The Gershwin Theatre is a Broadway theatre located at 222 West 51st Street in midtown-Manhattan in the Paramount Plaza building. The theatre is named after brothers George Gershwin, a composer, Ira Gershwin, a lyricist, it has the largest seating capacity of any Broadway theatre with 1,933 seats, host to large musical productions. The Gershwin has been home to the blockbuster musical Wicked since 2003. Designed in an modernist Art Nouveau style by set designer Ralph Alswang, it is situated on the lower levels of a towering office complex built at an estimated cost of $12.5 million on the site of the historical Capitol Theatre. Escalators lead from the street level through-block passageway entrance to the expansive lobby, home to The American Theatre Hall of Fame. With a 65-foot wide adjustable proscenium arch and 80-foot wide stage, it is one of the largest Broadway stages, ideal for large musical productions. A large orchestra with stadium seating, mezzanine fill the expansive auditorium, it opened as the Uris Theatre on November 28, 1972 with the musical Via Galactica starring Raul Julia.
It proved to be an inauspicious start for the venue, with the first show to lose a million dollars closing after only seven performances. From 1974-76 it served as a concert hall for limited engagements by a number of legendary pop music and jazz performers, before it began to host large musical productions with Porgy and Bess in 1976; the venue was host to the Tony Awards in 1984, 92, 93, 1999. During the 37th Tony Awards ceremony held June 5, 1983, the theatre was rechristened to honor the Gershwins; the Gershwin was modified for the Broadway production of Andrew Lloyd Webber's musical Starlight Express in 1987, a massive production costing over $8 million. Starlight would go on to run nearly 800 performances at the Gershwin. 1972: Via Galactica 1973: Seesaw. 2003: Wicked Wicked set a box office record for the Gershwin Theatre. The production grossed $3,201,333 over nine performances for the week ending December 29, 2013; this was the highest one-week box office gross income made by any show in Broadway history, until that time.
Official website New York Theatre Guide Gershwin Theatre at the Internet Broadway Database
Cole Albert Porter was an American composer and songwriter. Born to a wealthy family in Indiana, he defied the wishes of his domineering grandfather and took up music as a profession. Classically trained, he was drawn to musical theatre. After a slow start, he began to achieve success in the 1920s, by the 1930s he was one of the major songwriters for the Broadway musical stage. Unlike many successful Broadway composers, Porter wrote the lyrics as well as the music for his songs. After a serious horseback riding accident in 1937, Porter was left disabled and in constant pain, but he continued to work, his shows of the early 1940s did not contain the lasting hits of his best work of the 1920s and'30s, but in 1948 he made a triumphant comeback with his most successful musical, Kiss Me, Kate. It won the first Tony Award for Best Musical. Porter's other musicals include Fifty Million Frenchmen, DuBarry Was a Lady, Anything Goes, Can-Can and Silk Stockings, his numerous hit songs include "Night and Day", "Begin the Beguine", "I Get a Kick Out of You", "Well, Did You Evah!", "I've Got You Under My Skin", "My Heart Belongs to Daddy" and "You're the Top".
He composed scores for films from the 1930s to the 1950s, including Born to Dance, which featured the song "You'd Be So Easy to Love". Porter was born in Peru, the only surviving child of a wealthy family, his father, Samuel Fenwick Porter, was a druggist by trade. His mother, was the indulged daughter of James Omar "J. O." Cole, "the richest man in Indiana", a coal and timber speculator who dominated the family. J. O. Cole built the couple a house on his Peru-area property. After high school, Porter returned to his childhood home only for occasional visits. Porter's strong-willed mother began his musical training at an early age, he learned the violin at age six, the piano at eight, wrote his first operetta at ten. She falsified his recorded birth year, changing it from 1891 to 1893 to make him appear more precocious, his father, a shy and unassertive man, played a lesser role in Porter's upbringing, although as an amateur poet, he may have influenced his son's gifts for rhyme and meter. Porter's father was a talented singer and pianist, but the father-son relationship was not close.
J. O. Cole wanted his grandson to become a lawyer, with that in mind, sent him to Worcester Academy in Massachusetts in 1905. Porter brought an upright piano with him to school and found that music, his ability to entertain, made it easy for him to make friends. Porter did well in school and came home to visit, he became class valedictorian and was rewarded by his grandfather with a tour of France and Germany. Entering Yale University in 1909, Porter majored in English, minored in music, studied French, he was a member of Scroll and Key and Delta Kappa Epsilon fraternity, contributed to campus humor magazine The Yale Record. He was an early member of the Whiffenpoofs a cappella singing group and participated in several other music clubs. Porter wrote 300 songs while at Yale, including student songs such as the football fight songs "Bulldog" and "Bingo Eli Yale" that are still played at Yale today. During college, Porter became acquainted with New York City's vibrant nightlife, taking the train there for dinner and nights on the town with his classmates, before returning to New Haven, early in the morning.
He wrote musical comedy scores for his fraternity, the Yale Dramatic Association, as a student at Harvard – Cora, And the Villain Still Pursued Her, The Pot of Gold, The Kaleidoscope and Paranoia – which helped prepare him for a career as a Broadway and Hollywood composer and lyricist. After graduating from Yale, Porter enrolled in Harvard Law School in 1913, he soon felt that he was not destined to be a lawyer, and, at the suggestion of the dean of the law school, switched to Harvard's music department, where he studied harmony and counterpoint with Pietro Yon. Kate Porter did not object to this move. In 1915, Porter's first song on Broadway, "Esmeralda", appeared in the revue Hands Up; the quick success was followed by failure: his first Broadway production, in 1916, See America First, a "patriotic comic opera" modeled on Gilbert and Sullivan, with a book by T. Lawrason Riggs, was a flop, closing after two weeks. Porter spent the next year in New York City before going overseas during World War I.
In 1917, when the United States entered World War I, Porter moved to Paris to work with the Duryea Relief organization. Some writers have been skeptical about Porter's claim to have served in the French Foreign Legion, but the Legion lists Porter as one of its soldiers and displays his portrait at its museum in Aubagne. By some accounts, he served in North Africa and was transferred to the French Officers School at Fontainebleau, teaching gunnery to American soldiers. An obituary notice in The New York Times said that, while in the Legion, "he had a specially constructed portable piano made for him so that he could carry it on his back and entertain the troops in their bivouacs." Another account, given by Porter, is that he joined the recruiting department of the American Aviation Headquarters, according to his biographer Stephen Citron, there is no record of his joining this or any other branch of the forces. Porter maintained a luxury apartment in Paris, his parties were extrava
Music Box Theatre
The Music Box Theatre is a Broadway theatre located at 239 West 45th Street in Midtown Manhattan, NY. The Music Box was designed by architect C. Howard Crane and constructed by composer Irving Berlin and producer Sam H. Harris to house Berlin's Music Box Revues, it opened in 1921 and hosted a new musical production every year until 1925, when it presented its first play, Cradle Snatchers, starring Humphrey Bogart. The following year, the Maurine Dallas Watkins play that served as the basis for the musical, opened here, it housed a string of hits for the playwriting team of George S. Kaufman and Moss Hart, from their first collaboration Once in a Lifetime to their play The Man Who Came to Dinner. Cole Porter and George and Ira Gershwin presented shows here. In the 1950s, playwright William Inge had success at the Music Box with Picnic, Bus Stop, The Dark at the Top of the Stairs. One of the smaller Broadway theatres, with a seating capacity of 984, the Music Box was co-owned by Berlin's estate and the Shubert Organization until the latter assumed full ownership in 2007.
Its box seats are unusually large and round, Dame Edna described them as "ashtrays" during her successful run there. The lobby features a wall exhibit commemorating the theatre's history; the Brown Theatre in Louisville, Kentucky is modeled after the Music Box Theatre. Dear Evan Hansen achieved the box office record for the Music Box Theatre; the production grossed $2,119,371 over eight performances, for the week ending December 31, 2017. This is the highest gross for a Broadway house that seats under 1,000. Music Box Theatre at the Internet Broadway Database Broadway Theatre Guide Seating chart Museum of the City of New York drawing of the Klaw and Music Box Theatres
The Imperial Theatre is a Broadway theatre located at 249 West 45th Street in midtown-Manhattan. The theatre seats up to 1417 people; the Shubert Organization's fiftieth venue in New York City, it was constructed to replace their outdated Lyric Theatre. Designed by Herbert J. Krapp to accommodate musical theatre productions, it opened on December 25, 1923 with the Oscar Hammerstein II-Vincent Youmans production Mary Jane McKane. Since it has hosted numerous important musicals, including Annie Get Your Gun, Fiddler on the Roof, The Mystery of Edwin Drood and Les Misérables, which played at the theatre until 2003. Billy Elliot the Musical played at the theatre from November 2008 until January 2012. Among the famed 20th-century composers and lyricists whose works were housed here are Cole Porter, Richard Rodgers, Lorenz Hart, Irving Berlin, Harold Rome, Frank Loesser, Lionel Bart, Bob Merrill, Stephen Sondheim, Jule Styne, E. Y. Harburg, Harold Arlen, George and Ira Gershwin. Performers who have graced the stage include Ethel Merman, Gertrude Lawrence, John Gielgud, Clifton Webb, Montgomery Clift, Mary Boland, Ray Bolger, Desi Arnaz, Lucie Arnaz, Mike Tyson, Mary Martin, Zero Mostel, Danny Kaye, Davy Jones, Jerry Orbach, Shelley Winters, Bernadette Peters, Ben Vereen, George Rose, Hugh Jackman, John Lithgow, Nikki M. James, Matthew Broderick, Josh Groban.
It is the venue of the first Ms. Globe Pageant in 1951. Winner of 10 Tony Awards, the West End musical Billy Elliot achieved the box office record for the Imperial Theatre; the production grossed $1,663,895 over eight performances, for the week ending January 3, 2010. Imperial Theatre at the Internet Broadway Database Shubert Organization website Imperial Theater home page Museum of the City of New York drawing of the Klaw and Music Box Theatres
Brooks Atkinson Theatre
The Brooks Atkinson Theatre is a Broadway theater located at 256 West 47th Street in Manhattan. Designed by architect Herbert J. Krapp, it was constructed as the Mansfield Theatre by the Chanin brothers in 1926. After 1933, the theatre fell into relative disuse until 1945, when Michael Myerberg bought and leased it to CBS for television productions. Known as CBS Studio 59, the theater played host to the long-running panel shows What's My Line? and I've Got a Secret. In 1960, it was renamed after the former New York Times theater critic, Brooks Atkinson, returned to legitimate use; the Nederlander Organization purchased part-ownership of the Atkinson in 1967. In 2000, the interior was refurbished with restored decorative finishes by EverGreene Architectural Arts, now the theatre is once again illuminated by the original chandelier, removed over 40 years prior, it is one of the Nederlander Organization's nine Broadway houses. Shuffle Along Thunder Rock Juno and the Paycock Anna Lucasta The Cradle Will Rock The George Burns and Gracie Allen Show Come Blow Your Horn Something More!
A Day in the Death of Joe Egg Lovers and Other Strangers Charley's Aunt Lenny My Fat Friend Same Time, Next Year Tribute Talley's Folly Lolita Beyond Therapy Noises Off Aren't We All? Benefactors Jackie Mason's The World According to Me! The Cemetery Club Shadowlands Death and the Maiden She Loves Me Wait Until Dark The Iceman Cometh Waitress set the box office record for the Brooks Atkinson Theatre, grossing $1,608,292 in the week ending on January 21, 2018 over 8 performances. Sara Bareilles began her return run, performing as the show's main character, alongside singer Jason Mraz. National Register of Historic Places listings in Manhattan from 14th to 59th Streets List of New York City Designated Landmarks in Manhattan from 14th to 59th Streets Broadway Theatre Guide Official site Brooks Atkinson Theatre at the Internet Broadway Database
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
Riders to the Sea
Riders to the Sea is a play written by Irish Literary Renaissance playwright John Millington Synge. It was first performed on 25 February 1904 at the Molesworth Hall, Dublin, by the Irish National Theater Society. A one-act tragedy, the play is set in the Aran Islands and like all of Synge's plays it is noted for capturing the poetic dialogue of rural Ireland; the plot is based not on the traditional conflict of human wills but on the hopeless struggle of a people against the impersonal but relentless cruelty of the sea. In 1897, J. M. Synge was encouraged by his friend and colleague William Butler Yeats to visit the Aran Islands, he went on to spend the summers from 1898 to 1903 there. While on the Aran island of Inishmaan, Synge heard the story of a man from Inishmaan whose body washed up on the shore of an island of County Donegal, which inspired Riders to the Sea. Riders to the Sea is written in the Hiberno-English dialect of the Aran Islands. Synge's use of the native Irish language is part of the Irish Literary Revival, a period when Irish literature looked to encourage pride and nationalism in Ireland.
Several scenes in the play are taken from stories Synge collected during his time in the Aran Islands and recorded in his book The Aran Islands. These include the identifying of the drowned man by his clothing and the account of a man's ghost being seen riding a horse. Maurya: Grief-stricken widow and mother of eight children Cathleen, Bartley, Sheamus, Stephen and Michael. Cathleen: Maurya's elder daughter, tries to keep her mother from dying from grief by identifying her deceased brother Michael's clothing. Nora: Maurya's younger daughter, helps her sister with their mother. Bartley: Maurya's youngest and only living son, has died by the end of the play. Maurya's sons Shawn, Stephen and Michael, as well as Maurya's husband are all deceased when the play begins. There is a priest character, never seen but is quoted by Cathleen and Nora in the beginning of the play. Maurya has lost her husband, five of her sons to the sea; as the play begins Nora and Cathleen receive word from the priest that a body, which may be their brother Michael, has washed up on shore in Donegal, on the Irish mainland north of their home island of Inishmaan.
Bartley is planning to sail to Connemara to sell a horse, ignores Maurya's pleas to stay. He leaves gracefully. Maurya predicts that by nightfall she will have no living sons, her daughters chide her for sending Bartley off with an ill word. Maurya goes after Bartley to bless his voyage, Nora and Cathleen receive clothing from the drowned corpse that confirms it was Michael. Maurya returns home claiming to have seen the ghost of Michael riding behind Bartley and begins lamenting the loss of the men in her family to the sea, after which some villagers bring in the corpse of Bartley, he drowned. This speech of Maurya's is famous in Irish drama: They're all gone now, there isn't anything more the sea can do to me.... I'll have no call now to be up crying and praying when the wind breaks from the south, you can hear the surf is in the east, the surf is in the west, making a great stir with the two noises, they hitting one on the other. I'll have no call now to be going down and getting Holy Water in the dark nights after Samhain, I won't care what way the sea is when the other women will be keening.
Give me the Holy Water, Nora. The pervading theme of this work is the subtle paganism Synge observed in the people of rural Ireland. Following his dismissal of Christianity, Synge found that the predominantly Roman Catholic Ireland still retained many of the folktales and superstitions born out of the old Celtic paganism; this play is an examination of that idea as he has a set of religious characters find themselves at odds with an unbeatable force of nature. While the family is Catholic, they still find themselves wary of the supernatural characteristics of natural elements, an idea present in Celtic paganism. Another main theme of the play is the tension between the traditional and modern worlds in Ireland at the time. While Maurya, representative of the older Irish generation, is immovably tied to the traditional world and inward-looking, representative of the younger generation is wiling to change with the outside world and therefore outward-looking. Cathleen, the eldest daughter struggles to hold both in balance.
The characters of the play are at all times in contact with and accepting of the reality of death, the sea and drowning being a constant threat. They are caught between the dual realities of the sea as a source of a fatal threat; the objects and culture of death in the form of coffins and mourning are prevalent in the play and are based on Synge's observations of the culture of the Aran Islands. At least two motion picture versions of the play have been made: One of the earliest examples of Irish film in 1935 a 40-minute black-and-white movie directed by Brian Desmond Hurst with screenplay adaptation by Patrick Kirwan with Sara Allgood and, Synge's bereaved fiancée Marie O'Neill. Hurst had been mentored in Hollywood by John Ford, Ruth Barton describes scenes in the film as "remarkably Fordian." A 1987 47-minute color movie adapted by Ronan O'Leary with Geraldine Page. The composer Ralph Vaughan Williams made an verbatim setting of the play as an opera, using the same title. Bruce Montgomery wrote a light opera, based on Riders to the Sea.
German composer Eduard Pütz als