The Broadhurst Theatre is a Broadway theatre located at 235 West 44th Street in Midtown Manhattan. It was designed by architect Herbert J. Krapp, a well-known theatre designer, working directly with the Shubert brothers. Built back-to-back with the Majestic, it was meant to resemble the style of the neighboring Shubert and Booth theaters designed by Henry B. Herts, using less expensive brick and terra cotta materials on the discreetly neoclassical façadesIt was named after George Howells Broadhurst, an Anglo-American dramatist who came to America in 1886. In addition to writing plays, he managed theaters in Milwaukee and San Francisco before he decided to open his own in association with the Shubert brothers; the theatre was constructed to house both musicals and plays, which it has done for more than a century. It has been designated a New York City landmark; the Broadhurst opened on September 27, 1917 with George Bernard Shaw's Misalliance, the first New York production of the philosophical 1910 comedy.
It ran for only 52 performances and was not performed on Broadway again until 1953. Recent tenants include Les Misérables, which in October 2006 began an intended six-month-long return engagement that closed in January 2008; the theatre is notable for hosting Jerry Seinfeld's final performance of his original stand up material, filmed for an HBO special shortly after the finale of his long-running sitcom. 1917: Maytime 1918: The George and Ira Gershwin composition "The Real American Folk Song" is included in Ladies First, the first time one of their co-written tunes is heard on the Great White Way. 1919: Jane Cowl writes and stars in her popular romantic drama Smilin' Through. 175 performances. 1924: Dixie to Broadway, starring Florence Mills, is the first all-Black show to have a mainstream Broadway production. 1924: Beggar on Horseback, a George S. Kaufman-Marc Connelly collaboration, stars Roland Young. 1928: The Ray Henderson-Buddy De Sylva-Lew Brown musical Hold Everything! Introduces the public to "You're the Cream in My Coffee."
1929: June Moon, a comedy by George S. Kaufman and Ring Lardner. 1932: Leslie Howard produces and stars in Philip Barry's The Animal Kingdom opposite Ilka Chase. 1933: Sidney Kingsley's Men in White stars Luther Adler and Morris Carnovsky and wins the Pulitzer Prize for Drama. 1935: Robert E. Sherwood's classic, The Petrified Forest, features Leslie Howard and Humphrey Bogart 1935: Helen Hayes and Vincent Price enjoy a 517-performance run in Victoria Regina. 1939: Doddi's Smith's Dear Octopus 1939: Carmen Miranda, Brazilian singer made her debut on the American stages in The Streets of Paris. 1944: Agatha Christie arrives on Broadway with Ten Little Indians. 1945: Follow the Girls completed its 888-performance run at the Broadhurst. 1946: Anita Loos' comedy hit, Happy Birthday, wins star Helen Hayes the first Tony Award for Best Actress in a Play. 1951: Barbara Cook makes her Broadway debut in the short-lived Flahooley. 1951: Seventeen, a musical, opens. 1952: Pal Joey revival runs for 540 performances and wins Tony Award for Helen Gallagher.
1956: Rosalind Russell has the title role in Jerome Lawrence and Robert E. Lee's Auntie Mame. 1958: France Nuyen and William Shatner co-star in Paul Osborn's The World of Suzie Wong. 1959: Fiorello!, with a Jerry Bock-Sheldon Harnick score, is directed by George Abbott, stars Tom Bosley, wins a Tony and the Pulitzer. 1963: 110 in the Shade enjoys a 330-performance run with Robert Horton, Will Geer, Lesley Ann Warren, Inga Swenson in her Broadway debut. 1964: Oh, What a Lovely War! garners 4 Tony Award nominations, including Best Musical, wins the Theatre World Award. 1965: Kelly - The biggest Broadway flop, it closed on the opening night. 1966: Jill Haworth, Joel Grey, Jack Gilford, Lotte Lenya, Bert Convy invite audiences to come to John Kander and Fred Ebb's Cabaret 1,165 times. 1967: More Stately Mansions, one of Eugene O'Neill's lesser efforts, has an all-star cast including Ingrid Bergman, Arthur Hill, Colleen Dewhurst. 1969: Woody Allen, Tony Roberts, Diane Keaton forsake the screen to star in Allen's Play It Again, Sam.
1970: Cry for Us All, a musical adaptation of the hit off-Broadway play Hogan's Goat, was far less successful than its source, closing after only eighteen previews and nine performances. 1971: 70, Girls, 70 was an unsuccessful collaboration by Kander and Ebb. 1972: Alan Arkin directs Jack Albertson and Sam Levene in Neil Simon's The Sunshine Boys 1974: Marlo Thomas makes her Broadway debut in Herb Gardner's Thieves, directed by Charles Grodin. 1976: Katharine Hepburn and Christopher Reeve co-star in Enid Bagnold's drama A Matter of Gravity. 1976: Larry Gelbart's Sly Fox, directed by Arthur Penn, stars George C. Scott, Jack Gilford, Gretchen Wyler, Hector Elizondo. 1978: Ann Reinking and Wayne Cilento star in director and choreographer Bob Fosse's Dancin'. 1980: Peter Shaffer's Amadeus, with Ian McKellen, Tim Curry, Jane Seymour, settles in for a 1181-performance run. 1983: Alfonso Ribeiro plays the title role in The Tap Dance Kid with Hinton Battle, who wins a Tony. 1984: Dustin Hoffman is Willy Loman in Arthur Miller's Death of a Salesman.
1986: Neil Simon's Broadway Bound, co-starring Jason Alexander and Phyllis Newman. 1990: Aspects of Love proves to be one of Andrew Lloyd Webber's least successful shows. 1991: Joan Collins stars in a revival of Noël Coward's Private Lives 1993: The Terrence McNally-John Kander-Fred Ebb musica
The Cort Theatre is a Broadway theatre located at 138 West 48th Street in the Theater District of midtown Manhattan in New York City. It is owned by the largest owner of Broadway theatres; the Cort Theatre was designated a New York City landmark on November 17, 1987. John Cort, founder of the Northwestern Theatrical Association, commissioned architect Thomas W. Lamb to design the theater, its façade was modeled on the Petit Trianon in Versailles. The resulting 1082-seat Cort Theater is one of the few Lamb theaters still extant and functioning as a legitimate theater; the interior was designed in the style of the era of Louis XVI, with a Pavanozza marble lobby with plasterwork panels. The arch of the proscenium stage consists of perforated plaster treated with art glass, was designed to be lit during performances; the arch still exists as of 2007. The Cort Theatre opened on December 20, 1912 with Laurette Taylor starring in the play Peg o' My Heart, which ran for 603 performances, an auspicious start for the new venue.
Numerous famous British actors have appeared at the Cort: Basil Rathbone played Dr. Nicholas Agi in The Swan in October 1923, in April 1927 appeared as Vladimir Dubriski in Love is Like That. In October 1924, Henry Daniell appeared as Aubrey Tanqueray in The Second Mrs Tanqueray, was there again in August 1943 in Murder Without Crime, in January 1946 appeared as Leontes in The Winter's Tale; this was the theatre where the aspiring actor James Dean made his broadway debut in 1952 with the play "See The Jaguar". The Shubert Organization purchased the theatre two years before John Cort's death; the theatre was used as a television studio for The Merv Griffin Show from 1969 to 1972. In the 1968 version of the comedy film The Producers, directed by Mel Brooks, the Cort Theatre was seen in the movie across the street from the Playhouse Theater, whose marquee can be glimpsed momentarily and exterior was used only. However, in the scene where the theater blows up, the marquee of the Cort Theater can be seen.
The Tony Award-winning revival of Fences, starring Denzel Washington and Viola Davis, achieved the box office record for the Cort Theatre. The production grossed $1,175,626 over eight performances, for the week ending July 11, 2010. List of New York City Designated Landmarks in Manhattan from 14th to 59th Streets National Register of Historic Places listings in New York County, New York Notes Bibliography Parker, John Who's Who in the Theatre, London, 1947, pp.477-478, 1184. Official website Cort Theatre at the Internet Broadway Database Broadway Theatre Guide
A film director is a person who directs the making of a film. A film director controls a film's artistic and dramatic aspects and visualizes the screenplay while guiding the technical crew and actors in the fulfilment of that vision; the director has a key role in choosing the cast members, production design, the creative aspects of filmmaking. Under European Union law, the director is viewed as the author of the film; the film director gives direction to the cast and crew and creates an overall vision through which a film becomes realized, or noticed. Directors need to be able to mediate differences in creative visions and stay within the boundaries of the film's budget. There are many pathways to becoming a film director; some film directors started as screenwriters, producers, film editors or actors. Other film directors have attended a film school. Directors use different approaches; some outline a general plotline and let the actors improvise dialogue, while others control every aspect, demand that the actors and crew follow instructions precisely.
Some directors write their own screenplays or collaborate on screenplays with long-standing writing partners. Some directors appear in their films, or compose the music score for their films. A film director's task is to envisage a way to translate a screenplay into a formed film, to realize this vision. To do this, they oversee the technical elements of film production; this entails organizing the film crew in such a way to achieve their vision of the film. This requires skills of group leadership, as well as the ability to maintain a singular focus in the stressful, fast-paced environment of a film set. Moreover, it is necessary to have an artistic eye to frame shots and to give precise feedback to cast and crew, excellent communication skills are a must. Since the film director depends on the successful cooperation of many different creative individuals with strongly contradicting artistic ideals and visions, he or she needs to possess conflict resolution skills in order to mediate whenever necessary.
Thus the director ensures that all individuals involved in the film production are working towards an identical vision for the completed film. The set of varying challenges he or she has to tackle has been described as "a multi-dimensional jigsaw puzzle with egos and weather thrown in for good measure", it adds to the pressure that the success of a film can influence when and how they will work again, if at all. The sole superiors of the director are the producer and the studio, financing the film, although sometimes the director can be a producer of the same film; the role of a director differs from producers in that producers manage the logistics and business operations of the production, whereas the director is tasked with making creative decisions. The director must work within the restrictions of the film's budget and the demands of the producer and studio. Directors play an important role in post-production. While the film is still in production, the director sends "dailies" to the film editor and explains his or her overall vision for the film, allowing the editor to assemble an editor's cut.
In post-production, the director works with the editor to edit the material into the director's cut. Well-established directors have the "final cut privilege", meaning that they have the final say on which edit of the film is released. For other directors, the studio can order further edits without the director's permission; the director is one of the few positions that requires intimate involvement during every stage of film production. Thus, the position of film director is considered to be a stressful and demanding one, it has been said that "20-hour days are not unusual". Some directors take on additional roles, such as producing, writing or editing. Under European Union law, the film director is considered the "author" or one of the authors of a film as a result of the influence of auteur theory. Auteur theory is a film criticism concept that holds that a film director's film reflects the director's personal creative vision, as if they were the primary "auteur". In spite of—and sometimes because of—the production of the film as part of an industrial process, the auteur's creative voice is distinct enough to shine through studio interference and the collective process.
Some film directors started as screenwriters, film producers or actors. Several American cinematographers have become directors, including Barry Sonnenfeld the Coen brothers' DP. Other film directors have attended a film school to get a bachelors degree studying cinema. Film students study the basic skills used in making a film; this includes, for example, shot lists and storyboards, protocols of dealing with professional actors, reading scripts. Some film schools are equipped with post-production facilities. Besides basic technical and logistical skills, students receive education on the nature of professional relationships that occur during film production. A full degree course can be designed for up to five years of studying. Future directors complete short films during their enrollment; the National Film School of Denmark has the student's final projects presented on national TV. Some film schools retain the rights for their students' works. Many directors prepared for making feature films by working in television.
The German Film and Television Academy Berlin cooperate
The Seagull is a play by Russian dramatist Anton Chekhov, written in 1895 and first produced in 1896. The Seagull is considered to be the first of his four major plays, it dramatises the romantic and artistic conflicts between four characters: the famous middlebrow story writer Boris Trigorin, the ingenue Nina, the fading actress Irina Arkadina, her son the symbolist playwright Konstantin Tréplev. Though the character of Trigorin is considered Chekhov's greatest male role like Chekhov's other full-length plays, The Seagull relies upon an ensemble cast of diverse developed characters. In contrast to the melodrama of mainstream 19th-century theatre, lurid actions are not shown onstage. Characters tend to speak in ways; the opening night of the first production was a famous failure. Vera Komissarzhevskaya, playing Nina, was so intimidated by the hostility of the audience that she lost her voice. Chekhov spent the last two acts behind the scenes; when supporters wrote to him that the production became a success, he assumed that they were trying to be kind.
When Konstantin Stanislavski, the seminal Russian theatre practitioner of the time, directed it in 1898 for his Moscow Art Theatre, the play was a triumph. Stanislavski's production of The Seagull became "one of the greatest events in the history of Russian theatre and one of the greatest new developments in the history of world drama". After purchasing the Melikhovo farm in 1892, Chekhov had built in the middle of a cherry orchard a lodge consisting of three rooms, one containing a bed and another a writing table. In spring, when the cherries were in blossom, it was pleasant to live in this lodge, but in winter it was so buried in the snow that pathways had to be cut to it through drifts as high as a man. Chekhov moved in and in a letter written in October 1895 wrote: I am writing a play which I shall not finish before the end of November. I am writing it not without pleasure. It's a comedy, there are four acts, landscapes, thus he acknowledged a departure from traditional dramatic action. This departure would become a critical hallmark of the Chekhovian theater.
Chekhov's statement reflects his view of the play as comedy, a viewpoint he would maintain towards all his plays. After the play's disastrous opening night his friend Aleksey Suvorin chided him as being "womanish" and accused him of being in "a funk." Chekhov vigorously denied this, stating: Why this libel? After the performance I had supper at Romanov's. On my word of honour. I went to bed, slept soundly, next day went home without uttering a sound of complaint. If I had been in a funk I should have run from editor to editor and actor to actor, should have nervously entreated them to be considerate, should nervously have inserted useless corrections and should have spent two or three weeks in Petersburg fussing over my Seagull, in excitement, in a cold perspiration, in lamentation.... I acted as coldly and reasonably as a man who has made an offer, received a refusal, has nothing left but to go. Yes, my vanity was stung, and a month later: I thought that if I had written and put on the stage a play so brimming over with monstrous defects, I had lost all instinct and that, therefore, my machinery must have gone wrong for good.
The eventual success of the play, both in the remainder of its first run and in the subsequent staging by the Moscow Art Theatre under Stanislavski, would encourage Chekhov to remain a playwright and lead to the overwhelming success of his next endeavor Uncle Vanya, indeed to the rest of his dramatic oeuvre. Irina Nikolayevna Arkadina – an actress Konstantin Gavrilovich Treplyov – Irina's son, a playwright Boris Alexeyevich Trigorin – a well-known writer Nina Mikhailovna Zarechnaya – the daughter of a rich landowner Pjotr Nikolayevich Sorin – Irina's brother Ilya Afanasyevich Shamrayev – a retired lieutenant and the manager of Sorin's estate Polina Andryevna – Ilya's wife Masha – Ilya and Polina's daughter Yevgeny Sergeyevich Dorn – a doctor Semyon Semyonovich Medvedenko – a teacher Yakov – a hired workman Cook – a worker on Sorin's estate Maid – a worker on Sorin's estate Watchman – a worker on Sorin's estate, he is the brother of the famous actress Irina Arkadina, who has just arrived at the estate for a brief vacation with her lover, the writer Boris Trigorin.
Pjotr Sorin and his guests gather at an outdoor stage to see an unconventional play that Irina's son, Konstantin Treplyov, has written and directed. The play-within-a-play features Nina Zarechnaya, a young woman who lives on a neighboring estate, as the "soul of the world" in a time far in the future; the play is Konstantin's latest attempt at creating a new theatrical form, is a dense symbolist work. Irina laughs at the play, finding it incomprehensible. Irina does not seem concerned about her son. Although others ridicule Konstantin's drama, the physician Yevgeny Dorn praises him. Act I sets up the play's various romantic triangles. T
Outward Bound (film)
Outward Bound is a 1930 American pre-Code drama film based on the 1924 hit play of the same name by Sutton Vane. It stars Leslie Howard, Douglas Fairbanks Jr. Helen Chandler, Beryl Mercer, Montagu Love, Alison Skipworth, Alec B. Francis, Dudley Digges; the film was remade, with some changes, as Between Two Worlds. Henry and Ann, a pair of young lovers, are planning to commit suicide and are worried about what will happen to their dog when they are gone; the scene changes to a disparate group of passengers who find themselves aboard a darkened, fog-enshrouded crewless ship, sailing to an unknown destination. Their stories are revealed one by one. Tom Prior, a prodigal son, discovers that he's traveling with his ex-boss, Mr. Lingley, a captain of industry, they now wonder. In time, the passengers realize what is going on—they are all dead, they will be judged during the course of the voyage, go either to Heaven, or to Hell. Arriving at their destination, they await judgment by Thompson, the "examiner."
Henry and Ann, who made a suicide attempt, now hover in a sort of limbo between life and death, have not quite crossed over. Scrubby, the ship's steward, has been condemned to sail the ship for eternity, having committed suicide himself. Henry is saved from asphyxiation by gas poisoning when his dog breaks a window pane, he calls to Ann, she revives, together they are rescued by neighbors and taken away in an ambulance. Leslie Howard as Tom Prior Douglas Fairbanks Jr. as Henry Beryl Mercer as Mrs Midget Dudley Digges as Thompson Helen Chandler as Ann Alec B. Francis as Scrubby Montagu Love as Mr Lingley Lyonel Watts as Reverend William Duke Alison Skipworth as Mrs Cliveden-Banks Walter Kingsford as The Policeman Leslie Howard played the role of Henry in the stage production of Outward Bound which ran at the Ritz Theatre in New York City January 7 – May 10, 1924. Dudley Digges, Beryl Mercer and Lyonel Watts all reprised their roles for the film. Alfred Lunt played Tom Margalo Gillmore played Ann.
In the film, Howard took Lunt's part and Douglas Fairbanks Jr. played the role performed by Howard. "I never saw all of it," said Fairbanks about the film. "It gave me the creeps. Still does, just thinking about it, it was a prestige picture, never made a cent." The film survives intact and has been broadcast on television and cable from United Artists Associated. It is preserved in the Library of Congress collection. Outward Bound on IMDb synopsis at AllMovie
Gerald Schoenfeld Theatre
The Gerald Schoenfeld Theatre is a Broadway theatre known as the Plymouth Theatre, located at 236 West 45th Street in midtown Manhattan and renamed in 2005 in honor of Gerald Schoenfeld. Designed by architect Herbert J. Krapp to resemble the neighboring Shubert and Booth theatres designed by Henry B. Herts, the building was constructed by the Shubert brothers in 1917-18, christened the Plymouth Theatre, leased to producer Arthur Hopkins, he intended it to be a venue for legitimate plays starring notable actors such as John and Lionel Barrymore. The premiere production was A Successful Calamity, a comedy with William Gillette and Estelle Winwood. After Hopkins died in 1948, control of the theatre returned to the Shuberts, who still own the property, designated a New York landmark in 1987; the 1,080-seat house was renamed after Gerald Schoenfeld, chairman of the Shubert Organization, in 2005. 1918: A Doll's House 1918: Redemption 1919: The Jest 1920: Little Old New York 1922: The Hairy Ape 1924: What Price Glory?
1926: The Pirates of Penzance 1928: Holiday 1934: Dark Victory 1936: Tovarich 1938: Abe Lincoln in Illinois 1942: The Skin of Our Teeth 1945: Ten Little Indians 1946: Lute Song. The production grossed $1,292,210 over eight performances, for the week ending December 6, 2009; this record was eclipsed on three occasions by the 2014 production "It's Only a Play", starring Matthew Broderick and Nathan Lane which grossed $1,424,039 over eight performances for the week ending December 7, 2014. List of New York City Designated Landmarks in Manhattan from 59th to 110th Streets National Register of Historic Places listings in Manhattan above 59th to 110th Streets Broadway Theatre Guide Seating chart Gerald Schoenfeld Theatre at the Internet Broadway Database
Astor Theatre (New York City)
The Astor Theatre was located at 1537 Broadway, at West 45th Street in Times Square in New York City. It opened September 21, 1906, with Shakespeare's A Midsummer Night's Dream and continued to operate as a Broadway theatre until 1925. From 1925 until it closed in 1972, it was a first-run movie theater; the Astor was first managed by Lincoln A. Wagenhals and Collin Kemper by George M. Cohan and Sam Harris, by the Shubert Organization; the theater was designed by architect George W. Keister, it was demolished in 1982 to make way for the Marriott Marquis Hotel. Among the plays that debuted at the Astor were Cohan's Seven Keys to Baldpate and Why Marry? by Jesse Lynch Williams, the first winner of the Pulitzer Prize for Drama. In 1925, Loew's Theatres bought the Astor and converted it into a movie house in order to have a Times Square "road show" showcase for first-run films from the MGM film studio; the Big Parade was the first film shown at the Astor where it ran for a continuous 96-week engagement.
Other films to make their Times Square debuts at the Astor include The Broadway Melody, Grand Hotel, The Great Ziegfeld and Gone With the Wind for MGM. Morrison, Andrew Craig. "Astor Theatre, 1537 Broadway, New York, New York". Theaters. New York: W. W. Norton. Pages 157–58 and photographs 4-039, 4-040, 4-041. ISBN 0-393-73108-1. Astor Theatre at the Internet Broadway Database Astor Theatre at Cinema Treasures