingly came to be dominated by regional and national chains. Fighting against the monopolies for the rights of individual local showmen was an undertaking that marked the last years of his life, earning him the nickname of Little Man Tony. According to the humor of the time, Pastor wrote several songs that negatively portrayed ethnic stereotypes, such as The Contrabands Adventures, after the slave is set free by Union soldiers, he attends an anti-slavery meeting where the abolitionists try to scrub off his dark pigment
Minstrel show
The minstrel show, or minstrelsy, was an American form of entertainment developed in the early 19th century. Each show consisted of skits, variety acts, dancing. The shows were performed by people in make-up or blackface for the purpose of playing the role of black people. There were some African-American performers and all-black minstrel groups that formed and toured, Minstrel shows lampooned black people as dim-witted, buffoonish and happy-go-lucky. Minstrel shows emerged as brief burlesques and comic entractes in the early 1830s and were developed into full-fledged form in the next decade, by 1848, blackface minstrel shows were the national artform, translating formal art such as opera into popular terms for a general audience. By the turn of the 20th century, the show enjoyed but a shadow of its former popularity. The form survived as professional entertainment until about 1910, amateur performances continued until the 1960s in high schools, the genre has had a lasting legacy and influence and was featured in a television series as recently as the late 1970s.
Generally, as the civil rights movement progressed and gained acceptance, the typical minstrel performance followed a three-act structure. The troupe first danced onto stage exchanged wisecracks and sang songs, the second part featured a variety of entertainments, including the pun-filled stump speech. The final act consisted of a slapstick musical plantation skit or a send-up of a popular play, Minstrel songs and sketches featured several stock characters, most popularly the slave and the dandy. These were further divided into such as the mammy, her counterpart the old darky, the provocative mulatto wench. Minstrels claimed that their songs and dances were authentically black, although the extent of the black influence remains debated, spirituals entered the repertoire in the 1870s, marking the first undeniably black music to be used in minstrelsy. Blackface minstrelsy was the first theatrical form that was distinctly American, during the 1830s and 1840s at the height of its popularity, it was at the epicenter of the American music industry.
For several decades it provided the means through which American whites viewed black people, on the one hand, it had strong racist aspects, on the other, it afforded white Americans a singular and broad awareness of what some whites considered significant aspects of black culture in America. Although the minstrel shows were popular, being consistently packed with families from all walks of life and every ethnic group. Although white theatrical portrayals of black characters date back to as early as 1604, by the late 18th century, blackface characters began appearing on the American stage, usually as servant types whose roles did little more than provide some element of comic relief. Eventually, similar performers appeared in entractes in New York theaters and other such as taverns. Author Constance Rourke even claimed that Forrests impression was so good he could fool blacks when he mingled with them in the streets, Thomas Dartmouth Rices successful song-and-dance number, Jump Jim Crow, brought blackface performance to a new level of prominence in the early 1830s
This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). . Encyclopædia Britannica. 13 (11th ed.). Cambridge University Press. p. 17.