Another Part of the Forest
For the article about the 1948 film adaptation of this play, see Another Part of the Forest. Another Part of the Forest is a 1946 play by Lillian Hellman, a prequel to her 1939 drama The Little Foxes. Set in the fictional town of Bowden, Alabama, in June 1880, the plot focuses on the wealthy and innately evil Hubbard family and their rise to prominence. Patriarch Marcus Hubbard was born into poverty and toiled at menial labor while teaching himself Greek philosophy and the basics of business acumen, he made his fortune by exploiting his fellow Southerners during the American Civil War. He treats his good-hearted but eccentric Bible-quoting wife Lavinia in a way designed to undermine both her self-confidence and sense of reality. Shrewd, amoral elder son Benjamin is plotting to usurp his father's power and steal his money, while the younger Oscar lusts for "cooch dancer" Laurette Sincee rather than penniless neighbor Birdie Bagtry, looking for a loan on her family's valuable land, a situation Benjamin hopes to exploit.
Regina is the sexually active daughter who wants to live in Chicago with Birdie's cousin, former Confederate officer John Bagtry, a move discouraged by her father, who has a disturbingly unnatural closeness to the girl. The only people in the household with any sense of morality are the servants and Jacob. Hellman herself directed the Broadway production that opened on November 20, 1946 at the Fulton Theatre, where it ran for 182 performances. Incidental music was composed by Marc Blitzstein, the scenic and lighting design were by Jo Mielziner, the costume design was by Lucinda Ballard. Patricia Neal..... Regina Hubbard Percy Waram..... Marcus Hubbard Mildred Dunnock..... Lavinia Hubbard Leo Genn..... Benjamin Hubbard Scott McKay..... Oscar Hubbard Margaret Phillips... Birdie Bagtry Bartlett Robinson..... John Bagtry Jean Hagen..... Laurette Sincee Beatrice Thompson..... Coralee Stanley Greene..... Jacob Owen Coll..... Simon Isham Paul Ford..... Harold Penniman Gene O'Donnell..... Gilbert Jugger Patricia Neal, making her Broadway debut, won both the Tony Award for Best Performance by a Featured Actress in a Play and the Theatre World Award, Lucinda Ballard won the Tony Award for Best Costume Design.
Margaret Phillips won the Clarence Derwent Award for Most Promising Female. Vladimir Pozner adapted Hellman's play for a 1948 feature film directed by Michael Gordon. A 1972 PBS broadcast directed by Daniel Mann starred Barry Sullivan as Marcus, Dorothy McGuire as Lavinia, Robert Foxworth as Benjamin, Andrew Prine as Oscar, Tiffany Bolling as Regina, Tisha Sterling as Birdie, William Bassett as Bagtry, Lane Bradbury as Laurette. Another Part of the Forest at the Internet Broadway Database Forest and its connections to Demopolis, Alabama
A Streetcar Named Desire
A Streetcar Named Desire is a play written by Tennessee Williams that opened on Broadway on December 3, 1947. The play dramatises the life of Blanche DuBois, a southern belle who, after encountering a series of personal losses, leaves her aristocratic background seeking refuge with her sister and brother-in-law in a dilapidated New Orleans tenement. A Streetcar Named Desire is Williams' most popular play, is considered among the finest plays of the 20th century, is considered by many to be Williams' greatest work, it still ranks among his most performed plays, has inspired many adaptations in other forms, notably producing a critically acclaimed film, released in 1951. After the loss of her family home, Belle Reve, to creditors, Blanche DuBois travels from the small town of Laurel, Mississippi, to the New Orleans French Quarter to live with her younger, married sister and brother-in-law, Stanley Kowalski. Blanche is in her thirties and, with no money, has nowhere else to go. Blanche tells Stella that she has taken a leave of absence from her English-teaching position because of her nerves.
Blanche laments the shabbiness of her sister's two-room flat. She finds Stanley loud and rough referring to him as "common". Stanley, in return, does not dislikes her presence. Stanley questions Blanche about her earlier marriage. Blanche had married when she was young, but her husband died, leaving her widowed and alone; the memory of her dead husband causes Blanche some obvious distress. Stanley, worried that he has been cheated out of an inheritance, demands to know what happened to Belle Reve, once a large plantation and the DuBois family home. Blanche hands over all the documents pertaining to Belle Reve. While looking at the papers, Stanley notices a bundle of letters that Blanche proclaims are personal love letters from her dead husband. For a moment, Stanley seems caught off guard over her proclaimed feelings. Afterwards, he informs Blanche; this can be seen as the start of Blanche's mental upheaval. The night after Blanche's arrival, during one of Stanley's poker parties, Blanche meets Mitch, one of Stanley's poker player buddies.
His courteous manner sets him apart from the other men. Their chat becomes flirtatious and friendly, Blanche charms him. Becoming upset over multiple interruptions, Stanley explodes in a drunken rage and strikes Stella. Blanche and Stella take refuge with Eunice; when Stanley recovers, he cries out from the courtyard below for Stella to come back by calling her name until she comes down and allows herself to be carried off to bed. After Stella returns to Stanley and Mitch sit at the bottom of the steps in the courtyard, where Mitch apologizes for Stanley's coarse behavior. Blanche is bewildered; the next morning, Blanche rushes to Stella and describes Stanley as a subhuman animal, though Stella assures Blanche that she and Stanley are fine. Stanley keeps silent; when Stanley comes in, Stella hugs and kisses him, letting Blanche know that her low opinion of Stanley does not matter. As the weeks pass, the friction between Blanche and Stanley continues to grow. Blanche has hope in Mitch, tells Stella that she wants to go away with him and not be anyone's problem.
During a meeting between the two, Blanche confesses to Mitch that once she was married to a young man, Allan Grey, whom she discovered in a sexual encounter with an older man. Grey committed suicide when Blanche told him she was disgusted with him; the story touches Mitch. It seems certain. On, Stanley repeats gossip to Stella that he has gathered on Blanche, telling her that Blanche was fired from her teaching job for involvement with an under-aged student and that she lived at a hotel known for prostitution. Stella erupts in anger over Stanley's cruelty after he states that he has told Mitch about the rumors, but the fight is cut short as she goes into labor and is sent to the hospital; as Blanche waits at home alone, Mitch arrives and confronts Blanche with the stories that Stanley has told him. At first she denies everything, but confesses that the stories are true, she pleads for forgiveness, but an angry and humiliated Mitch refuses her the chance at an honorable relationship and attempts to sexually assault her instead.
In response, Blanche screams "fire", he runs away in fright. Hours before Stella has the baby and Blanche are left alone in the apartment. Blanche has descended into a fantasy that an old suitor of hers is coming to provide financial support and take her away from New Orleans. Stanley goes along with the act before angrily scorning Blanche's lies and behavior, advances toward her. Stanley rapes Blanche, imminently resulting in her psychotic crisis. Weeks at another poker game at the Kowalski apartment and her neighbor, are packing Blanche's belongings. Blanche is to be committed to a mental hospital. Although Blanche has told Stella about Stanley's assault, Stella cannot bring herself to believe her sister's story; when a doctor and a matron arrive to take Blanche to the hospital, she resists them and collapses on the floor in confusion. Mitch, present at the poker game, breaks down in tears; when the doctor helps Blanche up, she goes willingly with him, saying: "Whoever you are, I have always depended on the kindness of strangers."
The play ends with Stanley continuing
Street Scene (play)
Street Scene is a 1929 American play by Elmer Rice. It opened January 1929, at the Playhouse Theatre in New York City. After a total of 601 performances on Broadway, the production toured the United States and ran for six months in London; the action of the play takes place on the front stoop of a New York City brownstone and in the adjacent street in the early part of the 20th century. It studies the complex daily lives of the people living in the building and the sense of despair that hovers over their interactions. Street Scene received the 1929 Pulitzer Prize for Drama. Street Scene has its origins in a play that Elmer Rice began in the mid-1920s called Sidewalks of New York—a play without words that he wrote as a technical exercise for his own entertainment. Rice devised 15 vignettes. One of these scenes presented the front of a brownstone in the early morning hours. "There was neither plot nor situation," Rice recalled. "One saw the house shaking off its sleep and beginning to go about the business of the day."In the autumn of 1927 Rice returned to New York after living for three years in Europe, was so taken with the vitality of the city that "almost without thinking about it" he began to reshape the brownstone-front scene into a full-length play.
He began work in November 1927, addressing the play's many technical challenges—introducing some 30 characters, devising more than 75 entrances and exits in the first act alone, making the playing of intimate scenes on a city sidewalk credible. Rice completed the play in mid-February 1928. Street Scene was rejected by at least a dozen New York producers before it was accepted in July 1928 by Sam H. Harris; the contract required that the play be staged by November 15. Shortly thereafter, producer William A. Brady accepted the play; when director George Cukor walked out in the first days of rehearsal, Brady agreed to Rice directing the play himself. With settings by Jo Mielziner, Street Scene opened January 10, 1929, at the Playhouse Theatre in New York City. Rice's script indicates the play's setting is "the exterior of a'walk-up' apartment house in a mean quarter of New York, it is of ugly brownstone." Rice was thinking of a building on West 65th Street in Manhattan while writing the play. The main characters are Anna Maurrant, dealing with issues of infidelity.
Street Scene toured throughout the United States. During the play's six-month run in London, Aldous Huxley became an ardent fan of Erin O'Brien-Moore, saw her starring performance as Rose Maurrant at least three times. "Still unwilling to write a conventional play according to the safe, stereotyped forms, Elmer Rice contents himself with writing an honest one," wrote Brooks Atkinson of The New York Times. "He transcribed his material perfectly. Never did the phantasmagorira of street episodes seem so lacking in sketchy types and so packed with delineated character." Street Scene received the 1929 Pulitzer Prize for Drama. It was included in Burns Mantle's The Best Plays of 1928–29. Elmer Rice adapted his play for Samuel Goldwyn's 1931 motion picture production, Street Scene, directed by King Vidor. Starring Sylvia Sidney, William Collier Jr. and Estelle Taylor, the film marked the screen debut of Beulah Bondi, who recreated her Broadway role as the malicious gossip Emma Jones. Others reprising their stage roles were Eleanor Wesselhoeft, Conway Washburne, T. H. Manning, John Qualen, Anna Konstant, George Humbert and Matthew McHugh.
Rice wrote the book for Kurt Weill's 1946 opera, Street Scene, adapting his play and writing lyrics with Langston Hughes. It premiered January 1947, at the Adelphi Theater, New York City. Street Scene has been adapted for television three times: In a presentation by The Philco Television Playhouse on October 31, 1948, Erin O'Brien-Moore performed the role of Rose's mother Anna; the role of Rose, which O'Brien-Moore had performed on Broadway, was played by Betty Field. Celanese Theatre presented a 30-minute adaption on April 2, 1952, starring Colleen Gray, Paul Kelly, Ann Dvorak and Michael Wager. BBC-TV presented an adaptation on November 15, 1959. New York's Brave New World Repertory Theater staged a production on a street in Brooklyn's Park Slope neighborhood in late June 2013. Fifth Street in the borough was closed for the two matinée performances. Street Scene at the Internet Broadway Database Street Scene on IMDb 1949 Theatre Guild on the Air radio adaptation of play at Internet Archive
Andrew Russell Garfield is a British-American actor. He is the recipient of several accolades, including a Tony Award, has been nominated for an Academy Award and two competitive British Academy Film Awards. Born in Los Angeles and raised in Epsom, Garfield began his career on the UK stage and in television productions, he made his feature-film debut in the 2007 ensemble drama Lions for Lambs. That year, his performance in the television film Boy A earned him a British Academy Television Award for Best Actor, he came to international attention in 2010 with supporting roles in the drama The Social Network, for which he received Golden Globe and BAFTA nominations for his portrayal of Eduardo Saverin, the science fiction romance Never Let Me Go. Garfield subsequently gained wider recognition for playing the titular superhero in the 2012 superhero film The Amazing Spider-Man and its 2014 sequel. In 2016, Garfield starred in Hacksaw Ridge and Silence, his portrayal of Desmond T. Doss in the former earned him nominations for the Academy Award and BAFTA Award for Best Actor.
On stage, Garfield has played Biff in a 2012 Broadway revival of Arthur Miller's play Death of a Salesman, which earned him a Tony Award nomination for Best Featured Actor in a Play. In 2017, he starred as Prior Walter in a production of Angels in America at the Royal National Theatre in London, a role for which he was nominated for an Olivier Award for Best Actor, he reprised the role on Broadway in 2018, for which he received the Tony Award for Best Actor in a Play. Garfield was born in California, his mother, Lynn, is from Essex and his father, Richard Garfield, is from California. Garfield's paternal grandparents were from the United Kingdom. Garfield's parents moved the family from Los Angeles to the UK when he was three years old and was brought up in Epsom, Surrey. Garfield's father is Jewish, his paternal grandparents were from Jewish immigrant families who moved to London from Poland and Romania, the family surname was "Garfinkel". Garfield's parents ran a small interior design business.
His mother is a teaching assistant at a nursery school, his father became head coach of the Guildford City Swimming Club. He has an older brother, a doctor. Garfield was a gymnast and a swimmer during his early years, was an avid philatelist, he had intended to study business but became interested in acting at the age of sixteen when a friend convinced him to take Theatre Studies at A-level as they were one pupil short of being able to run the class. Garfield attended Priory Preparatory School in Banstead and City of London Freemen's School in Ashtead, before training at the Central School of Speech and Drama, University of London. Garfield began taking acting classes in Guildford, when he was 9, appeared in a youth theatre production of Bugsy Malone, he joined a small youth theatre workshop group in Epsom and took Theatre Studies at A-level before studying for a further 3 years at a UK conservatoire, the Central School of Speech and Drama. Upon graduating in 2004 he began working in stage acting.
In 2004 he won a Manchester Evening News Theatre Award for Best Newcomer for his performance in Kes at Manchester's Royal Exchange Theatre, won the Outstanding Newcomer Award at the 2006 Evening Standard Theatre Awards. Garfield made his British television debut in 2005 appearing in the Channel 4 teen drama Sugar Rush. In 2007 he garnered public attention when he appeared in the series 3 of the BBC's Doctor Who, in the episodes "Daleks in Manhattan" and "Evolution of the Daleks". Garfield commented. In October 2007, he was named one of Variety's "10 Actors to Watch", he made his American film debut in November 2007, playing an American university student in the ensemble drama Lions for Lambs, with co-stars Tom Cruise, Meryl Streep and Robert Redford. "I'm just lucky to be there working on the same project as them, although I don't expect to be recognised by audiences," Garfield told Variety in 2007. In his review for The Boston Globe, Wesley Morris considered Garfield's work "a willing punching bag for the movie's jabs and low blows".
In the Channel 4 drama Boy A, released in November 2007, he portrayed a notorious killer trying to find new life after prison. The role garnered him the 2008 British Academy Television Award for Best Actor. Amy Biancolli of the Houston Chronicle wrote that "there is no doubt about the intelligence and sensitivity" of Garfield's portrayal. Minneapolis Star Tribune's Christy DeSmith echoed Biancolli's sentiment, citing his "detailed expressions" as an example. Writing in The Seattle Times, John Hartl noted that Garfield demonstrated range in the role, concluded: "Garfield always manages to capture his passion". Joe Morgenstern, the critic for The Wall Street Journal, dubbed Garfield's performance "phenomenal", assessing that he "makes room for the many and various pieces of Jack's personality". In 2008, he had a minor role in the film The Other Boleyn Girl, was named one of the shooting stars at the Berlin International Film Festival. In 2009, Garfield held supporting roles in the Terry Gilliam film The Imaginarium of Doctor Parnassus and the Red Riding television trilogy.
Kenneth Turan of the Los Angeles Times thought that Garfield gave a stand out performance in the latter. In 2010, Garfield co-starred opposite Carey Mulligan and Keira Knightley in Mark Romanek's dystopian science fiction drama Never Let Me Go, an adaptation of Kazuo Ishiguro's 200
Carousel is the second musical by the team of Richard Rodgers and Oscar Hammerstein II. The 1945 work was adapted from Ferenc Molnár's 1909 play Liliom, transplanting its Budapest setting to the Maine coastline; the story revolves around carousel barker Billy Bigelow, whose romance with millworker Julie Jordan comes at the price of both their jobs. He participates in a robbery to provide for their unborn child. A secondary plot line deals with millworker Carrie Pipperidge and her romance with ambitious fisherman Enoch Snow; the show includes the well-known songs "If I Loved You", "June Is Bustin' Out All Over" and "You'll Never Walk Alone". Richard Rodgers wrote that Carousel was his favorite of all his musicals. Following the spectacular success of the first Rodgers and Hammerstein musical, Oklahoma!, the pair sought to collaborate on another piece, knowing that any resulting work would be compared with Oklahoma!, most unfavorably. They were reluctant to seek the rights to Liliom. After acquiring the rights, the team created a work with lengthy sequences of music and made the ending more hopeful.
The musical required considerable modification during out-of-town tryouts, but once it opened on Broadway on April 19, 1945, it was an immediate hit with both critics and audiences. Carousel ran for 890 performances and duplicated its success in the West End in 1950. Though it has never achieved as much commercial success as Oklahoma!, the piece has been revived, recorded several times and was filmed in 1956. A production by Nicholas Hytner enjoyed success in 1992 in 1994 in New York and on tour. Another Broadway revival opened in 2018. In 1999, Time magazine named Carousel the best musical of the 20th century. Ferenc Molnár's Hungarian-language drama, premiered in Budapest in 1909; the audience was puzzled by the work, it lasted only thirty-odd performances before being withdrawn, the first shadow on Molnár's successful career as a playwright. Liliom was not presented again until after World War I; when it reappeared on the Budapest stage, it was a tremendous hit. Except for the ending, the plots of Liliom and Carousel are similar.
Andreas Zavocky, a carnival barker, falls in love with Julie Zeller, a servant girl, they begin living together. With both discharged from their jobs, Liliom is discontented and contemplates leaving Julie, but decides not to do so on learning that she is pregnant. A subplot involves Julie's friend Marie, who has fallen in love with Wolf Biefeld, a hotel porter—after the two marry, he becomes the owner of the hotel. Desperate to make money so that he, Julie and their child can escape to America and a better life, Liliom conspires with lowlife Ficsur to commit a robbery, but it goes badly, Liliom stabs himself, he dies, his spirit is taken to heaven's police court. As Ficsur suggested while the two waited to commit the crime, would-be robbers like them do not come before God Himself. Liliom is told by the magistrate that he may go back to Earth for one day to attempt to redeem the wrongs he has done to his family, but must first spend sixteen years in a fiery purgatory. On his return to Earth, Liliom encounters his daughter, who like her mother is now a factory worker.
Saying that he knew her father, he tries to give her a star. When Louise refuses to take it, he strikes her. Not realizing who he is, Julie finds herself unable to be angry with him. Liliom is ushered off to his fate Hell, Louise asks her mother if it is possible to feel a hard slap as if it was a kiss. Julie reminiscently tells her daughter that it is possible for that to happen. An English translation of Liliom was credited to Benjamin "Barney" Glazer, though there is a story that the actual translator, was Rodgers' first major partner Lorenz Hart; the Theatre Guild presented it in New York City in 1921, with Joseph Schildkraut as Liliom, the play was a success, running 300 performances. A 1940 revival, with Burgess Meredith and Ingrid Bergman was seen by both Rodgers. Glazer, in introducing the English translation of Liliom, wrote of the play's appeal: And where in modern dramatic literature can such pearls be matched—Julie incoherently confessing to her dead lover the love she had always been ashamed to tell.
The temptation to count the whole scintillating string is difficult to resist. In the 1920s and 1930s, Rodgers and Hammerstein both became well known for creating Broadway hits with other partners. Rodgers, with Lorenz Hart, had produced a string of over two dozen musicals, including such popular successes as Babes in Arms, The Boys from Syracuse and Pal Joey; some of Rodgers' work with Hart broke new ground in musical theatre: On Your Toes was the first use of ballet to sustain the plot, while Pal Joey flouted Broadway tradition by presenting a knave as its hero. Hammerstein had written or co-written the words
George Bernard Shaw
George Bernard Shaw, known at his insistence as Bernard Shaw, was an Irish playwright, critic and political activist. His influence on Western theatre and politics extended from the 1880s to his death and beyond, he wrote more than sixty plays, including major works such as Man and Superman and Saint Joan. With a range incorporating both contemporary satire and historical allegory, Shaw became the leading dramatist of his generation, in 1925 was awarded the Nobel Prize in Literature. Born in Dublin, Shaw moved to London in 1876, where he struggled to establish himself as a writer and novelist, embarked on a rigorous process of self-education. By the mid-1880s he had become a respected music critic. Following a political awakening, he joined the gradualist Fabian Society and became its most prominent pamphleteer. Shaw had been writing plays for years before his first public success and the Man in 1894. Influenced by Henrik Ibsen, he sought to introduce a new realism into English-language drama, using his plays as vehicles to disseminate his political and religious ideas.
By the early twentieth century his reputation as a dramatist was secured with a series of critical and popular successes that included Major Barbara, The Doctor's Dilemma and Caesar and Cleopatra. Shaw's expressed views were contentious, he courted unpopularity by denouncing both sides in the First World War as culpable, although not a republican, castigated British policy on Ireland in the postwar period. These stances had no lasting effect on his productivity as a dramatist. In 1938 he provided the screenplay for a filmed version of Pygmalion for which he received an Academy Award, his appetite for politics and controversy remained undiminished. In the final decade of his life he made fewer public statements, but continued to write prolifically until shortly before his death, aged ninety-four, having refused all state honours, including the Order of Merit in 1946. Since Shaw's death scholarly and critical opinion has varied about his works, but he has been rated as second only to Shakespeare among British dramatists.
The word Shavian has entered the language as encapsulating Shaw's ideas and his means of expressing them. Shaw was born at 3 Upper Synge Street in a lower-middle-class part of Dublin, he was the youngest child and only son of Lucinda Elizabeth Shaw. His elder siblings were Elinor Agnes; the Shaw family was of English descent and belonged to the dominant Protestant Ascendancy in Ireland. His relatives secured him a sinecure in the civil service, from which he was pensioned off in the early 1850s. In 1852 he married Bessie Gurly. If, as Holroyd and others surmise, George's motives were mercenary he was disappointed, as Bessie brought him little of her family's money, she came to despise her ineffectual and drunken husband, with whom she shared what their son described as a life of "shabby-genteel poverty". By the time of Shaw's birth, his mother had become close to George John Lee, a flamboyant figure well known in Dublin's musical circles. Shaw retained a lifelong obsession; the young Shaw suffered no harshness from his mother, but he recalled that her indifference and lack of affection hurt him deeply.
He found solace in the music. Lee was a teacher of singing; the Shaws' house was filled with music, with frequent gatherings of singers and players. In 1862, Lee and the Shaws agreed to share a house, No. 1 Hatch Street, in an affluent part of Dublin, a country cottage on Dalkey Hill, overlooking Killiney Bay. Shaw, a sensitive boy, found the less salubrious parts of Dublin shocking and distressing, was happier at the cottage. Lee's students gave him books, which the young Shaw read avidly. Between 1865 and 1871, Shaw attended four schools, his experiences as a schoolboy left him disillusioned with formal education: "Schools and schoolmasters", he wrote, were "prisons and turnkeys in which children are kept to prevent them disturbing and chaperoning their parents." In October 1871 he left school to become a junior clerk in a Dublin firm of land agents, where he worked hard, rose to become head cashier. During this period, Shaw was known as "George Shaw". In June 1873, Lee left Dublin for London and never returned.
A fortnight Bessie followed him. Shaw's explanation of why his mother followed Lee was that without the la