Paris Bound is a 1927 play by Philip Barry. It was made into a movie in 1929, directed by Edward H. Griffith and starring Ann Harding, Jim Hutton and Mary Archer are two liberals who are content to remain faithful to each other in spirit only. They are married with all the ritual of a church wedding, when Jim goes off to Europe on a business trip, Mary declines to accompany him. Noel, who owns a villa at Antibes, lures Jim into a rendezvous, Mary has an affair with Richard. Learning of Jims rendezvous, she considers a Paris divorce so as to marry Richard, when Jim unexpectedly returns, he tells Mary of his affair with a French woman. Mary is devastated, for she would never believe that her husband would actually sleep with another woman, in the end their mutual love is confirmed, and they decide to adopt traditional marriage morals and remain monogamous. The play ran on Broadway at the Music Box Theatre, from December 27,1927 to July,1928, the production was directed by Arthur Hopkins. This is the plays only Broadway production to date, according to IBDB, in 1929 the play ran at Lyric Theatre, England with Herbert Marshall, Edna Best and Laurence Olivier.
Ann Harding - Mary Hutton Fredric March - Jim Hutton Carmelita Geraghty - Noel Farley Leslie Fenton - Richard Parrish George Irving - James Hutton, Sr
No Time for Love (1943 film)
No Time for Love is a 1943 American romantic comedy film produced and directed by Mitchell Leisen and starring Claudette Colbert and Fred MacMurray. Written by Claude Binyon, Robert Lees, and Frederic I, the film is about a sophisticated female photographer assigned to photograph the tough sandhog construction workers at a tunnel project site. After saving one of the sandhogs from an accident, she becomes attracted to this cocky well-built man they call Superman. Unsettled by her feelings, she hires the man as her assistance and their time together, leads to feelings of love, and she struggles to overcome her haughtiness and make her true feelings known. No Time for Love was the third of six films starring Colbert and MacMurray, the film was shot at Paramount Studios from June 8 to July 24,1942. A special set was constructed for the scenes, based on blueprints for the Brooklyn–Battery Tunnel. A special mix of adobe and water was used to produce the mud in the climatic scenes, No Time for Love was released by Paramount Pictures on November 10,1943 in New York City.
The film received reviews in Variety and the New York Times, whose reviewer called it a delightful comedy. The film was nominated for the Academy Award for Best Art Direction–Interior Decoration, mirror magazines top photographer Katherine Grant is assigned to photograph the Interborough Vehicular River Tunnel project in New York City. When she sees the unconscious Ryan about to be crushed by a machine, in the compression chamber, a revived Ryan gets into a fistfight with his co-workers after they taunt him about being saved by a woman. During the brawl, Katherine photographs Ryan as hes beating up the other sandhogs, on their way out of the tunnel, Ryan notices that Katherine is flirting with him and tells her hes not interested. Insulted by the brush off, she informs him that she has a chair with more integrity than he has. Just then, Ryan arrives at Katherines apartment to return the tripod she left behind, Ryan kisses a flustered Katherine flush on the lips and dismisses her, having regained his confidence.
In the coming weeks, Katherine is haunted by disturbing dreams of Ryan as Superman rescuing her from Henry as an evil assailant, Ryan loses his job after Henry publishes the photograph of the sandhogs fighting. When Ryan shows up at her apartment, Katherine assures him she did not know the photo would be published, thinking that if she spends time with him, she will prove to herself that he is not worthy of her. They go on several assignments together, and despite his flirtations with various cheap blondes, one night after sharing a passionate kiss, they are spotted by Hoppy who reveals Katherines original plan to get him off her mind. Feeling that hes been used, Ryan walks away disgusted, sometime later, the tunnel project is threatened by repeated cave-ins resulting from the constant flow of muck coming in from the riverbed. Assigned to cover the testing of new machine, Katherine returns to the tunnel and is shocked to learn that the inventor is Ryan
Open access refers to online research outputs that are free of all restrictions on access and free of many restrictions on use. These additional usage rights are granted through the use of various specific Creative Commons licenses. There are multiple ways authors can provide access to their work. One way is to publish it and self-archive it in a repository where it can be accessed for free, such as their institutional repository and this is known as green open access. Some publishers require delays, or an embargo, on when an output in a repository may be made open access. Several initiatives provide an alternative to the American and English language dominance of existing publication indexing systems, including Index Copernicus, SciELO and Redalyc. A second way authors can make their work open access is by publishing it in such a way that makes their research output immediately available from the publisher. This is known as open access, and within the sciences this often takes the form of publishing an article in either an open access journal.
Pure open access journals do not charge fees, and may have one of a variety of business models. Many, however, do charge an article processing fee, widespread public access to the World Wide Web in the late 1990s and early 2000s fueled the open access movement, and prompted both the green open access way and the creation of open access journals. Conventional non-open access journals cover publishing costs through access tolls such as subscriptions, some non-open access journals provide open access after an embargo period of 6–12 months or longer. The Budapest statement defined open access as follows, There are many degrees, despite these statements emerging in the 2000s, the idea and practise of providing free online access to journal articles began at least a decade before the term open access was formally coined. Computer scientists had been self-archiving in anonymous ftp archives since the 1970s, the Subversive Proposal to generalize the practice was posted in 1994. Gratis OA refers to online access, and libre OA refers to free online access plus some additional re-use rights.
The Budapest and Berlin definitions had corresponded only to libre OA, the re-use rights of libre OA are often specified by various specific Creative Commons licenses, these almost all require attribution of authorship to the original authors. Open access itself began to be sought and provided worldwide by researchers when the possibility itself was opened by the advent of Internet, the momentum was further increased by a growing movement for academic journal publishing reform, and with it gold and libre OA. Electronic publishing created new benefits as compared to paper publishing but beyond that, rather than applying traditional notions of copyright to academic publications, they could be libre or free to build upon. The intended audience of research articles is usually other researchers, Open access helps researchers as readers by opening up access to articles that their libraries do not subscribe to
Rodgers and Hammerstein
Rodgers and Hammerstein refers to an influential and successful American musical theatre writing team consisting of composer Richard Rodgers and lyricist-dramatist Oscar Hammerstein II. They created a string of popular Broadway musicals in the 1940s and 1950s, five of their Broadway shows, Oklahoma. Carousel, South Pacific, The King and I and The Sound of Music, were outstanding successes, of the other four that the team produced on Broadway during their lifetimes, Flower Drum Song was well-received, and none was an outright flop. Most of their shows have received frequent revivals around the world, among the many accolades their shows garnered were thirty-four Tony Awards, fifteen Academy Awards, the Pulitzer Prize, and two Grammy Awards. Their musical theatre writing partnership has been called the greatest of the 20th century, prior to their partnership, both Rodgers and Hammerstein achieved success independently. Rodgers had collaborated for more than two decades with Lorenz Hart, among their many Broadway hits were the shows A Connecticut Yankee, Babes in Arms, The Boys from Syracuse, Pal Joey, and By Jupiter, as well as many successful film projects.
Their 1927 musical Show Boat is considered to be one of the masterpieces of the American musical theatre, other Hammerstein/Kern collaborations include Sweet Adeline and Very Warm for May. Although the last of these was panned by critics, it one of Kern and Hammersteins best-loved songs. By the early 1940s, Hart had sunk deeper into alcoholism and emotional turmoil, independently of each other and Hammerstein had been attracted to making a musical based on Lynn Riggs stage play Green Grow the Lilacs. When Jerome Kern declined Hammersteins offer to work on such a project and Hart refused Rodgers offer to do the same, marked a revolution in musical drama. Although not the first musical to tell a story of emotional depth and psychological complexity, introduced a number of new storytelling elements and techniques. These included its use of song and dance to convey plot and character rather than act as a diversion from the story, was originally called Away We Go. and opened at the Shubert Theatre in New Haven in March 1943.
Only a few changes were made before it opened on Broadway, the original Broadway production opened on March 31,1943, at the St. James Theatre. Although the typical musical of the time was written around the talents of a specific performer, such as Ethel Merman or Fred Astaire. Ultimately the original cast included Alfred Drake, Joan Roberts, Celeste Holm, Howard Da Silva, Betty Garde, Lee Dixon, marc Platt danced the role of Dream Curly, and Katharine Sergava danced the part of Dream Laurey. The story and the songs were considered more important than sheer star power, the production ran for a then-unprecedented 2,212 performances, finally closing on May 29,1948. In 1955 it was made into an Academy Award-winning musical film, the film starred Gordon MacRae and Shirley Jones, and its soundtrack was #1 on the 1956 album charts. After their initial success with Oklahoma, the musical was adapted to the screen in 1954, and scored a Best Actress Oscar nomination for leading lady Dorothy Dandridge
Barefoot in the Park
Barefoot in the Park is a romantic comedy by Neil Simon. The play premiered on Broadway in 1963 and starred Robert Redford, the play was made into a film in 1967, starring Redford, and Jane Fonda. The play opened on Broadway at the Biltmore Theatre on October 23,1963 and this was Neil Simons longest-running hit, and the tenth longest-running non-musical play in Broadway history. Directed by Mike Nichols, the cast starred Elizabeth Ashley, Robert Redford, Mildred Natwick, the scenic design was by Oliver Smith, costumes by Donald Brooks and lighting by Jean Rosenthal. The play was nominated for three 1964 Tony Awards, and Mike Nichols won the award for Best Director, myrna Loy starred in the national tour during the time the play was still on Broadway. A revival opened on Broadway at the Cort Theater on February 16,2006, the cast included Amanda Peet, Patrick Wilson, Jill Clayburgh, and Tony Roberts. The revival was directed by Scott Elliott, a revival production toured the United Kingdom in 2012.
The cast included Maureen Lipman, Faye Castelow, Dominic Tighe, the play was directed by Lipman in partnership with Peter Cregeen. Corie and Paul Bratter are a newlywed couple, for their first home, they live in an apartment on the top floor of a brownstone in New York City. During the course of four days, the couple learns to live together while facing the usual daily ups-and-downs, Corrie wants Paul to become more easy-going, for example, to run barefoot in the park. Simon adapted his play for a 1967 feature film, starring Robert Redford and Jane Fonda, a television series based on the play began on ABC in September 1970. It was an African-American situation comedy which ran for twelve weeks, the show featured Scoey Mitchell and Tracy Reed as a young middle-class couple living in a New York City apartment and struggling through the first years of marriage. This was one of two television series based on Neil Simon plays to debut on the network that month, the other being The Odd Couple. A production of Barefoot in the Park ran at the Moore Theater in Seattle for one week in late 1981, the play - and movie - starred Richard Thomas as Paul, Bess Armstrong as Corie, Barbara Barrie as Mrs.
Banks, and Hans Conreid as Velasco. It was initially telecast in March 1982, Bess Armstrong glows in the role of his wife, but Barbara Barrie virtually walks away with the show as her bemused mother. Barefoot in the Park at the Internet Broadway Database Barefoot in the Park at the Internet Broadway Database
Clare Boothe Luce
Clare Boothe Luce was an American author, politician, U. S. Ambassador and public conservative figure. She was the first American woman appointed to a major ambassadorial post abroad, a versatile author, she is best known for her 1936 hit play The Women, which had an all-female cast. Her writings extended from drama and screen scenarios to fiction and she was the wife of Henry Luce, publisher of Time, Life and Sports Illustrated. Politically, Luce was a conservative in life and was well known for her anti-communism. In her youth, she aligned herself with the liberalism of President Franklin Roosevelt as a protege of Bernard Baruch. Although she was a supporter of the Anglo-American alliance in World War II. Luce was born Ann Clare Boothe in New York City on March 10,1903 and her parents were not married and would separate in 1912. Her father, a man and a brilliant violinist, instilled in his daughter a love of literature, if not of music. Parts of young Clares childhood were spent in Memphis and Nashville, Chicago, Clare Boothe had an elder brother, David Franklin Boothe.
She attended the schools in Garden City and Tarrytown, New York. Her ambitious mothers initial plan for her was to become an actress, Clare understudied Mary Pickford on Broadway at age 10, and had a small part in Thomas Edisons 1915 movie, The Heart of a Waif. Highly intelligent and blessed with a deceptively fragile blonde beauty and she wed George Tuttle Brokaw, millionaire heir to a New York clothing fortune, on August 10,1923, at the age of 20. They had one daughter, Ann Clare Brokaw, according to Boothe, Brokaw was a hopeless alcoholic, and the marriage ended in divorce in 1929. On November 23,1935, she married Henry Harry Robinson Luce, the publisher of Time and she thereafter called herself Clare Boothe Luce, a frequently-misspelled name that was often confused with that of her exact contemporary Claire Luce, a stage and film actress. As a professional writer, Luce continued to use her maiden name, on January 11,1944, her only child, Ann Clare Brokaw, a 19-year-old senior at Stanford University, was killed in an automobile accident.
As a result of the tragedy, Luce explored psychotherapy and religion, after grief counseling with radio priest Fulton Sheen, she joined the Roman Catholic Church in 1946. She became an ardent essayist and lecturer in celebration of her faith, as a memorial to her daughter, beginning in 1949 she funded the construction of a Catholic church in Palo Alto for use by the Stanford campus ministry. The new Saint Ann Chapel was dedicated in 1951 and it was sold by the diocese in 1998 and in 2003 became a church of the Anglican Province of Christ the King
New York Public Library for the Performing Arts
The New York Public Library for the Performing Arts and Lewis B. It houses one of the worlds largest collections of relating to the performing arts. It is one of the four centers of the New York Public Librarys Research library system. Originally the collections that formed The New York Public Library for the Performing Arts were housed in two buildings, a separate center to house performing arts was first proposed by Carleton Sprague Smith in a 1932 report to the library administration, A Worthy Music Center for New York. There were attempts to create partnerships with Rockefeller Center, the Museum of Modern Art, during the late 1930s and early 1940s, the Music Division produced a program of concerts. These concerts were held in conjunction with the Metropolitan Museum of Art and Juilliard School. After Lincoln Center was incorporated in 1956, a mention of a possible library. It was envisioned that a library-museum would serve to interpret and illuminate the entire range of the performing arts, by December of that year, the library had become an accepted component of Lincoln Center planning and fundraising.
Recalling his earlier reports, Smith produced a new report arguing for a move to Lincoln Center, Library administration officially approved of the move in June 1959. The building housing the research collections and the Vivian Beaumont Theater was the third building to be opened at Lincoln Center. Original plans conceived the library as a building, but prohibitive costs necessitated a combination of the Library. As built, the Theater forms the core of the building, the 1st and 2nd floors occupying the southern and western sides. Noted modernist architect Gordon Bunshaft, of the firm of Skidmore and Merrill designed the interiors, the Claire Tow Theater was built on the roof of the Library and opened in June 2012. The third floor, housing the collections, opened to the public on July 19. The entire library was opened to the public on November 30,1965, at its opening, it was called Library and Museum of the Performing Arts. The Librarys museum component was named the Shelby Collum Davis Museum in honor of an investment banker who contributed $1 million to Lincoln Center for museum purposes.
At its opening, the Librarys main lobby at the Lincoln Center Plaza entrance housed a bookstore, a viewing area. The second floor included a childrens performing arts collection as well as the Hecksher Oval, prior to the 2001 renovation, the childrens collection was relocated to the Riverside Branch
Now, Voyager is a 1942 American drama film starring Bette Davis, Paul Henreid, and Claude Rains, and directed by Irving Rapper. The screenplay by Casey Robinson is based on the 1941 novel of the name by Olive Higgins Prouty. Prouty borrowed her title from the Walt Whitman poem The Untold Want, in 2007, Voyager was selected for preservation in the United States National Film Registry by the Library of Congress as being culturally, historically, or aesthetically significant. The film ranks #23 on AFIs 100 Years,100 Passions, a list of the top love stories in American cinema. Film critic Steven Jay Schneider suggests the film continues to be due not only to its star power. The film had an appearance during the theatre scene in the movie Summer of 42. It is revealed that Mrs. Vale had already brought up three sons, and Charlotte was a child born to her late in life. Fearing that Charlotte is on the verge of a breakdown, her sister-in-law Lisa introduces her to psychiatrist Dr. Jaquith. Away from her mothers control Charlotte blossoms, and at Lisas urging the transformed woman opts to take a lengthy cruise instead of going home immediately, on the ship she means Jeremiah Duvaux Durrance, a married man who is traveling with his friends Deb and Frank McIntyre.
Charlotte and Jerry become friendly, and in Rio de Janeiro the two are stranded on Sugarloaf Mountain when their car crashes and they miss the ship and spend five days together before Charlotte flies to Buenos Aires to rejoin the cruise. Although they have fallen in love, they decide it would be best not to see each other again, when she arrives home, Charlottes family is stunned by the dramatic changes in her appearance and demeanor. Her mother is determined to again destroy her daughter. The memory of Jerrys love and devotion help to give her the strength she needs to remain resolute, Charlotte becomes engaged to wealthy, well-connected widower Elliot Livingston, but after a chance meeting with Jerry, she breaks off the engagement, about which she quarrels with her mother. During the argument, Charlotte says she didnt ask to be born, that her mother never wanted her, Mrs. Vale is so shocked that her once-mousy daughter has found the courage to actually talk back to her, she has a heart attack and dies.
Guilty and distraught, Charlotte returns to the sanitarium, when she arrives at the sanitarium, she is immediately diverted from her own problems when she meets Jerrys lonely, unhappy 12-year-old daughter Tina who has been sent to Dr. Jaquith. Tina greatly reminds Charlotte of herself, both were unwanted and unloved by their mothers, shaken from her depression, Charlotte becomes overly interesting in Tinas welfare, and with Dr. Jaquiths permission she takes her under her wing. When the girl improves, Charlotte takes her home to Boston, Jerry and Dr. Jaquith visit the Vale home, where Jerry is delighted to see the changes in his daughter. While he initially pities Charlotte, believing her to be settling in her life, Dr. Jaquith has allowed Charlotte to keep Tina there with the understanding that her relationship with Jerry will remain platonic
Oceans 11 is a 1960 heist film directed by Lewis Milestone and starring five Rat Packers, Peter Lawford, Frank Sinatra, Dean Martin, Sammy Davis, Jr. and Joey Bishop. A remake, directed by Steven Soderbergh, starring George Clooney, Brad Pitt, Matt Damon, Andy García, Julia Roberts, Bernie Mac, and Don Cheadle was released in 2001, followed by a pair of sequels. A gang of World War II 82nd Airborne veterans is recruited by Danny Ocean, the gang plans the elaborate New Years Eve heist with the precision of a military operation. Josh Howard takes a job as a worker driving a garbage truck while others work to scope out the various casinos. Sam Harmon entertains in one of the hotels lounges, demolition charges are planted on an electrical transmission tower and the backup electrical systems are covertly rewired in each casino. At exactly midnight, while everyone in every Vegas casino is singing Auld Lang Syne the tower is blown up, the backup electrical systems open the cashier cages instead of powering the emergency lights.
The inside men sneak into the cages and collect the money. They dump the bags of loot into the garbage bins, go back inside. As soon as the come back on, the thieves stroll out of the casinos. A garbage truck driven by Josh picks up the bags and passes through the police blockade and it appears to have gone off without a hitch. Their ace electrician, Tony Bergdorf, has an attack in the middle of the Las Vegas Strip. This raises the suspicions of police, who wonder if there is any connection, reformed mobster Duke Santos offers to recover the casino bosses money for a price. He learns of Ocean being in town and his connection to Foster, Santos pieces together the puzzle by the time Bergdorfs body arrives at the mortuary. Santos confronts the thieves, demanding half of their take, in desperation, the money is hidden in Bergdorfs coffin, with $10,000 set aside for Bergdorfs widow. The group plans to back the rest of the money, making no payoff to Santos. This plan backfires when the director talks Bergdorfs widow into having the funeral in Las Vegas.
Peter Lawford was first told of the story of the film by director Gilbert Kay. Lawford eventually bought the rights in 1958, imagining William Holden in the lead, Sinatra became interested in the idea, and a variety of different writers worked on the project