Playbill Collectibles : Playbill+lynn Value Guide - Price List

Sold on eBay August 14th, 2023

RARE 1797 AMERICAN PLAYBILL BROADSIDE SIGN BOSTON THEATRE The Lynn Shoe Maker

My listings this week will include a Fine Group of Antique Theatre Playbills, including a couple of Very Rare 18thC American Playbill Broadsides. Most important is a Feb. 3, 1794 Silk Playbill Broadside for the Grand Opening Performance of the Federal Street Theatre in Boston ("Boston Theatre"), possibly the earliest American silk playbill in existence and likely the earliest Boston playbill (comes with provenance history that was attached to back of framed playbill). Also, another nice larger 1797 Boston Theatre Playbill Broadside. Both of these early American playbills originating from the historic Whitney family estate in the Boston area. Other nice 19thC American Playbills and Early-20thC Theatre Programs as well. Also, I will be listing a c.1824 "Welcome Lafayette" Silk Ribbon as well as a wonderful and rare c.1870 Advertising Broadside Lithograph for the "Eating House" in Wethersfield, CT at the Depot of the Hartford & Wethersfield Horse Railroad. I will be listing other significant Old Ephemera items this month as well as I find time Here is a RARE 18THC AMERICAN BOSTON THEATRE PLAYBILL BROADSIDE. "MR. VILLIERS' NIGHT" for APRIL 17, 1797. "HEIGHO FOR A HUSBAND" along with "A DAY IN BOSTON; OR, THE LYNN SHOE-MAKER". The playbill itself is 19-3/8" x 12-1/4". It has been matted and framed under glass in a chrome frame in its more recent history. Entire piece framed is 26-3/8" x 18-1/4". 18thC American playbills are very scarce. I'm not sure if this playbill is from the HAY-MARKET THEATRE (1796-1803) in Boston, or another Boston theatre. I found the title for this performance on a 1798 Hay-Market Theatre ad, but don't know if it could be from the Federal Street theatre or other theatre. This early American playbill is originating from the old Whitney family estate in the Boston area. The other 1794 Boston playbill I am listing this week was previously part of the private collection of Josiah Dwight Whitney (1819-1896), the noted geologist and Professor of Geology of Harvard University (Mt. Whitney and the Whitney Glacier are both named after him). Condition: The playbill was nicely matted and framed in its more recent history. Frame has a black matting with playbill backed by another black mat. There are some areas around the outer edge of matting where it looks like the matting has contacted the glass and created darker and splotchiness to matting there (see close-up photos). Otherwise okay. Will pack with care for buyer as with all my items. INSURANCE INCLUDED in the shipping total. Look for my Important 18thC Antique Silk Boston Theater Playbill I am listing as well this week. See listing for payment and shipping details. Payment is due within 5 days after auction end. Item is usually shipped within 2 business days after payment is received. My normal shipping days are Mon-Thurs. Feel free to email me with any questions. Thanks for looking!

Sold on eBay June 16th, 2024

Stephen Sondheim (Composer) "A MIGHTY MAN IS HE" Bound 1955 Playbill Volume

This is a very rare hardcover volume of theatre programs (playbills) from the 1955 season of the FALMOUTH PLAYHOUSE in Falmouth (on Cape Cod), Massachusetts. The popular Summer Stock playhouse which opened in 1949 (and was destroyed by fire in 1994) presented nine different weekly productions beginning on July 2nd, 1955 and closing September 4th, 1955 ..... Of specific importance is the World Premiere engagement of the ARTHUR KOBER and GEORGE OPPENHEIMER play "A MIGHTY MAN IS HE" which starred CLAUDETTE COLBERT, who for the first time in her career sang onstage. The song, written by a young STEPHEN SONDHEIM, is among his earliest credits. In an article in the previous week's program (third scanned image), the song, "Rag Me That Mendelssohn March" is mentioned by name. The actual program credit (shown in the fourth scanned image) does not include the song title. The play would eventually open January 6th, 1960 at New York's Cort Theatre (without Claudette Colbert or Sondheim's song) and would survive for only five performances ..... The nine programs in the bound volume are (1) FRANCHOT TONE in Edward Chodorov's "OH, MEN! OH, WOMEN!" (July 2nd, 1955) featuring Betsy Von Furstenberg; (2) EVA MARIE SAINT in N. Richard Nash's "THE RAINMAKER" (July 11th, 1955) featuring Will Geer and Arthur Storch; (3) CATHY O'DONNELL and ESTELLE WINWOOD in Anita Loos' "GIGI" (July 18th, 1955) featuring Josephine Brown; (4) DONALD COOK and JOHN DALL in Leslie Stevens' "CHAMPAGNE COMPLEX" (July 25th, 1955) featuring Monica Lovett; (5) SARAH CHURCHILL in S. N. Behrman's "NO TIME FOR COMEDY" (August 1st, 1955) featuring Butterfly McQueen and Frances Tannehill; (6) JEFFREY LYNN in Herman Wouk's "THE CAINE MUTINY COURT-MARTIAL" (August 8th, 1955) featuring Stephen Elliott; (7) CLAUDETTE COLBERT in Arthur Kober and George Oppenheimer's "A MIGHTY MAN IS HE" (August 15th, 1955) featuring Joan Wetmore; (8) DOROTHY STICKNEY in Meade Roberts' "A PALM TREE IN A ROSE GARDEN" (August 22nd, 1955) featuring Alice Ghostley and Barbara Baxley; (9) VAN HEFLIN in Arthur Miller's "A VIEW FROM THE BRIDGE" (August 29th, 1955) featuring Carrol Naish, Eileen Heckart and Jack Warden ..... DETAILS: The 188 page book measures 6 1/4" X 9 1/4" inches and includes the complete season of programs with full production credits, synopsis of scenes, photos and bios of the leading actors, promotional text and vintage advertising. The bound volume belonged to a Henry T. Weinstein, whose name is engraved in gold on the front cover. "Falmouth Playhouse - 1955" is printed in gold on the binding ..... CONDITION: With the exception of light edge wear to the cover, this rare volume is in excellent condition and will make a wonderful addition to the collection of any theatre aficionado or historian. This item will be carefully packaged in a protective, carded sleeve, backed by stiff cardboard and bubble wrapped.

Sold on eBay April 15th, 2025

Ethel Merman "HUMPTY DUMPTY" ("Take a Chance") 1932 World Premiere Playbill

I'm currently listing a large number of playbills from out-of-town tryouts prior to the Broadway runs. Many are from early performances when revisions were common and include song titles that were cut before opening in New York. (See cut songs below.) ....... This is a rare September 12th, 1932 "Playgoer" playbill from the Pre-Broadway tryout and WORLD PREMIERE engagement of the B. G. "Buddy" DeSYLVA and LAURENCE SCHWAB musical comedy "HUMPTY DUMPTY" at the Nixon Theatre in Pittsburgh, Pennsylvania. (The production opened September 12th, 1932 and played only five performances in Pittsburgh before closing for revisions. After considerable rewrites, the show returned to the road retitled "TAKE A CHANCE", eventually opening November 26th, 1932 at the Apollo Theatre in New York City and running for 243 performances.) ..... The cast included ETHEL MERMAN, EDDIE FOY, Jr., SID SILVERS, LOU HOLTZ, JUNE KNIGHT, LISA SILBERT, DORIS GRODAY, DOUGLAS WOOD, J. C. NUGENT, WILLIAM LYNN, WALTER ARMIN, HARRY T. SHANNON, OSCAR RAGLAND, SARA JANE, VERNON BIDDLE, TONI CHASE, EDITH SPEARE, O. J. VANASSE, TOM DIAMOND, MARY DAY, BOBBY DAY, THOMAS LADD, JACK ARMSTRONG, BUDD KELHNER, PAUL PEGUE, EDWARD DELRIDGE, NEIL EVANS, CHET BREE and WILLIAM H. STAMM ..... Side note: Humpty-Dumpty was a thinly plotted musical comedy about a theatrical family backing a musical revue concerning great moments in American history featuring a cast that included LOU HOLTZ, SID SILVERS, EDDIE FOY, Jr. and ETHEL MERMAN (in only her third musical). After a disastrous five-performance run in Pittsburgh, Humpty-Dumpty closed for repairs. The sketches were reduced, VINCENT YOUMANS was brought in to beef up the score, and all of the principal cast members, save MERMAN and SILVERS were replaced. The new line-up would feature JACK WHITING and JUNE KNIGHT as the backer and the star (in a romance of course) and JACK HALEY as another comic. Retitled Take a Chance, the show finally opened in November and was a surprise hit ..... CREDITS: Book and Lyrics by LAURENCE SCHWAB and B. G. DeSYLVA; Music by NACIO HERB BROWN and RICHARD WHITING; Sets designed by CLEON THROCKMORTON; Costumes designed by KIVIETTE and CHARLES LeMAIRE; Musical Arrangement for Miss Merman by ROGER EDENS; Choreographed by GEORGIE HALE; Directed by LAURENCE SCHWAB; Produced by LAURENCE SCHWAB and B. G. De SYLVA ..... DETAILS: The sixteen page program measures 5 7/8" X 8 7/8" inches and includes full production credits, cast list, synopsis of scenes, list of musical numbers, promotional text, a photo of ETHEL MERMAN and wonderful vintage advertising ..... CUT SONGS: The list of musical numbers includes "Humpty Dumpty" and "Way Ahead of the Game" which were cut out-of-town ..... CONDITION: With the exception of a light vertical crease, this program is in excellent condition and will make a wonderful addition to the collection of any musical theatre aficionado or historian. This item will be carefully packaged in a protective, carded sleeve and backed by stiff cardboard.

Sold on eBay January 18th, 2025

Noel Coward (Signed) "NUDE WITH VIOLIN" Joyce Carey / Luba Malina 1957 Playbill

Sold on eBay October 19th, 2023

DEATH OF A SALESMAN 2022 Cast Andre De Shields, Wendell Pierce Signed Playbill

eBay DEATH OF A SALESMAN 2022 Cast Andre De Shields, Wendell Pierce Signed Playbill Click images to enlarge Description This cast signed Playbill was generously donated by the Broadway company of Death of a Salesman. The windowcard has been autographed by 16 members of the 2022 Broadway Opening Night cast. The signatures I've identified include: Sharon D Clarke Wendell Pierce McKinley Belcher III André De Shields Blake DeLong Lynn Hawley Grace Porter Stephen Stocking Delaney Williams Understudies: Jerome Preston Bates, Brandon E. Burton, David Rosenberg, Lisa Strum, and Shona Tucker The Playbill photographed is the Playbill up for auction so please feel free to use the full size images to check signature placement & condition, and for additional signature identification. The Playbill does have flaws that I have tried to highlight in detail images. PLEASE CHECK FULL SIZE IMAGES BEFORE BIDDING. Thank you & happy bidding! Payment PayPal only. Shipping Unless explicitly stated otherwise, all windowcards will be shipped flat. Combined shipping offered for multiple items won during a 7 day period. If you are bidding on additional items please message us so we can arrange delayed payment & combined shipping. Domestic shipping via UPS or USPS Priority (for PO Box addresses). All international shipping via USPS Priority International. International Buyers Please Note: Import duties, taxes, and charges are not included in the item price or shipping cost. These charges are the buyer's responsibility. Please check with your country's customs office to determine what these additional costs will be prior to bidding or buying. Note: It's illegal to falsify customs declarations or mark an item as a "gift" in order to avoid customs fees. Due to the limited (or even one of a kind) nature of our items, we only ship using methods that include tracking information. Terms of Sale Although Broadway Cares has endeavored to catalog and describe all items as accurately as possible, all items are sold "As Is." About Us Broadway Cares/Equity Fights AIDS is one of the nation’s leading industry-based, nonprofit AIDS fundraising and grant-making organizations. By drawing upon the talents, resources, and generosity of the American theatre community, since 1988 Broadway Cares/Equity Fights AIDS has raised more than $285 million for essential services for people with AIDS and other critical illnesses across the United States. Broadway Cares/Equity Fights AIDS is the major supporter of the social service programs at The Actors Fund, including the HIV/AIDS Initiative, the Phyllis Newman Women’s Health Initiative and the Samuel J. Friedman Health Center for the Performing Arts. Broadway Cares also awards annual grants to more than 450 AIDS and family service organizations in all 50 states, providing lifesaving medication, healthy meals, counseling and emergency assistance. Contact Us BC/EFA's office hours are Monday through Thursday 10 AM to 6 PM EST and Friday 10 AM to 3 PM EST. All eBay.com auction related inquiries that are received while our office is closed will be handled the next business day. Get images thatmake Supersized seem small.Showcase your items with Auctiva sListing Templates!THE simple solution for eBay sellers. Track Page Views WithAuctiva's Counter

Sold on eBay Apr, 18th 2020

Tod Slaughter "SWEENEY TODD" (Before Sondheim) Barnstormers 1932 London Playbill

Sold on eBay October 17th, 2024

Zasu Pitts "CORDELIA" Nancy (Reagan) Davis 1946 FLOP New Haven Tryout Playbill

Sold on eBay May 7th, 2024

Lea Michele "RAGTIME" Audra McDonald / Judy Kaye 1998 Opening Night Playbill

Sold on eBay Apr, 14th 2020

Billy Dee Williams "COOL WORLD" Cicely Tyson 1960 FLOP Opening Night Playbill

Sold on eBay May 10th, 2024

Lerner and Loewe "WHAT'S UP" Jimmy Savo / Johnny Morgan 1943 Broadway Playbill

Sold on eBay Dec 03, 2021

AREN'T WE ALL? 1985 Playbill Signed JEREMY BRETT REX HARRISON +4 / Autographed

Sold on eBay Jun, 8th 2020

Dorothy Loudon (Signed) "BALLROOM" Vincent Gardenia 1978 Opening Night Playbill

Sold on eBay May 31st, 2024

LOT OF 53 Vintage Playbills - Colonial Theatre - Boston, 1960's 1970's

Sold on eBay November 16th, 2023

Wicked the Musical PROGRAM & PLAYBILL (Original Broadway Cast) Menzel Chenoweth

Sold on eBay October 9th, 2024

1985 Aren’t We All Playbill Signed by Rex Harrison Claudette Colbert Lynn Redgra

Sold on eBay May 5th, 2024

LEGENDARY DANCER ISADORA DUNCAN RARE 1916 DANCE PROGRAM

A rare large original 1916 dance program for the legendary Isadora Duncan. Four pages. Dimensions ten and three quarters by five and a half inches. Light wear otherwise good. See Isadora Duncan's extraordinary biography below. Shipping discounts for multiple purchases. Inquiries always welcome. Please visit my other eBay items for more early ballet and dance memorabilia, early theatre, opera, film, magic, and historical autographs, photographs, programs and broadsides, and great actor and actress cabinet photos and CDV's.From Isadora Duncan (May 26, 1877 or May 27, 1878[a] – September 14, 1927) was an American and French dancer who performed to acclaim throughout Europe. Born in California, she lived in Western Europe and the Soviet Union from the age of 22 until her death at age 50, when her scarf became entangled in the wheels and axle of the car in which she was riding.Isadora Duncan was born in San Francisco, the youngest of the four children of Joseph Charles Duncan (1819–1898), a banker, mining engineer and connoisseur of the arts, and Mary Isadora Gray (1849–1922). Her brothers were Augustin Duncan and Raymond Duncan;[2] her sister, Elizabeth Duncan, was also a dancer.[3][4] Soon after Isadora's birth, her father was exposed to illegal bank dealings, and the family became extremely poor.[2]Her parents divorced when she was an infant,[5] and her mother moved with her family to Oakland, California, where she worked as a seamstress and piano teacher. From ages six to ten, Isadora attended school, but she dropped out, finding it constricting. As her family was very poor, she and her three siblings earned money by teaching dance to local children.[2]In 1896, Duncan became part of Augustin Daly's theater company in New York, but she soon became disillusioned with the form and craved a different environment with less of a hierarchy.[6] Her father, along with his third wife and their daughter, died in 1898 when the British passenger steamer SS Mohegan ran aground off the coast of Cornwall [7]WorkPhoto by Arnold Genthe of Duncan performing barefoot during her 1915–1918 American tourAbraham Walkowitz's Isadora Duncan #29, one of many works of art she inspired.Duncan began her dancing career at a very early age by giving lessons in her home to neighbourhood children, and this continued through her teenage years.[8] Her novel approach to dance was evident in these early classes, in which she "followed [her] fantasy and improvised, teaching any pretty thing that came into [her] head".[9] A desire to travel brought her to Chicago, where she auditioned for many theater companies, finally finding a place in Augustin Daly's company. This took her to New York City where her unique vision of dance clashed with the popular pantomimes of theater companies.[10] In New York, Duncan took some classes with Marie Bonfanti but was quickly disappointed in ballet routine.Feeling unhappy and unappreciated in America, Duncan moved to London in 1898. She performed in the drawing rooms of the wealthy, taking inspiration from the Greek vases and bas-reliefs in the British Museum.[11][12] The earnings from these engagements enabled her to rent a studio, allowing her to develop her work and create larger performances for the stage.[13] From London, she traveled to Paris, where she was inspired by the Louvre and the Exposition Universelle of 1900.[14]In 1902, Loie Fuller invited Duncan to tour with her. This took Duncan all over Europe as she created new works using her innovative technique,[15] which emphasized natural movement in contrast to the rigidity of tradition ballet.[16] She spent most of the rest of her life touring Europe and the Americas in this fashion.[17] Despite mixed reaction from critics, Duncan became quite popular for her distinctive style and inspired many visual artists, such as Antoine Bourdelle, Auguste Rodin, Arnold Rönnebeck, and Abraham Walkowitz, to create works based on her.[18]Duncan disliked the commercial aspects of public performance, such as touring and contracts, because she felt they distracted her from her real mission, namely the creation of beauty and the education of the young.[citation needed] To achieve her mission, she opened schools to teach young women her philosophy of dance. The first was established in 1904 in Berlin Grunewald Germany. This institution was the birthplace of the "Isadorables" (Anna, Maria-Theresa, Irma, Liesel, Gretel, and Erika[19]), Duncan's protégées who would continue her legacy.[20] Duncan legally adopted all six girls in 1919, and they took her last name.[21] After about a decade in Berlin, Duncan established a school in Paris that was shortly closed because of the outbreak of World War I.[22]In 1910, Duncan met the occultist Aleister Crowley at a party, an episode recounted by Crowley in his Confessions [23] He refers to Duncan as "Lavinia King", and used the same invented name for her in his novel Moonchild. Crowley wrote of Duncan that she "has this gift of gesture in a very high degree. Let the reader study her dancing, if possible in private than in public, and learn the superb unconsciousness — which is magical consciousness — with which she suits the action to the melody."[24] Crowley was, in fact, more attracted to Duncan's bohemian companion Mary Dempsey (a.k.a. Mary D'Este or Desti), with whom he had an affair. Desti had come to Paris in 1901 where she soon met Duncan, and the two became inseparable. Desti, who also appeared in Moonchild (as "Lisa la Giuffria") and became a member of Crowley's occult order,[b] later wrote a memoir of her experiences with Duncan.[25]In 1911, the French fashion designer Paul Poiret rented a mansion — Pavillon du Butard in La Celle Saint Cloud — and threw lavish parties, including one of the more famous grandes fêtes, La fête de Bacchus on June 20, 1912, re-creating the Bacchanalia hosted by Louis XIV at Versailles. Isadora Duncan, wearing a Greek evening gown designed by Poiret,[26] danced on tables among 300 guests; 900 bottles of champagne were consumed until the first light of day.[26]Duncan c. 1916–1918Duncan said to have posed for the photographer Eadweard Muybridge,[27] placed an emphasis on "evolutionary" dance motion, insisting that each movement was born from the one that preceded it, that each movement gave rise to the next, and so on in organic succession. Her dancing defined the force of progress, change, abstraction and liberation. In France, as elsewhere, Duncan delighted her audience.[28]In 1914, Duncan moved to the United States and transferred her school there. A townhouse on Gramercy Park was provided for its use, and its studio was nearby, on the northeast corner of 23rd Street and Fourth Avenue (now Park Avenue South).[29] Otto Kahn, the head of Kuhn, Loeb & Co., gave Duncan use of the very modern Century Theatre at West 60th Street and Central Park West for her performances and productions, which included a staging of Oedipus Rex that involved almost all of Duncan's extended entourage and friends.[30] During her time in New York, Duncan posed for a number of studies by the photographer Arnold Genthe.Duncan had been due to leave the United States in 1915 aboard the RMS Lusitania on its ill-fated voyage, but historians believe her financial situation at the time drove her to choose a more modest crossing.[31] In 1921, Duncan's leftist sympathies took her to the Soviet Union, where she founded a school in Moscow. However, the Soviet government's failure to follow through on promises to support her work caused her to return to the West and leave the school to her protégée Irma.[32] In 1924, Duncan composed a dance routine called Varshavianka to the tune of the Polish revolutionary song known in English as Whirlwinds of Danger [33]Philosophy and techniqueDuncan in a Greek-inspired pose and wearing her signature Greek tunic. She took inspiration from the classical Greek arts and combined them with an American athleticism to form a new philosophy of dance, in opposition to the rigidity of traditional ballet.Breaking with convention, Duncan imagined she had traced dance to its roots as a sacred art.[34] She developed from this notion a style of free and natural movements inspired by the classical Greek arts, folk dances, social dances, nature and natural forces as well as an approach to the new American athleticism which included skipping, running, jumping, leaping and tossing [citation needed]Duncan's philosophy of dance moved away from rigid ballet technique and towards what she perceived as natural movement. To restore dance to a high art form instead of merely entertainment, she strove to connect emotions and movement: "I spent long days and nights in the studio seeking that dance which might be the divine expression of the human spirit through the medium of the body's movement."[35] She believed dance was meant to encircle all that life had to offer—joy and sadness. Duncan took inspiration from ancient Greece and combined it with an American love of freedom. Her movement was feminine and arose from the deepest feelings in her body. This is exemplified in her revolutionary costume of a white Greek tunic and bare feet. Inspired by Greek forms, her tunics also allowed a freedom of movement that corseted ballet costumes and pointe shoes did not.[36] Costumes were not the only inspiration Duncan took from Greece: she was also inspired by ancient Greek art, and utilized some of its forms in her movement (see image) [37]Duncan wrote of American dancing: "let them come forth with great strides, leaps and bounds, with lifted forehead and far-spread arms, to dance."[38] Her focus on natural movement emphasized steps, such as skipping, outside of codified ballet technique. Duncan also cited the sea as an early inspiration for her movement.[39] Also, she believed movement originated from the solar plexus, which she thought was the source of all movement.[35] It is this philosophy and new dance technique that garnered Duncan the title of the creator of modern dance.Photo studies of Isadora Duncan made in New York by Arnold Genthe during her visits to America in 1915–1918 Personal lifeDuncan with her children Deirdre and Patrick, in 1913In both professional and private life, Duncan flouted traditional mores and morality. She was bisexual[40] and an atheist,[41] and alluded to her communism during her last United States tour, in 1922–23: she waved a red scarf and bared her breast on stage in Boston, proclaiming, "This is red! So am I!"[42]Duncan bore two children, both out of wedlock. The first, Deirdre Beatrice (born September 24, 1906), by theatre designer Gordon Craig, and the second, Patrick Augustus (born May 1, 1910),[43] by Paris Singer, one of the many sons of sewing machine magnate Isaac Singer. Both children drowned in the care of their nanny in 1913 when their runaway car went into the Seine [43]Following the accident, Duncan spent several months recuperating in Corfu with her brother and sister. She then spent several weeks at the Viareggio seaside resort with the actress Eleonora Duse. The fact that Duse had just left a relationship with the rebellious and epicene young feminist Lina Poletti fueled speculation as to the nature of Duncan and Duse's relationship, but there has never been any indication that the two were involved romantically [44]Duncan and Sergei YeseninIn her autobiography, Duncan relates that she begged a young Italian stranger, the sculptor Romano Romanelli,[45] to sleep with her because she was desperate for another baby. She became pregnant by him, and gave birth to a son on August 13, 1914; the infant died shortly after birth [46][47]In 1921, after the end of the Russian Revolution, Duncan moved to Moscow where she met the acclaimed poet Sergei Yesenin, who was 18 years her junior. On May 2, 1922, they married, and Yesenin accompanied her on a tour of Europe and the United States. However, the marriage was brief, and in May 1923 he left Duncan and returned to Moscow. Two years later, on December 28, 1925, Yesenin was found dead in his room in the Hotel Angleterre in St Petersburg in an apparent suicide [48]Duncan had a relationship with the poet and playwright Mercedes de Acosta, as documented in numerous revealing letters they wrote to each other.[49] In one, Duncan wrote, "Mercedes, lead me with your little strong hands and I will follow you – to the top of a mountain. To the end of the world. Wherever you wish."[50]Later lifeBy the late 1920s, Duncan's performing career had dwindled, and she became as notorious for her financial woes, scandalous love life and all too frequent public drunkenness as for her contributions to the arts. She spent her final years moving between Paris and the Mediterranean, running up debts at hotels. She spent short periods in apartments rented on her behalf by a decreasing number of friends and supporters, many of whom attempted to assist her in writing an autobiography. They hoped it might be successful enough to support her.[citation needed] In a reminiscent sketch, Zelda Fitzgerald wrote how she and F. Scott Fitzgerald, her husband, sat in a Paris cafe watching a somewhat drunk Duncan. He would speak of how memorable it was, but what Zelda recalled was that while all eyes were watching Duncan, Zelda was able to steal the salt and pepper shakers from the table.[51]In his book Isadora, an Intimate Portrait, Sewell Stokes, who met Duncan in the last years of her life, describes her extravagant waywardness. Duncan's autobiography My Life was published in 1927. The Australian composer Percy Grainger called Isadora's autobiography a "life-enriching masterpiece [52]DeathDuncan s tomb at Père Lachaise CemeteryOn the night of September 14, 1927, in Nice, France, Duncan was a passenger in an Amilcar CGSS automobile owned by Benoît Falchetto, a French-Italian mechanic. She wore a long, flowing, hand-painted silk scarf, created by the Russian-born artist Roman Chatov, a gift from her friend Mary Desti, the mother of American film director Preston Sturges. Desti, who saw Duncan off, had asked her to wear a cape in the open-air vehicle because of the cold weather, but she would only agree to wear the scarf.[53] As they departed, she reportedly said to Desti and some companions, "Adieu, mes amis. Je vais à la gloire !" ("Farewell, my friends. I go to glory!"); but according to the American novelist Glenway Wescott, Desti later told him that Duncan's actual parting words were, "Je vais à l'amour" ("I am off to love"). Desti considered this embarrassing, as it suggested that she and Falchetto were going to her hotel for a tryst.Her silk scarf, draped around her neck, became entangled around the open-spoked wheels and rear axle, pulling her from the open car and breaking her neck.[1] Desti said she called out to warn Duncan about the scarf almost immediately after the car left. Desti brought Duncan to the hospital, where she was pronounced dead.[53]As The New York Times noted in its obituary, Duncan "met a tragic death at Nice on the Riviera." "According to dispatches from Nice, Duncan was hurled in an extraordinary manner from an open automobile in which she was riding and instantly killed by the force of her fall to the stone pavement."[57] Other sources noted that she was almost decapitated by the sudden tightening of the scarf around her neck.[58] The accident gave rise to Gertrude Stein's mordant remark that "affectations can be dangerous".[59] At the time of her death, Duncan was a Soviet citizen. Her will was the first of a Soviet citizen's to be probated in the U.S.[60]Duncan was cremated, and her ashes were placed next to those of her children[61] in the columbarium at Père Lachaise Cemetery in Paris.[62] On the headstone of her grave is inscribed École du Ballet de l'Opéra de Paris ("Ballet School of the Opera of Paris ) LegacyDuncan is known as "The Mother of Dance". While her schools in Europe did not last long, Duncan's work had impact in the art and her style is still danced based upon the instruction of Maria-Theresa Duncan,[63] Anna Duncan,[64] and Irma Duncan,[65] three of her six adopted daughters. The adoption process was never verified, but all six of Isadora's dancers did change their last name to Duncan. Through her sister, Elizabeth, Duncan's approach was adopted by Jarmila Je?ábková from Prague where her legacy persists.[66] By 1913 she was already being celebrated. When the Théâtre des Champs Élysées was built, Duncan's likeness was carved in its bas-relief over the entrance by sculptor Antoine Bourdelle and included in painted murals of the nine muses by Maurice Denis in the auditorium. In 1987, she was inducted into the National Museum of Dance and Hall of Fame.Anna, Lisa,[67] Theresa and Irma, pupils of Isadora Duncan's first school, carried on the aesthetic and pedagogical principles of Isadora's work in New York and Paris. Choreographer and dancer Julia Levien was also instrumental in furthering Duncan's work through the formation of the Duncan Dance Guild in the 1950s and the establishment of the Duncan Centenary Company in 1977 [68]Another means by which Duncan's dance techniques were carried forth was in the formation of the Isadora Duncan Heritage Society, by Mignon Garland, who had been taught dance by two of Duncan's key students. Garland was such a fan that she later lived in a building erected at the same site and address as Duncan, attached a commemorative plaque near the entrance, which is still there as of 2016. Garland also succeeded in having San Francisco rename an alley on the same block from Adelaide Place to Isadora Duncan Lane.[69][70]In medicine, the Isadora Duncan Syndrome refers to injury or death consequent to entanglement of neckwear with a wheel or other machinery [71]In popular cultureDuncan has attracted literary and artistic attention from the 1920s to the present, in novels, film, ballet, theatre, music, and poetry.Duncan has been portrayed in novels including Aleister Crowley's Moonchild (as 'Lavinia King'), published in 1923,[72] and Upton Sinclair's World's End (1940) and Between Two Worlds (1941), the first two novels in his Pulitzer Prize winning Lanny Budd series.[73] She is also the subject of Amelia Gray's novel Isadora (2017).[74] Two characters in the A Series of Unfortunate Events series of novels are named after her, Isadora Quagmire and Duncan Quagmire [75]Among the films featuring Duncan are:The 1966 BBC biopic by Kenneth Russell, Isadora Duncan, the Biggest Dancer in the World, which was introduced by Duncan's biographer, Sewell Stokes, Duncan was played by Vivian Pickles.[76]The 1968 film Isadora, nominated for the Palme d'Or at Cannes, stars Vanessa Redgrave as Duncan. The film was based in part of Duncan's autobiography. Redgrave was nominated for the Academy Award for Best Actress for her performance as Duncan [76][77]Archival footage of Duncan was used in the 1985 popular documentary That's Dancing [78][79]A 1989 documentary, Isadora Duncan: Movement from the Soul, was nominated for the Grand Jury Prize at the 1989 Sundance Film Festival [80]Ballets based on Duncan include:In 1976 Frederick Ashton created a short ballet entitled Five Brahms Waltzes in the Manner of Isadora Duncan for Lynn Seymour of the Royal Ballet, in which "Ashton fused Duncan's style with an imprint of his own"; Marie Rambert claimed after seeing it that it was exactly as she remembered Duncan dancing.[81]In 1981, she was the subject of a ballet, Isadora, written and choreographed by the Royal Ballet's Kenneth MacMillan, and performed at Covent Garden.[82]On the theatre stage, Duncan is portrayed in:A 1991 stage play When She Danced by Martin Sherman about Duncan's later years, won the Evening Standard Award for Vanessa Redgrave as Best Actress.[83]In 2016, Lily-Rose Depp portrayed Duncan in The Dancer, a French biographical musical drama of dancer Loie Fuller [84]Duncan is featured in music in:The popular 1970s TV sitcom Maude mentions her in its theme song: "Isadora was the first bra burner Ain t ya glad she showed up?"Celia Cruz recorded a track titled Isadora Duncan with the Fania All-Stars for the album Cross Over released in 1979.[85]Rock musician Vic Chesnutt included a song about Duncan on his debut album Little.[86]Rock band Burden of a day included a song about Duncan on their album the poem Fever 103 by Sylvia Plath, the speaker alludes to Isadora's scarves.

Sold on eBay March 26th, 2024

Rodgers and Hart "COCHRAN'S 1930 REVUE" Maisie Gay 1930 London Pavilion Program

Sold on eBay August 17th, 2023

Alfred Lunt "THE VISIT" Lynn Fontanne / Thomas Gomez 1958 Souvenir Program

Sold on eBay May, 17th 2020

Lunt & Fontanne (Signed) "REUNION IN VIENNA" Robert E. Sherwood 1932 Playbill

Sold on eBay August 25th, 2023

Rodgers and Hart "SIMPLE SIMON" Ed Wynn / Ruth Etting / Sondheim Ad 1930 Program

This is a beautiful February 24th, 1930 program (playbill) from the opening weeks of the Original Broadway production of the ED WYNN, GUY BOLTON, RICHARD RODGERS and LORENZ HART musical comedy "SIMPLE SIMON" at the Ziegfeld Theatre in New York City. (The production opened February 18th, 1930 and ran for 135 performances.) ..... The musical starred ED WYNN "The Perfect Fool" and featured RUTH ETTING, PAUL STANTON, ALFRED P. JAMES, WILL AHERN, BOBBE ARNST, BEN CARSWELL, DOREE LESLIE, LENNOX PAWLE, HUGH CAMERON, Master GEORGE OFFERMANN, GIL WHITE, ALAN EDWARDS, HELEN WALSH, HAZEL FORBES, DOUGLAS STANBURY, JOSEPH SCHRODE, PETE LA DELLA, FRANK DE WITT, WILLIAM J. FERRY, HARRIET HOCTOR, MARY COYLE, CLEMENTINE RIGEAU, ELAINE MANN, AGNES FRANEY, VIRGINIA McNAUGHTEN, PATSY O'DAY, ELSIE BEHRENS, MABLE BAADE, MARIE CONWAL, GLADYS PENDER, DOROTHY PATTERSON, LOIS PECK, NEVA LYNN, DOLORES GRANT, FRIEDA MIERSE, GEORGIA PAYNE, CAJA ERIC, BLANCHE SATCHEL, MARION DODGE and PIRKKO ALQUIST ..... CREDITS: Music by RICHARD RODGERS; Lyrics by LORENZ HART (together, the composer and lyricist for "The Boys From Syracuse", "A Connecticut Yankee", "Babes In Arms", "By Jupiter", "Higher and Higher", "Pal Joey", "I Married An Angel", "I'd Rather Be Right", "Too Many Girls" and "On Your Toes"); Book by ED WYNN and GUY BOLTON; Sets designed by JOSEPH URBAN; Costumes designed by SCHNEIDER ANDERSON; Artistic Direction by JOHN W. HARKRIDER; Choreographed by SEYMOUR FELIX; Directed by ZEKE COLVAN; Produced by FLORENZ ZIEGFELD, Jr. ..... DETAILS: The 52 page program measures 5 1/4" X 7 7/8" inches and includes full production credits, cast list, synopsis of scenes, list of musical numbers, bios of each of the leading actors and wonderful vintage advertising, but no cast photos. Producer FLORENZ ZIEGFELD has added full page photos of the stars of his current and upcoming Broadway shows. These include his wife, BILLIE BURKE, EVELYN LAYE in "Bitter Sweet" and MARILYN MILLER, FRED ASTAIRE and ADELE ASTAIRE (in "Smiles", a new production opening in November) ..... BONUS: Includes a full page ad featuring BARBARA NEWBERRY, wearing a new Spring Ensemble from Alex A. Aarons and Vincent Freedley's latest musical "HEADS UP". The gown was created by HERBERT SONDHEIM (Stephen Sondheim's father) of Sondheim-Levy, New York (shown in the fifteenth scanned image) ..... CONDITION: With the exception of minor edge wear, this rare playbill is in excellent condition and will make a wonderful addition to the collection of any musical theatre aficionado or historian. This item will be carefully packaged in a protective, carded sleeve and backed by stiff cardboard.

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