The Night They Raided Minsky's
The Night They Raided Minsky's is a 1968 musical comedy film directed by William Friedkin and produced by Norman Lear. Contrary to the film’s opening comments, this is a fictional account of the invention of the striptease at Minsky's Burlesque in 1925; the film is based on the novel by Rowland Barber, published in 1960. Rachel Schpitendavel, an innocent Amish girl from rural Pennsylvania, arrives in New York's Lower East Side hoping to make it as a dancer. Rachel's dances are based on Bible stories, she auditions at Minsky's Burlesque. But Billy Minsky and the show's jaded straight man, Raymond Paine, concoct a plan to foil moral crusader Vance Fowler, intent on shutting down the theater. Minsky publicizes Rachel as the notorious Madamoiselle Fifi, performing the "dance that drove a million Frenchmen wild." This will invite a raid by the police. But Billy will let Rachel perform her innocuous Bible dances, thus humiliating Fowler. During the run-up to her midnight performance and his partner, show Rachel the ropes of burlesque, they both fall for her in the process.
Meanwhile, Rachel's stern father, who objects to her Bible dances, arrives in search of his daughter. The film climaxes when Rachel takes the stage after her father has called her a whore and she realizes that the Minskys are just using her, her father tries to drag her off-stage, but she pulls away and accidentally tears a slit in her dress. The sold-out crowd spurs her on and Rachel begins to enjoy her power over the audience and starts to strip, she looks into the wings and sees Raymond, who senses a raid and the end of an era, leaving the theater for good. Rachel calls and throws out her arms to him, inadvertently dropping the front of her dress and baring her breasts. Fowler blows the police rush the stage and close down the show. A madcap melee follows. In the end, most of the cast members are loaded into a paddy wagon, including Rachel's bewildered father. Jason Robards as Raymond Paine Britt Ekland as Rachel Elizabeth Schpitendavel Norman Wisdom as Chick Williams Forrest Tucker as Trim Houlihan Harry Andrews as Jacob Schpitendavel Joseph Wiseman as Louis Minsky Denholm Elliott as Vance Fowler Elliott Gould as Billy Minsky Jack Burns as Candy Butcher Bert Lahr as Professor Spats In his book Minsky's Burlesque, Morton Minsky wrote, "As for April 20, 1925, the day that the raid on which the book was based took place, it was hardly epochal in the history of burlesque, but it did turn out to be a prelude to much greater troubles...
Anyway, the raid story was fun, but the raid itself was one of dozens to which we had become accustomed. Minsky's theater, the National Winter Garden on Houston Street, was raided for the first time in 1917 when Mae Dix absentmindedly began removing her costume before she reached the wings; when the crowd cheered, Dix returned to the stage and continued removing her clothing to wild applause. Billy Minsky ordered the "accident" repeated every night; this began an endless cycle. Whenever they went too far, they were raided. According to Morton Minsky, Mademoiselle Fifi was a woman named Mary Dawson, from Pennsylvania. Morton suggests that his brother, persuaded Dawson to expose her breasts in order to create a sensation. By 1925, it was permissible for girls in legitimate shows staged by Ziegfeld, George White and Earl Carroll—as well as burlesque—to appear topless as long as they didn't move. Mademoiselle Fifi stripped to the waist, but moved, triggering the raid. "Although the show in general had been tame," he wrote, "Fifi's finale and the publicity that soon followed the raid ensured full houses at the soon-to-be opened theater uptown."
In 1975, Dawson 85, refuted the legend. "I was never a stripteaser. I never did anything risque", she said that novelist Rowland Barber "just put all that in the book to make it better." She wasn't at the theater that night. Her father was a policeman and a straitlaced Quaker, although he never came to New York City and never led a raid on one of the Minsky burlesque houses. In April 1961, producer Leonard Key outbid several others for the stage rights to Rowland Barber's book. At that time it was reported to be the highest price paid for such rights, that the novel would be adapted by screenwriter Edward Chodorov. In the year, Key had enlisted screenwriter Julius J. Epstein. At these early stages, Sammy Cahn as well as Johnny Mercer and Henry Mancini were rumored to do the music; the show never found financial backing before the option for the stage rights ran out two years in 1963. Norman Lear and Bud Yorkin bought the film rights in September 1965. Lear announced that production would start in the fall of 1966.
Dick Shawn was being considered for the "lead role" in July 1966. However, filming didn't begin until a year on October 8, 1967. On May 23, 1967, the Los Angeles Times reported that William Friedkin was set
Annie is a Broadway musical based upon the popular Harold Gray comic strip Little Orphan Annie, with music by Charles Strouse, lyrics by Martin Charnin, book by Thomas Meehan. The original Broadway production opened in 1977 and ran for nearly six years, setting a record for the Alvin Theatre, it spawned numerous productions in many countries, as well as national tours, won the Tony Award for Best Musical. The musical's songs "Tomorrow" and "It's the Hard Knock Life" are among its most popular musical numbers. In 1933, eleven-year-old Annie is in the Municipal Girls Orphanage, along with Molly, Tessie, Pepper and Duffy; when Molly awakes from a bad dream, angering Pepper and Duffy, July tells them to hush up and gets into a fight with Pepper. Annie tells everyone to go back to sleep. Molly asks if Annie could read her note from when her parents left her at the orphanage. Duffy and Pepper are yet again annoyed. Along with Kate and Duffy imitate Annie's acting as if they were her parents. Annie decides to escape to find her parents, but is caught by Miss Hannigan, suffering from a hangover.
She is angered by this and forces all the girls to vigorously clean the orphanage before their day of sweatshop labour sewing for a dress manufacturing company. Shortly after, Mr. Bundles, the laundry man, comes in to pick up the blankets. While Miss Hannigan is flirting with him, Annie climbs into the laundry basket and the orphans cover her up with the blankets. Once Miss Hannigan realizes she is gone, the other orphans express their frustration. Annie escapes, running into a friendly stray dog; as she comforts him, she tells him of better days yet to come. The dog catcher is after him, so she pretends the dog is hers by calling him Sandy. Though at first unsuccessful, she convinces the dog catcher, she continues on, she finds a Hooverville, where people made homeless by the Great Depression have come together as a community. However, a policeman named Lt. Ward, sent by Miss Hannigan, catches Annie and brings her back. Grace Farrell, assistant to the billionaire Oliver Warbucks, comes to the orphanage asking for an orphan to come to his mansion for the Christmas holiday.
Because Annie was in Miss Hannigan's office, Grace asks to take her, Miss Hannigan reluctantly agrees. Once she has left, Miss Hannigan explodes with her hatred for all the girls in the orphanage. Meanwhile, at the Warbucks Mansion, the staff welcomes Annie with open arms; when Oliver Warbucks comes back, though, he is not happy to have an orphan in his mansion. He asks Grace to take Annie to a movie; as he and Annie begin to like each other, they enjoy a fabulous night in New York City. Back at the orphanage, Miss Hannigan's brother and his girlfriend, pay a visit. Miss Hannigan mentions that Annie is staying at a billionaire's house, they think they could use this situation to their advantage, though they do not yet know how. Warbucks sees the locket around Annie's neck, buys her a new one from Tiffany & Co, he debates taking her "under his wing", because he doesn't know much about children, but he realizes that he loves her and gives her the locket. However, she bursts into tears, saying it was the only thing left by her parents, refuses to accept a new one.
Grace and the staff pledge to find her parents no matter what it takes. Annie appears on the radio on a show by Bert Healy where Warbucks announces that he is offering $50,000 to the couple who can prove they are her parents. Healy sings a song with the Boylan Sisters. Back at the orphanage the girls are listening to the song. Everyone is fascinated that their friend is except Pepper; when Miss Hannigan hears, she demands to know what was happening. Molly announces that Annie was on the radio, that there is a $50,000 reward for her parents. Miss Hannigan is anything but pleased. Shortly after, a couple named Ralph and Shirley Mudge arrive, saying they left a little girl here eleven years ago and have come back for her. Miss Hannigan is shocked, they soon reveal themselves to be Lily. They request information about Annie from Miss Hannigan for one third of the money, though she demands one half for this service, she tells them about the note and the locket. Warbucks brings Annie to Washington, D. C. where she requests to meet the president.
Warbucks thinks that it would be better if Annie waited outside, but Franklin D. Roosevelt asks her to stay, she begins to sing "Tomorrow", though shushed by the cabinet. Roosevelt, believes that people must be optimistic during tough times, commands them to sing. Once back home, Warbucks tells Annie; because her parents have not shown up, he announces. They decide to throw a Christmas party, Annie wants to invite Miss Hannigan and the orphans. While preparing, the delighted staff tell of. Judge Louis Brandeis shows up to begin the adoption proceedings, but is interrupted by Mr. and Mrs. Mudge who come to pick up
Musical theatre is a form of theatrical performance that combines songs, spoken dialogue and dance. The story and emotional content of a musical – humor, love, anger – are communicated through the words, music and technical aspects of the entertainment as an integrated whole. Although musical theatre overlaps with other theatrical forms like opera and dance, it may be distinguished by the equal importance given to the music as compared with the dialogue and other elements. Since the early 20th century, musical theatre stage works have been called musicals. Although music has been a part of dramatic presentations since ancient times, modern Western musical theatre emerged during the 19th century, with many structural elements established by the works of Gilbert and Sullivan in Britain and those of Harrigan and Hart in America; these were followed by the numerous Edwardian musical comedies and the musical theatre works of American creators like George M. Cohan at the turn of the 20th century.
The Princess Theatre musicals and other smart shows like Of Thee I Sing were artistic steps forward beyond revues and other frothy entertainments of the early 20th century and led to such groundbreaking works as Show Boat and Oklahoma!. Some of the most famous musicals through the decades that followed include West Side Story, The Fantasticks, Hair, A Chorus Line, Les Misérables, The Phantom of the Opera, The Producers and Hamilton. Musicals are performed around the world, they may be presented in large venues, such as big-budget Broadway or West End productions in New York City or London. Alternatively, musicals may be staged in smaller venues, such as fringe theatre, Off-Broadway, Off-Off-Broadway, regional theatre, or community theatre productions, or on tour. Musicals are presented by amateur and school groups in churches and other performance spaces. In addition to the United States and Britain, there are vibrant musical theatre scenes in continental Europe, Australasia and Latin America.
Since the 20th century, the "book musical" has been defined as a musical play where songs and dances are integrated into a well-made story with serious dramatic goals, able to evoke genuine emotions other than laughter. The three main components of a book musical are its music and book; the book or script of a musical refers to the story, character development and dramatic structure, including the spoken dialogue and stage directions, but it can refer to the dialogue and lyrics together, which are sometimes referred to as the libretto. The music and lyrics together form the score of a musical and include songs, incidental music and musical scenes, which are "theatrical sequence set to music combining song with spoken dialogue." The interpretation of a musical is the responsibility of its creative team, which includes a director, a musical director a choreographer and sometimes an orchestrator. A musical's production is creatively characterized by technical aspects, such as set design, stage properties and sound.
The creative team and interpretations change from the original production to succeeding productions. Some production elements, may be retained from the original production. There is no fixed length for a musical. While it can range from a short one-act entertainment to several acts and several hours in length, most musicals range from one and a half to three hours. Musicals are presented in two acts, with one short intermission, the first act is longer than the second; the first act introduces nearly all of the characters and most of the music and ends with the introduction of a dramatic conflict or plot complication while the second act may introduce a few new songs but contains reprises of important musical themes and resolves the conflict or complication. A book musical is built around four to six main theme tunes that are reprised in the show, although it sometimes consists of a series of songs not directly musically related. Spoken dialogue is interspersed between musical numbers, although "sung dialogue" or recitative may be used in so-called "sung-through" musicals such as Jesus Christ Superstar, Les Misérables and Hamilton.
Several shorter musicals on Broadway and in the West End have been presented in one act in recent decades. Moments of greatest dramatic intensity in a book musical are performed in song. Proverbially, "when the emotion becomes too strong for speech, you sing. In a book musical, a song is ideally crafted to suit the character and their situation within the story; as The New York Times critic Ben Brantley described the ideal of song in theatre when reviewing the 2008 revival of Gypsy: "There is no separation at all between song and character, what happens in those uncommon moments when musicals reach upward to achieve their ideal reasons to be." Many fewer words are sung in a five-minute song than are spoken in a five-minute block of dialogue. Therefore, there is less time to develop drama in a musical than in a straight play of equivalent length, since a musical devotes more time to music than to dialogue. Within the compressed nature of a musical, the writers must develop the plot; the ma
Bob Martin (comedian)
Bob Martin is a television and musical theatre actor and writer from Toronto, Canada, born in London, England in 1962. Martin began his career acting and directing at The Second City in Toronto in 1996, he served as its artistic director from 2003-2004. His Broadway debut was a starring role in the Broadway musical The Drowsy Chaperone as "Man in Chair." He collaborated with Don McKellar on the book. He was nominated for a Tony Award for his debut performance as Man in Chair, shared the Tony Award for Best Book of a Musical and the Drama Desk Award for Outstanding Book of a Musical with Don McKellar. After reprising his role as Man in Chair in London's West End production of The Drowsy Chaperone, for which he received an Olivier nomination, he starred in the show's North American tour for its first stop in Toronto until October 14, 2007, he was "relinquishing his chair" to stay in Toronto with newborn son. Martin wrote the book for the musical Minsky's, which premiered at the Ahmanson Theater in Los Angeles in 2009.
He returned to Broadway by co-writing the book for Elf with Thomas Meehan, lyrics by Chad Beguelin and music by Matthew Sklar. It had two limited engagements for the holiday seasons of 2010 and 2012. Martin wrote the book for a musical adaptation of the 1973 film The Sting, with Urinetown music and directing team of Mark Hollmann, Greg Kotis, John Rando, respectively. Additionally music and lyrics were provided by the show's star: Jr.. The musical premiered at Paper Mill Playhouse in Millburn, NJ, he collaborated with Sklar again for Half Time and The Prom. Martin is writing the book for a sequel to The Drowsy Chaperone, a musical adaptation of The Princess Bride, a musical adaptation of A Night at the Museum, a musical adaptation of Millions. Martin co-created the award-winning series Slings & Arrows, a TV show about a Canadian theatre company struggling to survive while a crazy genius director haunted by his dead mentor helps the actors find authenticity in their acting. Martin served as a writer and a creative producer.
Martin played the role of Terry in 2 episodes. His first foray into writing for television was for the CBC Television series The Industry, in which he acted. Martin was a writer of and starred in the Canadian television sitcom Michael: Tuesdays and Thursdays, which had its debut on CBC Television in fall 2011, he provided the voice of Cuddles the comfort doll on the Canadian TV show Puppets Who Kill, aired on The Comedy Network. Martin's improv background carried over to television with acting credits including Improv Heaven and Hell and The Second City Project. For the latter, Martin served as writer and producer; the Drowsy Chaperone – Music and lyrics by Lisa Lambert and Greg Morrison. He partners with the music and lyrics team of Chad Beguelin and Matthew Sklar, sometimes co-writing the book with Beguelin; each of Martin's three musicals that have premiered on Broadway have included Beth Leavel in the cast. He has collaborated with Don McKellar, Mark McKinney, Susan Coyne on Slings & Arrows and Michael: Every Day, with McKellar on The Drowsy Chaperone.
Bob Martin on IMDb Bob Martin at the Internet Broadway Database Bob Martin - Downstage Center XM radio interview at American Theatre Wing.org, June 2006 New York Magazine interview, May 28, 2006
Bring Back Birdie
Bring Back Birdie is a musical with a book by Michael Stewart, lyrics by Lee Adams, music by Charles Strouse. A sequel to Bye Bye Birdie, it focuses on a scheme for rock'n' roller Conrad Birdie, who disappeared after being discharged from the U. S. Army twenty years ago, to make a comeback on a Grammy Awards broadcast; the musical ran on Broadway for four performances in 1981. An original cast album was released on the Original Cast label as an LP, subsequently re-issued on CD by Varèse Sarabande. A story teller begins: "Once upon a time, so long ago that New York City hadn't been bankrupt once, there lived a young man in the music business named Albert Peterson, who loved his secretary, Rose, his only client, a rock-n-roll idol known as Conrad Birdie, was being drafted into the army, Rose wanted Albert to give up the music business, marry her, become...an English teacher! Alas, Albert's mother--a frail and gentle old lady with many of the same endearing qualities as Snow White's stepmother--opposed the match.
But love triumphed, Conrad vanished, the mother was banished, Albert married his Rose and became an English teacher and they all lived ever after. Till now." Albert and Rose are burglarizing their old office, looking for the contract that will put them on the trail of Conrad Birdie. Birdie disappeared 18 years ago, Albert has been offered $20,000 if he can get him to perform on a TV Grammy Award special, along with other giant recording stars of yesterday. Albert is eager to return to the music business. Albert is convinced to give up. Mtobe, the fly-by-night detective appears, to Rose's disgust finds the old contract. Albert notes that Birdie is at the El Coyote Club, Bent River Junction and tells Rosie that they will head for Arizona immediately. In Forest Hills, the Petersons' 16-year-old daughter, has her own plan for leaving home Albert Jr. 14, is a budding guitarist. Rose is in the kitchen, contentedly doing her housewifely chores laden with boxes of "Cheer," "Joy," and "Yes". Rose reluctantly agrees to help Albert find Conrad, but for ten days, tells the children that they will stay in New Jersey while they are away.
In the bus terminal Albert has arranged "a spontaneous demonstration by the youth of America demanding the return of Conrad Birdie." Mtobe, who will do anything for a fee, appears to sing "Bring Back Birdie", the song Albert has written for the occasion. Rose and Albert board their bus to Tucson, believing that Jenny and Albert Jr. are on their bus to Cousin Alice's. Instead, angry that her mother has vetoed her plan to live with her boyfriend, is intrigued by a saffron-robed lady, who says, "Come march with the Reverend Sun and find fulfillment." Jenny does. And her brother takes off to fulfill his destiny. In the black desert rear Bent River Junction, while Rose struggles with their luggage, Albert assures her, they find the El Coyote Club, a noisy Western saloon, site of Conrad's last gig, the bartender turns out to be Mae Peterson, Albert's long-lost mother, true to form, insults Rose at every opportunity. Mae seems to know something about Conrad's whereabouts, so Albert leaves with her to consult "her files."
Rose has a drink with the resident cowboys and explains why she puts up with Albert in "A Man Worth Fightin' For". After Rose does a rousing dance with the boys, Albert returns to report that Mayor C. B. Townsend might be able to help in the search; the Mayor, a dignified, paunchy Western politician can't recall Mr. Birdie, he is sorry to cut the interview short, but he must meet with the Citizen's Committee to draft him for the Senate. As Albert and Rose turn to leave, the Mayor burps. Albert rushes back into the office. Could Conrad be the Mayor? He is, and we find out why as the Mayor sings "You Can Never Go Back". But Albert manages to convince Conrad to try a comeback, they book him to appear at a rock concert the following night at University Stadium, manage to cram the corpulent Conrad into the old gold suit and shove him on-stage, where he begins one of his old numbers. But the 1981 kids boo him off the stage - they've come to hear the new punk rock group Filth and don't want a 1962 retread like Birdie.
Conrad, runs out. Meanwhile, Rose is worried, her concern deepens when she discovers that, disguised in pink hair and dark glasses, the guitarist for Filth is none other than Albert Jr.! Grabbing her son and interrupting the concert, Rose angrily tells Albert she's going to find Jenny, "who's gone off ringing bells somewhere," reunite the family, go home. Albert, delighted to be back in show biz, scarcely hears her, blithely ignores threats of million-dollar lawsuits from the concert manager and an NBC executive, counting on Conrad for the Grammy show. Albert explains his euphoria in "Back in Show Biz Again"; the first act ends without Rose to help get him out of it. Albert realizes the mess he's in: he's signed a contract to deliver Conrad, who has run away, he's being sued right and left. Mae appears with a tall, beautiful young woman, "I need Rose," Albert wails. "She's the only one who can help me." "Call me Rose Number Two," says the young woman, a combination of lawyer, financial expert, Wonder Woman.
She disperses Albert's adversaries with legal skill, fast talk, karate. Albert, starts to fall for Rose Two. At the compound of Reverend Sun a group of spaced-out acolytes chant and sing "Inner Peace". Rose has infiltrated their midst to re
Nick & Nora
Nick & Nora is a musical with a book by Arthur Laurents, lyrics by Richard Maltby, Jr. and music by Charles Strouse. The plot involves witty and urbane high society couple Nick and Nora Charles, characters created by Dashiell Hammett in his novel The Thin Man, which inspired six films, a radio show, a television series. In this version, the two are attempting to solve the murder of a bookkeeper on a film production in Hollywood. Crucially, the musical departs from the formula of previous incarnations, defined by the chemistry between Nick and Nora, by creating a subplot of marital woes and tensions between them; the show had a brief run of nine performances on Broadway in 1991, was remounted for the first and only time by San Francisco's 42nd Street Moon in April 2015. Citing high costs, the producers opted to replace out-of-town tryouts with a longer than usual nine-week preview period of 71 previews in New York City. During this time the musical underwent extensive script rewrites, multiple song replacements, a major cast change.
The Broadway production, directed by Laurents and choreographed by Tina Paul opened on December 8, 1991 at the Marquis Theatre where, unable to overcome the bad publicity and brutal reviews, it ran for only nine performances. The cast included Barry Bostwick, Joanna Gleason, Christine Baranski, Debra Monk, Faith Prince, Chris Sarandon; the show was nominated for the Tony Award for Best Original Score. An original cast recording was released on That's Entertainment Records, was re-released on Jay Records in 1997. In his memoir Original Story By, Laurents confessed he didn't realize until the show was in previews that the characters of Nick and Nora Charles were identified so with William Powell and Myrna Loy that the public would have difficulty accepting anyone else in the roles, he felt the lengthy preview period, during which theatre gossips and newspaper columnists spread unfounded rumors about the show's mounting problems, helped destroy any chances of success it may have had. Barry Bostwick as Nick Charles Joanna Gleason as Nora Charles Christine Baranski as Tracy Gardner Chris Sarandon as Victor Moisa Remak Ramsay as Max Bernheim Faith Prince as Lorraine Bixby Michael Lombard as Lt. Wolfe Debra Monk as Lily Connors Yvette Lawrence as Maria Valdez Kip Niven as Edward J. Connors Jeff Brooks as Spider Malloy Thom Sesma as Yukido Act I"Is There Anything Better Than Dancing?"
- Nick Charles, Nora Charles and Tracy Gardner "Everybody Wants to Do a Musical" - Tracy Gardner "Max's Story" - Max Bernheim, Lorraine Bixby and Edward J. Connors "Swell" - Nick Charles, Spider Malloy, Nora Charles and Victor Moisa "As Long As You're Happy" - Nick Charles and Nora Charles "People Get Hurt" - Lily Connors "Men" - Lorraine Bixby, Victor Moisa, Edward J. Connors and Tracy Gardner "May the Best Man Win" - Nick Charles, Nora Charles and Tracy Gardner "Detectiveland" - Company "Look Who's Alone Now" - Nick CharlesAct II"Class" - Victor Moisa "Beyond Words" - Nora Charles "A Busy Night at Lorraine's" - Nick Charles, Nora Charles, Spider Malloy, Suspects "Boom Chicka Boom" - Maria Valdez and Mariachi "Let's Go Home" - Nick Charles, Nora Charles In his review in Time, William A. Henry III called the production "a crashing bore - cranky and arbitrary as a love story and pointless as a murder mystery, ham-handed as comedy, clubfooted as dance, at best wanly pleasant as music." He added, "A few scenes work, some quite well.
The final 10 minutes achieve a truth and simplicity underscoring the barren brittleness of what has gone before. But the show fails at its most basic task: making audiences care about, or for that matter believe in, the characters."Frank Rich in his review in the New York Times wrote:"...this musical will no doubt always be remembered, not without fondness, for its troubled preview period, its much-postponed opening, its hassles with snooping journalists and its conflict with the city's Consumer Affairs Commissioner. Indeed, the story of'Nick and Nora' in previews, should it be known, might in itself make for a riotous, 1930's-style screwball-comedy musical, but the plodding show that has emerged from all this tumult is, a few bright spots notwithstanding, an instantly forgettable mediocrity." Nick & Nora at the Internet Broadway Database