Playbill Collectibles : Playbill+studio Value Guide - Price List

Sold on eBay Feb 20, 2023

beatlemania playbill

Sold on eBay March 17th, 2025

SUNDAY IN THE PARK WITH GEORGE - ULTIMATE Playbill Collection - STEPHEN SONDHEIM

This is a MEGA collection of Playbills from various productions of SUNDAY IN THE PARK WITH GEORGE by Stephen Sondheim and James Lapine. Includes an OPENING NIGHT Playbill from all THREE Broadway productions!!! Also includes various UK productions and other rare treats including autographs, the rare 10th Anniversary Reunion Concert, and the SUPER RARE pre-Broadway workshop at Playwrights Horizons!!! A great chance to own a HUGE slice of musical theater history! Sunday in the Park with George (1983) {Pre-Broadway Workshop} (Playwrights Horizons) – July 1983 [Mandy Patinkin, Bernadette Peters, Kelsey Grammer, Christine Baranski, Danielle Ferland] – SUPER RARE! Sunday in the Park with George (1984) {OPENING NIGHT!} (Booth Theatre) – May 1984 [Mandy Patinkin, Bernadette Peters, Dana Ivey, Charles Kimbrough, Robert Westenberg, Brent Spiner, Nancy Opel, Barbara Bryne, Danielle Ferland, Judith Moore, Cris Groendaal, Melanie Vaughn, Mary d’Arcy] - RARE! Sunday in the Park with George (1984) (Booth Theatre) – October 1984 Sunday in the Park with George (1984) (Booth Theatre) – November 1984 Sunday in the Park with George (1984) (Booth Theatre) – June 1985 Sunday in the Park with George (1984) (Booth Theatre) – November 1985 Sunday in the Park with George (1986) (Long Beach Civic Light Opera, CA) – October - November, 1986 - RARE! Sunday in the Park with George (1990) – Program (Lyttelton Theatre at the Royal National Theatre, London) – March 1990 Sunday in the Park with George (1990) – Cast List (Lyttelton Theatre at the Royal National Theatre, London) – March 1990 Sunday in the Park with George (1994) [10th Anniversary Reunion Concert] (St. James Theatre) – May 15, 1994 [Mandy Patinkin, Bernadette Peters] - RARE! Sunday in the Park with George (1997) (The Kreeger Theatre; Arena Stage & Signature Theatre) – April - June 1997 [Sal Viviano, Liz Larsen] - RARE! Sunday in the Park with George (2001) (Parkland College Theatre, Champaign, IL) – March – April, 2001 Sunday in the Park with George (2002) – Kennedy Center Sondheim Celebration! (Kennedy Center, D.C.) – June 2002 [Raul Esparza, Melissa Ericco] Sunday in the Park with George (2005) (Menier Chocolate Factory, London) – November 2005 [Daniel Evans] Sunday in the Park with George (2006) (Wyndham’s Theatre, London) – 2006 [Daniel Evans, Jenna Russell] Sunday in the Park with George (revival) (2008) {OPENING NIGHT!} (Roundabout Theatre Company at Studio 54) – February 21, 2008 [Daniel Evans, Jenna Russell, Mary Beth Peil, Santino Fontana, Brynn O’Malley, Michael Cumpsty, Jessica Molaskey] Sunday in the Park with George (revival) (2008) {OPENING NIGHT w/SEAL!} (Roundabout Theatre Company at Studio 54) – February 21, 2008 [Daniel Evans, Jenna Russell, Mary Beth Peil, Santino Fontana, Brynn O’Malley, Michael Cumpsty, Jessica Molaskey] - RARE! Sunday in the Park with George (revival) (2008) (Roundabout Theatre Company at Studio 54) – April 2008 [Daniel Evans, Jenna Russell, Mary Beth Peil, Santino Fontana, Brynn O’Malley, Michael Cumpsty, Jessica Molaskey] Sunday in the Park with George (2016) (NY City Center Encores!) – September / October 2016 [Jake Gylenhaal, Analeigh Ashford, Phylicia Rashad] Sunday in the Park with George (2016) (Huntington Theatre Company, Boston, MA) – September / October 2016 Sunday in the Park with George (revival 2) {FIRST PERFORMANCE w/SEAL!} (2017) (Hudson Theatre) – February 11, 2017 [Jake Gylenhaal, Analeigh Ashford, Robert Sean Leonard] - RARE! Sunday in the Park with George (revival 2) {OPENING NIGHT w/SEAL!} (2017) (Hudson Theatre) – February 23, 2017 [Jake Gylenhaal, Analeigh Ashford, Robert Sean Leonard] Sunday in the Park with George (revival 2) {OPENING NIGHT w/SEAL!} (2017) (Hudson Theatre) – February 23, 2017 [Jake Gylenhaal, Analeigh Ashford, Robert Sean Leonard] Sunday in the Park with George (revival 2) {OPENING NIGHT w/SEAL & AUTOGRAPHS!} (2017) (Hudson Theatre) – February 23, 2017 [Jake Gylenhaal, Analeigh Ashford, Robert Sean Leonard] - RARE! Sunday in the Park with George (revival 2) (2017) (Hudson Theatre) – April 2017 [Jake Gylenhaal, Analeigh Ashford, Robert Sean Leonard] Sunday in the Park with George (2023) (Pasadena Playhouse) – February 2023 Sunday in the Park with George (2024) (Axelrod Performing Arts Center, Vogel Auditorium, Deal Park, NJ) – March 2024 Photos are scans of the covers of the actual Playbills you will be receiving! Check my other auctions for other Playbill and Playbill bundles. I will combine shipping on multiple item purchases!!!

Sold on eBay February 17th, 2024

Huge lot of 337 BROADWAY PLAYBILLS late 1950's to 1970's only - UNIQUE PLAYBILLS

*** HUGE PRICE REDUCTION ***You're looking a HUGE lot of 337 of random BROADWAY PLAYBILLS from the late 1950's to the early 1970's only. All the playbills are unique for the theatre and years of issue. In other words, there are no exact duplicates, but plays from the same theater for a different date with different cover and contents. These programs are used, but in good vintage condition overall. Some of the programs are in better condition than others (none of them is complete beat up). The programs have imperfections such as: corner dings, creases, fold marks, writing (like a date on the show), sticker on cover page (with date), staple marks (from ticket stub), clear tape on corner of cover page, very small insignificant tears, minor cover page/spine wear, discoloration or staining due to age, and other similar imperfections. See pictures. Other minor flaws may be present. What you see is what you get. A few of these programs may come with original inserts. To be sold as a lot only. Great starter collection or opportunity to add to your playbill collection Please note: I threw in some extra free (unique) playbills with condition issues (like loose cover page, more staining, etc.) to bump the actual number of playbills to 348.Here's a link to my UPS, USPS or FedEx Ground shipping within Continental US. Priority Mail international shipping is $250.Please ask any questions before making a purchase. Thanks and good luck! Complete list of programs in alphabetical order:1.) Actors Studio Theater, The Productions 193-1964 (Morosco 1964)2 ) Affair, The (Henry Miller's, 1962)3.) All The Way Home (Belasco, 1960)4.) American Ballet Theatre (Metropolitan Opera House, 19??)5.) An Evening With Yves Montand (Henry Miller's, 19??)6.) Andersonville Trial, The (Henry Miller's, 19??)7.) Annie Get Your Gun (Forrest, 1966)8.) Any Wednesday (Music Box, 1964)9.) Applause (Palace, 1970)10.)Apple Tree, The (Shubert, 1966)11.)Aspern Papers, The (Playhouse, 1962)12.)At The Drop Of Another Hat (Booth, 1966)13.)Auntie Mame (Broadhurst, 19??)14.)Back To Methuselah (Ambassador, 1958)15.)Bajour (Sam S. Shubert, 1965)16.)Baker Street (Broadway, 1965)17.)Ballad Of The Sad Cafe, The (Martin Beck, 1963)18 )Barefoot In The Park (Biltmore, 1964)19 )Barefoot In The Park (Blackstone, 1965)20 )Barefoot In The Park (Biltmore, 1965)21.)Becket (Royale, 1961)22.)Bells Are Ringing (Sam S. Shubert, 1958)23.)Bells Are Ringing (Sam S. Shubert, 1958) different cover issue24 )Ben Franklin In Paris (Lunt-Fontanne, 1964)25.)Best Man, The (Morosco, 1961)26.)Beyond The Fringe (John Golden, 1962)27.)Big Fish, Little Fish (Anta, 1961)28.)Black Comedy (Wilbur, 1967)29.)Black Comedy (Ethel Barrymore, 1967)30.)Bob And Ray The Two And Only (John Golden, 1971)31 )Boeing Boeing (Cort, 1965)32.)Bravo Giovanni (Broadhurst, 1962)33 )Brigadoon (City Center Of Music And Darma, 1963)34 )Butterflies Are Free (Booth, 1970)35.)Bye Bye Birdie (54th Street, 1960)36 )Cabaret (Imperial, 1967)37.)Cactus Flower (Royale, 1966)38 )Calculated Risk (Ambassador, 1963)39 )Caligula (54th Street, 19 )40 )Carnival (Imperial, 1961)41 )Carnival (Imperial, 1962)42 )Cocktail Party, The (Lyceum, 1968)43.)Chips With Everything (Plymouth, 1963)44 )Chinese Prime Minister, The (Royale, 1964)45.)Case Of Libel, A (Longacre, 1964)46.)Coco (Mark Hellinger, 1970)47.)Coco (Mark Hellinger, 1969)48.)Come Blow Your Horn (Brooks Atkinson, 1961)49.)Come Blow Your Horn (Shubert, 1969)50.)Comedy Francaise, The (City Center Of Music and Drama, 1961)51.)Comes A Day (Ambassador, 19 )52 )Conduct Unbecoming (Ethel Barrymore, 1970)53 )Country Wife, The (Henry Miller's, 1957)54 )Country Wife, The (Henry Miller's, 1957) different cover issue55 )Critic s Choice (Ethel Barrymore, 1961)56.)Cry For Us All (Broadhurst, 1970)57.)Cue For Passion (Henry Miller's, 19??)58.)D'Oyly Carte Opera Company, The (New York City Center, 1964)59.)Danny Kaye (Ziegfeld, 1963)60.)Dark At The Top Of The Stairs, The (Music Box, 19 )61 )Delicate Balance, A (Martin Beck, 1966)62.)Destry Rides Again (Imperial, 19 )63 )Devil s Advocate, The (Billy Rose, 1961)64 )Devils The (Broadway, 1963)65.)Dinner At Eight (Alvin, 1967)66 )Disenchanted The (Coronet, 1959)67 )Donnybrook (46th St., 1961)68.)Do Re Mi (St. James, 1961)69 )Elizabeth The Queen (City Center Of Music And Drama, 1966)70 )Entertainer The (Royale, 1958)71 )Entertainer The (Royale, 1958) different cover issue72 )Epitaph For George Dillon (John Golden, 1958)73 )Epitaph For George Dillon (Henry Miller's, 1959)74.)Family Affair, A (Billy Rose 1962)75 )Family Reunion, The (Phoenix, 1958)76 )Fantasticks The (Circle In The Square, 1970)77.)Far Country, A (Music Box, 1961)78 )Fightinh Cock, The (Anta, 1960)79 )Fiddler On The Roof (Broadway, 1971)80 )Fiddler On The Roof (Majestic, 1967)81 )Fiddler On The Roof (Majestic, 1968)82 )Fiddler On The Roof (Majestic, 19 )83 )Fiddler On The Roof (Imperial, 1964)84 )Fiddler On The Roof (Imperial, 1965)85 )Fiddler On The Roof (Imperial, 1967)86 )Finian s Rainbow (46th Street, 1960)87 )Finian s Rainbow (City Center Of Music And Drama, 1967)88 )Finian s Rainbow (City Center Of Music And Drama, 19 )89 )Fiorello (Broadhurst, 1960)90 )Fiorello (Broadway, 1961)91.)Five Finger Exercise (Music Box, 1960)92.)Folies Bergere (Broadway, 1964)93 )Follies (Winter Garden, 1972)94.)Forty Carats (Blackstone, 19??)95.)Forty Carats (Morosco, 1970)96.)49th Cousin, The (Ambassador, 1960)97.)Four On A Garden (National, 1970)98.)Four On A Garden (Colonial, 1970)99.)Funny Girl (Broadway, 1967)100.)Funny Girl (Majestic, 1966)101.)Funny Thing Happened On The Way To The Forum, A (Alvin, 1962)102.)Funny Thing Happened On The Way To The Forum, A (Lunt-Fontanne, 1972)103 )Gang s All Here, The (Ambassador, 1959)104.)Gay Life, The (Sam S. Shubert, 1961)105 )Generation (Morosco, 1966)106 )George M! (Palace, 1968)107.)Girls Against The Boys, The (Alvin, 1959)108 )Gilbert & Sullivan Company (City Center, 1968)109 )Gingerbread Lady, The (Plymouth, 1971)110.)Girl Who Came To Supper, The (Broadway, 1963)111.)Glass Menagerie, The (Brooks Atkinson, 1965)112 )Golden Boy (Majestic, 1965)113 )Golden Fleecing (Henry Miller's, 1959)114 )Golden Rainbow (Shubert, 1968)115 )Goldilocks (Lunt-Fontanne, 1958)116 )Goldilocks (Lunt-Fontanne, 1958) different cover issue117 )Golden Soldier Schweik, The (New York City Center, 1958)118.)Good Soup, The (Plymouth, 1960)119.)Grand Kabuki (City Center Of Music And Drama, 1960)120.)Great White Hope, The (Alvin, 1969)121 )Greenwillow (Alvin, 1960)122.)Guys And Dolls (City Center Of Music And Drama, 1963)123.)Gypsy (Imperial, 1960)124 )H M S Pinafore (Phoenix, 1960)125 )Hadrian VII (Helen Hayes, 1969)126.)Hair (Biltmore, 19??)127.)Half A Sixpence (Broadhurst, 1965)128 )Hamlet (Lunt-Fontanne, 1964)129 )Hamlet (Lunt-Fontanne, 1969)130 )Hamlet (Colonial, 1969)131 )Heartbreak House (Billy Rose, 1959)132 )Hello Dolly! (St. James, 1970)133 )Hello Dolly! (St. James, 1966)134 )Hello Dolly! (St. James, 1967)135 )Hello Dolly! (St. James, 1964)136.)Henry IV, Part 2 (Phoenix, 19 )137 )Here s Love (Sam S. Shubert, 1964)138 )Here s Love (Sam S. Shubert, 1964) different cover issue139 )High Spirits (Alvin, 1964)140.)Hit The Deck The Nautical Musical Comedy Hit! (Jones Beach Marine, 19??)141.)Home (Morosco, 1970)142.)How Now, Dow Jones (Lunt-Fontanne, 1968)143.)How The Other Half Loves (Wilbur, 19??)144.)How To Succeed In Business Without Really Trying (46th St., 1962)145 )Hostage The (Cort, 1960)146 )Hostage The (Eugene O'Neill, 1960)147.)I Do! I Do! (46th St., 1967)148.)I Never Sang For My Father (Longacre, 1968)149.)Illya Darling (Mark Hellinger, 1967)150 )Impossible Years, The (Playhouse, 1966)151 )Indians (Brooks Atkinson, 1969)152.)Irma La Douce (Plymouth, 1960)153 )Irregular Verb To Love, The (Ethel Barrymore, 1963)154 )Ivanov (Shubert, 1966)155 )Jamaica (Imperial, 1958)156.)JB (Anta, 1959)157 )Jennie (Majestic, 1963)158.)Joe Egg (Brooks Atkinson, 1968)159.)Kean (Broadway, 1961)160 )Killing Of Sister George, The (Belasco, 1966)161.)King And I, The (City Center Of Music And Drama, 1968)162.)Kiss Me Kate (CIty Center Of Music And Drama, 1963)163.)La Grosse Valise (Shubert, 1965)164.)La Plume De Ma Tante (Royale, 1959)165.)La Plume De Ma Tante (Royale, 1960)166.)Late Christopher Bean, The (Westport County Playhouse, 19 )167 )Laughs And Other Events (Ethel Barrymore, 1960)168.)Lion In Winter, The (Ambassador, 1966)169 )Little Me (Lunt-Fontanne, 1962)170.)Look Back In Anger (John Golden, 1958)171.)Lost In The Stars (Imperial, 1972)172.)Lute Song (City Center Of Music And Drama, 1959)173 )Luther (St. James, 1963)174.)Luv (Booth, 1965)175 )Majority Of One, A (Sam S. Shubert, 1959)176.)Make A Million (Morosco, 1959)177 )Malcolm (Shubert, 1966)178.)Mame (Winter Garden, 1965)179.)Man For All Seasons, A (Anta, 1962)180.)Man Of La Mancha (Anta Washington Square, 1967)181.)Man Of La Mancha (Valley Forge Music Fair, 1970)182.)Man Of La Mancha (Anta Washington Square, 1965)183.)Man Of La Mancha (National, 1969)184 )Marcel Marceau (City Center Of Music And Drama, 1960)185 )Martha Graham And Dance Company (54th Street, 1965)186 )Martha Graham And Her Dance Company (Adelphi, 1958)187.)Mary, Mary (Helen Hayes, 1961)188.)Me Nobody Knows, The (Helen Hayes, 1971)189 )Midsummer Night's Dream, A (City Center Of Music And Drama, 19??)190.)Milk & Honey (Martin Beck, 1962)191.)Minor Miracle (Henry Miller's, 1965)192 )Miracle Worker, The (Playhouse, 1960)193.)More Stately Mansions (Broadhurst, 1967)194 )Moscow Art Theatre (New York City Center, 195.)Most Happy Fella, The (?, 1957)196.)Most Happy Fella, The (City Center Of Music And Drama, 1966)197.)Mr. President (St. James, 1963)198.)Music Man, The (Majestic, 1959)199.)Music Man, The (Broadway, 1961)200.)Music Man, The (City Center Of Music And Drama, 1965)201.)My Daughter, Your Son (Booth, 1969)202.)My Fair Lady (City Center Of Music And Drama, 1968)203.)My Fair Lady (Broadway, 1962)204.)My Fair Lady (Mark Hellinger, 1959)205.)My Fair Lady (Mark Hellinger, 1961)206.)My Fair Lady (Mark Hellinger, 1958)207.)My Fair Lady (Mark Hellinger, 1959) different cover issue208 )National Repertory Theatre (National, 1967)209 )National Repertory Theatre (Colonial, 1965)210.)Never Too Late (Playhouse, 1963)211.)New Girl In Town (46th Street, 1958)212.)New Girl In Town (46th Street, 1958) different cover issue213 )New York City Opera 38th New York Season Spring 1963 (City Center Of Music And Drama, 1963)214.)New York City Opera 40th New York Season Fall 1964 (City Center Of Music And Drama, 1964)215.)NY City Ballet (City Center Of Music And Drama, 1960)216.)NY City Ballet (City Center Of Music And Drama, 1960) different cover/issue 217.)NY City Ballet (City Center Of Music And Drama, 1961)218.)No Place To Be Somebody (Anta, 1970)219.)No Strings (Broadhurst, 1963)220.)No Strings (54th Street, 1962)221 )Nobody Loves An Albatross (Lyceum, 1964)222.)No, No, Nanette (46th Street, 1971)223.)Odd Couple, The (Plymouth, 1966)224.)Odd Couple, The (Plymouth, 1965)225.)Odd Couple, The (Colonial, 1965) different cover issue226 )Octoroon The (Phoenix, 1961)227.)Oh What A Lovely War (Broadhurst, 1964)228.)Oh! Calcutta! (Belasco, 1972)229 )Oklahoma (City Center Of Music And Drama, 1963)230 )Oliver (Sam S. Shubert, 1964)231 )Oliver (Imperial, 1963)232.)On The Town (Imperial, 1971)233.)110 In The Shade (Broadhurst, 1964)234.)110 In The Shade (Broadhurst, 1963)235.)Our Town (Anta, 1969)236.)Pal Joey (City Center Of Music And Drama, 1961)237 )Passage To India, A (Ambassador, 1962)238.)Paul Taylor Dance Company, The (City Center O Music And Drama, 1969)239.)Penny Wars, The (National, 1969)240 )Period Of Adjustment (Helen Hayes, 1960)241 )Persecution And Assassination Of Marat (Martin Beck, 1966)242 )Philadelphia Here I Come (Helen Hayes, 1966)243 )Physicists The (Martin Beck, 1964)244.)Plays Of Shakespeare, The (Broadway, 1958)245.)Plaza Suite (Plymouth, 1969)246 )Pleasure Of His Company, The (Longacre, 1959)247 )Pleasure And His Company, The (Longacre, 1958)248 )Polish Mime Theatre (New York City Center, 1965)249 )Price The (Morosco, 1968)250 )Price The (46th Street, 1968)251 )Prisoner Of Second Avenue, The (Eugene O'Neill, 1972)252 )Prisoner Of Second Avenue, The (National, 1971)253 )Promenade All! (Alvin, 1972)254 )Promises Promises (Shubert, 1971)255 )Purlie (Broadway, 19 )256 )Purlie (National, 1972)257 )Purlie (Winter Garden, 1971)258.)Rape Of The Belt, The (Martin Beck, 1960)259 )Rehearsal The (Royale, 1963)260 )Repertory Theater Of Lincoln Center For The Performing Arts (Lincoln Center, 1965)261 )Rhinoceros (Longacre, 1961)262.)Roar Of The Greasepaint - The Smell Of The Crowd (American Theatre Saint Louis, 1967)263.)Roar Of The Greasepaint - The Smell Of The Crowd (Sam S. Shubert, 1965)264.)Roar Of The Greasepaint - The Smell Of The Crowd (Shubert, 1965)265.)Rose Tattoo, The (City Center Of Music And Drama, 1966)266 )Rosencrantz And Guldenstern Are Dead (Eugene O'Neill, 1965)267 )Rosencrantz And Guldenstern Are Dead (Shubert, 1969)268 )Rosencrantz And Guldenstern Are Dead (Alvin, 1967)269.)Ross (Eugene O'Neill, 1962)270 )Rothschilds The (Lunt-Fontanne, 1970)271.)Say, Darling (Anta, 1958)272.)Say, Darling (Anta, 1958) different cover issue273 )Say Darling (Anta, 19??)274.)1776 (46th Street, 1970)275.)1776 (Majestic. 1971)276 )Sherry (Alvin, 1967)277.)Sign In Sidney Brustein's Window (Henry Miller's, 1965)278 )Skyscraper (Lunt-Fontanne, 1965)279 )Sleuth (National, 1970)280 )Sleuth (Music Box, 1971)281.)South Pacific (City Center Of Music And Drama, 1965)282 )Spofford (Anta, 1968)283.)Sound Of Music, The (Lunt-Fontanne, 1960)284.)Sound Of Music, The (Mark Hellinger, 1963)285.)Sound Of Music, The (National (1963)286.)Star Spangled Girl, The (Plymouth, 1966)287.)Story Theatre (Ambassador, 1970)288 )Strange Interlude (Hudson, 1963)289 )Subject Was Roses, The (Helen Hayes, 1965)290 )Subways Are For Sleeping (St. James, 1962)291.)Sugar (Majestic, 1972)292 )Sunday In New York (John Golden, 1962)293 )Sunrise At Campobello (Cort, 1958)294.)Sweet Bird Of Youth (Martin Beck, 1959)295.)Take Her, She's Mine (Biltmore, 1962)296.)Take Her, She's Mine (Biltmore, 1961)297.)Take Me Along (Sam S. Shubert, 19??)298.)Taste Of Honey, A (Lyceum, 1960)299 )Tchin Tchin (Plymouth. 1962)300 )Tenderloin (46th Street, 1960)301 )Tenderloin (46th Street, 1960)302.)Tenth Man, The (Booth, 1959)303 )Theatre De France (New York City Center, 1964)304 )There s A Girl In My Soup (Music Box, 1968)305 )There s A Girl In My Soup (Music Box, 1967)306.)Third Best Sport (Ambassador, 1959)307.)Time Remembered (Morosco, 1958)308.)Touch Of The Poet, A (Helen Hayes, 1959)309.)Touch Of The Poet, A (Helen Hayes, 19 )310 )Tovarich (Broadway, 1963)311.)Toys In The Attic (Hudson, 1960)312.)Toys In The Attic (Hudson, 1960) different cover issue313 )Travita La (City Center Of Music And Drama, 1960)314.)12th Night, The (Broadway, 1958)315.)Twigs (Plymouth 1972)316 )Twigs (Broadhurst, 1971)317.)Two By Two (Imperial, 1970)318.)Two For The Seesaw (Booth, 1958)319.)Two For The Seesaw (Booth, 1958) different cover issue320 )Two Gentlemen Of Verona (St. James, 1972)321 )Unsinkable Molly Brown, The (Winter Garden, 1961)322 )Visit The (New York City Center, 1960)323 )Visit The (Morosco, 1958)324 )Visit The (Lunt-Fontanne, 1958)325.)Wait A Minim! (John Golden, 1966)326 )Walking Happy (Lunt-Fontanne, 1966)327.)West Side Story (City Center Of Music And Drama, 1964)328.)What Makes Sammy Run? (54th Street, 1964)329 )Where s Daddy? (Billy Rose, 1966)330.)Who Was That Lady I Saw You With? (Martin Beck, 1958)331.)Who's Afraid Of Virginia Woolf? (Billy Rose, 1962)332 )Wonderful Town (City Center Of Music And Drama, 1967)333.)You Know I Can't Hear You When The Water's Running (Ambassador, 1968)334.)You Know I Can't Hear You When The Water's Running (Ambassador, 1967)335 )You re A Good Man Charlie Brown (Ciricle In The Square at Ford's Theatre, 1971)336.)Zizi Jeanmaire (Broadway, 1964)337.)Zorba (Imperial, 1969)

Sold on eBay February 17th, 2024

Huge lot of 317 BROADWAY PLAYBILLS from the 1990's to early 2000's

*** HUGE PRICE REDUCTION ***You're looking a HUGE lot of 317 of random official BROADWAY PLAYBILLS from the 1980's to early 2000's only. Dimension are roughly 8.5" x 5.5" in size. They cover theaters all over America, but mostly from the NYC area. These playbills are unique for the theatre and years of issue. In other words, there are no exact duplicates, but plays from the same theater for a different date with different cover and contents. Some have black & white cover pages while other have colorized cover pages. These programs are used, but in good vintage condition overall. Some of the programs are in better condition than others (none of them is complete beat up). The programs have imperfections such as: corner dings, creases, fold marks, writing (like a date on the show), sticker on cover page (with date), staple marks (from ticket stub), clear tape on corner of cover page, very small insignificant tears, minor cover page/spine wear, discoloration or staining due to age, and other similar imperfections. See pictures. Other minor flaws may be present. What you see is what you get. A few of these programs may come with original inserts. To be sold as a lot only. Great starter collection or opportunity to add to your playbill collection Here s a link to my UPS, USPS or FedEx Ground shipping within Continental US. Priority Mail international shipping is $300..Please ask any questions before making a purchase. Thanks and good luck! Complete list of programs in mostly alphabetical order:1.) After-Play (Theatre Four, March 1996)2.) Agnes Of God (Music Box, April 1982)3.) Ain't Misbehavin' (Ambassador, November 1988)4.) Alvin Ailey American Dance Theater (City Center, December 1998)5.) Amadeus (Broadhurst, June 1983)6.) Amy's View (Ethel Barrymore, May 1999)7.) And The World Goes 'Round (Westside, November 1991)8.) Annie (Uris, August 1982)9.) Annie Get Your Gun (Marquis, February 2000)10.)Annie Get Your Gun (Marquis, January 2000)11 )Anything Goes (Lincoln Center At The Vivian Beaumont, June 1988)12 )Anything Goes (Lincoln Center At The Vivian Beaumont, July 1989)13.)Arms And The Man (Roundabout, May 1989)14.)Arms And The Man (Circle In The Square, 19 )15 )Aspects Of Love (Broadhurst, May 1990)16.)Baby (Ethel Barrymore, May 1984) Centennial Edition17.)Baby (Ethel Barrymore, March 1984)18.)Beauty Queen Of Leenane (Walter Kerr, November 1998)19.)Beauty Queen Of Leenane (Atlantic, April 1998)20.)Beauty And The Beast (Palace, January 1997)21.)Beauty And The Beast (Wang, July 1998)22 )Benefactors (Brooks Atkinson, January 1986)23.)Best Little Whorehouse In Texas, The (Eugene O'Neill, May 1982)24.)Biloxi Blues (Neil Simon, November 1985)25.)Biloxi Blues (Neil Simon, 19??)26.)Black And Blue (Minkoff, December 1989)27.)Blood Brothers (Music Box, July 1993)28.)Blue Window (Manhattan Club, February 1996)29 )Breaking Legs (Promenade, February 1992)30 )Brighton Beach Memoirs (Neil Simon, 19 )31 )Brighton Beach Memoirs (46th Street, 19 )32 )Broadway Jukebox (John Houseman, August 1990)33 )Broadway (Imperial, February 1990)34 )Broadway (John Houseman, July 1992)35 )Broadway Sound (Broadhurst, December 1986)36 )Cabaret (Roundabout At Studio 54, 19??)37.)Caine Munity Court-Martial, The (Circle In The Square, June 1983)38 )Caretaker The (Circle In The Square, February 1986)39 )Carousel (Lincoln Center At The Vivian Beaumont, May 1994) 40.)Catskills On Broadway (Lunt-Fontanne, January 1992)41 )Catskills On Broadway (Lyric Opera House, 19??)42.)Cats (Winter Garden, January 2000)43 )Chairs The (John Golden, May 1998)44 )Chicago (Colonial, December 1997)45 )Chicago (Richard Rodgers, November 1996)46 )Checkmates (46th Street, November 1998)47.)Chorus Line, A (Shubert, December 1995)48.)City Of Angels (Virginia, April 1990)49.)Come Back To The 5 & Dime Jimmy Dean, Jimmy Dean (Martin Beck, March 1982)50.)Comedy Tonight (Lunt-Fontanne, December 1994)51 )Conversations With My Father (Royale, January 1993)52.)Corn Is Green, The (Lunt-Fontanne, September 1993)53.)Crazy For You (Shubert, October 1994)54.)Crazy For You (Shubert, July 1992) colorized55 )Crucible The (Belasco, 1992)56 )Current Events (Manhattan Theatre Club, May 2000)57.)Dance Theatre Of Harlem (City Center, January 1982)58 )Dancing At Lughnasa (Plymouth, April 1992)59.)Death Of A Salesman (Broadhurst, April 1994)60.)Death Of A Salesman (Eugene O'Neill. June 1999 61 )Devil s Disciple, The (Circle In The Square, January 1989)62.)Dinah Was (Gramercy, August 1998)63.)Dirty Rotten Scoundrels (Opera House, March 2000)64.)Do Black Patent Leather Shoes Really Reflect Up? (Wilbur, April 1985)65 )Doctor s Dilemma (Roundabout, January 1990)66.)Doll's House, A (Belasco, May 1997)67 )Doubles (Ritz, 1985)68 )Dreamgirls (Merriam, )69 )Dreamgirls (Imperial, March 1982)70 )Dresser The (Brooks Atkinson, March 1982)71 )Driving Miss Daisy (John Houseman, December 1989)72 )Exactly Like You (York, April 1999)73.)Evita (Shubert, November 1982)74.)Evita (Colonial, May 1994)75.)Evita (Broadway, October 1982)76 )Father The (Roundabout Criterion Center Stage Right, January 1996)77.)Fences (46th Street, December 1987)78.)Few Good Men, A (Music Box, November 1989)79 )Fiddler On The Roof (Gershwin, March 1991)80.)Five Guys Named Moe (Eugene O'Neill, March 1992)81 )Flowering Peach. The (Lyceum, March 1994)82.)Food Chain, The (Westside August 1995)83 )Forbidden Broadway Cleans Up Its Act! (Stardust, December 1998)84 )Forever Tango (Marquis, June 1998)85 )Forever Tango (Walter Kerr, January 1998)86.)84 Charis Cross Road (Nederlander, January 1983)87.)42nd Street (St. James, June 1988)88.)42nd Street (Shubert, June 1984)89.)42nd Street (Majestic, January 1982)90 )Footloose (Richard Rodgers, February 1999)91.)Fosse (Broadhurst, August 1999)92.)Four Dogs And A Bone (Lucille Lortel, June 1994)93 )Foxfire (Ethel Barrymore, November 1982)94 )Foxfire (Colonial, October 1982)95 )Frankie And Johnny In The Clair De Lune (Westside Arts, September 1988)96.)Fuddy Meers (Minetta Lane, February 2000)97 )Grandma Sylvia's Funeral (Soho Playhouse, January 1996)98.)G.B. Shaw's Getting Married (Circle In The Square, July 1991)99.)Ghosts (Brooks Atkinson, September 1982)100 )George M. Cohan's Give Me Regards To Broadway (Playhouse 91, July 1989)101.)Glass Menagerie, The (Roundabout Criterion Center Stage Right, November 1994)102.)Grand Hotel The Musical (Martin Beck, May 1991)103.)Gross Indecency The Three Trials Of Oscar Wilde (Minetta Lane (July 1998)104.)Guys And Dolls (Martin Beck, April 1993)105.)Guys In The Truck, The (New Apollo, June 1983)106.)H2$ (Richard Rodgers, December 1995)107.)Hay Fever (Music Box, March 1986)108.)Heidi Chronicles, The (Plymouth, April 1990)109.)Heidi Chronicles, The (Plymouth, May 1989)110 )Hello Dolly (Lunt-Fontanne, January 1996)111 )Hello Dolly (Lunt-Fontanne, October 1995)112 )Holiday Heart (Manhattan Club At City Center, April 1995)113 )Homecoming The (Roundabout Criterion Center Stage Right, October 1991)114 )Hurrah At Last (Gramercy, June 1999)115 )Harrigan 'N Hart (Longacre, 1994)116.)Ian McKellen Acting Shakespeare (Ritz, January 1984)117.)Ice Cream With Hot Fudge (New York Shakespeare Festival, April 1990)118.)Ideal Husband, An (Ethel Barrymore, December 1996)119 )Impossible Marriage (Roundabout Criterion Center Laura Pels, October 1998)120 )Inside Out (Cherry Lane, November 1994)121.)Into The Woods (Martin Beck, July 1988)122 )Irish And How They Got That Way (Wilbur, March 1998)123.)Is There Life After High School? (Ethel Barrymore, April 1982)124.)Isn't It Romance (Walnut Street, November 1985)125 )Jackie (Belasco, February 1998)126 )Jackie Mason (Neil Simon, January 1991)127 )Jackie Mason's The World According To Me! (Brooks Atkinson, January 1987)128 )Jake s Women (Neil Simon, August 1992)129 )Jacques Brel Is Alive & Well & Living Paris (Arden, ?)130.)Jeffrey (Minetta Lane, May 1993)131 )Jekyll & Hude (Plymouth, July 1997)132 )Jekyll & Hyde (Plymouth, May 1998)133 )Jerry s Girls (St. James, February 1986)134.)Joe Turner's Come And Gone (Ethel Barrymore. April 1988)135 )Joseph And The Amazing Technicolor Dreamcoat Royale, Januar 1982)136 ) Joseph And The Amazing Technicolor Dreamcoat (Minskoff, December 1993)137 )Joyicity (Actors' Playhouse, September 1982)138.)Judas Kiss, The (Broadhurst, June 1998)139.)June Moon (Variety Arts, February 1998)140.)Kat And The Kings (Cort, August 1999)141 )Kentucky Cycle, The (Royale, November 1993)142.)King And I, The (Neil Simon, May 1997)143.)King And I, The (Neil Simon, April 1996) colorized144 )Knife The (New York Shakespeare Festival Public Theater, March 1987)145.)King Lear by William Shakespeare (Roundabout, October 1990)146.)Kiss Me Kate (Martin Beck, January 2000)147.)Kiss Of The Spider Woman (Broadhurst, June 1994)148.)Labor Day (Manhattan Theatre Club, June 1998)149.)La Cage Aux Folles (Palace, 1985)150 )Legends (Shubert, August 1986)151.)Les Miserables (Broadway, February 1988)152.)Les Miserables (Imperial, January 1996)153.)Les Miserables (Colonial, ?)154.)Lettice & Lovage (Ethel Barrymore, September 1990)155 )Lieutenant Of Inishmore (Atlantic Theater Company, March 2006)156.)Life On The Third Rail (Theatre At Saint Peter's Church, October 1990)157 )Lighthouse The (Boston Shakespeare, November 1983)158 )Lillian (Ethel Barrymore, February 1986)159.)Lips Together Teeth Apart (Manhattan Theatre Club At City Center (December 1991)160 )Little Family Business, A (Martin Beck, November 1982)161 )Little Hotel On The Side, A (Belasco, February 1992)162 )Little Like Magic, A (Lyceum, October 1986)163 )Little Me (Roundabout Theatre Company Criterion Center Stage Right, December 1998)164.)Long Day's Journey Into Night (Broadhurst, May 1986)165.)Lost In Yonkers (Richard Rodgers, March 1992)166.)Love Letters (Promenade, September 1989)167.)Love Thy Neighbor (Booth, December 1996)168.)M. (Eugene O'Neill, December 1988)169.)Ma Rainey's Black Bottom (Cort, October 1984)170 )Machinal (New York Shakespear Festival Public Theater, October 1990)171.)Magic On Broadway (Lamb's, April 1997)172.)Mamma Mia! (Colonial, April 2003)173.)Man And Superman (Arden, October 1993)164.)Marie Christine (Lincoln Center At The Vivian Beaumont, December 1999)165 )Master Class (John Golden, October 1996)166 )Master Harold...And The Boys (Lyceum, August 1982)167 )Matchmaker The (Roundabout At The Haft Theater, July 1991)168.)Me And My Girl (Marquis, July 1987)169.)Medea (Longacre, June 1994)170 )Merchant Of Venice, The (46th Street, February 1990)171 )Merlin (Mark Hellinger, March 1983)172 )Misalliance (Roundabout Criterion Center Laura Pels, September 1997)173 )Misanthrope The (Circle In The Square, February 1983)174 )Miser The (Circle In The Square, December 1990)175.)Miss Saigon (Broadway, January 1998)176 )Mizlansky Zilansky Ar Schmucks (Manhattan Theatre Club, March 1998)177 )Moliere Comedies The School For Husbands The Imaginary Cuckold (Roundabout Criterion Center Stage Right, February 1995)178.)Molly Sweeney (Roundabout Criterion Center Laura Pels, May 1996)179.)Month In The Country, A (Roundabout Criterion Center Stage Right, May 1995)180.)Moon For The Misbegotten (Walter Kerr, May 2000)181 )Moonlight (Roundabout Criterion Center Laura Pels, December 1995)182.)Music Man, The (Neil Simon, June 2000)183.)Music Of The Night (Colonial, November 1996)184.)My One And Only (St. James, August 1983)185 )Mystery Of Edwin Drood, The (Imperial, January 1986)186 )National Theatre Magazine, The (NTM, December 1983)187 )National Theatre Magazine, The (NTM, January 1984)188 )National Theatre Magazine, The (NTM, November 1983)189 )National Theatre Magazine, The (NTM, March 1984)190 )National Theatre Magazine, The (NTM, September 1984)191 ) Night Mother (John Golden, July 1983)192.)Night And Her Stars (Manhattan Club At The American Place Theatre, April 1995)193.)Nine (46th Street, May 1983)194.)New England (Manhattan Theatre Club At City Center, December 1995)195.)No Man's Land (Roundabout Theatre Company Criterion Center Stage Right, March 1994)196.)Not About Nightingales (Circle In The Square, May 1999)197 )Noises Off (Brooks Atkinson, 1984)198 )Noises Off (Brooks Atkinson, May 1984) Centennial Edition199 )Nunsense (Charles Playhouse, ?)200.)Nunsense (Boston Shakespeare, November 1986)201 )Nunsense (Douglas Fairbanks, November 1991)202.)Only Thing Worse You Could Have Told Me..., The (Actor's Playhouse, June 1995)203.)Open Admissions (Music Box, February 1984)204 )Orpheus Descending (Neil Simon, December 1989)205 )Oedipus (Blue Light At CSC Theater, October 1998)206 )Othello (Winter Garden, January 1982)207.)Over The River And Through The Woods (John Houseman, July 1999)208.)Mo Show: Parallel Lives (Westside Arts, July 1989)209.)Park Your Car In Harvard Yard (Music Box, ?)210.)Passion (Plymouth, October 1994)211.)Penn & Teller Rot In Hell (John Houseman, August 1991)212.)Peter Nero And The Philly Pops (Academy Of Music, 1991)213 )Phantom Of The Opera (Majestic, September 1991)214 )Phantom Of The Opera (Wang, February 2001)215 )Phantom Of The Opera (Majestic, March 1997)216 )Philadelphia Here I Come (Roundabout Criterion Center Stage Right, October 1994)217.)Piano Lesson, The (Walter Kerr, May 1990)218 )Picnic (Roundabout Criterion Center Stage Right, April 1994)219.)Play Me A Country Song, A (Virginia, June 1982)220 )Plenty (Plymouth, February 1983)221 )Politically Correct (John Golden, July 1994)222.)Porgy And Bess (Radio City Music Hall, April 1983)223 )Pounding Nails (Minetta Lane, March 1994)224.)Power Plays (Promenade, October 1998)225 )Prelude To A Kiss (Helen Hayes, October 1990)226 )Present Laughter (Circle In The Square, July 1982)227 )Present Laughter (Walter Kerr, January 1997)228 )Present Laughter (Walter Kerr, February 1997)229 )Private Lives (Lunt-Fontanne, May 1983)230 )Privates On Parade (Roundabout, October 1989)231 )Producers The (Colonial, July 2003)232 )Price The (Roundabout Criterion Center Stage Right. July 1992)233.)Price Of Fame (Roundabout, June 1990)234.)Queen And The Rebels, The (Plymouth, October 1982)235 )Ragtime The Musical (Ford Center For The Performing Arts, January 2000)236 )Ragtime The Musical (Ford Center For The Performing Arts, November 1998)237.)Real Thing, The (Plymouth, 1984)238.)Red Diaper Baby (Actor's Playhouse, July 1992)239.)Rise Of David Levinsky, The (John Houseman, February 1987)240.)Road Show (Circle Repertory Company, June 1987)241.)Rose Tattoo, The (Circle In The Square, June 1995)242 )Salome (Circle In The Square, June 1992)243 )Scapin (Roundabout Criterion Center Laura Pels, December 1996) 244.)Scarlet Pimpernel, The (Minksoff, November 1998)245 )Scarlet Pimpernel, The (Minksoff, January 1998)246 )Search And Destroy (Circle In The Square, February 1992)247 )Search For intelligent Signs In The Universe, The (Plymouth, June 1986)248 )Secret Garden, The (St. James, February 1992)249 )Secret Rapture, The (New York Shakespeare Festival Public Theater, September 1989)250 )Shadowlands (Brooks Atkinson, January 1991)251 )Shakespeare For My Father (Helen Hayes, April 1993)252 )Shirley Valentine (Booth, November 1989)253.)Show Boat (Lyric Opera House, 1982)254.)Show Boat (Gershwin, September 1996)255.)Side Show (Richard Rodgers, January 1998)256 )Singin In The Rain (Gershwin, 1985)257 )Sisters Rosensweig, The (Ethel Barrymore. July 1993)258.)Six Degrees Of Separation (Lincoln Center At The Mitzi E. Newhouse (September 1990)259.)Six Degrees Of Separation (Lincoln Center At The Vivian Beaumont, January 1991)260 )Smokey Joe's Cafe The Songs Of Leiber And Stoller (Virginia, December 1998)261 )Smokey Joe's Cafe The Songs Of Leiber And Stoller (Virginia, August 1995)262 )Social Security (Ethel Barrymore, September 1986)263 )Someone Who'll Watch Over Me (Booth, February 1993)264 )Sophisticated Ladies (Lunt-Fontanne, June 1982)265.)Speed The Plow (Royale, August 1988)266.)Speed The Plow (Royale, November 1988)267.)Spunk (New York Shakespeare Festival Public Theater, April 1990)268 )Starlight Express (Gershwin, August 1987) colorized269 )Starlight Express (Gershwin, October 1987)270 )Street Corner Symphony (Brooks Atkinson, November 1987)271 )Strike Up The Band (City Center, February 1998)272 )Steaming (Brooks Atkinson, January 1993)273.)Stomp (Wilbur, November 1997)274.)Stomp (Orpheum, May 1994)275 )Student s Prince, The (Playhouse 91, February 1989)276 )Streetcar Named Desire, A (Ethel Barrymore, May 1992)277.)Suds The Rocking 60's Musical Soap Opera (Criterion, November 1988)278 )Summer And Smoke (Roundabout Criterion Center Stage Company, September 1996)279 )Taffetas (Village Gate Upstairs, February 1989)280.)Talk Radio (New York Shakespeare Festival Public Theater, May 1987)281.)Tap Dance Kid, The (Minskoff, 1985)282.)Tap Dance Kid, The (Broadhurst, February 1984)283 )Tempest The (Roundabout, October 1989)284 )Tenderloin (City Center, March 2000)285.)Texts For Nothing (Joseph Papp, ?)286.)Three Birds Alighting On A Field (Manhattan Theatre Club At City Center, February 1994) 287.)Three Days Of Rain (Manhattan Theatre Club, December 1997)288.)Three Tall Women (Promenade, April 1994)289.)Tis Pity She's A Whore (New York Shakespeare Festival Public Theater, April 1992)290 )Titanic (Lunt-Fontanne, May 1998)291.)Torch Song Trilogy (Little Theatre, July 1982)292.)Torch Song Trilogy (Helen Hayes, 1985)293 )Treatment The (Joseph Rapp, November 1993)294.)Tru (Booth, March 1990)295.)Twice Around The Park (Cort, November 1982)296.)Two Trains Running (Walter Kerr, June 1992)297.)Wake Of Jamey Foster, The (Eugene O'Neill, October 1982)298.)Water Engine, The (Atlantic, October 1999)299 )What s Wrong With This Picture? (Brooks Atkinson, December 1994)300 )Welcome To The Club (Music Box, April 1989)301 )Whoop Dee Doo (Actors' Playhouse, September 1993)302 )Whoopi Goldberg (Lyceum, 1984)303.)Who's Tommy (St. James, September 1993)304.)Woman Of The Year (Palace, August 1982)305.)Woman Of The Year (Palace, February 1982)306 )Wonderful Town (Al Hirschfeld, January 2004)307.)World According To Me, The (Brooks Atkinson, April 1987)308 )Unidentified Himan Remains And The True Nature Of Love (Orpheum, October 1991)309 )Vampire Lesbians Of Sodom And Sleeping Beauty Or Coma (Provincetown Playhouse, January 1989)310 )Victor Victoria (Marquis, January 1996)311.)View From The Bridge, A (Ambassador, April 1983)312 )Visit The (Roundabout Criterion Center Stage Right, January 1992)313.)Vita & Virginia (Union Square, January 1995)314.)Will Rogers Follies A Life In The Revue (Palace, June 1991)315 )Years The (Manhattan Theatre Club At City Center, January 1993)316.)You Can't Take It With You (Plymouth, April 1983)317.)You Never Can Tell (Circle In The Square, November 1986)318.)Your Arms Too Short To Box With God (Alvin, October 1982)319.)Zorba (Broadway, December 1983)

Sold on eBay October 26th, 2024

WALNUT STREET THEATRE 1859 BROADSIDE BOHEMIAN GIRL ENGLISH OPERA COMPANY

A rare large original March 1859 broadside for the New Walnut Street Theatre, Philadelphia featuring The New Orleans English Opera Company in Balfe's Bohemian Girl with Rosalie Durand as Arline, with Morning Call as afterpiece. Dimensions nineteen and a half by ten inches. Light creasing, small punctures, edgewear to left side and small mounting hole at top margin otherwise good. See the story of the Walnut Street Theatre below. Shipping discounts for multiple purchases. Inquiries always welcome. Please visit my other eBay items for more early theatre, opera, film and historical autographs, photographs and programs and great actor and actress cabinet photos and CDV's. From Wikipedia: The Walnut Street Theatre at 825 Walnut Street on the corner of S. 9th Street in the Washington Square West neighborhood of Philadelphia, Pennsylvania, is the oldest continuously operating theatre in the English speaking world and the oldest in the United States.[3] The venue is operated by the Walnut Street Theatre Company, a non-profit organization, and has three stages: the Mainstage, for the company's primary and larger productions, the Independence Studio on 3, a studio located on the building's third floor for smaller productions, and the Studio 5 on the fifth floor, which is rented out for independent productions. The company wants to build a theatre in the round next door, where the parking lot currently is. The Walnut Street Theatre was built by the Circus of Pepin and Breschard, which toured the United States from 1807 until 1815. Pepin and Breschard constructed numerous venues in cities along the East Coast of the United States, which often featured, along with performances of their circus, classical plays as well as horse dramas.[5] The theatre was founded in 1809, going by the name of The New Circus. In 1811, the two partners commissioned architect William Strickland to design and construct a stage and orchestra pit for theatrical performances and the theatre's name was changed to The Olympic. The official website says that the name The Walnut Street Theatre was first used there in 1820, though the name was changed back to The Olympic in 1822 and to The Walnut again in 1828. A travel guidebook from 1849 indicates that in the mid 19th century, this building was called The American Theatre. The Walnut was the first theatre to install gas footlights in 1837. In 1855 it was also the first theatre to feature air conditioning. The theatre switched to electric chandeliers and footlights in 1892. The theatre has undergone many renovations since its opening. The first theatrical production at the theatre was The Rivals in 1812 (President Thomas Jefferson and the Marquis de Lafayette were in attendance). Edwin Booth and John Sleeper Clarke purchased the theatre in 1865, and then the theatre became part of The Shubert Organization in 1941. On October 15, 1966, The Walnut Street Theatre was designated a National Historic Landmark and in 1969, the theatre was purchased by a non-profit organization and turned over to the new Walnut Street Theatre Corporation. On September 23, 1976, it was the site of the debate between Gerald R. Ford and Jimmy Carter. The Walnut Street Theatre Company, a non-profit regional producing company, was formed in 1983. In 1984, the Walnut Street Theatre School was established and over 1,200 students enroll annually, and 1986 saw the introduction of the Independence Studio on 3 series. To this day, the company produces five productions a season on the theatre's main stage and is the most subscribed theatre company in the world. In Fall 2008, the theater celebrated its 200th season of live entertainment.

Sold on eBay November 4th, 2024

WALNUT STREET THEATRE RARE 1858 BROADSIDE THE YOUTH OF FREDERICK THE GREAT

A rare large original September 1858 broadside for Mrs. D. P. Bowers's New Walnut Street Theatre, Philadelphia featuring The Youth of Frederick the Great with All that Glitters Is Not Gold as afterpiece. Featured among both casts is Frank Drew, John Drew's brother and great uncle of Ethel, Lionel, and John Barrymore. Dimensions nineteen and a half by ten inches. Light creasing, small punctures and small mounting hole at top margin otherwise good. Mrs. D. P. Bowers was among the few female theatre managers of the era. See the story of the Walnut Street Theatre below. Shipping discounts for multiple purchases. Inquiries always welcome. Please visit my other eBay items for more early theatre, opera, film and historical autographs, photographs and programs and great actor and actress cabinet photos and CDV's. From Wikipedia: The Walnut Street Theatre at 825 Walnut Street on the corner of S. 9th Street in the Washington Square West neighborhood of Philadelphia, Pennsylvania, is the oldest continuously operating theatre in the English speaking world and the oldest in the United States.[3] The venue is operated by the Walnut Street Theatre Company, a non-profit organization, and has three stages: the Mainstage, for the company's primary and larger productions, the Independence Studio on 3, a studio located on the building's third floor for smaller productions, and the Studio 5 on the fifth floor, which is rented out for independent productions. The company wants to build a theatre in the round next door, where the parking lot currently is. The Walnut Street Theatre was built by the Circus of Pepin and Breschard, which toured the United States from 1807 until 1815. Pepin and Breschard constructed numerous venues in cities along the East Coast of the United States, which often featured, along with performances of their circus, classical plays as well as horse dramas.[5] The theatre was founded in 1809, going by the name of The New Circus. In 1811, the two partners commissioned architect William Strickland to design and construct a stage and orchestra pit for theatrical performances and the theatre's name was changed to The Olympic. The official website says that the name The Walnut Street Theatre was first used there in 1820, though the name was changed back to The Olympic in 1822 and to The Walnut again in 1828. A travel guidebook from 1849 indicates that in the mid 19th century, this building was called The American Theatre. The Walnut was the first theatre to install gas footlights in 1837. In 1855 it was also the first theatre to feature air conditioning. The theatre switched to electric chandeliers and footlights in 1892. The theatre has undergone many renovations since its opening. The first theatrical production at the theatre was The Rivals in 1812 (President Thomas Jefferson and the Marquis de Lafayette were in attendance). Edwin Booth and John Sleeper Clarke purchased the theatre in 1865, and then the theatre became part of The Shubert Organization in 1941. On October 15, 1966, The Walnut Street Theatre was designated a National Historic Landmark and in 1969, the theatre was purchased by a non-profit organization and turned over to the new Walnut Street Theatre Corporation. On September 23, 1976, it was the site of the debate between Gerald R. Ford and Jimmy Carter. The Walnut Street Theatre Company, a non-profit regional producing company, was formed in 1983. In 1984, the Walnut Street Theatre School was established and over 1,200 students enroll annually, and 1986 saw the introduction of the Independence Studio on 3 series. To this day, the company produces five productions a season on the theatre's main stage and is the most subscribed theatre company in the world. In Fall 2008, the theater celebrated its 200th season of live entertainment. Elizabeth Crocker Bowers (March 12, 1830 – November 6, 1895) [1] was an American stage actress and theatrical manager.[2][3] She was also known professionally as Mrs. D. P. Bowers. Early life Elizabeth Crocker Bowers was born March 12, 1830 in Stamford, Connecticut,[4] the daughter of an Episcopal clergyman[1] and sister of actress Sarah Crocker Conway (also known as Mrs. F. B. Conway).[4] Career and marriages[edit] In 1846, she appeared in the character of Amanthis [1] at the Park Theatre in New York City, New York. On March 4, 1847,[1][4] she married actor David P. Bowers,[3] and moved to Philadelphia. She appeared as Donna Victoria in A Bold Stroke for a Husband at the Walnut Street Theatre in Philadelphia. She became very popular at the Arch Street Theatre, and made Philadelphia her home until her husband's death in 1857. In December 1857, after a period of retirement from the stage, she leased the Walnut Street Theatre and retained its management until 1859. She then leased the Philadelphia Academy of Music for a short dramatic season. She married Dr. Brown of Baltimore in 1861.[3] and traveled to London. She made a great success as "Julia" in The Hunchback at the Sadler's Wells Theatre and "Geraldine D'Arcy" in Woman (play) at the Lyceum Theatre in London. Returning to New York City in 1863, she played for a time at the Winter Garden (now demolished). Among her favorite roles were Juliet, Lady Macbeth, Marie Antoinette, and Lady Audley. After the death of Dr. Brown in 1867, she married actor J. C. McCollom,[4] with whom she repeated many of her popular roles. Her subsequent retirement in Philadelphia was interrupted by a return to the stage in October 1886 for several years.[3] She organized a new dramatic company, and visited the principal cities of the U.S., playing many of her old and favorite characters. Under A. M. Palmer's management she appeared in Lady Windermere's Fan (1893), and later she was a supporting actress for Rose Coghlan and Olga Nethersole.[1] Bowers died of pneumonia and heart failure [4] on November 6, 1895[3] in at the home of her son-in-law, Frank Bennett, in Washington D.C. She was survived by a daughter, Mrs. F. V.(May) Bennett and two sons, Harry C. Bowers of Portland, OR and Walter Bowers of New York City.[5] She was buried at Rock Creek Cemetery in Washington, D.C.

Sold on eBay February 16th, 2024

Pianist SERGEI RACHMANINOFF / Masonic Auditorium 1934 Detroit Concert Program

This is a rare program (playbill) from the November 12th, 1934 concert recital of famed pianist SERGEI RACHMANINOFF at the Masonic Auditorium in Detroit, Michigan. The concert included works by Bach-Tausig, Beethoven, Brahms, Chopin and Liszt as well as Rachmaninoff's "Prelude", "Moment Musical" and "Oriental Sketch Biographical Note: Russian born SERGEI RACHMANINOFF (1873 - 1943) was one of the greatest pianists of all time and one of the most outstanding melodists amongst composers. He was born in Semyonovo, Russia on March 20th, 1873, into a musical family: his grandfather had been a pupil of John Field and his father, too, played the piano. When Sergei was nine, financial difficulties forced the sale of the family estate and they moved to St. Petersburg, where he took piano lessons at the Conservatory. cousin, the pianist and conductor Alexander Siloti, had studied in Moscow with Nikolai Zverev, and in 1885 made arrangements for Rachmaninoff to study with Zverev for three years. In 1888 Rachmaninoff began to study piano with Siloti himself and composition with Sergei Taneyev and Anton Arensky; he also received advice from Tchaikovsky, who was a friend of Siloti and his former teacher.Even before his graduation as a pianist in 1891, Rachmaninoff had composed what was to become his best-known work, the Prelude in C sharp minor. His graduation as a composer came in 1892: he was awarded a gold medal for his Pushkin opera Aleko. The premiere of his First Symphony, in Moscow in 1897, was a disaster (word was that the conductor, Alexander Glazunov, was drunk), and Rachmaninoff destroyed the score (fortunately, a set of parts survived, which allowed the reconstruction of the score after death). early career established a pattern he was to follow throughout his life: an uneasy struggle between performing and composing, with economic pressures usually ensuring that precedence needed to be given to the demands of the platform. He was an international figure as early as 1899, when he conducted a concert of his orchestral works in London, also playing some of his piano music Rachmaninoff began his Second Piano Concerto, one of the most frequently performed of all works in the genre, in 1900, completing it the following year, when his Cello Sonata was also composed. The little-heard cantata Spring followed in 1902, the year in which he married his cousin Natalya Satina; their daughter Irina was born in 1903. In 1904 Rachmaninoff took up a conductor’s post at the Bolshoi Opera in Moscow, stimulating the completion of two further operas, Francesca da Rimini and The Miserly Knight, in 1906. The pressures of conducting life in the Bolshoi persuaded the Rachmaninoffs to spend some time away from the capital, and they moved for a short while to Dresden, where he worked on his Second Symphony; Rachmaninoff himself conducted the premiere, in St. Petersburg, in 1908.The years up to the Russian Revolution were spent in an exhausting whirl of playing and conducting, with the family’s country estate at Ivanovka, in the countryside southeast of Moscow, offering a haven of peace where he could concentrate on composition. The works that emerged during this period include the Third Piano Concerto, the symphonic poem The Isle of the Dead, the choral symphony The Bells, and two acapella choral works, the Liturgy of St John Chrysostom and the Vespers.After the October Revolution in 1917 Rachmaninoff determined that he and his family would have to leave the country, and he accepted an invitation to perform in Stockholm. The composer, his wife and their two daughters left in December; he was never to return. They stayed briefly in Stockholm and Copenhagen, sailing to America in November 1918. There, his concert appearances increased, reducing his time for composition; he also began a career in the studio, producing recordings that eighty-odd years later are still regarded as some of the most valuable interpretations of his own and others’ music, ever committed to disc Rachmaninoff sought to recreate the peace he had found at Ivanovka by building a villa on the shores of Lake Lucerne, far from the insistent pressures of the international concert circuit, and here he wrote the Rhapsody on a Theme of Paganini and the Third Symphony which, in 1939, he recorded with the Philadelphia Orchestra, which maintained a long association with his music. His last large-scale masterpiece was the Symphonic Dances, composed in 1940; at the time of his last recital, on 17 February 1943, in Knoxville, Tennessee, he was already gravely ill, and he died on 28 March, in Beverley Hills. personal reserve was complemented by a deeply generous nature, which is reflected in the disciplined opulence of his music. Although his critical status fell somewhat during the post-War dominance of modernism, the affection in which his music was held by audiences never wavered, and now the critics are realizing that the public was right all along: music often attains greatness – there is individuality in its harmonic richness, orchestral coloration and melodic warmth which will guarantee it a permanent and much-loved place in the repertoire (www boosey com)DETAILS: The twelve page program measures 6 3/8" X 9 3/8" inches and includes a photo of Rachmaninoff, the concert repertoire, program notes and wonderful vintage advertising CONDITION: There is minor soiling to the front cover and one inside page, light creasing, moderate edge wear and the center pages have become detached from the staples. Despite these flaws, this rare program will make a wonderful addition to the collection of any classical music aficionado or historian. This item will be carefully packaged in a protective, carded sleeve and backed by stiff cardboard.

Sold on eBay March 7th, 2024

William Shatner & Sylvia Sidney Signed Playbill "Arsenic and Old Lace" July '73

Sold on eBay October 8th, 2023

CABARET, PLAYBILL, SEPTEMBER 2002, STUDIO 54

Every purchase will include 2 extra something for free, as a bonus. It's not going to be anything spectacular. It could be a random magnet from a show, it could be show flyer, an understudy slip, it could be a 'second' Playbill that has some damage. It could be something like a brand new Playbill that I just have a lot of. If you ask, I'll send you a picture of a few things and you can pick one! Questions and answers and more answers: A: I'm happy to combine shipping of items.A: If you want multiple items, let me know and we can try to work something out price wise. A: Posters will ship properly, flat, in a plastic sleeve, in a protector, in a large mailer.A: Playbills will ship flat, in a plastic sleeve in a bubble mailerA: Misc. items like cups or oddly sized/shaped items will be shipped as best as I can to make sure it arrives to you in great shape! A: Items labeled Window Card and/or Posters are 14"x22" unless otherwise noted above. Q: What is The Spanky Project?A: Spanky is/was the most amazing dog I ever could have ever asked for, and I didn't even go out looking for a dog, he adopted me. We were together for 15 years. I had to put him down in October of 2021 and I decided I wanted him to be my legacy, to leave his name around, long after I am gone (is the plan). I thought what better way, than to help those that can't help themselves, dogs like him! He was from the pound and I thought helping shelters rescues that are always needing help with supplies to keep themselves going would be a great way to give back and keep his memory alive. He was 17/18ish when I put him down, the hardest choice I have ever had to make. If you have any dogs, please give them some extra loving, because one day you won't be able to. Q: What about cats?A: Not a good show, imo. Q: People?A: I help people too, sometimes. I just prefer to help dogs. I recently bought a man a train ticket for $54 to get him back home because I thought it would be easier than him trying to hitchhike four hours back to Albany on an on-ramp in Buffalo, even drove him to the train station. We tipped the nice server lady at the Waffle House $100 on a $20 bill in October. I will often offer to buy someone asking for money something to eat, surprisingly they don't always take you up on it. I do what I can to help. Q: Why sell Broadway Stuff?A: I freaking love Broadway. I even met my wife in a Broadway fb group. We live Broadway, we love Broadway. I have some leftover shoes/boots and maybe other random stuff I am selling too, but that's for me personally to get rid of. Q: Why are you more expensive than other people selling the same item?A: I don't really know what most of this stuff is worth; have a fair offer, send me a message, let's chat. Q: How do I know you are really donating money to a dog rescue; people lie.A: That is why I help dogs, they don't, lol. You can check out our fb page for proof I do what I say I do. My wife and I donated all of our wedding money to a dog rescue, the proof is there, I am not making this up. I am also donating 10% to Broadway Cares, Equity Fights Aids on almost all of my listings, which is where some of our stuff comes from. Make sure if you do check out the page, search THE Spanky Project. Q: How long will it take for you to ship?A: I will do my best to get your item shipped within a few days Need it shipped urgently, please let me know first, I'll do my best. I just want to set you up for realistic expectations, this is a for charity side hustle, so I do everything when I am able to! Q: What else do I need to know before I possibly pay more for the same item from you?A: There is so much more to say, but please, let me know if you have any questions before you bid/buy. I just want to leave my dent in the world and do as much good as I can to help as many doggos as possible. Thank you for your consideration

Sold on eBay September 19th, 2023

Lot of 134 PLAYBILL & Other Play Programs (1984-2019): In 6 Binders, Mint/N-mint

*** 5 DAY AUCTION *** 5 DAY AUCTION *** 5 DAY AUCTION *** This sale is for a lot of 134 play programs which are stored in 6 official “ULTIMATE PLAYBILL BINDERS”. Each program is protected by being stored in custom fit transparent polypropylene sleeve with an acid-free backing board. Also included are 6 empty sleeves with backing boards which are stored at the end of binder number 6. Breakdown of the programs are as follows:83 are PLAYBILL programs. The remaining 51 are from other sources.There are 26 original show tickets inserted into 24 individual programs (see the “ITEMIZED LIST” section below for specific detailss). Oldest program is from 1984 (“Starlight Express” at the Apollo Victoria Theatre in London).Newest program is from 2019 (“August Wilson’s Fences” at the Ford’s Theatre). The following are program dates contained in each binder. Binder 1: 1984 through 2008Binder 2: 2009 through July 10, 2013Binder 3: July 2013 through 2014Binder 4: 2015 through 2016Binder 5: 2017 through May 2018Binder 6: July 2018 through 2019 6 Empty sleeves the exception of 9 publications, the condition of each publication is mint with no tears, edge wear, creases, fading, folded corners, or any other signs of wear. The 9 exceptions are as follows: Starlight Rxpress (Binder 1: Overall wear consistent with some use.Hedwig and the Angry Inch: (Binder 1): Vertical crease in center of program.Wicked (Binder 1): Overall wear consistent with some use.Jersey Boys (Binder 1): Overall wear consistent with some use.Wicked (Binder 2): Crease from right edge to bottom.Hedwig and the Angry Inch: (Binder 4, Oct 30-31, 2015): Crease from left to right in center of program American Psycho The Musical (Binder 4): Somewhat wrinkled as if it had been wet.Jersey Boys (Binder 5): Overall wear consistent with some use.Wicked Wizards (Binder 6): Horizontal crease in center of program. BINDERS:All 6 binders are in mint condition with no marks, tears, creases or any other signs of wear or deterioration. The open and closing functions of the 3 rings work perfectly in all binders. ITIMIZED LIST:The following is a complete list of each individual publication which are generally stored from oldest to newest. Column names and their descriptions are as follows: Play Title: Title of the play contained in the publication Publication: The letter “X” indicates program is not a “Playbill” publication Venue: Name of facility hosting the show.Date(s): Date(s) provided in the publication which are either:1. Publication date of the publication (i.e. May 2019).2. Dates the show will be performed at the venue (i.e. Jul 19-22).3. An entry stating “No date(s) listed” could mean the publication is generic for a show being performed in multiple venues.Number of Tickets: Number of show tickets inserted into the publication. PUBLI- NUMBER OF PLAY TITLE CATION VENUE DATE(S) TICKETSBINDER 1Starlight Express, London X Apollo Victoria Theatre Post-It on cover states 1984Cabaret at Studio 54 X Studio 54 Jun 2002La Boheme Curran Theatre, Nov 2002 San FranciscoHedwig and the Angry Inch X General document for show No date(s) listedWicked Curran Theatre, Jun 2003 San FranciscoBeach Blanket Babylon X Club Fugazi San Francisco 2004Lestat Curran Theatre, Dec 2005 San FranciscoMame The Kennedy Center June 2006Wicked San Diego Civic Theatre Aug 2006 1Urinetown the Musical X Performing Arts Center Oct 11-15, 2006 Montgomery CollegeThe Full Monty X Rockville Musical Theatre Oct 27 – Nov 12, 2006Radio City Christmas X Radio City Music Hall Holiday 2006 edition Spectacular – The RockettesThe Passion of the Crawford X Milton Theatre Beginning Feb 7, 2007The Wizard of Oz X Lisner Auditorium, Mar 24-25, 2007 1 George Washington UniversityDames at Sea X Summer Dinner Theatre 2007 June 15 – July 1, 2007 Montgomery CollegeRagtime X Summer Dinner Theatre 2007 July 13 – 29, 2007 Montgomery CollegeJersey Boys San Diego Civic Theatre Oct 2007 1The 25th Annual Putnam The National Theatre Oct 2007 County Spelling Bee Little Shop of Horrors X Performing Arts Center Oct 10-13, 2007 Montgomery CollegeAvenue Q The National Theatre Nov 2007Monty Python’s Spamalot The National Theatre Dec 2007Chicago the Musical X Performing Arts Center Feb 27 – Mar 2, 2008 1 Montgomery Warner Theatre Washington Apr 2008 DCWithout You I’m Nothing X Aaron & Cecile Goldman Sep 9-28, 2008 1 TheatreWest Side Story The National Theatre Dec 2008 BINDER 2Rent Warner Theatre May 2009 Washington D.C.Fiddler on the Roof The National Theatre April 2010Mary Poppins The Kennedy Center August 2010Best Little Whore House X Lisner Auditorium Mar 18-20, 2011 In TexasThe Color Purple The National Theatre April 2011 1Wicked The Kennedy Center Aug 2011Best Little Whore House X Signature Theatre No date(s) listed In TexasXanadu X Signature Theatre The Max No date(s) listedHairspray X Signature Theatre The Max No date(s) listedThe Hollow – The Boy X Signature Theatre The Max No date(s) listed Detective FailsSunset Blvd X Signature Theatre The Max No date(s) listedSweeney Todd X Signature Theatre The Max No date(s) listedPotted Potter X Brochure advertising show 2012Billy Elliott The Kennedy Center Jan 2012La Cage Aux Folles The Kennedy Center Feb 2012Memphis The Kennedy Center Jun 2012The Addams Family The Kennedy Center Jul 2012Jekyll & Hyde The Kennedy Center Nov X Gala Hispanic Theatre at No date(s) listed TivoliHello Dolly X Ford’s Theatre Mar 15 – May 18. 2013Company X Signature Theatre The Max No date(s) listedMiss Saigon X Signature Theatre The Max No date(s) listedShow Boat The Kennedy Center May 2013The Rocky Horror Show X Brochure advertising show Starting Jul 10, 2013BINDER 3Kinky Boots Al Hirschfeld Theatre Jul 2013Once Bernard B. Jacobs Theatre Jul 2013Book of Mormon The Kennedy Center Aug 2013Torch Song Trilogy X Studio Theatre Beginning Sep 4,2013The Laramie Project X Ford’s Theatre Sep 27 – Oct 27, 2013If/Then The National Theatre Nov 2013A Christmas Carol X Ford’s Theatre Nov 21, 2013 – Jan 1, 2014Porgy and Bess The National Theatre Dec 2013 1The Threepenny Opera X Signature Theatre The Max No date(s) listed 1Sunday in the Park with X Signature Theatre The Max No date(s) listed 1 GeorgeAmerican Idiot The National Theatre Feb 2014 1All The Way Neil Simon Theatre May 2014 1Hedwig and the Angry Inch Belasco Theatre May 2014The Lion King On Front Cover: The Kennedy Center Jul 2014 1 Show & Ticket for Side Show A Gentleman’s Guide to Love Walter Kerr Theatre Aug 2014 And MurderHedwig and the Angry Inch Belasco Theatre Aug 2014Pippin The Music Box Aug 2014Hurt Locker the Musical Belasco Theatre No date(s) listedYentl X Aaron & Cecile Goldman Aug 28 – Oct 5, 2014 TheatreDriving Miss Daisy X Ford’s Theatre Sep 25 - Oct 26, 2014 1Evita The Kennedy Center Oct 2014The River Circle in the Square Dec 2014Hedwig and the Angry Inch Belasco Theatre Dec 2014 BINDER 4It’s Only A Play Bernard B Jacobs Theatre Mar 2015The Audience Gerald Schoenfeld Theatre Mar 2015Skylight Golden Theatre Apr 2015Hand to God Booth Theatre Apr 2015Hedwig and the Angry Inch Belasco Theatre Apr 2015Hurt Locker the Musical Belasco Theatre No date(s) listedHedwig and the Angry Inch X Warehouse Theater Oct 30-31, 2015Outside Mullingar Lyceum Theatre Jan 21 – Feb 14, 2016Ragtime the Musical X Spreckels Theatre Feb 5-21, 2016 1The Drowsy Chaperone X Don Powell Theatre, Mar 4-13, 2016The Wizard of Oz San Diego Civic Theatre Mar 2016Fun Home Circle in the Square Apr 2016Blackbird Belasco Theatre May 2016The Curious Incident of the Ethyl Barrymore Theatre May 2016 Dog in the Night TimeAmerican Psycho The Musical Gerald Schoenfeld Theatre May 2016Shuffle Along The Music Box May 2016Sordid Lives X Coronado Playhouse May 27 – Jun 26, 2016San Diego Gay Men’s Chorus: X Balboa Theatre Jul 30-31, 2016 Thriller – The Music of Michael Jackson The Front Page Broadhurst Theatre Oct 2016Hedwig and the Angry Inch San Diego Civic Theatre Dec 2016Shockheaded Peter X Cygnet Theatre Season 2016-2017 BINDER 59 to 5 X Spreckels Theatre Feb 10-26, 2017San Diego Gay Men’s Chorus: X Balboa Theatre Apr 22 & 23, 2017 Broadway NowCharlie and the Chocolate Lunt-Fontanne Theatre May 2017 Factory Jersey Boys San Diego Civic Theatre May 2007 1Come From Away Gerald Schoenfeld Theatre May 2017Sunset Blvd. Palace Theatre May 2017Cats Neil Simon Theatre May 2017 1Miss Saigon The Broadway Theatre May 2017Waitress Brooks Atkinson Theatre May 2017 1The Great Comet 1812 Imperial Theatre May 2017 1Damn Yankees X Spreckels Theatre June 2-18, 2017 1War Paint Nederlander Theatre Sep 2017 1Spelling Bee X Lyceum Theatre Oct 13-29, 2017 1Hand to God X Lyceum Theatre Oct 19 – Nov 12, 2017San Diego Gay Men’s Chorus: X Balboa Theatre Apr 21-22, 2018 Movie NightThe Boys in the Band Booth Theatre May 2018Kinky Boots Al Hirschfeld Theatre May 2018Harry Potter and the Cursed Lyric Theatre May 2018 Child – Part OneHarry Potter and the Cursed Lyric Theatre May 2018 2 Child – Part TwoHello Dolly Sam S. Shubert Theatre May 2018 1Carousel Imperial Theatre May 2018The Band’s Visit Ethyl Barrymore Theatre May 2018Harry Clarke Minetta Lane Theatre May 2018 BINDER 6Avenue Q X New World Stages No date(s) listedWicked Wizards X Turning Tydes Theatre Jul 19-22 2018 CompanySan Diego Gay Men’s Chorus: X Balboa Theatre Jul 28-29, 2018 Abba Greatest HitsOnce on This Island Circle in the Square Oct 2018Beetlejuice National Theatre Oct/Nov 2018Torch Song The Helen Hayes Theatre Oct 2018My Fair Lady Lincoln Center Theatre Oct 2018 at the Vivian BeaumontHedwig and the Angry Inch X Diversionary Legacy 2019 Circle Derren Brown Secret Cort Theatre Nov 2019 2The Play That Goes Wrong New World Stages Nov 2019The Inheritance Ethyl Barrymore Theatre Dec 2019The Sound Inside Studio 54 Dec 2019The Ferryman Bernard B. Jacobs Theatre May 2019The Prom Longacre Theatre May 2019Hillary and Clinton Golden Theatre May 2019Be More Chill Lyceum Theatre May 2019Frankie & Johnny in the Broadhurst Theatre May 2019 1 Clair de LuneAugust Wilson’s Fences X Ford’s Theatre Sep 27 - Oct 27,2019---6 Empty Sleeves--- PICTURES1. All 6 binders2. First publication in binders 1 and 23. First publication in binders 3 and 44. First publication in binders 5 and 6 INDIVIDUAL PUBLICATIONS BINDER SLEEVE SHOW NAME NUMBER NUMBER OLDEST PROGRAM5. Starlight Express 1 1 NEWEST PROGRAM6. Fences 6 18 RANDOMLY SELECTED INDIVIDUAL PROGRAMS7. Wizard of Oz 1 148. Hairspray 1 239. The Color Purple 2 510. The Addams Family 2 1711. Porgy and Bess 2 812. The Lion King 3 1413. Driving Miss Daisey 3 2014. Evita 3 2115. The Wizard of Oz 4 1116. American Psycho The Musical 4 1517. Charlie and the Chocolate Factory 5 318. Jersey Boys 5 419. Cats 5 720. Harry Potter Part 1 5 1821. Harry Potter Part 2 5 1922. Hello Dolly 5 2023. Avenue Q 6 124. Darren Brown Secret 6 9 PAYMENT AND box physical parameters:· Dimensions: 10 x 16 x 11 inches· Weight: 35 pounds Due to the size and weight of the box containing the 6 binders, shipping cost will be determined by buyer's location. Originating location is La Mesa, California 91942 which is in the county of San Diego. No international shipping. Immediate payment is requested.

Sold on eBay December 12th, 2023

SHE LOVES ME, Cast-Signed PLAYBILL, MARCH 2016, ROUNDABOUT STUDIO 54

Sold on eBay March 10th, 2024

EDDIE CANTOR FRED & ADEL6E ASTAIRE RARE LARGE 1914 VAUDEVILLE BROADSIDE

A rare large original 1914 broadside type program for Eddie Cantor with Cantor and Lee and the amazing brother and sister team of Fred and Adele Astaire at the Palace Music Hall. Dimensions fifteen by four inches. Light wear and light folds otherwise good. See Eddie Cantor and Fred Astaire's extraordinary biographies below.Shipping discounts for buyers of multiple items. Credit cards accepted with Paypal. Inquiries always welcome. Please visit my other eBay items for more early theatre and historical autographs, broadsides, photographs and programs and great actor and actress cabinet photos and CDV's. From Wikipedia:Eddie Cantor (born Isidore January 31, 1892 – October 10, 1964) was an American comedian, actor, dancer, singer, songwriter, film producer, screenwriter and author.[3] Familiar to Broadway, radio, movie, and early television audiences, this "Apostle of Pep" was regarded almost as a family member by millions because his top-rated radio shows revealed intimate stories and amusing anecdotes about his wife, Ida, and five daughters. Some of his hits include "Makin' Whoopee", "Ida (Sweet as Apple Cider)", "If You Knew Susie", "Ma! He's Making Eyes at Me", “Mandy”, "My Baby Just Cares for Me”, "Margie", and "How Ya Gonna Keep 'em Down on the Farm (After They've Seen Paree)?" He also wrote a few songs, including "Merrily We Roll Along", the Merrie Melodies Warner Bros. cartoon theme.His eye-rolling song-and-dance routines eventually led to his nickname "Banjo Eyes". In 1933, artist Frederick J. Garner caricatured Cantor with large round eyes resembling the drum-like pot of a banjo. Cantor's eyes became his trademark, often exaggerated in illustrations, and leading to his appearance on Broadway in the musical Banjo Eyes (1941).His charity and humanitarian work was extensive. He helped to develop the March of Dimes and is credited with coining its name. Cantor was awarded an honorary Oscar in 1956 for distinguished service to the film industry.Early lifeReports and accounts of Cantor's early life often conflict with one another. What is known is that he was born in New York City, the son of Mechel Iskowitz (also Michael), an amateur violinist, and his wife Meta Kantrowitz Iskowitz (also Maite), a young Jewish couple from Russia.[4] It is generally accepted that he was born in 1892, though the day is subject to debate, with either January 31 or Rosh Hashanah, which was on September 10 or September 11, being reported [5][6][7] Although it was reported Cantor was an orphan, his mother dying in childbirth and his father of pneumonia, official records say otherwise; Meta died from complications of tuberculosis in July 1894 and the fate of Mechel is unclear, as no death certificate exists for him. There is also discrepancy as to his name; both his 1957 autobiography and The New York Times obituary for Cantor report his birth name as Isidore Iskowitch, although some articles published after the 20th century give his birth name as Edward (a nickname given him by his future wife, Ida, in 1913) or Israel Itzkowitz [8][5] His grandmother, Esther Kantrowitz (died January 29, 1917), took custody of him, and referred to him as Izzy and Itchik, both diminutives for Isidor, and his last name, due to a clerical error, was thought to be Kantrowitz and shortened to Kanter.[5] No birth certificate existed for him, though this is not unusual for someone born in New York in the 19th century StageSaloon songs to vaudevilleBy his early teens, Cantor began winning talent contests at local theaters and started appearing on stage. One of his earliest paying jobs was doubling as a waiter and performer, singing for tips at Carey Walsh's Coney Island saloon, where a young Jimmy Durante accompanied him on piano. He made his first public appearance in Vaudeville in 1907 at New York's Clinton Music Hall. In 1912, he was the only performer over the age of 20 to appear in Gus Edwards's Kid Kabaret, where he created his first blackface character "Jefferson". He later toured with Al Lee as the team Cantor and Lee. Critical praise from that show got the attention of Broadway's top producer Florenz Ziegfeld, who gave Cantor a spot in the Ziegfeld rooftop post-show, Midnight Frolic (1917) [5]BroadwayA year later, Cantor made his Broadway debut in the Ziegfeld Follies of 1917. He continued in the Follies until 1927,[9] a period considered the best years of the long-running revue. For several years, Cantor co-starred in an act with pioneer comedian Bert Williams, both appearing in blackface; Cantor played Williams's fresh-talking son. Other co-stars with Cantor during his time in the Follies included Will Rogers, Marilyn Miller, Fanny Brice, and W.C. Fields.[10] He moved on to stardom in book musicals, starting with Kid Boots (1923) and Whoopee! (1928).[9] On tour with Banjo Eyes, he romanced the unknown Jacqueline Susann, who had a small part in the show and who became the best-selling author of Valley of the Dolls. Banjo Eyes successful Broadway run was cut short when Cantor suffered a major heart attack, the first of several that would plague his later years.Fred Astaire (born Frederick Austerlitz;[1] May 10, 1899 – June 22, 1987) was an American actor, dancer, singer, choreographer, and television presenter. He is widely considered the most influential dancer in the history of film.[2]His stage and subsequent film and television careers spanned a total of 76 years. He starred in more than 10 Broadway and West End musicals, made 31 musical films, four television specials, and issued numerous recordings. As a dancer, his most outstanding traits were his uncanny sense of rhythm, perfectionism, and innovation. His most memorable dancing partnership was with Ginger Rogers, with whom he co-starred in a series of ten Hollywood musicals, including Top Hat (1935), Swing Time (1936), and Shall We Dance (1937).[3] Among his other most notable films where Astaire gained popularity and took the genre of tap dancing to a new level include Holiday Inn (1944), Easter Parade (1948), The Band Wagon (1953), Funny Face (1957), and Silk Stockings (1957). The American Film Institute named Astaire the fifth-greatest male star of Classic Hollywood cinema.Fred Astaire was born Frederick Austerlitz on May 10, 1899, in Omaha, Nebraska, the son of Johanna "Ann" (née Geilus; 1878–1975) and Friedrich "Fritz" Emanuel Austerlitz, in the US: Frederic Austerlitz (1868–1923) [1][6][7][8] Astaire's mother was born in the US to Lutheran German immigrants from East Prussia and Alsace. Astaire's father was born in Linz, Austria to Roman Catholic parents who had converted from Judaism [1][9][10][11]Astaire s father, Fritz Austerlitz, arrived in New York City at the age of 25 on October 26, 1893, at Ellis Island.[12] Fritz was seeking work in the brewing trade and moved to Omaha, Nebraska, where he was employed by the Storz Brewing Company. Astaire's mother dreamed of escaping Omaha by her children's talents. Astaire's older sister, Adele, was an instinctive dancer and singer early in her childhood. Johanna planned a "brother and sister act", common in vaudeville at the time, for her two children. Although Fred refused dance lessons at first, he easily mimicked his older sister's steps and took up piano, accordion, and clarinet.When their father lost his job, the family moved to New York City in January 1905 to launch the show business careers of the children. They began training at the Alviene Master School of the Theatre and Academy of Cultural Arts.[13] Fred and Adele's mother suggested they change their name to "Astaire", as she felt "Austerlitz" was reminiscent of the Battle of Austerlitz. Family legend attributes the name to an uncle surnamed L Astaire [14]They were taught dance, speaking, and singing in preparation for developing an act. Their first act was called Juvenile Artists Presenting an Electric Musical Toe-Dancing Novelty. Fred wore a top hat and tails in the first half and a lobster outfit in the second. In an interview, Astaire's daughter, Ava Astaire McKenzie, observed that they often put Fred in a top hat to make him look taller.[15] In November 1905, the goofy act debuted in Keyport, New Jersey at a "tryout theater". The local paper wrote, "the Astaires are the greatest child act in vaudeville [16]As a result of their father's salesmanship, Fred and Adele landed a major contract and played the Orpheum Circuit in the Midwest, Western and some Southern cities in the US. Soon Adele grew to at least three inches taller than Fred, and the pair began to look incongruous. The family decided to take a two-year break from show business to let time take its course and to avoid trouble from the Gerry Society and the child labor laws of the time. In 1912, Fred became an Episcopalian [17] The career of the Astaire siblings resumed with mixed fortunes, though with increasing skill and polish, as they began to incorporate tap dancing into their routines. Astaire's dancing was inspired by Bill "Bojangles" Robinson and John "Bubbles" Sublett.[18] From vaudeville dancer Aurelio Coccia, they learned the tango, waltz, and other ballroom dances popularized by Vernon and Irene Castle. Some sources[19] state that the Astaire siblings appeared in a 1915 film titled Fanchon, the Cricket, starring Mary Pickford, but the Astaires have consistently denied this [20][21][22]By age 14, Fred had taken on the musical for their act.[13] He first met George Gershwin, who was working as a song plugger for Jerome H. Remick's music publishing company, in 1916.[23] Fred had already been hunting for new music and dance ideas. Their chance meeting was to affect the careers of both artists profoundly. Astaire was always on the lookout for new steps on the circuit and was starting to demonstrate his ceaseless quest for novelty and perfection 1917–1933: Stage career on Broadway and in LondonFred and Adele Astaire in 1921The Astaires broke into Broadway in 1917 with Over the Top, a patriotic revue, and performed for U.S. and Allied troops at this time as well. They followed up with several more shows. Of their work in The Passing Show of 1918, Heywood Broun wrote: "In an evening in which there was an abundance of good dancing, Fred Astaire stood out ... He and his partner, Adele Astaire, made the show pause early in the evening with a beautiful loose-limbed dance [24]Adele s sparkle and humor drew much of the attention, owing in part to Fred's careful preparation and sharp supporting choreography. She still set the tone of their act. But by this time, Astaire's dancing skill was beginning to outshine his sister's.During the 1920s, Fred and Adele appeared on Broadway and the London stage. They won popular acclaim with the theater crowd on both sides of the Atlantic in shows such as Jerome Kern's The Bunch and Judy (1922), George and Ira Gershwin's Lady, Be Good (1924), and Funny Face (1927) and later in The Band Wagon (1931). Astaire's tap dancing was recognized by then as among the best. For example, Robert Benchley wrote in 1930, "I don't think that I will plunge the nation into war by stating that Fred is the greatest tap-dancer in the world."[25] Whilst in London, Fred studied piano at the Guildhall School of Music alongside his friend and colleague Noël Coward;[26], and in 1926, was one of the judges at the 'Charleston (dance) Championship of the World ' competition at the Royal Albert Hall, where Lew Grade was declared the winner.fter the close of Funny Face, the Astaires went to Hollywood for a screen test (now lost) at Paramount Pictures, but Paramount deemed them unsuitable for films.They split in 1932 when Adele married her first husband, Lord Charles Cavendish, the second son of the 9th Duke of Devonshire. Fred went on to achieve success on his own on Broadway and in London with Gay Divorce (later made into the film The Gay Divorcee) while considering offers from Hollywood. The end of the partnership was traumatic for Astaire but stimulated him to expand his range.Free of the brother-sister constraints of the former pairing and working with new partner Claire Luce, Fred created a romantic partnered dance to Cole Porter's "Night and Day", which had been written for Gay Divorce. Luce stated that she had to encourage him to take a more romantic approach: "Come on, Fred, I'm not your sister, you know."[25]: 6 The success of the stage play was credited to this number, and when recreated in The Gay Divorcee (1934), the film version of the play, it ushered in a new era in filmed dance.[25]: 23, 26, 61 Recently, film footage taken by Fred Stone of Astaire performing in Gay Divorce with Luce's successor, Dorothy Stone, in New York in 1933 was uncovered by dancer and historian Betsy Baytos and now represents the earliest known performance footage of Astaire [27]1933–1939: Astaire and Ginger Rogers at RKOGinger Rogers and Fred Astaire in Top Hat (1935)According to Hollywood folklore, a screen test report on Astaire for RKO Radio Pictures, now lost along with the test, is reported to have read: "Can't sing. Can't act. Balding. Can dance a little." The producer of the pictures, Pandro S. Berman, claimed he had never heard the story in the 1930s and that it only emerged years afterward.[25]: 7 Astaire later clarified, insisting that the report had read: "Can't act. Slightly bald. Also dances."[28] In any case, the test was clearly disappointing, and David O. Selznick, who had signed Astaire to RKO and commissioned the test, stated in a memo, "I am uncertain about the man, but I feel, in spite of his enormous ears and bad chin line, that his charm is so tremendous that it comes through even on this wretched test."[25]: 7 However, this did not affect RKO's plans for Astaire. They lent him for a few days to MGM in 1933 for his significant Hollywood debut in the successful musical film Dancing Lady. In the movie, he appeared as himself dancing with Joan Crawford. On his return to RKO, he got fifth billing after fourth billed Ginger Rogers in the 1933 Dolores del Río vehicle Flying Down to Rio. In a review, Variety magazine attributed its massive success to Astaire's presence:The main point of Flying Down to Rio is the screen promise of Fred Astaire ... He's assuredly a bet after this one, for he's distinctly likable on the screen, the mike is kind to his voice and as a dancer, he remains in a class by himself. The latter observation will be no news to the profession, which has long admitted that Astaire starts dancing where the others stop hoofing [29][25]: 7 Having already been linked to his sister Adele on stage, Astaire was initially very reluctant to become part of another dance team. He wrote his agent, "I don't mind making another picture with her, but as for this 'team' idea, it's 'out!' I've just managed to live down one partnership and I don't want to be bothered with anymore."[25]: 8 However, he was persuaded by the apparent public appeal of the pairing. The partnership, and the choreography of Astaire and Hermes Pan, helped make dancing an important element of the Hollywood film musical.Astaire and Rogers made nine films together at RKO. These included Flying Down to Rio (1933), The Gay Divorcee (1934), Roberta (1935, in which Astaire also demonstrates his oft-overlooked piano skills with a spirited solo on "I Won't Dance"), Top Hat (1935), Follow the Fleet (1936), Swing Time (1936), Shall We Dance (1937), Carefree (1938), and The Story of Vernon and Irene Castle (1939). Six out of the nine musicals became the biggest moneymakers for RKO; all of the films brought a certain prestige and artistry that all studios coveted at the time. Their partnership elevated them both to stardom; as Katharine Hepburn reportedly said, "He gives her class and she gives him sex appeal."[30]: 134 Astaire received a percentage of the films' profits, something scarce in actors' contracts at that time InnovationsAstaire revolutionized dance on film by having complete autonomy over its presentation [31] He is credited with two important innovations in early film musicals.[25]: 23, 26 First, he insisted that a closely tracking dolly camera film a dance routine in as few shots as possible, typically with just four to eight cuts, while holding the dancers in full view at all times. This gave the illusion of an almost stationary camera filming an entire dance in a single shot. Astaire famously quipped: "Either the camera will dance, or I will."[25]: 420 Astaire maintained this policy from The Gay Divorcee in 1934 until his last film musical Finian's Rainbow in 1968, when director Francis Ford Coppola overruled him [32]Astaire s style of dance sequences allowed the viewer to follow the dancers and choreography in their entirety. This style differed strikingly from those in the Busby Berkeley musicals. Those musicals' sequences were filled with extravagant aerial shots, dozens of cuts for quick takes, and zooms on areas of the body such as a chorus row of arms or legs [33]Astaire s second innovation involved the context of the dance; he was adamant that all song and dance routines be integral to the plotlines of the film. Instead of using dance as a spectacle as Busby Berkeley did, Astaire used it to move the plot along. Typically, an Astaire picture would include at least three standard dances. One would be a solo performance by Astaire, which he termed his "sock solo". Another would be a partnered comedy dance routine. Finally, he would include a partnered romantic dance routine [34]Assessment of the Rogers partnershipAn RKO publicity still of Astaire and Rogers dancing to "Smoke Gets in Your Eyes" in Roberta (1935)Dance commentators Arlene Croce,[30]: 6 Hannah Hyam[35]: 146–147 and John Mueller[25]: 8, 9 consider Rogers to have been Astaire's greatest dance partner, a view shared[36] by Hermes Pan and Stanley Donen.[36] Film critic Pauline Kael adopts a more neutral stance,[37] while Time magazine film critic Richard Schickel writes "The nostalgia surrounding tends to bleach out other partners [38]Mueller sums up Rogers's abilities as follows:Rogers was outstanding among Astaire's partners not because she was superior to others as a dancer, but because, as a skilled, intuitive actress, she was cagey enough to realize that acting did not stop when dancing began ... the reason so many women have fantasized about dancing with Fred Astaire is that Ginger Rogers conveyed the impression that dancing with him is the most thrilling experience imaginable [25]According to Astaire, "Ginger had never danced with a partner before Flying Down to Rio. She faked it an awful lot. She couldn't tap and she couldn't do this and that ... but Ginger had style and talent and improved as she went along. She got so that after a while everyone else who danced with me looked wrong."[39] On p. 162 of his book Ginger: Salute to a Star, author Dick Richards quotes Astaire saying to Raymond Rohauer, curator of the New York Gallery of Modern Art, "Ginger was brilliantly effective. She made everything work for her. Actually, she made things very fine for both of us and she deserves most of the credit for our success."In 1976, British talk-show host Sir Michael Parkinson asked Astaire who his favorite dancing partner was on Parkinson. At first, Astaire refused to answer. But, ultimately, he said "Excuse me, I must say Ginger was certainly, uh, uh, the one. You know, the most effective partner I had. Everyone knows [40]Rogers described Astaire's uncompromising standards extending to the whole production: "Sometimes he'll think of a new line of dialogue or a new angle for the story ... they never know what time of night he'll call up and start ranting about a fresh idea ... No loafing on the job on an Astaire picture, and no cutting corners."[25]: 16 Despite their success, Astaire was unwilling to have his career tied exclusively to any partnership. He negotiated with RKO to strike out on his own with A Damsel in Distress in 1937 with an inexperienced, non-dancing Joan Fontaine, unsuccessfully as it turned out. He returned to make two more films with Rogers, Carefree (1938) and The Story of Vernon and Irene Castle (1939). While both films earned respectable gross incomes, they both lost money because of increased production costs,[25]: 410 and Astaire left RKO, after being labeled "box office poison" by the Independent Theatre Owners of America. Astaire was reunited with Rogers in 1949 at MGM for their final outing, The Barkleys of Broadway, the only one of their films together to be shot in Technicolor 1940–1947: Holiday Inn, early left RKO in 1939 to freelance and pursue new film opportunities, with mixed though generally successful outcomes. Throughout this period, Astaire continued to value the input of choreographic collaborators. Unlike the 1930s when he worked almost exclusively with Hermes Pan, he tapped the talents of other choreographers to innovate continually. His first post-Ginger dance partner was the redoubtable Eleanor Powell, considered the most exceptional female tap-dancer of her generation. They starred in Broadway Melody of 1940, in which they performed a celebrated extended dance routine to Cole Porter's "Begin the Beguine". In his autobiography Steps in Time, Astaire remarked, "She 'put 'em down' like a man, no ricky ticky sissy stuff with Ellie. She really knocked out a tap dance in a class by herself."[41]He played alongside Bing Crosby in Holiday Inn (1942) and later Blue Skies (1946). But, in spite of the enormous financial success of both, he was reportedly dissatisfied with roles where he lost the girl to Crosby. The former film is memorable for his virtuoso solo dance to "Let's Say it with Firecrackers". The latter film featured "Puttin' On the Ritz", an innovative song-and-dance routine indelibly associated with him. Other partners during this period included Paulette Goddard in Second Chorus (1940), in which he dance-conducted the Artie Shaw orchestra.With Rita Hayworth in You Were Never Lovelier (1942)He made two pictures with Rita Hayworth. The first film, You'll Never Get Rich (1941), catapulted Hayworth to stardom. In the movie, Astaire integrated for the third time Latin American dance idioms into his style (the first being with Ginger Rogers in "The Carioca" number from Flying Down to Rio (1933) and the second, again with Rogers, was the "Dengozo" dance from The Story of Vernon and Irene Castle (1939)). His second film with Hayworth, You Were Never Lovelier (1942), was equally successful. It featured a duet to Kern's "I'm Old Fashioned", which became the centerpiece of Jerome Robbins's 1983 New York City Ballet tribute to Astaire. He next appeared opposite the seventeen year old Joan Leslie in the wartime drama The Sky's the Limit (1943). In it, he introduced Arlen and Mercer's "One for My Baby" while dancing on a bar counter in a dark and troubled routine. Astaire choreographed this film alone and achieved modest box office success. It represented a notable departure for Astaire from his usual charming, happy-go-lucky screen persona, and confused contemporary critics.His next partner, Lucille Bremer, was featured in two lavish vehicles, both directed by Vincente Minnelli. The fantasy Yolanda and the Thief (1945) featured an avant-garde surrealistic ballet. In the musical revue Ziegfeld Follies (1945), Astaire danced with Gene Kelly to the Gershwin song "The Babbit and the Bromide", a song Astaire had introduced with his sister Adele back in 1927. While Follies was a hit, Yolanda bombed at the box office.Always insecure and believing his career was beginning to falter, Astaire surprised his audiences by announcing his retirement during the production of his next film Blue Skies (1946). He nominated "Puttin' on the Ritz" as his farewell dance. After announcing his retirement in 1946, Astaire concentrated on his horse-racing interests and in 1947 founded the Fred Astaire Dance Studios, which he subsequently sold in 1966 1948–1957: MGM films and second retirementIn Daddy Long Legs (1955)Astaire's retirement did not last long. Astaire returned to the big screen to replace an injured Gene Kelly in Easter Parade (1948) opposite Judy Garland, Ann Miller, and Peter Lawford. He followed up with a final reunion with Rogers (replacing Judy Garland) in The Barkleys of Broadway (1949). Both of these films revived Astaire's popularity and in 1950 he starred in two musicals. Three Little Words with Vera-Ellen and Red Skelton was for MGM. Let's Dance with Betty Hutton was on loan-out to Paramount. While Three Little Words did quite well at the box office, Let's Dance was a financial disappointment. Royal Wedding (1951) with Jane Powell and Peter Lawford proved to be very successful, but The Belle of New York (1952) with Vera-Ellen was a critical and box-office disaster. The Band Wagon (1953) received rave reviews from critics and drew huge crowds. But because of its high cost, it failed to make a profit on its first release.Soon after, Astaire, like the other remaining stars at MGM, was let go from his contract because of the advent of television and the downsizing of film production. In 1954, Astaire was about to start work on a new musical, Daddy Long Legs (1955) with Leslie Caron at 20th Century Fox. Then, his wife Phyllis became ill and suddenly died of lung cancer. Astaire was so bereaved that he wanted to shut down the picture and offered to pay the production costs out of his pocket. However, Johnny Mercer, the film's composer, and Fox studio executives convinced him that work would be the best thing for him. Daddy Long Legs only did moderately well at the box office. His next film for Paramount, Funny Face (1957), teamed him with Audrey Hepburn and Kay Thompson. Despite the sumptuousness of the production and the good reviews from critics, it failed to make back its cost. Similarly, Astaire's next project – his final musical at MGM, Silk Stockings (1957), in which he co-starred with Cyd Charisse – also lost money at the box office Afterward Astaire announced that he was retiring from dancing in the film. His legacy at this point was 30 musical films in 25 years.

Sold on eBay September 27th, 2024

Alan Cumming (Cast Signed) "CABARET" Michelle Williams 2014 Broadway Playbill

Sold on eBay September 23rd, 2023

Fanny Brice "ZIEGFELD FOLLIES" Willie Howard / Bruce MacFarlane 1934 Press Photo

This is a rare double-weight 8" X 10" press photograph of BRUCE MacFARLANE, FANNIE BRICE, WILLIE HOWARD (and one other) promoting the Twenty-Second edition of the "ZIEGFELD FOLLIES" ("Glorifying the American Girl") at the Winter Garden Theatre in New York City. (The production opened January 4th, 1934 and ran for 182 performances.) ..... The "ZIEGFELD FOLLIES" were the most lavish musical productions on Broadway between 1907 and 1931. Blending beauty, music and talent with over 100 graceful and elegant "Ziegfeld Girls" in priceless gowns, jewels and flowers, audiences knew they would be treated to the most memorable evening possible. The key to the ongoing success of the "Follies", even in the worst of times was producer FLORENZ ZIEGFELD, JR. As a tribute to her late husband (and to take advantage of the legendary Ziegfeld name), BILLIE BURKE ZIEGFELD lent her support to new editions of the "Ziegfeld Follies" in 1934, 1936, 1943 and 1957. This edition starred FANNIE BRICE, EVE ARDEN, WILLIE & EUGENE HOWARD, VILMA & BUDDY EBSEN, EVERETT MARSHALL, JANE FROMAN, CHERRY and JUNE PREISSER, BETZI BEATON, JUDITH BARRON, PATRICIA BOWMAN, BRICE HUTCHINS, VIVIAN JANIS, RUTH KANE, DON ROSS, OLIVER WAKEFIELD, AL BLOOM, LEON BARTE, VICTOR MORLEY, JOE CAREY, JAMES KITSON and 100 GORGEOUS ZIEGFELD GIRLS ..... CREDITS: Music by VERNON DUKE ("Garrick Gaieties", "Ziegfeld Follies", "At Home Abroad", "Cabin in the Sky", "Jackpot", "The Littlest Revue", "Sadie Thompson", "Two's Company") and SAMUEL POKRASS; Lyrics by E. Y. "Yip" HARBURG ("Ziegfeld Follies of 1931", "Ballyhoo of 1932", "The Show Is On", "Hooray for What!", "Bloomer Girl", "Finian's Rainbow", "Flahooley", "Jamaica", "Darling of the Day" and the classic film score "The Wizard of Oz"); Sketches by DAVID FREEDMAN and BILLY ROSE; Sets designed by WATSON BARRATT and ALBERT R. JOHNSON; Costumes designed by RUSSELL PATTERSON, RAOUL PENE DU BOIS, CHARLES LeMAIRE, BILLY LIVINGSTON and KIVIETTE; Choreographed by ROBERT ALTON; Sketches Directed by EDWARD C. LILLEY; Staged by BOBBY CONNOLLY and JOHN MURRAY ANDERSON; Produced by Mrs. FLORENZ ZIEGFELD (Billie Burke) ..... DETAILS: This rare double-weight sepia-toned photo measures 10" X 8" inches and is stamped Talbot Studio Inc. on the backside (second scanned image) ..... CONDITION: With the exception of minor wear along the top edge, this photograph 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 sleeve and backed by stiff cardboard. Pay me securely with any major credit card through PayPal!

Sold on eBay June 2nd, 2024

CABARET, PLAYBILL, APRIL 2014, ROUNDABOUT STUDIO 54

Every purchase will include 2 extra something for free, as a bonus. It's not going to be anything spectacular. It could be a random magnet from a show, it could be show flyer, an understudy slip, it could be a 'second' Playbill that has some damage. It could be something like a brand new Playbill that I just have a lot of. If you ask, I'll send you a picture of a few things and you can pick one! Questions and answers and more answers: A: I'm happy to combine shipping of items.A: If you want multiple items, let me know and we can try to work something out price wise. A: Posters will ship properly, flat, in a plastic sleeve, in a protector, in a large mailer.A: Playbills will ship flat, in a plastic sleeve in a bubble mailerA: Misc. items like cups or oddly sized/shaped items will be shipped as best as I can to make sure it arrives to you in great shape! A: Items labeled Window Card and/or Posters are 14"x22" unless otherwise noted above. Q: What is The Spanky Project?A: Spanky is/was the most amazing dog I ever could have ever asked for, and I didn't even go out looking for a dog, he adopted me. We were together for 15 years. I had to put him down in October of 2021 and I decided I wanted him to be my legacy, to leave his name around, long after I am gone (is the plan). I thought what better way, than to help those that can't help themselves, dogs like him! He was from the pound and I thought helping shelters rescues that are always needing help with supplies to keep themselves going would be a great way to give back and keep his memory alive. He was 17/18ish when I put him down, the hardest choice I have ever had to make. If you have any dogs, please give them some extra loving, because one day you won't be able to. Q: What about cats?A: Not a good show, imo. Q: People?A: I help people too, sometimes. I just prefer to help dogs. I recently bought a man a train ticket for $54 to get him back home because I thought it would be easier than him trying to hitchhike four hours back to Albany on an on-ramp in Buffalo, even drove him to the train station. We tipped the nice server lady at the Waffle House $100 on a $20 bill in October. I will often offer to buy someone asking for money something to eat, surprisingly they don't always take you up on it. I do what I can to help. Q: Why sell Broadway Stuff?A: I freaking love Broadway. I even met my wife in a Broadway fb group. We live Broadway, we love Broadway. I have some leftover shoes/boots and maybe other random stuff I am selling too, but that's for me personally to get rid of. Q: Why are you more expensive than other people selling the same item?A: I don't really know what most of this stuff is worth; have a fair offer, send me a message, let's chat. Q: How do I know you are really donating money to a dog rescue; people lie.A: That is why I help dogs, they don't, lol. You can check out our fb page for proof I do what I say I do. My wife and I donated all of our wedding money to a dog rescue, the proof is there, I am not making this up. I am also donating 10% to Broadway Cares, Equity Fights Aids on almost all of my listings, which is where some of our stuff comes from. Make sure if you do check out the page, search THE Spanky Project. Q: How long will it take for you to ship?A: I will do my best to get your item shipped within a few days Need it shipped urgently, please let me know first, I'll do my best. I just want to set you up for realistic expectations, this is a for charity side hustle, so I do everything when I am able to! Q: What else do I need to know before I possibly pay more for the same item from you?A: There is so much more to say, but please, let me know if you have any questions before you bid/buy. I just want to leave my dent in the world and do as much good as I can to help as many doggos as possible. Thank you for your consideration

Sold on eBay November 4th, 2024

AUTOGRAPHED AUDRA MCDONALD + MORE CAST Signed '110 In The Shade' Playbill 2007

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 January 13th, 2025

CABARET 1998 MARY MCCORMACK SIGNED AUTOGRAPHED (X2) PLAYBILL STUDIO 54

Sold on eBay February 17th, 2024

Huge lot of 186 BROADWAY PLAYBILLS from the 2000's only - UNIQUE PLAYBILLS

*** HUGE PRICE REDUCTION ***You're looking a HUGE lot of 186 of random official BROADWAY PLAYBILLS from the 2000's only (2000 through 2007). All of these playbills have www playbill com written on the front cover and cover theater all over America, but mostly in the NYC area. These playbills are unique for the theatre and years of issue. In other words, there are no exact duplicates, but plays from the same theater for a different date with different cover and contents. Some have black & white cover pages while other have colorized cover pages. These programs are used, but in good vintage condition overall. Some of the programs are in better condition than others (none of them is complete beat up). The programs have imperfections such as: corner dings, creases, fold marks, writing (like a date on the show), sticker on cover page (with date), staple marks (from ticket stub), clear tape on corner of cover page, very small insignificant tears, minor cover page/spine wear, discoloration or staining due to age, and other similar imperfections. See pictures. Other minor flaws may be present. What you see is what you get. A few of these programs may come with original inserts. To be sold as a lot only. Great starter collection or opportunity to add to your playbill collection Here s a link to my UPS, USPS or FedEx Ground shipping within Continental US. Priority Mail international shipping is $150.Please ask any questions before making a purchase. Thanks and good luck! Complete list of programs in partially alphabetical order:1.) Address Unknown (Promenade, July 2004)2.) Alive On Broadway (Helen Hayes, August 2006)3.) Almost Heaven - Songs Of John Denver (Promenade, December 2005)4.) Altar Boyz (Dodger Stages, December 2005)5.) All Shook Up (Palace, April 2005)6.) Allergists Wife, The (Ethel Barrymore, July 2001)7.) Apple Tree, The (New York City Center, May 2005)8.) Assassins (Roundabout Studio 54, June 2004)9.) Awake And Sing! (Belasco, March 2006)10 )Barefoot In The Park (Cort, February 2006)11.)Bash! (City Center, November 2003)12.)Bash! (City Center, November 2004)13.)Beauty And The Beast (Lunt-Fontanne, June 2001)14.)Bells Are Ringing (Plymouth, March 2001)15.)Big River The Adventures Of Huckleberry Finn (American Airlines, July 2003)16.)Birdie Blue (Second Stage, July 2005)17.)Bklyn The Musical (Gerald Schoenfeld, June 2005)18.)Bklyn The Musical (Plymouth, September 2004)19.)Blonde In The Thunderbird, The (Brooks Atkinson, July 2005)20 )Bloomer Girl (City Center, March 2001)21.)Blue (Roundabout At The Gramercy, June 2001)22.)Blue Man Group (Astor Place, January 2004)23.)Boy From Oz, The (Imperial, June 2004)24 )Brooklyn Boy (Manhattan At The Biltmore, January 2005)25.)Burn This (Signature At The Union Square, September 2002)26.)Bye Bye Birdie (City Center, May 2004)27 )Can Can (City Center, February 2004)28 )Carnival (City Center, February 2002)29 )Caroline Or Change (Eugene O'Neill, September 2004)30 )Chicago The Musical (Shubert, February 2002)31 )Chicago The Musical (Ambassador, May 2006)32.)Chitty Chitty Bang Bang (Hilton, July 2005)33.)Chorus Line, A (Gerald Schoenfeld, June 2007)34.)Chorus Line, A (Curran, August 2006)35.)Class Act, A (Ambassador, June 2001)36 )Company (Ethel Barrymore, June 2007)37 )Company (Etehl Barrymore, November 2006) colorized38 )Connecticut Yankee (City Center, February 2001)39 )Constant Wife, The (Roundabout, June (Shubert, 2002)41 )Copenhagen (Royale, 2001)42 )Curtains (Al Hirschfeld, June 2007)43.)Dance Of The Vampires (Minksoff, February 2002)44.)Day In The Death Of Joe Egg, A (American Airlines, 2003)45 )Democracy (Brooks Atkinson, March 2003)46.)Deuce (Music Box, April 2007)47.)Devil And Daniel Webster (City Center, March 2001)48.)Dirty Rotten Scoundrels (Imperial, February 2005)49.)Dirty Rotten Scoundrels (Imperial, January 2006)50.)Dirty Tricks (Public, October 2004)51.)Doubt (Walter Kerr, January 2006)52 )Dracula (Belasco, January 2005)53.)Drowsy Chaperone (Marquis, May 2006)54 )Dracula (Belasco, September 2004)55.)Hedda Gabler (Ambassador, December 2001)56.)Henry And Mudge (Lucille Lortel, December 2006)57.)High Fidelity (Imperial, December 2006)58 )History Boys, The (Broadhurst, July 2006)59.)House Of Flowers (City Center, February 2003)60.)Hot Feet (Hilton, June 2006)61.)I am My Own Wife (Lyceum, May 2004)62.)I Just Stopped By To See The Man (Steppenwolf Mainstage, November 2002)63.)In My Life (Music Box, November 2005)64 )Jacques Brel Is Alive And Well And Living In Paris (Zipper, July 2006)65.)Jane Eyre The Musical (Brooks Atkinson, February 2001)66.)Jersey Boys (August Wilson, August 2006)67.)Jersey Boys (Curran, January 2007)68 )Journey s End (Belasco, March 2007)69.)Julius Caesar (Belasco, March 2005)70.)Kismet (New York City Center, February 2006)71.)Kiss Me Kate (Martin Beck, January 2001)72.)Fame Becomes Me (Bernard B. Jacobs, October 2006)73.)Fat Pig (MCC, December 2004)74.)Fatal Attraction: A Greek Tragedy (East 13th Street, July 2005)75.)Festen (Music Box, March 2006)76 )Fiction (Roundabout, August 2004)77 )Fiddler On The Roof (Minskoff, June 2004)78.)Five By Tenn (Manhattan Theatre Club, November 2004)79.)Flower Drum Song (Virginia, March 2003)80.)Flower Drum Song (Virginia, October 2002) colorized81 )Follies (Belasco, May 2001)82.)Fran's Bed (Playwrights Horizon, September 2005)83.)Frozen (Circle In The Square, August 2004)84 )Fortune s Fool (Music Box, May 2002)85.)45 Seconds From Broadway (Richard Rodgers, December 2001)86.)42nd Street (Ford Center For The Performing Arts, May 2001)87.)Full Monty, The (Eugene O'Neill, November 2001)88.)Gem Of The Ocean (Walter Kerr, February 2005)89.)Glen Garry & Glen Ross (Royale, April 2005)90.)Glan Garry & Glen Ross (Bernard B. Jacobs, May 2005)91.)Goat, The Or Who Is Sylvia? (Golden, November 2002)92.)God Of Hell, The (Actors Studio Drama, October 2004)93 )Golda s Balcony (Helen Hayes, October 2003)94.)Golden Boy (City Center, March 2002)95.)Good Vibrations (Eugene O'Neill, April 2005)96 )Graduate The (Plymouth, March 2002)97.)Grey Gardens (Walter Kerr, March 2007)98.)Gypsy (Sam S. Shubert, May 2003) colorized99 )Gypsy (Sam S. Shubert, March 2004)100.)Hair (City Center, May 2001)101 )Hairspray (Neil Simon, August 2003)102.)La Cage Aux Folles (Marquis, Februrary 2005)103.)Last Days Of Judas Iscariot, The (Labyrinth Theater Company, March 2005)104.)Last Easter (Lucille Lortel, September 2004)105.)Les Miserables (Imperial, March 2003)106 )Lestat (Palace, May 2006)107 )Lieutenant Of Inishmore, The (Lyceum, June 2006)108.)Light In The Piazza (Lincoln Center, June 2005)109 )Little Mermaid, The (National, December 2007)110 )Little Murders (City Center, January 2001)111 )Little Shop Of Horrors (Virginia, November 2003)112 )Little Women The Musical (Virginia, March 2005)113 )Little Women The Musical (Virginia, December 2004) colorized114 )Lost Highway (Little Shubert, May 2003)115.)Mamma Mia! (Cadillac Winter Garden, June 2003)116.)Man Of La Mancha (Martin Beck, February 2003)117.)Mary Poppins The New Musical (New Amsterdam, January 2007)118.)Match (Plymouth, March 2004)119 )McReele (Roundabout At Laura Pels, April 2005)120 )Metamorphoses (Circle In The Square, January 2003)121.)Monty Python's Spamalot (Sam S. Shubert, May 2006)122 )Moonlight And Magnolias (Manhattan Theatre Club, March 2005)123.)Moon For The Misbegotten, A (Brooks Atkinson, April 2007)124 )Movin Out (Richard Rodgers, November 2005)125.)New Moon, The (City Center, March 2003)126.)No Strings (City Center, May 2003)127 )Noises Off (Brooks Atkinson, July 2002)128.)Odd Couple, The (Brooks Atkinson, October 2005)129 )Oklahoma (Gershwin, July 2002)130.)On A Clear Day You Can See Forever (City Center, February 2000)131.)On Golden Pond (Cort, April 2005)132.)On The Mountain (Playwrights, February 2005)133.)110 In The Shade (Roundabout Studio 54, April 2007)134 )Pajama Game, The (Roundabout American Airlines, May 2006)135 )Pardon My English (City Center, April 2004)136 )Picasso A (Manhattan NY City Center Stage II, May 2005)137 )Pillowman The (Booth, March 2005)138.)Play About The Baby, The (Century Center, February 2001)139 )Private Lives (Richard Rodgers, April 2002)140 )Producers The (St. James, January 2002)141 )Producers The (St. James, July 2003)142.)Proof (Shubert, March 2002)143.)Proof (Walter Kerr, March 2001)144.)Proof (Manhattan Theatre Club, June 2000)145 )Prymate (Longacre, April 2004)146 )Rabbit Hole (Manhattan Biltmore, February 2006)147 )Reckless (Manhattan Biltmore, November 2004)148 )Rodney s Wife (Playwrights, November 2004)149 )Romance (Atlantic Theater Company, March 2005)150 )Search For Signs Of Intelligent Life In The Universe, The (Booth, January 2001)151 )Seascape (Booth, November 2005)152.)700 Sundays (Broadhurst, March 2005)153.)Shape Of Things, The (Promenade, November 2001)154 )Shockheaded Peter (Little Shubert, May 2005)155.)Sly Fox (Ethel Barrymore, April 2004)156 )Souvenir (Lyceum, December 2005)157 )Spelling Bee (Second Stage, February 2005)158 )Spelling Bee (Post Street Theatre San Francisco, May 2006) colorized159 )Some Girl(s) (MCC Theater At The Lucille Lortel, May 2006)160 )Streetcar Named Desire, A (Roundabout Stage 54, June 2005)161 )Sweeney Todd - The Demon Barber Of Fleet Street (Eugene O'Neill, June 2006)162.)Sweet Charity (Al Hirschfield, April 2005)163.)Talk Radio (Longacre, February 2007)164 )Tarzan (Richard Rodgers, April 2006)165 )Tennessee Williams' The Glass Menagerie (Ethel Barrymore, April 2005)166.)Times They Are A-Changin', The (Brooks Atkinson, October 2006)167.)This is How It Goes (Public, March 2005)168 )Thoroughly Modern Millie (Marquis, June 2002)169.)Thou Shalt Not (Plymouth, December 2001)170.)Three Days Of Rain (Bernard B. Jacobs, June 2006)171.)Three Penny Opera, The (Roundabout Studio 54, April 2006)172.)Time Of Your Life, The (Steppenwolf Mainstage, September 2002)173.)Touch Of The Poet, A (Roundabout Studio 54, January 2006)174.)Tree Grows In Brooklyn, A (City Center, February 2005)175.)TW And Only, The (Helen Hayes, November 2006)176 )Urinetown The Musical (Henry Miller, 2002)177.)White Chocolate (Century Center For The Performing Arts, November 2004)178.)White Christmas (Orpheum, December 2005)179 )Whoopi (Lyceum, November 2004)180 )Wonderful Town (City Center, May 2000)181 )Wonderful Town (Al Hirschfeld, February 2004)182 )Wonderful Town (Al Hirschfeld, January 2005)183.)Woman In White, The (Marquis, January 2006)184.)Who's Afraid Of Virginia Woolf? (Longacre, March 2005)185.)Who's Afraid Of Virginia Woolf? (Golden Gate, May 2007)186.)Who's Afraid Of Virginia Woolf? (Longacre, August 2005)

Sold on eBay March 3rd, 2025

Alexis Smith (Signed) "SUNSET" Lisa Mordente / World Premiere 1977 FLOP 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 autographed September 30th, 1977 playbill from the Pre-Broadway tryout and WORLD PREMIERE engagement of the LOUIS LaRUSSO II, WILL HOLT and GARY WILLIAM FRIEDMAN musical flop "SUNSET" at the Studio Arena Theatre in Buffalo, New York. (The production, retitled "PLATINUM" would open November 12th, 1978 at the Mark Hellinger Theatre in New York City and close after only 33 performances. An attempt to revive "SUNSET" in 1983 at the Off-Broadway Village Gate Downstairs would result in a one-performance failure.) ..... The musical starred ALEXIS SMITH (who signed the front cover) as an aging film star and featured BUDDY VEST, BILL STARR, LISA MORDENTE, RONALD "Ron" PERLMAN, YOLANDA RAY RAVEN, TERRY RIESER, CHERYL ALEXANDER, CHRISTINE FAITH and DIVA GRAY. (Note: ALEXIS SMITH and LISA MORDENTE are the only cast members who were retained for the Broadway run of "PLATINUM".) ..... CREDITS: Book by LOUIS LaRUSSO II (who would be replaced by BRUCE VILANCH) from an original concept by WILL HOLT; Lyrics by WILL HOLT; Music by GARY WILLIAM FRIEDMAN ("The Me Nobody Knows"); Sets designed by DOUGLAS W. SCHMIDT (who would be replaced by DAVID HAYS); Costumes designed by JOSEPH G. AULISI (who would be replaced by BOB MACKIE); Choreographed and Directed by TOMMY TUNE (who would be replaced by JOE LAYTON); Produced by STUDIO ARENA THEATRE ..... DETAILS: The 24 page playbill measures 5 5/8" X 9" inches and includes full production credits, cast list, synopsis of scenes, list of musical numbers and bios of each of the leading actors and members of the creative team but with the exception of the front cover, no cast photos ..... CUT SONGS: The list of musical numbers includes "Retreat", "Rock is My Way of Life", "True Music" and "Waltz" which were cut out-of-town ..... CONDITION: 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 ..... SHIPPING DISCOUNTS: Check my "Other Items" for additional rare Broadway playbills and other theatre related memorabilia. Shipping discounts are available for multiple purchases when all items are combined into a single payment. Please wait for a revised invoice before sending payment ..... THANKS !!! Pay me securely with any major credit card through PayPal!

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beatlemania playbill

SUNDAY IN THE PARK WITH GEORGE - ULTIMATE Playbill Collection - STEPHEN SONDHEIM

Huge lot of 337 BROADWAY PLAYBILLS late 1950's to 1970's only - UNIQUE PLAYBILLS

Huge lot of 317 BROADWAY PLAYBILLS from the 1990's to early 2000's

*WALNUT STREET THEATRE 1859 BROADSIDE BOHEMIAN GIRL ENGLISH OPERA COMPANY*

*WALNUT STREET THEATRE RARE 1858 BROADSIDE THE YOUTH OF FREDERICK THE GREAT*

Pianist SERGEI RACHMANINOFF / Masonic Auditorium 1934 Detroit Concert Program

William Shatner & Sylvia Sidney Signed Playbill "Arsenic and Old Lace" July '73

CABARET, PLAYBILL, SEPTEMBER 2002, STUDIO 54

Lot of 134 PLAYBILL & Other Play Programs (1984-2019): In 6 Binders, Mint/N-mint

SHE LOVES ME, Cast-Signed PLAYBILL, MARCH 2016, ROUNDABOUT STUDIO 54

*EDDIE CANTOR FRED & ADEL6E ASTAIRE RARE LARGE 1914 VAUDEVILLE BROADSIDE *

Alan Cumming (Cast Signed) "CABARET" Michelle Williams 2014 Broadway Playbill

Fanny Brice "ZIEGFELD FOLLIES" Willie Howard / Bruce MacFarlane 1934 Press Photo

CABARET, PLAYBILL, APRIL 2014, ROUNDABOUT STUDIO 54

AUTOGRAPHED AUDRA MCDONALD + MORE CAST Signed '110 In The Shade' Playbill 2007

*LEGENDARY DANCER ISADORA DUNCAN RARE 1916 DANCE PROGRAM*

CABARET 1998 MARY MCCORMACK SIGNED AUTOGRAPHED (X2) PLAYBILL STUDIO 54

Huge lot of 186 BROADWAY PLAYBILLS from the 2000's only - UNIQUE PLAYBILLS

Alexis Smith (Signed) "SUNSET" Lisa Mordente / World Premiere 1977 FLOP Playbill

WALNUT STREET THEATRE 1859 BROADSIDE BOHEMIAN GIRL ENGLISH OPERA COMPANY

WALNUT STREET THEATRE RARE 1858 BROADSIDE THE YOUTH OF FREDERICK THE GREAT

EDDIE CANTOR FRED & ADEL6E ASTAIRE RARE LARGE 1914 VAUDEVILLE BROADSIDE

LEGENDARY DANCER ISADORA DUNCAN RARE 1916 DANCE PROGRAM