Peter Mark Richman
Peter Mark Richman is an American actor who has starred in films and on television, for many years credited as Mark Richman. He appeared over 130 television series since the 1950s. Born Marvin Jack Richman in Philadelphia, Pennsylvania, to Jewish parents, he is the son of Yetta Dora and Benjamin Richman, a painting and paper-hanger contractor, he has been married to actress Helen Richman since 1953, they have five children together, including composer and Grammy Award-winning conductor Lucas Richman. Making his feature film debut in William Wyler's 1956 film Friendly Persuasion, Richman was, by that time a employed television actor, as well as a member of New York's Actors Studio, a resource of which he would avail himself until moving to Los Angeles in 1961, he is best known for his role as Nicholas "Nick" Cain in the 1961 films The Murder Men and The Crimebusters. He reprised his role as Nicholas Cain in the NBC television series Cain's Hundred. Richman's other TV roles were on the soap opera Santa Barbara as Channing Creighton'C.
C.' Capwell, Longstreet as Duke Paige, on the ABC soap opera Dynasty as Andrew Laird, a recurring role on Three's Company as Chrissy's father, Rev. Luther Snow. Guest star on Beverly Hills, 90210, his other films include Friday the 13th Part VIII: Jason Takes Manhattan and Vic. His television credits include Hawaii Five O, The Fall Guy, The DuPont Show with June Allyson, Stoney Burke, Breaking Point, The Fugitive, The Outer Limits, Blue Light, The Invaders, Alfred Hitchcock Presents, The Wild Wild West, Daniel Boone, The Silent Force, Get Christie Love!, The Bionic Woman, Knight Rider, Three's Company and Matlock. He was seen on Mission: Impossible and Combat!, as well as other shows of that era. He appeared as Ralph Offenhouse in Star Trek: The Next Generation's first season episode "The Neutral Zone". Richman starred in the penultimate filmed episode of The Twilight Zone, called "The Fear", he voiced The Phantom in the animated series Defenders of the Earth. His most recent film credits are Mysteria and After the Wizard, both released in 2011.
Richman sits on the Board of Trustees of the Motion Television Fund. Official website Peter Mark Richman on IMDb Peter Mark Richman at the Internet Broadway Database Peter Mark Richman at the Internet Off-Broadway Database Mark Richman at the University of Wisconsin's Actors Studio audio collection Peter Mark Richman Interview http://www.foxnews.com/entertainment/2018/06/01/threes-company-actor-peter-mark-richman-reveals-what-it-was-like-working-with-suzanne-somers-sophia-loren.html
The Play About the Baby
The Play About the Baby is a play by Edward Albee. The play premiered in London in September 1998 at the Almeida Theatre Company in Malvern, directed by Howard Davies; the play's American premiere was in Houston, Texas at the Alley Theatre in April to June 2000. Directed by Albee, the cast was Rebecca Harris - Girl, David Burtka - Boy, Earle Hyman - Man, Marian Seldes - Woman; the play opened Off-Broadway at the Century Center for the Performing Arts, running from February 1, 2001 to September 1, 2001. David Esbjornson directed; the play won Performance. It was nominated for the 2001 Outer Critics Circle Award, Outstanding Actress in a Play and 2001 Lucille Lortel Award, Outstanding Play, Outstanding Actress and Outstanding Actor; the play was a finalist for the 2001 Pulitzer Prize for Drama. The play opens in a version of Eden, with the Boy and Girl, pregnant; the Girl gives birth to the baby. Soon, a middle-aged couple, the Man and Woman appear; the Woman states that she is not an actress, but she is "a trifle theatrical."
The Man and Woman tell anecdotes and speak directly to the audience, asking for their opinion on various matters. While the Man talks about his thoughts on religion, such as the Sermon on the Mount, the Woman translates into sign language, they say. Boy asks; as the play ends, the Man shows them. Albee "has confirmed that the baby is meant to be real though we never see it."The set design changed from the original, a Victorian apartment, to the "sterile no-man's-land with a sterile play space decorated with children's toys." Matt Wolf, in his review of the 1998 London production for Variety, wrote: "A lot of people are going to be mystified by'The Play About the Baby,'... but if there’s any justice, at least an equal number will be mesmerized as well. Witty and very disturbing, the play is essential Albee that shows a major American dramatist — now age 70 — continuing a career of experimentation that has always been European in its absurdist embrace and subsequent disregard for naturalism. Whatever its ellipses, the new work is thrillingly served by its Almeida Theater quartet, who find the wrenching emotion in what could be self-conscious and arch."Charles Isherwood, in his review of the 2001 production for Variety, wrote: "...for all its vaudevillian diversions and pointless digressions, it’s clear and sharp as a knife, full of subtle correspondences.
The play’s oddnesses and baroque structure mirror the haphazard patterns of life, after all.... If it’s fundamentally about loss,'The Play About the Baby”' is about survival, how we'get through it all,' as the Man says..."Barbara Lee Horn noted "The reviews were exceedingly mixed along the way." The Play About the Baby at the Internet Off-Broadway Database
A Delicate Balance (play)
A Delicate Balance is a play by Edward Albee. It premiered in 1966 and won the Pulitzer Prize for Drama in 1967, the first of three he received for his work; the uneasy existence of upper-middle-class suburbanites Agnes and Tobias and their permanent houseguest, Agnes' witty and alcoholic sister Claire, is disrupted by the sudden appearance of lifelong family friends Harry and Edna, fellow empty nesters with free-floating anxiety, who ask to stay with them to escape an unnamed terror. They soon are followed by Agnes and Tobias's bitter 36-year-old daughter Julia, who returns home following the collapse of her fourth marriage; the original Broadway production, directed by Alan Schneider, opened at the Martin Beck Theatre on September 22, 1966, closed on January 14, 1967, after 132 performances and 12 previews. The cast included Hume Cronyn as Tobias, Jessica Tandy as Agnes, Rosemary Murphy as Claire, Henderson Forsythe as Harry, Carmen Mathews as Edna, Marian Seldes as Julia; the scenic design was by William Ritman, costumes by Theoni V. Aldredge, lighting by Tharon Musser.
A revival produced by Lincoln Center Theater at the Plymouth Theatre opened on April 21, 1996, ran for 185 performances and 27 previews. It was directed by Gerald Gutierrez, starred Rosemary Harris as Agnes, George Grizzard as Tobias, John Carter as Harry, Elizabeth Wilson as Edna, Elaine Stritch as Claire, Mary Beth Hurt as Julia; the production won the Tony Award for Best Revival of a Play, as well as Tony Awards for Grizzard and Gutierrez, the Drama Desk Award for Outstanding Revival of a Play. A 1973 film adaptation was directed by Tony Richardson for the short-lived American Film Theater series, it starred Katharine Hepburn, Paul Scofield, Lee Remick, Joseph Cotten, Kate Reid. A production previewed in the West End at the Theatre Royal Haymarket from October 15, 1997, opened on October 21, 1997, closed on April 4, 1998, it starred Eileen Atkins as Agnes, Maggie Smith as Claire, John Standing as Tobias, Annette Crosbie as Edna, Sian Thomas as Julia, James Laurenson as Harry. Atkins won the Evening Standard Theatre Award for Best Actress for the play in 1998.
A 2011 revival was presented at the Almeida Theatre in Islington, directed by James Macdonald. The cast included Lucy Cohu, Diana Hardcastle, Ian McElhinney, Tim Pigott-Smith, Imelda Staunton, Penelope Wilton. A Delicate Balance was produced in 2013 at the McCarter Theater, with Edward Albee attending rehearsals and contributing minor rewrites, it featured Kathleen Chalfant as Agnes, John Glover as Tobias, was directed by Emily Mann. Sets were designed by Daniel Ostling, costumes by Jennifer von Mayrhauser, lighting by Lap Chi Chu. A new revival directed by Pam MacKinnon ran on Broadway at the John Golden Theatre. Previews began on October 20, 2014, it opened on November 20, 2014, its last performance was February 22, 2015. The cast featured Glenn Close as Agnes, John Lithgow as Tobias, Martha Plimpton as Julia, Lindsay Duncan as Claire, Bob Balaban as Harry and Clare Higgins as Edna. Agnes, an upper-class woman in her late 50s, discusses the possibility of losing her mind. Agnes exclaims that although she is astonished by her own thoughts of madness, it is her sister, who lives with them, who astonishes her the most.
Claire appears and apologizes to Agnes that her own nature is such to bring out in her sister the full force of her brutality. Claire senses that Tobias and Agnes's daughter Julia might be going on her fourth divorce and predicts that Julia will be coming home shortly. Agnes reenters. Tobias tells the story of a cat that he once had. There is a knock on the door. Harry and Edna and Tobias's best friends and ask if they can stay there, they have been frightened by something intangible. Agnes and Julia are discussing the fact that Edna are occupying Julia's old bedroom. Harry and Edna have spent the entire day in the room. Julia whines to Tobias next about not having her room. Claire chides Julia about her new divorce. Julia teases Claire back about her drinking. After asking Tobias for a drink, she announces that “there is no point in pressing” the issue of Harry and Edna. At the end of scene 1, Harry and Edna appear with their coats over their arms, they announce they will return with their suitcases.
Scene 2 opens with Agnes alone after dinner. Julia is disgusted with her mother's desire to control emotions. Agnes retorts, “There is a balance to be maintained...and I must be the fulcrum.” Agnes and Tobias leave to help Edna unload their suitcases from their car. Edna tells Julia that it is time for her to grow up. Julia reminds Edna that she is a guest in the house, Edna responds that she and Harry are Agnes and Tobias's best friends; when Harry enters, he goes to fix everyone a drink at the bar. Julia insists that he stay away from it. Julia yells “I WANT... WHAT IS MINE!” and leaves the room. Agnes reminisces about the death of her son, she suspects that Tobias has been unfaithful, asks Harry and Claire to confirm it, but they both deny it. After Tobias attempts to excuse Julia as being in hysterics, Julia reappears with a gun in her hand, she insists that Edna leave. Edna declares, “We have rights here. We belong,” and insists that she and Harry are staying there forever, “if need be.” Tobias has stayed up all night, is making himself a morning cocktail.
Agnes comes down from her room. She tells Tobias that it is his role to make all the decisions with regards to what to do about Edna and Harry, she reminds Tobias of the time when he prevented her from getting pregnant after the death of their son. Claire, Juli
Krapp's Last Tape
Krapp's Last Tape is a one-act play, in English, by Samuel Beckett. With a cast of one man, it was written for Northern Irish actor Patrick Magee and first titled "Magee monologue", it was inspired by Beckett's experience of listening to Magee reading extracts from Molloy and From an Abandoned Work on the BBC Third Programme in December 1957. The play was first performed as a curtain raiser to Endgame at the Royal Court Theatre, directed by Donald McWhinnie and starring Patrick Magee, it ran for 38 performances. Krapp's Last Tape premiered in North America at the Provincetown Playhouse, with the lead role played by Canadian actor Donald Davis, who won an Obie Award in 1960 for his performance in the play. In a letter to a London bookseller Jake Schwartz on 15 March 1958, Beckett wrote that he had "'four states, in typescript, with copious notes and dirty corrections, of a short stage monologue I have just written for Pat Magee; this was composed on the machine from a tangle of old notes, so I have not the MS to offer you."According to Ackerley and Gontarski, "It was first published in Evergreen Review 2.5 in Krapp's Last Tape and Embers, Krapp's Last Tape and Other Dramatic Pieces."
Beckett’s own translation of the play into French, La Dernière Bande, was published in Les Lettres Nouvelles on 4 March 1959. The available printed texts must not be taken as definitive. "By the mid-1950s Beckett was talking and working like a director. In a letter to Rosset's editorial assistant, Judith Schmidt, on 11 May 1959, Beckett referred to the staging of Krapp's Last Tape as its'creation'," and he made numerous significant changes to the text over the years as he was involved in directing the play; the first German performance, on 28 September 1959, was directed by Walter Henn at Berlin's Schillertheater, where 10 years on 5 October 1969, Samuel Beckett himself staged his text in a most successful performance. The first American performance, on 14 January 1960, was directed by Alan Schneider and starred Donald Davis; the curtain rises on " late evening in the future." It is Krapp’s 69th birthday and he hauls out his old tape recorder, reviews one of the earlier years – the recording he made when he was 39 – and makes a new recording commenting on the last 12 months.
Krapp is sitting in his den, lit by the white light above his desk. Black-and-white imagery continues throughout. On his desk are a tape-recorder and a number of tins containing reels of recorded tape, he consults a ledger. The tape he is looking to review is the fifth tape in Box 3, he reads aloud from the ledger but it is obvious that words alone are not jogging his memory. He takes childish pleasure in saying the word ‘spool’; the tape dates from when he turned 39. His taped voice is rather self-important; the voice mentions that he’s just celebrated his birthday alone "at the wine house" jotting down notes in preparation for the recording session later. His bowel trouble is still a problem and one exacerbated by eating too many bananas. "The new light above my table is a great improvement," reports the 39-year-old Krapp, before describing how much he enjoys leaving it, wandering off into the darkness, so that he can return to the zone of light which he identifies with his essential self. He notes.
The voice reports. It amuses him to comment on his impressions of what he was like in his twenties and the 69-year-old Krapp joins in the derisory laughter; the young man he was back is described as idealistic unrealistic in his expectations. The 39-year-old Krapp looks back on the 20-odd-year-old Krapp with the same level of contempt as the 20-odd-year-old Krapp appears to have displayed for the young man he saw himself for in his late teens; each can see the fool he was but only time will reveal what kind of fool he has become. The voice reviews his last year, he talks about sitting on a bench outside the nursing home waiting for the news that she had died, but Krapp at 69 is more interested in his younger self's use of the rather archaic word "viduity" than in the reaction of the voice on the tape to their mother's passing. He stops listening to look up the word in a large dictionary, he returns to the tape. He ends up leaving the ball with the creature though a part of him regrets not hanging onto it as some kind of memento, but states that he will forever remember its feel in his hand.
The voice starts to describe the revelation. Krapp gets worked up when his younger self starts enthusing about this, he fast-forwards to the end of the tape to escape the onslaught of words. The mood has changed and he finds himself in the middle of a description of a romantic liaison between himself and a woman in a punt. Krapp lets it play out and rewinds the tape to hear the complete episode. Throughout it he remains visibly relives the moment while it is retold. Afterwards, Krapp removes this tape, locates a fresh one, loads it, checks the back of an envelope where he has made notes earlier, discards them and starts, he is scathing when it comes to his assessment of his thirty-nine-year-old self and is glad to see the back of him. He finds he has nothing he wants to record for posterity, save the fact he "Revelled in the word spool." But he does mention a trip to the park and attending Vespers, where he dozed off and fell off the pew. He mentions his recent litera
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New York City
The City of New York called either New York City or New York, is the most populous city in the United States. With an estimated 2017 population of 8,622,698 distributed over a land area of about 302.6 square miles, New York is the most densely populated major city in the United States. Located at the southern tip of the state of New York, the city is the center of the New York metropolitan area, the largest metropolitan area in the world by urban landmass and one of the world's most populous megacities, with an estimated 20,320,876 people in its 2017 Metropolitan Statistical Area and 23,876,155 residents in its Combined Statistical Area. A global power city, New York City has been described as the cultural and media capital of the world, exerts a significant impact upon commerce, research, education, tourism, art and sports; the city's fast pace has inspired the term New York minute. Home to the headquarters of the United Nations, New York is an important center for international diplomacy.
Situated on one of the world's largest natural harbors, New York City consists of five boroughs, each of, a separate county of the State of New York. The five boroughs – Brooklyn, Manhattan, The Bronx, Staten Island – were consolidated into a single city in 1898; the city and its metropolitan area constitute the premier gateway for legal immigration to the United States. As many as 800 languages are spoken in New York, making it the most linguistically diverse city in the world. New York City is home to more than 3.2 million residents born outside the United States, the largest foreign-born population of any city in the world. In 2017, the New York metropolitan area produced a gross metropolitan product of US$1.73 trillion. If greater New York City were a sovereign state, it would have the 12th highest GDP in the world. New York is home to the highest number of billionaires of any city in the world. New York City traces its origins to a trading post founded by colonists from the Dutch Republic in 1624 on Lower Manhattan.
The city and its surroundings came under English control in 1664 and were renamed New York after King Charles II of England granted the lands to his brother, the Duke of York. New York served as the capital of the United States from 1785 until 1790, it has been the country's largest city since 1790. The Statue of Liberty greeted millions of immigrants as they came to the U. S. by ship in the late 19th and early 20th centuries and is an international symbol of the U. S. and its ideals of liberty and peace. In the 21st century, New York has emerged as a global node of creativity and entrepreneurship, social tolerance, environmental sustainability, as a symbol of freedom and cultural diversity. Many districts and landmarks in New York City are well known, with the city having three of the world's ten most visited tourist attractions in 2013 and receiving a record 62.8 million tourists in 2017. Several sources have ranked New York the most photographed city in the world. Times Square, iconic as the world's "heart" and its "Crossroads", is the brightly illuminated hub of the Broadway Theater District, one of the world's busiest pedestrian intersections, a major center of the world's entertainment industry.
The names of many of the city's landmarks and parks are known around the world. Manhattan's real estate market is among the most expensive in the world. New York is home to the largest ethnic Chinese population outside of Asia, with multiple signature Chinatowns developing across the city. Providing continuous 24/7 service, the New York City Subway is the largest single-operator rapid transit system worldwide, with 472 rail stations. Over 120 colleges and universities are located in New York City, including Columbia University, New York University, Rockefeller University, which have been ranked among the top universities in the world. Anchored by Wall Street in the Financial District of Lower Manhattan, New York has been called both the most economically powerful city and the leading financial center of the world, the city is home to the world's two largest stock exchanges by total market capitalization, the New York Stock Exchange and NASDAQ. In 1664, the city was named in honor of the Duke of York.
James's older brother, King Charles II, had appointed the Duke proprietor of the former territory of New Netherland, including the city of New Amsterdam, which England had seized from the Dutch. During the Wisconsinan glaciation, 75,000 to 11,000 years ago, the New York City region was situated at the edge of a large ice sheet over 1,000 feet in depth; the erosive forward movement of the ice contributed to the separation of what is now Long Island and Staten Island. That action left bedrock at a shallow depth, providing a solid foundation for most of Manhattan's skyscrapers. In the precolonial era, the area of present-day New York City was inhabited by Algonquian Native Americans, including the Lenape, whose homeland, known as Lenapehoking, included Staten Island; the first documented visit into New York Harbor by a European was in 1524 by Giovanni da Verrazzano, a Florentine explorer in the service of the French crown. He named it Nouvelle Angoulême. A Spanish expedition led by captain Estêvão Gomes, a Portuguese sailing for Emperor Charles V, arrived in New York Harbor in January 1525 and charted the mouth of the Hudson River, which he named Río de San Antonio.
The Padrón Rea
The Schiller Theater is a theatre building in Berlin, Germany. It is located in the central Charlottenburg district at Bismarckstraße No. 110 near Ernst-Reuter-Platz. Opened in 1907, the building served as second venue of the Prussian State Theatre company in the 1920s and 1930s. After post-war rebuilding, it was the main stage of the Berlin State Theatres from 1951 until in 1993 the City Senate decided to close it for financial reasons. Since it is rented out for theatre performances and other events, is used by the Berlin State Opera as an interim venue during extensive renovation work; the Schiller Theater was built from 1905 to 1906 according to plans by the Munich architect Max Littmann on behalf of Schiller-Theater company and the independent city of Charlottenburg. Littmann, founder of the Heilmann & Littmann contracting business, had considerable experience in theatre architecture, having designed and built the Munich Prinzregententheater and Kammerspiele in 1900–1901; the building complex comprised a multipurpose room, as well as a restaurant.
The sculptural decoration was designed by the sculptors Düll and Petzold, the decoration of the auditorium and the painted curtain is from Julius Mössel. The 1,194-seat theatre was opened on 1 January 1907 with Die Räuber by Friedrich Schiller, continued to be run by the Schiller-Theater-Gesellschaft with their own theatre company. Established as part of the "People's Theatre" movement, the slavicist and intellectual Raphael Löwenfeld, founding member of the Central Association of German Citizens of Jewish Faith, was the initiator and manager of the original ensemble, he had inaugurated a Schiller Theater Ost in Berlin's Königstadt quarter in 1894 and a Schiller Theater Nord in the Oranienburger Vorstadt in 1896. The Charlottenburg venue was meant to provide marginalised groups with access to stage plays by Henrik Ibsen, Gerhart Hauptmann, Leo Tolstoi, whose works Löwenfeld himself had translated into German. After World War I, from June 1921, the building was the second venue of the Prussian State Theatre, whose main venue was the present-day Konzerthaus Berlin at Gendarmenmarkt in the Mitte district.
After the Nazi seizure of power, the Prussian prime minister Hermann Göring had the Schiller Theater transferred into possession of the City of Berlin in December 1933. From 1937 to 1938, the theatre was extensively rebuilt according to plans designed by Paul Baumgarten. Baumgarten simplified the facade and the auditorium changing the appearance of the theatre with respect to the New Objectivity of the 1920s, but in line with the prevailing monumental Nazi architecture trend. A special state box was installed in the auditorium; the sculptors Paul Scheurich and Karl Nocke and the painter Albert Birkle were involved in the conversion. From the re-opening with Schiller's Kabale und Liebe in the presence of Adolf Hitler on 15 November 1938, the theatre was run as Schiller-Theater der Reichshauptstadt Berlin; the famous actor Heinrich George was employed as general director, acting under the pseudonym of Heinrich Schmitz. During the bombing of Berlin in World War II, the auditorium was destroyed in a RAF air strike in the night of 22/23 November 1943.
Performances continued on a provisional stage until the theatre closed in September 1944. After the war, the Schiller Theater was rebuilt from 1950 on behalf of the city of West Berlin, according to plans by the architects Heinz Völker and Rolf Grosse; some parts of the ruins of the old theatre were re-used for the new construction. The main foyer received a large glass wall and the hallway was adorned with shulptures created by Bernhard Heiliger; the re-opening was solemnly celebrated by a concert of the Berlin Philharmonic orchestra under Wilhelm Furtwängler on 5 September 1951, followed by a performance of Schiller's Wilhelm Tell the next evening. The new theatre had 1,067 seats, served as the Großes Haus, the main venue, for the Berlin State Theatres, beside the Schlosspark Theater in the Steglitz district as Kleines Haus, the second venue; the State Theatres used the Schiller-Theater Werkstatt in the building of the Schiller Theater, the Ballhaus Rixdorf in Berlin-Neukölln as further stages.
Under the management of Boleslaw Barlog the Schiller Theater became the leading West Berlin stage, only rivalled by the Schaubühne ensemble around Peter Stein from the 1970s onwards. Among the famous managers of the Berlin State Theatres were Hans Lietzau, Boy Gobert and Heribert Sasse. Notable directors included Gustaf Gründgens, Jürgen Fehling, Samuel Beckett, Fritz Kortner, Boleslaw Barlog, Hans Lietzau, Karl Paryla, George Tabori, Hans Neuenfels, Hans Hollmann and Peter Zadek. After lengthy discussions, the Schiller Theater was closed on 3 October 1993, three years after German reunification, on a decision of the Berlin Senate due to the increasing indebtness of the city; the last performance of the state theatre there was the premiere of the play Weißalles und Dickedumm by Coline Serreau starring Katharina Thalbach. All permanently employed staff and artists, including Bernhard Minetti, Erich Schellow and Sabine Sinjen, were dismissed; the closure of the largest German-speaking stage sparked protest and resentment, the Senator for Culture at that time, Ulrich Roloff-Momin, was given the name "Schiller-Killer".
It was used as a venue for musicals and guest theatre performances. From January to October 2000, the Maxim-Gorki-Theater used the stage of the Schiller Theater; when the Staatsoper Unter den Linden had to close on 31 May 2010 for renovation, the company and the Staatskapelle Berlin were