Playbill Collectibles : Sea Value Guide - Price List

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Found 20 out of 56,978 items matching 'sea'

Sold on eBay January 13th, 2024

Huge lot of 390 BROADWAY PLAYBILLS 1930's to 1950's only - ALL UNIQUE PLAYBILLS

eBay You're looking a HUGE lot of 390 of random BROADWAY PLAYBILLS from the1930's - 1950'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 well over 400.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.) A View From The Bridge (Coronet, 1955)2.) Accent On Youth (Plymouth, 1935)3.) Affairs Of State (Music Box, 1951)4.) All For Love (Mark Hellinger, 1949)5.) All My Songs (Coronet, 1947)6.) Allegro (Majestic, 1947)7.) Almanac (Imperial, 1953)8.) American Repertory Theatre (International, 1946)9.) American Way, The (Center, 1939)10.)An Evening With Beatrice Lillie (Booth, 1952)11.)An Inspector Calls (Booth, 1947)12 )Anastasia (Lyceum, 1955)13.)Angel In The Wings (Coronet, 1948)14.)Angel In The Wings (Coronet, 1947)15.)Anna Lucasta (Mansfield, 1945)16.)Anna Lucasta (Mansfield, 1945) different cover date17 )Anne Of The Thousand Days (Sam S. Shubert, 1949)18.)Angel Street (John Golden, 1942)19 )Another Part Of The Forest (Fulton, 1946)20 )Another Part Of The Forest (Fulton, 1947)21 )Another Love Story (Fulton, 1943)22 )Antigone (Cort, 1946)23 )Anything Goes (Alvin, 1935)24.)Apple Cart, The (Plymouth, 1956)25.)Around The World In 80 Days (Rivoli, 1956)26 )Arsenic And Old Lace (Fulton, 1943)27 )Arsenic And Old Lace (Fulton, 1941)28.)Arms And The Girl (Forth-Sixth Street, 1950)29.)Army Play By Play, The (Martin Beck, 1943)30.)Awake And Sing (Windsor, 1939)31 )Bachelor Born (Morosco, 1938)32.)Bad Seed, The (Forty-Sixth Street, 1955)33 )Ballett Russe (Majestic, 1935)34 )Barefoot Boy With Cheek (Martin Beck, 1947)35 )Barretts Of Winpole Street, The (Ethel Barrymore, 1945)36 )Beautiful People, The (Lyceum, 1941)37 )Beggar s Holiday (Broadway, 1947)38.)Bells Are Ringing (Sam S. Shubert, 1957)39.)Bell, Book And Candle (Ethel Barrymore, 1951)40.)Best Foot Forward (Ethel Barrymore, 1941)41 )Billion Dollar Baby (Alvin, 1946)42.)Bless You All (Mark Hellinger, 1951)43.)Blithe Spirit (Booth, 1943)44 )Bloomer Girl (Sam S. Shubert, 1945)45 )Blossom Time (Forty-Sixth Street, 1938)46.)Blow Ye Winds (Forty-Sixth Street, 1937)47.)Born Yesterday (Lyceum, 1946)48 )Borscht Capades (Royale, 1951)49.)Boy Meets Girl (Cort, 1936)50.)Boy Friend, The (Royale, 1955)51 )Burgess Meredith (Booth, 1946)52 )Burlesque (Belasco, 1947)53.)By Jupiter (Sam S. Shubert, 1943)54.)By The Beautiful Sea (Imperial, 1954)55.)Caesar And Cleopatra (National, 1950)56.)Caesar And Cleopatra (National, 1950) different cover date57 )Caine Mutiny Court Martial, The (Plymouth, 1954)58.)Call Me Madam (Imperial, 1951)59 )Can Can (Sam S. Shubert, 1955)60.)Carmen Jones (Broadway, 1944)61 )Carousel (Majestic, 1945)62.)Child Of Fortune (Royale, 1956)63 )Children s Hour, The (Coronet, 1953)64 )Children s Hour, The (Maxine Elliott's, 1936)65.)Clash By Night (Belasco, 1941)66 )Claudia (Booth, 1941)67 )Clutterbuck (Biltmore, 1950)68 )Cocktail Party, The (Henry Miller s 1950)69 )Come Back, Little Sheba (Booth, 1950)70.)Come In Music (John Golden, 1954)71 )Compulsion (Ambassador, 19 )72 )Compulsion (Ambassador, 19??) different cover date73 )Common Ground (Fulton, 1945)74 )Confidential Clerk, The (Morosco, 1954)75 )Constant Wife, The (National, 1952)76 )Consul The (Ethel Barrymore, 1950)77.)Cradle Will Rock, The (Mansfield, 1948)78 )Craig s Wife (Playhouse, 1947)79.)Cranks (Bijou, 1956)80.)Cream In The Well, The (Booth, 1941)81 )Crucible The (Martin Beck, 1953)82.)Cup Of Trembling, The (Music Box, 1948)83.)D'Oyly Carte Opera Company (Martin Beck, 1939)84.)Damn Yankees (Forty-Sixth Street, 1956)85.)Damn Yankees (Forth-Sixth Street, 1956) different cover date86 )Dance Me A Song (Royale, 1950)87.)Daphne Laureola (Music Box, 1950)88.)Dark Eyes (Belasco, 1943)89.)Dark Is Light Enough, The (Anta, 1955)90.)Dark Victory (Plymouth, 1934)91.)Dead End (Belasco, 1936)92.)Dear Charles (Morosco, 1954)93.)Dear Ruth (Henry Miller's, 1944)94.)Death Of A Salesman (Morosco, 1949)95.)Deep Are The Roots (Fulton, 1946)96.)The Deep Blue Sea (Morosco, 1952)97.)Desk Set, The (Broadhurst, 1955)98 )Desperate Hours, The (Ethel Barrymore, 1955)99 )Detective Story (Hudson, 1949)100 )Devil s Disciple, The (Royale, 1950)101.)Dial 'M' For Murder (Plymouth, 1953)102.)Diary Of Anne Frank, The (Cort, 1956)103.)Diary Of Anne Frank, The (Cort, 1955)104.)Diary Of Anne Frank, The (Ambassador, 1957)105 )Distaff Side, The (Booth, 1934)106 )Dodsworth (Sam S. Shubert, 1934)107 )Doll s House, A (Broadhurst, 1938)108 )Doughgirls The (Lyceum, 1943)109.)Dream Child (Vanderbilt, 1934)110.)Du Barry Was A Lady (Forty-Sixth Street, 1940)111.)Earl Carroll Vanities (St. James, 1940)112.)Earl Carroll Sketch Book (Winter Garden, 1935)113 )Edward My Son (Martin Beck, 1948)114.)End As A Man (Vanderbilt, 1953)115 )Ernest Pascal's Peepshow (Fulton, 1944) 116.)Ethel Barrymore In The Corn Is Green (Martin Beck, 1943)117 )Evening With Beatrice Lillie, An (Booth, 1952)118 )Fabulous Invalid, The (Broadhurst, 1938)119.)Fair Game (Longacre, 19 )120 )Fallen Angels (Playhouse, 1956)121.)Fanny (Majestic, 1955)122 )Father Malady's Miracle (St. James, 1938)123.)Farm Of Three Echoes (Cort, 1939)124.)Fifth Season, The (Cort, 1953)125 )Finian s Rainbow (Forty-Sixth Street, 1947)126.)First Lady (Music Box, 1936)127 )Flowering Peach, The (Belasco, 1955)128 )Foolish Notion (Martin Beck, 1945)129.)Four Winds (Cort)130 )Fourposters The (John Golden, 1953)131 )Fourposters The (Ethel Barrymore, 1951)132 )Gentle People, The (Belasco, 1939)133 )Gentlemen Prefer Blondes (Ziegfeld, 1951)134 )Gilbert And Sullivan Operas (New Century, 1948)135.)Girl In Pink Tights, The (Mark Hellinger, 1954)136.)Girl On The Via Flaminia, The (Forty-Sixth Street, 1954)137.)Girls Of Summer (Longacre 1956)138 )Gladys George (Henry Millers, 1935)139.)Glass Menagerie, The (Playhouse, 1945)140 )Golden Apple, The (Phoenix, 1954)141 )Golden Boy (Belasco, 1938)142.)Good Night Ladies (Royale, 1945)143 )Goodbye My Fancy (Morosco, 1948)144.)Green Pastures, The (Broadway, 1951)145.)Guys & Dolls A Musical Fable Of Broadway (Forty-Sixth Street, 1952)146 )Hallams The - Booth (Booth, 1948)147 )Happies Millionaire, The (Lyceum, 1957)148.)Happy Time, The (Plymouth, 1950)149 )Harriet (Henry Millers, 1944)150 )Harvey (Forty-Eigth Street, 1947)151 )Hatful Of Rain, A (Lyceum, 1956)152.)Helen Goes To Troy (Alvin, 1944)153.)Helen Hayes (Broadhurst, 1936)154.)Hellz Poppin (Winter Garden, 1939)155.)Henry IV (St. James, 1939)156 )Hidden River, The (Playhouse, 1957)157.)High Tor (Martin Beck, 1937)158.)Hold On To Your Hats (Sam S. Shubert, 1940)159 )Hooray For What (Winter Garden, 1938)160.)I Knock At The Door (Belasco, 19??)161.)I Know My Love (Sam S. Shubert, 1950)162.)I Remember Mama (Music Box, 1945)163.)I'd Rather Be Right (Alvin, 1938)164 )Idiot s Delight (Sam S. Shubert, 1936)165 )Inherit The Wind (National, 1957)166 )Importance Of Being Earnest, The (Royale, 1947)167 )Importance Of Being Earnest, The (Vanderbilt, 1939168 )Innocents The (Playhouse, 1950)169 )Jackpot (Alvin, 1944)170.)Janus (Plymouth, 1956)171.)Jason (Hudson, 1942)172.)Joan Of Lorraine (Alvin, 1947)173.)Joy To The World (Plymouth, 1948)174 )Jubilee (Imperial, 1935)175 )Junior Miss (Majestic, 1943)176 )Junior Miss (Lyceum, 1942)177.)Juno And The Paycock (Mansfield, 1935)178.)Kind Lady (Longacre, 1935)179.)King And I, The (St. James, 1952)180.)Kind Sir (Alvin, 1954)181.)King Of Hearts (Lyceum 1954)182 )King Richard III (St. James, 1937)183 )Kismet (Ziegfeld, 1954)184.)Kiss And Tell (Biltmore, 1944)185.)La Vida Es Sueno (Broadhurst, 1953)186.)Lady From The Sea, The (Fulton, 1950)187.)The Lady's Not For Burning (Royale, 1950)188.)Land Is Bright, The (Music Box 1941)189 )Lady In The Dark (Alvin, 1942)190.)Lark, The (Longacre, 1956)191.)Late George Apley, The (Lyceum, 1945)192.)Leave It To Me! (Mansfield, 1939)193.)Leave It To Me! (Imperial 1939)194 )Lend An Ear (National, 1948)195.)Let's Face It (Imperial, 1942)196.)Les Ballets De Paris (Winter Garden, 1949)197 )Liberty Jones (Sam S. Shubert, 1941)198.)Light Up The Sky (Royale, 1948)199 )Little Foxes, The (National, 1939)200.)Li'l Abner (St. James, 1956)201 )Little Blue Light, The (Anta Playhouse, 1951)202 )Living Room, The (Henry Miller's, 1954)203.)Look, Ma, I'm Dancin'! (Adelphi, 1948)204 )Louisiana Purchase (Imperial, 1941)205.)Love Of Four Colonels, The (Sam S. Shubert, 1953)206 )Lovers And Friends (Plymouth, 1944)207 )Lunatics And Lovers (Broadhurst, 1955)208.)Lute Song (Plymouth, 1945)209 )Madame Bovary (Broadhurst, 1937)210 )Mademoiselle Colombe (Longacre, 1954)211 )Madwoman Of Chaillot, The (Belasco, 1949)212.)Major Barbara (Morosco, 1957)213.)Make Mine Manhattan (Broadhurst, 1948)214.)Make Way For Lucia (Cort, 1949)215.)Male Animal, The (Cort, 1940)216.)Male Animal, The (Music Box, 1952)217.)Man And Superman (Alvin, 1948)218.)Man Who Came To Dinner, The (Music Box, 1940)219 )Marcel Marceau (Ethel Barrymore, 1955)220 )Margin For Error (Plymouth, 1948)221 )Marinka (Winter Garden, 1945)222.)Mary Rose (Anta Playhouse, 1951)223.)May Wine (St. James, 1936)224.)Me And Juliet (Majestic, 1953)225 )Member Of The Wedding, The (Empire, 1950)226 )Merrily We Roll Along (Music Box 1934)227 )Merry Widow, The (Majestic, 1944)228 )Mexican Hayride (Majestic, 1945)229 )Middle Of The Night (Anta, 1956)230 )Misalliance (Ethel Barrymore, 1953)231.)Miss Isabel (Royale, 19 )232 )Mister Roberts (Alvin, 1948)233.)Moon Is Blue. The (Henry Milller's, 1951)234 )Morning s At 7 (Longacre, 1939)235.)Most Happy Fella, The (Imperial, 1957)236.)Mr. And Mrs. North (Belasco, 1941)237.)Mr. Wonderful (Broadway, 1956)238.)Mr. Wonderful (Broadway. 1956) different cover date239 )My Fair Lady (Mark Hellinger, 1957)240.)My Name Is Aquilon (Lyceum, 1949(241.)My Sister Eileen (Biltmore, 1941)242.)My 3 Angels (Morosco, 1953)243 )Native Son (St. James, 1941)244.)New Faces Of 1952 (Royale, 1952)245.)New Girl In Town (Forty-Six Street, 1957)246.)New Pins And Needles (Windsor, 1940)247.)New York City Ballet, (New York City Ballet, 1958)248.)New York City Ballet Winter Season (New York City Ballet, 1958)249.)Night Of January 16 (Ambassador, 1935)250.)No Time For Comedy (Ethel Barrymore, 1939)251.)No Time For Sergeants (Alvin, 1956)252.)Now I Lady Me Down To Sleep (Broadhurst, 1950)253.)Nude With Violin (Belasco, 19??)254.)O Mistress Mine (Empire 1947)255 )Of Mice And Men (Music Box, 1937)256.)Oh, Men! Oh, Women! (Henry Miller's, 1954)257 )Oklahoma (St. James, 1947)258.)Old Acquaintance (Morosco, 1941)259.)On Borrowed Time (Longacre, 1938)260.)On The Town (Forty-Fourth Street, 1945) 261.)On Your Toes (Forth-Sixth Street, 1954)262.)On Whitman Avenue (Cort 1946)263 )Once Is Enough (Henry Miller's, 1938)264.)One Touch Of Venus (Forty-Sixth Street, 1944)265.)One Touch Of Venus (Forty-Sixth Street, 1944) different cover date266 )Our Town (Morosco, 1938)267.)Out Of This World (New Century, 1951)268 )Overtons The (Forrest, 1945)269.)Paint Your Wagon (Sam S. Shubert, 1952)270 )Pajama Game, The (St. James, 1955)271 )Parisienne (Fulton, 1950272 )Patriots The (National, 1943)273 )Personal Appearance (Henry Miller's, 1934)274 )Petrified Forest, The (Broadhurst, 1935)275 )Philadelphia Story, The (Sam S. Shubert, 1939)276 )Pirate The (Martin Beck, 1943)277 )Pirate The (Martin beck, 1942)278.)Plain And Fancy (Winter Garden, 1955)279.)Plain And Fancy (Winter Garden, 1955) different cover date280 )Play s The Thing, The (Booth, 1948)281 )Playboy Of The Western World, The (Booth, 1946)282 )Ponder Heart, The (Music Box, 1956)283.)Post Road (Masque, 1934)284 )Pre Honeyroom (Lyceum, 1936)285 )Present Laughter (Plymouth, 1946)286 )Pygmalion (Ethel Barrymore, 1946)287 )Ramshackle Inn (Royale, 1944)288.)Red Gloves (Mansfield, 1949)289.)Red Mill, The (Forth-Sixth Street, 1946)290 )Relapse The Or Virtue In Danger (Morosco, 1950)291 )Reluctant Debutante, The (Henry Miller s 1956)292 )Remarkable Mr. Pennypacker, The (Coronet, 1954)293 )Respectful Prostitute, The (Cort, 1948)294 )Righteous Are Bold, The (Holiday, 1956)295.)Ring Round The Moon (Martin Beck, 1950)296.)Romeo And Juliet (Fifty-First Street, 1940)297.)Romeo And Juliet (Martin Beck, 1935)298.)Room Service (Cort, 1937)299 )Roomful Of Roses, A (Playhouse, 1955)300 )Rosalinda (Forty-Fourth Street, 1943)301 )Rugged Path, The (Plymouth, 1945)302 )Rumple (Alvin, 19 )303 )Russet Mantle (Masque, 1936)304.)Ryan Girl, The (Plymouth, 1945)305 )Sabrina Fair (National, 1954)306 )Sabrina Fair (National, 1954) different cover date307 )School For Brides (Ambassador, 1945)308.)Say When (Imperial, 1934)309 )Seagull The (Phoenix, 1954)310 )Season In The Sun (Cort, 1950)311.)See My Lawyer (Adelphi 1940)312 )Separate Tables (Music Box, 1957)313 )Separate Tables (Music Box, 1957) different cover date314 )Set To Music (Music Box, 1939)315.)Seven Year Itch, The (Fulton, 1953)316.)Seven Year Itch, The (Fulton, 1954)317 )Seventeen (Broadhurst, 1951)318 )Shadow And Substance (John Golden, 1938)319.)Show Boat (Ziegfeld, 1946)320 )Shrike The (Cort, 1952)321.)Silk Stockings (Imperial, 1955)322.)Skin Of Our Teeth, The (Plymouth, 1942)323 )Skylark (Morosco, 1939)324 )Slavenska Franklin Ballet with Alexandra Danilova (New Century, 1952)325 )Sleeping Prince, The (Coronet, 1956)326.)Small Miracle (Golden, 1934)327.)Small Wonder (Coronet, 1948)328.)Solid Gold Cadillac, The (Music Box, 1954)329.)Solid Gold Cadillac, The (Belasco. 1954)330.)Sons O'Fun (Forty-Sixth Street, 1943)331.)Song Of Norway (Imperial, 1945)332.)South Pacific (Majestic, 1951)333.)South Pacific (Majestic, 1949)334.)South Pacific (Majestic, 1952)335.)South Pacific (Majestic, 1951) different cover date336 )South Pacific (Majestic, 1951) different cover date337 )Spring Thaw (Martin Beck. 1938)338.)Stars In Your Eyes (Majestic, 1939)339.)State Of The Union (Hudson, 1946)340.)Storm Operation (Belasco, 1944)341 )Street Scene (Adelphi. 1947)342 )Survivors The (Playhouse. 1948)343.)Swan Lake (Forty-Sixth Street, 1941)344 )Tallery Method, The (Henry Miller's, 1941)345 )Taming Of Shrew, The (Guild, 1935)346.)Tea And Symphony (Ethel Barrymore, 1954)347 )Teahouse Of The August Moon, The (Martin Beck 1954)348 )Tempest The (Broadway, 1945)349 )Tender Trap, The (Longacre, 1954)350.)Ten Little Indians (Plymouth, 1945)351.)That Lady (Martin Beck, 1950)352.)There Shall Be No Night (Alvin, 1940)353.)Three For Tonight (Plymouth, 1955)354.)Three Men On A Horse (Fulton, 1936)355.)Three To Make Ready (Broadhurst, 1946)356.)Three Waltzes (Majestic, 1938)357.)Tiger At The Gates (Plymouth, 1955)358.)Time Of The Cuckoo, The (Empire, 1952)359.)Time Of Your Life, The (Guild, 1940)360.)Time Out For Ginger (Lyceum, 1953)361 )Tobacco Road (Forrest, 1937)362 )Sweethearts (Sam S. Shubert, 1947)363 )Tomorrow The World (Ethel Barrymore, 1943)364 )Tonight At 8:30 (National, 1948)365 )Traitor The (Forty-Eigth Street, 1949)366.)Trial By Jury (Sam S. Shubert, 1955)367 )Tunnel of Love, The (Royale, 1957)368 )Twelfth Night (Empire 1949)369 )Uncle Harry (Hudson, 1943)370.)Uncle Willie (John Golden, 1956)371 )Victoria Regina (Martin Beck, 1938)372.)Visit To A Small Planet (Booth 1957)373 )Voice Of The Turtle, The (Morosco, 1947)374.)Voice Of The Turtle, The (Morosco, 1944)375.)Voice Of The Turtle, The (Morosco, 1945)376.)Walk With Music (Ethel Barrymore, 1940)377 )Wallflower (Cort, 1944)378.)Waltz Of The Toreadors (Coronet, 1957)379 )Washington Jitters (Guild, 1938)380.)What A Life (Biltmore, 1938)381.)When We Are Married (Lyceum, 1940)382 )Where s Charley? (St. James, 1950)383.)White Steed, The (Cort, 1939)384.)Will Success Spoil Rock Hunter? (Belasco, 1955)385 )Wisteria Trees, The (Martin Beck, 1950)386 )Women The (Ethel Barrymore, 1937)387.)You Can't Take It With You (Booth, 1937)388.)You Can't Take It With You (Imperial, 1938)389.)Yes, My Darling Daughter (Playhouse, 1937)390 )Ziegfeld Follies (Winter Garden, 1943)

Sold on eBay May 19, 2021

WAVERLY GALLERY Full Cast Lucas Hedges, Elaine May + Signed Playbill

Sold on eBay February 4th, 2024

Huge lot of 229 BROADWAY PLAYBILLS from the 1970's to 1980's - UNIQUE PLAYBILLS

eBay *** HUGE PRICE REDUCTION ***You're looking a HUGE lot of 229 of random official BROADWAY PLAYBILLS from the 1970's to 1980's only. Dimension: 9" x 5.65" 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 $250..Please ask any questions before making a purchase. Thanks and good luck! Complete list of programs in partially alphabetical order:1.) Annie (Alvin, May 1977)2.) Alvin Ailey American Dance Theater (City Center, May 1979)3.) As You Like It (American Shakespare Theatre, ??)4.) Anna Christie (Imperial, May 1977)5.) American Millionaire, An (Circle In The City Square Joseph E. Levine, April 1974)6.) Amadeus (Broadhurst, December 1980)7.) All Over Town (Booth, January 1975)8.) Ah, Wilderness (Circle In The Square, October 1975)9.) Ain't Misbehavin' (Plymouth, May 1979)10.)Ain't Misbehavin' (Belasco, May 1981)11.)Ain't Misbehavin' (Longacre, December 1978)12.)Act, The (Majestic, December 1977)13.)Absurd Person Singular (Music Box, October 1974)14 )Brother To Dragons (Wilbur, September 1974)15 )Bubbling Brown Sugar (Anta, April 1976)16 )Brigadoon (Majestic, January 1981)17.)Bring Back Bride (Martin Beck, March 1981)18.)Bosoms And Neglect (Charles Playhouse, )19 )Blackstone (Majestic, June 1980)20.)Black Picture Show (New York Shakespeare Festival Lincoln Center Vivian Beaumont, January 1975)21.)Bette! Divine Madness (Majestic, November 1970)22 )Betrayal (Trafalgar, May 1980)23.)Best Little Whorehouse In Texas, The (Shubert, 1979)24.)Best Little Whorehouse In Texas, The (46th Street, January 1981)25.)Bent (New Apollo, May 1980)26.)Bed Before Yesterday, The (Colonial, ??)27.)Bacchae, The (Circle In The Square, October 1980)28.)Back Country (Wilbur, ??)29.)Bad Habits (Booth, August 1974)30 )Ballroom (Majestic, February 1979)31 )Ballroom (Majestic, November 1978)32.)Barnum (St. James, May 1980)33 )Beatlemania (Winter Gaeden, )34 )Beatlemania (Lunt-Fontanne, April 1979)35 )Bedroom Farce (Brooks Atkinson, July 1979)36 )Charlotte (Belasco, February 1980)37.)Club Champions Widow (Robert Lewis Acting Company, ??)38.)Can-Can (Minskoff, April 1981)39 )Candide (Broadway, July 1975)40.)Cat On A Hot Tin Roof (Anta, November 1974)41 )Chapter Twp (Imperial, January 1978)42 )Charlie And Algernon (Helen Hayes, September 1980)43 )Charles Aznavour On Broadway (Minskoff, October 1974)44.)Cherry Orchard, The (New York Shakespeare Festival Lincoln Center Vivian Beaumont, February 1977)45 )Chicago (46th Street, October 1975)46 )Children Of A Lesser God (Longacre, April 1980)47.)Chorus Line, A (Shubert, January 1979)48.)Chorus Line, A (Shubert, ??)49.)Chorus Line, A (Forrest, ??)50.)Clams On The Half Shell Revue (Minskoff, May 1975)51 )Clarence Darrow (Helen Hayes, April 1974)51.)Cold Storage (Lyceum, March 1978)52 )Copperfield (Anta, April 1981)53.)Comin' Uptown (Winter Garden, December 1979)54 )Crucible The (American Shakespeare. ??)55.)Crucifer Of Blood, The (Helen Hayes, November 1978)56 )Children Of A Lesser God (Longacre, August 1981)57.)Da (Morosco, December 1978)58 )Dancin (Ambassador, December 1981)59 )Dancin (Broadhurst, October 1978)60.)Day In Hollywood A Night In The Ukraine, A (John Golden, June 1980)61.)Day In Hollywood A Night In The Ukraine, A (Royale, July 1981)62.)Day In Hollywood A Night In The Ukraine, A (Royale, December 1980) colorized63 )Days In The Trees (Circle In The Square, October 1976)64.)Death Of A Salesman (Circle In The Square, July 1975)65 )Deathtrap (Music Box, June 1979)66 )Deathtrap (Wilbur, ??)67.)Dracula (Martin Beck, October 1977)68 )Dracula (Martin Beck, September 1979)69 )Dracula (Martin Beck, February 1978)70 )Dracula (Martin Beck, March 1979)71 )Dreamgirls (Shubert, November 1981)72 )Dreyfus In Rehearsal (Shubert, ??)73.)El Grande De Coca Cola (Plaza 9, July 1974)74 )Elephant Man, The (Booth, May 1981)75.)Equus (Plymouth, March 1976)76.)Equus (Helen Hayes, February 1977)77.)Equus (Wilbur, ??)78.)Eubie! (Ambassador, ??)79.)Evita (Broadway, December 1979)80.)Fifth Of July (New Apollo, August 1981)81.)Fifth Of July (New Apollo, October 1980)82.)First, The (Martin Beck, November 1981)83 )Filumena (Shubert, ??)84.)Filumena (St. James, February 1980)85.)First Monday In October (Majestic, November 1978)86.)42nd Street (Winter Garden, November 1980)87 )Frankenstein (Palace, December 1980)88.)Gemini (Little Theatre, June 1979)89 )Goodbye Fidel (New Ambassador, April 1980)90 )Gracious Living (Morris A. Mechanic, June 1978)91.)Gemini (Charles Playhouse, February 1980)92.)Gin Game, The (John Golden, September 1978)93.)Gin Game, The (John Golden, December 1977)94.)Glass Menagerie, The (Circle In The Square, January 1976)95 )Godspell (Promenade, January 1975)96.)Good Evening (Plymouth, May 1974)97.)Grand Tour, The (Palace, February 1979)98.)Guys And Dolls (Broadway, December 1976)99.)Guys And Dolls (Forrest, )100 )Heartaches Of A Pussycat (Anta, March 1980)101 )Hamlet (New York Shakespeare Festival Lincoln Center Vivian Beaumont, December 1975)102.)Home (Cort, December 1980)103.)I Love My Wife (Ethel Barrymore, May 1979)104.)I Love My Wide (Ethel Barrymore, April 1977)105.)I Ought To Be In Pictures (Eugene O'Neill, December 1980)106 )Iceman Cometh, The (Circle In The Square Joseph E. Levine, January 1974)107.)Ice Dancing (Minskoff, December 1978)108 )Iguana (Circle In The Square, November 1976)109 )Inspector General, The (Circle In The Square, October 1978)110.)In Two Keys (Ethel Barrymore, June 1974)111.)In Tow Keys (Shubert, ??)112.)I Have A Dream (Ambassador, October 1976)113.)I'm Getting My Act Together And Taking It On The Road (Walnut Street, ??)114.)In Praise Of Love (Morosco, January 1975)115.)Irene (Minskoff, January 1974)116.)Jesus Christ Superstar (Longacre, January 1978)117 )Joffrey The (City Center, November 1980)118.)King And I, The (Uris, May 1977)119.)King Of Hearts (Minskoff, October 1978)120.)Lady Audley's Secret (Wilbur, )121 )Liberace (Nanuet, ??)122.)Life, A (Morosco, November 1980)123.)Life & Adventures Of Nicholas Nickleby (Plymouth. October 1981)124.)Lenny (Charles Playhouse, ??)125.)Little Black Sheep (New York Shakespeare Festival Lincoln Center Vivian Beaumont, May 1975)126 )Little Foxes, The (Martin Beck, May 1981)127 )Lolita (Brooks Atkinson, March 1981)128 )London Assurance (Palace, December 1974)129.)Loose Ends (Circle In The Square, December 1979)130 )Lorelei (Palace, May 1974)131.)Lunch Hour (Ethel Barrymore, April 1981)132.)Magic Show, The (Cort, July 1976)133.)Mass Appeal (Booth, December 1981)134.)Man Of La Mancha (Palace, October 1977)135 )Martha Graham Dance Company (Mark Hellinger, ??)136.)Me And Bessie (Ambassador, October 1975)137 )Misanthrope The (St. James, May 1975)138.)Paul Robeson (Colonial, )139 )Morning s At Seven (Lyceum, September 1980)140 )Morning s At Seven (Lyceum, November 1981)141.)Most Happy Fella, The (Majestic, October 1979)142.)Mrs. Warren's Profession (New York Shakespeare Festival Lincoln Center Vivian Beaumont, March 1976)143 )Musical Chairs (Rialto, May 1980)144 )Musical Jubilee (St. James, January 1976)145.)My Fair Lady (St. James, June 1976)146.)My Fair Lady (Uris, August 1981)147.)My Fat Friend (Brooks Atkinson, November 1974)148.)My Fat Friend (Brooks Atkinson, March 1974)149.)Night And Day (Anta, November 1979)150.)1940 American Ballet Theatre 1977 (City Center 55th Street, January 1977)151 )1940 s Radio Hour, The (St. James, December 1979)152 )Norman Conquests, The (Morosco, April 1976)153 )Nureyev (Minskoff, April 1978)154 )Odyssey (Erlanger, ??)155.)Oh! Calcutta! (Edison, October 1978)156 )Oklahoma (Palace, March 1980)157.)On Golden Pond (New Apollo, March 1979)158.)On The Twentieth Century (St. James, February 1978)159 )Onward Victoria (Martin Beck, December 1980)160.)Once In A Lifetime (Circle In The Square, ??)161.)Over Here! (Shubert, December 1974)162 )Pacific Overtures (Winter Garden, June 1976)163.)Peter Pan (Lunt-Fontanne, November 1980)164.)Piaf (Plymouth, May 1981)165 )Prince Of Grand Street, The (Shubert, )166 )Kingfisher (Shubert, )167 )Kingfisher (Biltmore, April 1979)168 )Kingfisher (Morris A. Mechanic, October 1978)169.)Lend Me A Tenor (Royale, January 1980)170.)Lead People, The (Booth, October 1975)171.)Lady From The Sea, The (Circle In The Square, March 1976)172 )Pirate Of Penzance, The (Uris, July 1981)173 )Pippin (Imperial, January 1974)174 )Reggae (Biltmore, March 1980)175.)Rex (Shubert, ??)176.)Rich And Famous (Wilbur, ??)177.)Richard III (Cort, May 1979)178 )Richard III (New York Shakespeare Festival Lincoln Center Mitzi E. Newhouse, November 1974)179.)Ritz, The (Longacre, March 1975)180 )Roast The (Shubert, )181 )Romantic Comedy (Ethel Barrymore, November 1979)182 )Romantic Comedy (Colonial, ??)183.)Rose (Cort, March 1981)184.)Royal Family, The (Helen Hayes, January 1976)185.)Royal Family, The (Wilbur, ??)186.)Same Time, Next Year (Brooks Atkinson, September 1975)187 )Scapino (Circle In The Square Joseph E. Levine, July 1974)188 )Seascape (Shubert, February 1975)189 )Shadow Box, The (Morosco, September 1977)190 )Shenadndoah (Mark Hellinger, June 1977)191 )Sherlock Holmes (Broadhurst, January 1975)192 )Sherlock Holmes (Broadhurst, February 1975)193 )Sherlock Holmes (Broadhurst, July 1975)194 )Shirley Mac Laine (Palace, July 1976)195 )Shortchanged Review, The (New York Shakespeare Festival Lincoln Center Mitzi E. Newhouse, February 1976)196.)Side By Side By Sondheim (Music Box, February 1978)197.)Sly Fox (Morris A. Mechanic, November 1976)198.)Sly Fox (Broadhurst, May 1977)199 )Soloists Of The Royal Danish Ballet (City Center, June 1979)200.)Skin Of Our Teeth, The (Mark Hellinger, September 1975)201 )Sophisticated Ladies (Lunt-Fontanne, September 1982)202 )Spokesong (Circle In The Square, May 1979)203 )Streamers (New York Shakespeare Festival Lincoln Center Mitzi E. Newhouse, July 1976)204 )Strider (Helen Hayes, March 1980)205 )Strider (Helen Hayes, February 1980)206.)Sugar Babies (Colonial, ??)207.)Sugar Babies (Mark Hellinger, June 1982)208 )Survivor The (Morosco, February 1981)209.)Sweet Bird Of Youth (Harkness, January 1976)210 )Talley s Folly (Brooks Atkinson, March 1980)211.)Taste Of Honey, A (Century, August 1981)212.)Texas Trilogy, A (Broadhurst, October 1976)213 )They re Playing Our Song (Imperial, March 1981)214.)Three Penny Opera (New York Shakespeare Festival Lincoln Center Vivian Beaumont, May 1976)215 )Thieves (Shubert, ??)216.)13 Rue De L'Amour (Circle In The Square, May 1978)217 )Tribute (Brooks Atkinson, October 1978)218 )Together Again! (Charles Playhouse Stage 1, ??)219.)27 Wagons Full Of Cotton & Memory Of Two Monday's, A (Playhouse, February 1976)220 )Ulysses In Nighttown (Winter Garden, March 1974)221 )Wally s Cafe (Wilbur, April 1981)222 )Whoopee (Anta, June 1979)223.)Whose Life Is It Anyway? (Trafalgar, August 1979)224.)Who's Afraid Of Virginia Woolf? (Music Box, May 1976)225.)Who's Who In Hell (Colonial, ??)226.)Wiz, The (Majestic, ??)227.)Woman Of The Year (Palace, December 1981)228.)Woman Of The Year (Palace, April 1981)229.)Your Arms Too Short To Box With God (Lyceum, February 1977)

Sold on eBay December 26th, 2024

Brent Spiner (Cast Signed) "THE SEA GULL" Christopher Walken 1980 Playbill

Sold on eBay July 24th, 2023

D'OYLY CARTE RARE 1886 GILBERT & SULLIVAN HOLLIS STREET THEATRE MIKADO PROGRAM

A rare original March 1886 D'Oyly Carte Hollis Street Theatre, Boston program for Gilbert and Sullivan's brilliant comic light opera The Mikado, with Richard Mansfield as Ko-Ko. Four pages on card stock. Dimensions nine and three quarters by seven and a half inches. Light edgewear and a few small tears otherwise good. See the stories of The Mikado and Richard Mansfield 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 Mikado; or, The Town of Titipu is a comic opera in two acts, with music by Arthur Sullivan and libretto by W. S. Gilbert, their ninth of fourteen operatic collaborations. It opened on 14 March 1885, in London, where it ran at the Savoy Theatre for 672 performances, which was the second-longest run for any work of musical theatre and one of the longest runs of any theatre piece up to that time.[1][n 1] Before the end of 1885, it was estimated that, in Europe and America, at least 150 companies were producing the opera.[2]The Mikado remains the most frequently performed Savoy Opera, and it is especially popular with amateur and school productions. The work has been translated into numerous languages and is one of the most frequently played musical theatre pieces in history.Setting the opera in Japan, an exotic locale far away from Britain, allowed Gilbert to satirise British politics and institutions more freely by disguising them as Japanese. Gilbert used foreign or fictional locales in several operas, including The Mikado, Princess Ida, The Gondoliers, Utopia, Limited and The Grand Duke, to soften the impact of his pointed satire of British institutions Richard Mansfield (24 May 1857 – 30 August 1907) was an English actor-manager best known for his performances in Shakespeare plays, Gilbert and Sullivan operas, and the play Dr. Jekyll and Mr. Hyde.Life and careerMansfield was born in Berlin and spent his early childhood on Heligoland, Germany, an island in the North Sea, then under British rule. His parents were Hermine Küchenmeister Rudersdorf a Russian-born operatic soprano, and Maurice Mansfield, a British London-based wine merchant (died 1861). His grandfather was the violinist Joseph Rudersdorff [1][2] Mansfield was educated at Derby School, in Derby, England, where he studied painting in London. His mother took him to America, where she was performing, but he returned to England at age 20. Finding that he could not make a living as a painter, he gained some success as a drawing-room entertainer, eventually moving into acting.[3]Early career, D'Oyly Carte and first London was well known in the dual roles of Dr. Jekyll and Mr. HydeHe first appeared on the stage at St. George's Hall, London, in the German Reed Entertainments and then turned to light opera, joining Richard D'Oyly Carte's Comedy Opera Company in 1879 to appear as Sir Joseph Porter in H.M.S. Pinafore on tour. He continued to play the Gilbert and Sullivan comic "patter" roles on tour in Britain until 1881. Mansfield created the role of Major General Stanley in the single copyright performance of The Pirates of Penzance in Paignton, England, in 1879. In addition to Sir Joseph and the Major General, in 1880 he also began to play John Wellington Wells in The Sorcerer.[3]He left the D'Oyly Carte company in 1881, returned to London, and soon made his London debut in Jacques Offenbach's La boulangère. He played several further roles in London and then travelled to America in 1882, where he made his Broadway debut as Dromez in Bucalossi's Les Manteaux Noirs with a D'Oyly Carte touring company. He then played the roles of Nick Vedder and Jan Vedder in another D'Oyly Carte production, Robert Planquette's Rip Van Winkle (1882) [3]Mansfield then appeared in Baltimore, Maryland, with another D'Oyly Carte troupe, as the Lord Chancellor in Gilbert and Sullivan's Iolanthe in December 1882. He suffered a bad ankle sprain only two days later, however, and left the production, returning to New York. In 1883 he joined A. M. Palmer's Union Square theatre company in New York, and made a hit as Baron Chevrial in A Parisian Romance. Mansfield's portrayal of Chevrial, a "realistic exhibition of depravity in dotage, by a young and comparatively unknown actor, was a surprise to the public, the managers, and the critics, and soon became a town topic."[1] He next played the role of Ko-Ko, the Lord High Executioner in The Mikado, in Boston in early 1886, his last production with a D'Oyly Carte cast.[3]He appeared successfully in an original play, Prince Karl, and in several plays adapted from well-known stories, and his 1887 rendering of the title characters in Thomas Russell Sullivan's Dr. Jekyll and Mr. Hyde for Palmer's company at Madison Square Theatre, only a year after publication of Robert Louis Stevenson's novella, created a profound impression.[4] It was with this play that he made his London reputation during the 1888 season at the Lyceum Theatre, by invitation of Henry Irving. He also reprised the role in Broadway revivals [5]Actor producerMansfield as English king Richard III, c. 1889Mansfield continued his acting career but had also begun a career as a theatrical manager in America in 1886. He produced the play Richard III in 1889 at the Globe Theatre. He was back on Broadway in 1890 in Beau Brummell (he reprised this role several times).[6] He was one of the earliest to produce George Bernard Shaw's plays in America, appearing in 1894 as Bluntschli in Arms and the Man, and as Dick Dudgeon in The Devil's Disciple in 1897. The latter production was the first Shaw production to turn a profit. As a manager and producer of plays, Mansfield was known for his lavish staging. He often produced, starred in (often opposite his wife), and directed plays on Broadway, sometimes also writing under the pseudonym Meridan Phelps. His other Broadway roles in the 1890s included Napoleon Bonaparte (1894), the title role in The Story of Rodion, the Student (1895), Sir John Sombras in Castle Sombras (1896), Eugen Courvoisier in The First Violin (1898 and 1988), the title role in Cyrano de Bergerac (1898 and 1899).[5]He began the new century on Broadway in the title role in King Henry V (1900), followed by the title character in Monsieur Beaucaire, Brutus in Julius Caesar (1902), Karl Heinrich in Old Heidelberg (1903 and 1904), and roles in Ivan the Terrible (1904), A Parisian Romance (1904 and 1905), The Merchant of Venice (1905), Richard III (1905), Alceste in The Misanthrope (1905), The Scarlet Letter (1906) and Don Carlos (1906), among others. He continued to perform until his final year. One of his last performances, just a few months before his death, was the title role in a Broadway production of Henrik Ibsen's Peer Gynt, the play's U.S. premiere [5]Mansfield s popularity as a Shakespearean actor was immense. Upon his death, The New York Times stated: "As an interpreter of Shakespeare, he had no living equal in his later days, as witnessed by the princely grace, the tragic force of his Richard, his thrilling acting in the tent scene of "Caesar", the soldierly dignity and eloquence of his Prince Hal, and the pathos of the prayer in that play. He was the greatest actor of his hour, and one of the greatest of all times [3]Mansfield died in New London, Connecticut, in 1907 at age 50, from liver cancer [5]Suspected in Jack the Ripper caseMansfield lecturing in St. Louis in 1906; illustration by Marguerite MartynMansfield was performing in the London production of the Strange Case of Dr Jekyll and Mr Hyde in 1888 during the time that Jack the Ripper was murdering women in London. One frightened theatre-goer wrote to the police accusing Mansfield of the murders because he could not believe that any actor could make so convincing a stage transformation from a gentleman into a mad killer without being homicidal. Mansfield attempted to gain public favour and stem the criticism that he was receiving by offering a performance of the comedy Prince Karl for the benefit of the Suffragan Bishop of London's home and refuge fund for reformed prostitutes.

Sold on eBay September 12th, 2023

LIBERACE Live on Stage (Behind the Candelabra) 1950's London Souvenir Program

This is a rare 1950's souvenir program from the first international tour of "THE LIBERACE SHOW" in England. The show played the Royal Festival Hall, the London Palladium and in Manchester as the first part of a European tour ..... Biography: Born Wladziu Valentino Liberace on May 16th, 1919, into a musical family in Wisconsin, LIBERACE is best remembered for his extravagant costumes and trademark candelabra placed on top of his flashy pianos. His father, Salvatore Liberace, played the French horn and his mother, Frances Liberace (Zchowsky), played the piano. His siblings, George Liberace, Angie Liberace and Rudy Liberace, also had musical ability. Liberace's own extraordinary natural talent became evident when he learned to play the piano, by ear, at the age of four. Although Salvatore tried to discourage his son's interest in the piano, praises from Ignace Jan Paderewski, the famous Polish pianist, helped the young musician follow his musical dreams. As a teenager, Liberace earned wages playing popular tunes at movie theaters and speakeasies. Despite being proud of his son's accomplishments Salvatore strictly opposed Liberace's preference for popular music over the classics. He debuted as a soloist with the Chicago Symphony Orchestra, under the direction of Dr. Frederick Stock. At age 17, Liberace joined the Works Progress Administration Symphony Orchestra. He received a scholarship to attend the Wisconsin College of Music. In 1939, after a classical recital, Liberace's audience requested the popular tune, "Three Little Fishes". Liberace seized the opportunity and performed the tune with a semi-classical style which the audience loved. Soon, this unique style of playing the piano got Liberace bookings in large nightclubs. By 1940, Liberace was traveling with his custom-made piano, on top of which he would place his candelabrum. He then took Paderewski's advice and dropped Wladziu and Valentino to become simply Liberace. "South Sea Sinner" (1950), a movie with Shelley Winters, was Liberace's film debut in which he played a honky-tonk pianist. In 1952, "The Liberace Show", a syndicated television program, turned Liberace into a musical symbol. It began as a summertime replacement for "The Dinah Shore Show" (1951), but after two years, the show was one of the most popular on TV. It was carried by 217 American stations and could be seen in 20 foreign countries. Sold-out live appearances at Madison Square Garden enhanced the pianist's popularity even more. Soon, Liberace added flamboyant costumes and expensive ornaments to his already unique performances. His second movie, "Sincerely Yours" opened in 1955, and Liberace wrote his best-selling autobiography, "Liberace", in 1972. His first book, "Liberace Cooks", went into seven printings. In 1977, Liberace founded the non-profit "Liberace Foundation for the Performing and Creative Arts". The year 1978 brought the opening of "The Liberace Museum" in Las Vegas, Nevada, which serves as key funding for the Liberace Foundation. The profits from the museum provide scholarship money for financially needy college musicians. He continued performing until the fall of 1986, despite suffering from heart disease and emphysema during most of the 1980's. A closeted homosexual his entire life, Liberace was secretly diagnosed with AIDS sometime in 1986, which he also kept a secret from the public until the day he died. His last concert performance was at Radio City Music Hall on November 2nd, 1986. He passed away in his Palm Springs home on February 4th, 1987 at the age of 67. Liberace was portrayed by Michael Douglas in the highly publicized HBO film, "Behind the Candelabra" (2013) which co-starred Matt Damon ..... DETAILS: The oversized 24 page program measures 7 1/4" X 9 3/4" inches and includes "The Liberace Story" with bios and photos of LIBERACE and his brother GEORGE with details of "The Women in his Life", "His Ex-Fiancees" and "Views on Marriage" with snapshots of Liberace during his career into the mid-1950's and details on his hobbies, wardrobe, homes, swimming pool and foundation ..... CONDITION: With the exception of light creasing, this program is in excellent condition and will make a wonderful addition to the collection of any musical theatre aficionado or historian. This item will be carefully packaged in a protective 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!

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 October 5th, 2023

A CONAN DOYLE JAMES O'NEILL CRESTON CLARKE 1903 ADVENTURES OF GERARD PROGRAM

A rare original program clip circa 1903 for James O'Neill--Eugene O'Neill's father--and Creston Clarke, nephew of Edwin and John Wilkes Booth, in Sherlock Holmes author A. Conan Doyle's The Adventures of Gerard. Laid down to an Edwardian album page. Dimensions seven by four inches. Light wear otherwise good. See the story of Brigadier Gerard and A. Conan Doyle's extraordinary biography below. Shipping discounts for multiple purchases. Inquiries always welcome. Please visit my other eBay items for more early Gilbert and Sullivan items, theatre, opera, film and historical autographs, photographs and programs, and great actor and actress cabinet photos and CDV's. Sir Arthur Ignatius Conan Doyle KStJ DL (22 May 1859 – 7 July 1930) was a British writer and physician. He created the character Sherlock Holmes in 1887 for A Study in Scarlet, the first of four novels and fifty-six short stories about Holmes and Dr. Watson. The Sherlock Holmes stories are milestones in the field of crime fiction.Doyle was a prolific writer; other than Holmes stories, his works include fantasy and science fiction stories about Professor Challenger and humorous stories about the Napoleonic soldier Brigadier Gerard, as well as plays, romances, poetry, non-fiction, and historical novels. One of Doyle's early short stories, "J. Habakuk Jephson's Statement" (1884), helped to popularise the mystery of the Mary Celeste.His first work featuring Sherlock Holmes and Dr. Watson, A Study in Scarlet, was written in three weeks when he was 27 and was accepted for publication by Ward Lock & Co on 20 November 1886, which gave Doyle £25 (equivalent to £2,900 in 2019) in exchange for all rights to the story. The piece appeared a year later in the Beeton's Christmas Annual and received good reviews in The Scotsman and the Glasgow Herald [9]Holmes was partially modelled on Doyle's former university teacher Joseph Bell. In 1892, in a letter to Bell, Doyle wrote, "It is most certainly to you that I owe Sherlock Holmes ... round the centre of deduction and inference and observation which I have heard you inculcate I have tried to build up a man",[35] and in his 1924 autobiography, he remarked, "It is no wonder that after the study of such a character [viz., Bell] I used and amplified his methods when in later life I tried to build up a scientific detective who solved cases on his own merits and not through the folly of the criminal."[36] Robert Louis Stevenson was able to recognise the strong similarity between Joseph Bell and Sherlock Holmes: "My compliments on your very ingenious and very interesting adventures of Sherlock Holmes. ... can this be my old friend Joe Bell?"[37] Other authors sometimes suggest additional instance, Edgar Allan Poe's character C. Auguste Dupin, who is mentioned, disparagingly, by Holmes in A Study in Scarlet.[38] Dr. (John) Watson owes his surname, but not any other obvious characteristic, to a Portsmouth medical colleague of Doyle's, Dr. James Watson [39]Sherlock Holmes statue in Edinburgh, erected opposite the birthplace of Doyle, which was demolished c. 1970A sequel to A Study in Scarlet was commissioned, and The Sign of the Four appeared in Lippincott's Magazine in February 1890, under agreement with the Ward Lock company. Doyle felt grievously exploited by Ward Lock as an author new to the publishing world, and so, after this, he left them.[9] Short stories featuring Sherlock Holmes were published in the Strand Magazine. Doyle wrote the first five Holmes short stories from his office at 2 Upper Wimpole Street (then known as Devonshire Place), which is now marked by a memorial plaque [40]Doyle s attitude towards his most famous creation was ambivalent.[39] In November 1891, he wrote to his mother: "I think of slaying Holmes, ... and winding him up for good and all. He takes my mind from better things." His mother responded, "You won't! You can't! You mustn't!"[41] In an attempt to deflect publishers' demands for more Holmes stories, he raised his price to a level intended to discourage them, but found they were willing to pay even the large sums he asked.[39] As a result, he became one of the best-paid authors of his time.Statue of Holmes and the English Church in MeiringenIn December 1893, to dedicate more of his time to his historical novels, Doyle had Holmes and Professor Moriarty plunge to their deaths together down the Reichenbach Falls in the story "The Final Problem". Public outcry, however, led him to feature Holmes in 1901 in the novel The Hound of the Baskervilles. Holmes's fictional connection with the Reichenbach Falls is celebrated in the nearby town of Meiringen.In 1903, Doyle published his first Holmes short story in ten years, "The Adventure of the Empty House", in which it was explained that only Moriarty had fallen, but since Holmes had other dangerous Colonel Sebastian Moran—he had arranged to make it look as if he too were dead. Holmes was ultimately featured in a total of 56 short stories—the last published in 1927—and four novels by Doyle, and has since appeared in many novels by other authors Brigadier Gerard is the comedic hero of a series of 17 historical short stories, a play, and a major character in a novel by the British writer Arthur Conan Doyle. Brigadier Etienne Gerard is a Hussar officer in the French Army during the Napoleonic Wars. Gerard's most notable attribute is his vanity – he is utterly convinced that he is the bravest soldier, greatest swordsman, most accomplished horseman and most gallant lover in all France. Gerard is not entirely wrong, since he displays notable bravery on many occasions, but his self satisfaction undercuts this quite often. Obsessed with honour and glory, he is always ready with a stirring speech or a gallant remark to a lady.Doyle, in making his hero a vain, and often rather uncomprehending Frenchman, was able to satirise both the stereotypical English view of the French and – by presenting them from Gerard's baffled point of view – English manners and attitudes.The Booth family was an English American theatrical family of the 19th century. Its most known members were Edwin Booth, one of the leading actors of his day, and John Wilkes Booth, who assassinated Abraham Lincoln.The patriarch was Junius Brutus Booth, a London-born lawyer's son who eventually became an actor after he attended a production of Othello at the Covent Garden theatre. The prospects of fame, fortune, and freedom were very appealing to young Booth, and he displayed remarkable talent from an early age, deciding on a career in the theatre by the age of 17. He performed roles in several small theaters throughout England, and joined a tour of the Low Countries in 1814, returning the following year to make his London debut.Booth abandoned his wife and their young son in 1821 and ran off to the United States with Mary Ann Holmes, a London flower girl. They settled on some 150 acres in Harford County near Baltimore and started a family; they had 10 children, six of whom survived to adulthood [1][2]Junius Sr. and Edwin toured in California during the Gold Rush.[citation needed] Edwin bought an interest in the Winter Garden Theatre at 667 Broadway in New York City with his brother-in-law John Sleeper Clarke. The brothers John Wilkes, Edwin, and Junius Brutus, Jr. performed there in the play Julius Caesar at a benefit in 1864, the only time they were seen together on a stage, playing Mark Antony, Brutus, and Cassius, respectively [3]MembersThe Booth Family gravesite, Green Mount CemeteryJunius Brutus Booth (1796–1852) brought his mistress Mary Ann Holmes, who bore him 10 children, to the United States.He also wrote many letters in fits of drunken anger and madness to President Andrew Jackson threatening assassination. He requested that two prisoners who had been sentenced to death for piracy, named De Ruiz and De Soto, be pardoned, or else: "I will cut your throat whilst you are sleeping." This letter would later be recanted by Junius, stating, "May god preserve General Jackson and this happy republic [4]Junius Brutus Booth Jr. (1821–1883) was married to Agnes Booth. Junius Jr. never achieved the same fame as his brothers, but his third wife Agnes was popular.Their son Sydney Barton Booth (1877–1937) was an actor well into the era of modern film [5]Edwin Thomas Booth (1833–1893) came to be the foremost American Shakespearean actor of his day. He founded The Players, a New York City actors' club which continues to the present day. His second wife, Mary McVicker, was an actress [6]Edwin s grandson Edwin Booth Grossman was a painter of some note.Asia Frigga Booth (1835–1888) married John Sleeper Clarke, an actor/comedian who was briefly imprisoned in the aftermath of the assassination. They then emigrated to Britain, where he became a successful theatre manager.Creston Clarke[7] and Wilfred Clarke,[8] sons of John and Asia, were noted actors in their day.John Wilkes Booth (1838–1865) was a popular young star in less serious fare than his brothers.A Confederate sympathizer during the American Civil War, during a play attended by Abraham Lincoln, Booth took advantage of his access to the theatre to invade the President's box and assassinate the President. He was killed 12 days later by Union soldier Boston Corbett.Edwina Booth Grossman (1861–1938) daughter of Edwin Booth,[9] and the author of Edwin Booth: Recollections by His Daughter, Edwina Booth Grossman, and Letters to Her and to His Friends (1894).James O'Neill (November 15, 1847 – August 10, 1920) was an Irish-American theatre actor and the father of the American playwright Eugene O'Neill.Early lifeJames O'Neill[1] was born on November 15, 1847, in County Kilkenny, Ireland. His parents were distant cousins, Edward[2] and Mary O'Neill. His father was a farmer. The family emigrated to America in 1851 and settled in Buffalo, New York. In 1857 they moved to Cincinnati, Ohio, where James was apprenticed to a machinist [3]CareerPlaque in New Ross, County Wexford recalling his emigration to America in 1851At the age of 21, he made his stage debut in a Cincinnati, Ohio, production of Boucicault's The Colleen Bawn (1867). Also in 1867, Edwin Forrest embarked on a "farewell tour". O'Neill had a minor part in Forrest's Cincinnati production of Virginius, and then joined a travelling repertory company. He played a young sailor in Joseph Jefferson's Rip Van Winkle and for the first time found his brogue a handicap.[3] He also played Macduff to Edwin Booth's Macbeth.The San Francisco Chronicle of August 3, 1879, described James O'Neill as "...a quiet gentleman of medium height, well proportioned figure, square shoulders and stands very erect. He has black hair, black eyes, rather dark complexion, a black mustache, and a fine set of teeth which he knows how to display to advantage."[3] "[4]While in San Francisco, O'Neill became friends with fellow actor, John Elitch. When Elitch opened the Elitch Zoological Gardens in Denver, Colorado, on May 1, 1890, O'Neill attended the opening and promised "I'll come back and play on that stage whenever you say." On May 30, 1897, O'Neill kept his promise and appeared in the opening play, Helene, by Martha Morton.[5]He was considered a promising actor, quickly working his way up the ranks to become a matinee idol. [6]ScandalIn 1874 O'Neill joined Richard M. Hooley's company, and the following year toured San Francisco, Virginia City and Sacramento. He then headed back east to join the Union Square Company.[3]On June 14, 1877, while in New York, James O'Neill married Mary Ellen Quinlan, daughter of Thomas and Bridget Quinlan, at St. Ann's Church on 12th Street. James and Ella had three sons: James (b. 1878), Edmund (b. 1883) and Eugene O'Neill (b. 1888). While James was on tour, Ella often accompanied him, and the boys were placed in boarding school. In the fall of 1877, three months after James' marriage, a woman by the name of Nettie Walsh sued O'Neill, claiming that O'Neill already married her, when she was 15, and he was the father of her three year old son. [4]The couple was in San Francisco on September 10, 1878, when their first son, James O'Neill, Jr. was born in the home of one of O'Neill's friends. While in San Francisco, O'Neill took on the role of Christ in David Belasco's production The Passion for which Belasco rounded up 100 nursing mothers to appear in the tableau "the Massacre of the Innocents". The Board of Supervisors passed a local ordinance prohibiting "profane" dramas, and O'Neill and the rest of the company were arrested. O'Neill pleaded guilty and paid a $50 fine for himself and $5 for each of his co-defendants. About October 30, 1880, O'Neill and his family took a train back to New York where he re-joined the Union Square Company.[3]The Count of Monte CristoPoster for a 1900 theatre production of Monte Cristo, adapted for the stage by Charles Fechter, starring James O'NeillEdmond Dantès (James O'Neill) loosens a stone before making his escape from the Château d'If in The Count of Monte Cristo (1913)As early as 1875, while a stock star at Hooley's Theatre in Chicago, O'Neill played the title role in a stage adaptation of Dumas' The Count of Monte Cristo. In early 1883 O'Neill took over the lead role in Monte Cristo at Booth's Theater in New York, after Charles R. Towne died suddenly in the wings after his first performance. O'Neill's interpretation of the part caused a sensation with the theater-going public. A company was immediately set up to take the play on tour. O'Neill bought the rights to the play. The San Francisco News Latter was less appreciative of O'Neill, saying on December 31, 1887 "In his hands the romantic story has degenerated into an extravagant melodrama. ...He is reaping the pecuniary profit of his business sagacity, but it is at the cost of art."[3]O'Neill soon had enough of the Count. His lines came out by rote and his performances became lackadaisical. He tried other plays but The Three Musketeers and Julius Caesar met with indifferent response, and O'Neill was forced to return to Monte Cristo in order to recoup the losses sustained in "artistic successes". Monte Cristo remained a popular favorite and would continue to make its appearance on tour as regular as clockwork. O'Neill could not afford to sacrifice wealth in the face of a growing family. His son Eugene was born in New York on October 16, 1888.[3]He went on to play this role over 6000 times. Some, including Eugene, saw O'Neill's willingness to play the role so many times as selling out; squandering the potential of his art in order to make money.[7] By 1887, The San Francisco Morning Call estimated O'Neill's fortune at a quarter of a million dollars. In March 1894, O'Neill took on the role of Shane O'Neill in the play The Prince of Ulster [3]According to his son, Eugene,My father was really a remarkable actor, but the enormous success of "Monte Cristo" kept him from doing other things. He could go out year after year and clear fifty thousand in a season. He thought that he simply couldn't afford to do anything else. But in his later years he was full of bitter regrets. He felt "Monte Cristo" had ruined his career as an artist.[3]The company toured as far west at St. Louis; Eugene O'Neill who had given up his studies at Princeton, was the assistant treasurer. He left the company to begin his wanderings at sea.[3] O'Neill converted "Monte Cristo" into tabloid form for the vaudeville circuit to accommodate changing taste in theater entertainment O Neill s celebrity and identification with Monte Cristo led Adolph Zukor to engage O'Neill in 1912 to appear in a feature film version of the play as the first production of his Famous Players Film Company. By that time O'Neill had been continuously playing the part for nearly 40 years and was 65 years old. Directed and photographed by Edwin S. Porter and co-starring Nance O'Neil as Mercedes, the film was initially held back in release but finally appeared in late 1913.DeathIn the middle of 1920 James was struck by an automobile in New York City and taken to Lawrence Memorial Hospital in New London, Connecticut. He died, aged 72, on August 11, 1920, from intestinal cancer,[4] at the family summer home, the Monte Cristo Cottage in Connecticut. His funeral at St. Joseph's Church was attended by, among others, O'Neill's sister, Mrs. M. Platt of St. Louis and Edward D. White, Chief Justice of the United States Supreme Court. O'Neill was buried in St. Mary's cemetery [3]LegacyJames O'Neill later became the model for James Tyrone, the frugal, mercurial, unseeing father character in Eugene O'Neill's posthumously published play Long Day's Journey into Night, which tells the story of the Tyrone family, which closely resembles the O'Neill family.

Sold on eBay Sep, 29th 2020

Marlon Brando "ARMS AND THE MAN" Bernard Shaw 1953 Playbill with Ticket Stub

Sold on eBay February 23rd, 2024

Devils Auction Forever Chas H Yale Burlesque Wild Dance Entertainment Trade Card

Authentic - "Chas. H. Yale's Forever Devil's Auction." - Victorian Trade CardVaudeville and Popular Entertainment: "Comedians / Ballerine / Acrobats / Secundos / Dancers Show Themes included Demons and Supernatural Burlesque, Unusual Features, "Gorgeous Costumes" etc.NOTE: Charles H. Yale (1856-1920) was an American theatre producer and performer.Early in his career he worked for the Boylston Museum in Boston, Massachusetts In 1897 he formed a partnership in New York with David Henderson and W.J. Gilmore to produce "spectacular, operatic and musical plays." Among Yale's theatrical productions are The Sea King, The Devil's Auction and Twelve Temptations.He went bankrupt in 1910. He belonged to the National Theatrical Producing Managers Association.He died in Rochester, New York, in 1920. -- From WikipediaMore 1800's Demon, Fairy, Angel, etc. Cards Click: (( "SUPERNATURAL" CARDS )) MORE Halloween Themes and Creepy cards coming ... including Spooky 19th Century Trade Cards. Approx. 4.5 x 3.5 inches - Condition... shows age with minor flaws. Please study the scans. 110+ Years Old - 19th Century Theater, Music, Dance, and Circus -related Trade Card + Over 1,000+ more fabulous antique & vintage cards are currently listed at the Dave Cheadle Card Store. To See More of the BEST 19th Century Cards Click Here: (( MORE GREAT CARDS ))+ Over 1,000+ more fabulous antique & vintage cards are currently listed at the Dave Cheadle Card Store.FREE DOMESTIC SHIPPING * MORE GREAT pre-1900 - Theater / Fantasy / Comic / Satan, Fairy, etc. = use "Search store" Visit store: Click this Hot Link: Dave Cheadle Card Store ===================================Condition: - Displays with evidence of aging, flaws and wear, as seen in HUGE scans far above. Please ... SEE the above HUGE SCANS to note any and all FLAWS! Size: -- see ruler in the scans. All of the Dave Cheadle Card Store cards are Authentic Antiques = 100% Guaranteed Original After approx. 50 years of collecting, I'm thinning my archives of thousands and thousands of pre-1900 cards. My inventory includes items ranging from common and affordable cards to one-of-a-kind rarities that I have used to illustrate my over 150 articles that I have authored, along with numerous books I've published, including My ... now out-of-print 1996 classic book that helped establish the name for the ebay category and helped define the hobby of Victorian Trade Card collecting: VICTORIAN TRADE CARDS HISTORICAL REFERENCE & VALUE GUIDE, by Dave Cheadle. Be sure to subscribe to my STORE NEWSLETTER and to add me to your favorites list! As a life-long collector and social historian, and as the founding editor of the Trade Card Collectors Association's journal, "The Trade Card Quarterly," I can certify that all items offered are authentic and fully guaranteed-- full refunds without question if not as represented. FREE Shipping with TRACKING and professional packaging within United States: - YES! NOTE: International and World-Wide Global Shipping is now handled with charges determined via the ebay International Shipping Program.More GREAT ADVERTISING TRADE CARDS, ephemera, vintage Colorado History Postcards Historical Paper Americana, 19th Century and antique cards etc. always available right now for ~ Immediate Purchase ~ in my store as -- BUY IT NOW = Most Recently Added Cards ... Fresh to My Store, Starting with Most Recently Listed: Click this Hot Link: Dave Cheadle Card Store (Condition: Pre-Owned)

Sold on eBay Aug, 10th 2020

HUGE Lot Broadway 40+ Playbill 15+ Souvenir Programs 15+ Vocal Selections AS IS

Sold on eBay April 21st, 2024

Lot of 30 Vintage Off Broadway Showbills

Sold on eBay April 22nd, 2024

1926 RACE RELATIONS DAVID BELASCO COLOR LULU BELLE HERALD SHELDON & MACARTHUR

A magnificent circa 1926 color herald for David Belasco's production of Edward Sheldon and Charles MacArthur's play or race relations Lulu Belle with the great Lenore Ulric. Excellent condition. This is one of the finest theatrical heralds I've ever seen. Dimensions seven by five inches. See David Belasco's extraordinary biography and thee story of the play. 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:David Belasco (July 25, 1853 – May 14, 1931) was an American theatrical producer, impresario, director, and playwright.[1] He was the first writer to adapt the short story Madame Butterfly for the stage, and he launched the theatrical career of many actors, including James O'Neill, Mary Pickford, Lenore Ulric and Barbara Stanwyck. Belasco pioneered many innovative new forms of stage lighting and special effects in order to create realism and naturalism David Belasco was born in San Francisco, California, the son of Abraham H. Belasco (1830–1911) and Reyna Belasco (née Nunes, 1830–1899), Sephardic Jews who had moved from London’s Spanish and Portuguese Jewish community during the California Gold Rush.[3]:13 He began working in a San Francisco theater doing a variety of routine jobs, such as call boy, script copier or as an extra in small parts.[3]:14 He received his first experience as a stage manager while on the road. He said, "We used to play in any place we could hire or get into—a hall, a big dining room, an empty barn; any place that would take us."[3]:14From late 1873 to early 1874, he worked as an actor, director, and secretary at Piper's Opera House in Virginia City, Nevada, where he found "more reckless women and desperadoes to the square foot…than anywhere else in the world". His developmental years as a supporting player in Virginia City colored his thoughts eventually helping him to conceive realistic stage settings.[4] He said that while there, seeing "people die under such peculiar circumstances" made him "all the more particular in regard to the psychology of dying on the stage. I think I was one of the first to bring naturalness to bear in death scenes, and my varied Virginia City experiences did much to help me toward this. Later I was to go deeper into such studies." His recollections of that time were published in Hearst's Magazine in 1914.[5] By March 1874, he was back at work in San Francisco, eventually managing Thomas Maguire's Baldwin Theater. When Maguire lost the theater in 1882, Belasco relocated to the East Coast bringing his practical western experiences with him. The West allowed him to develop his talents as not only a performer, but in progressive production design and execution.[6]A gifted playwright, Belasco went to New York City in 1882 where he worked as stage manager for the Madison Square Theatre (starting with Young Mrs. Winthrop), and then the old Lyceum Theatre while writing plays. By 1895, he was so successful that he was considered America's most distinguished playwright and producer CareerBelasco in 1873During his long creative career, stretching between 1884 and 1930, Belasco either wrote, directed, or produced more than 100 Broadway plays, including Hearts of Oak, The Heart of Maryland, and Du Barry, making him the most powerful personality on the New York City theater scene. He also helped establish careers for dozens of notable stage performers, many of whom went on to work in films.Among them were Leslie Carter, dubbed "The American Sarah Bernhardt,"[7] whose association with Belasco skyrocketed her to theatrical fame after her roles in Zaza (1898) and Madame Du Barry (1901).[7] Ina Claire's lead in Polly with a Past (1917) and The Gold Diggers (1919) similarly propelled her career.[7] Belasco wrote a lead part for 18-year-old Maude Adams in his new play Men and Women (1890), which ran for 200 performances [7]Other stars whose careers he helped launch included Jeanne Eagels, who would later achieve immortality as Sadie Thompson in Rain (1923), which played for 340 performances [8] Belasco discovered and managed the careers of Lenore Ulric[9] and David Warfield, both of whom became major stars on Broadway. He launched the career of Barbara Stanwyck, and was responsible for changing her name.[7]Belasco is perhaps most famous for having adapted the short story Madame Butterfly into a play with the same name and for penning The Girl of the Golden West for the stage, both of which were adapted as operas by Giacomo Puccini (Madama Butterfly 1904—twice, after revision) and La fanciulla del West (1910). More than forty motion pictures have been made from the many plays he authored.To me, David Belasco was like the King of England, Julius Caesar and Napoleon rolled into one.Mary Pickford[7]Many prominent performers of the late 19th and early 20th centuries sought the opportunity to work with Belasco; among them were D. W. Griffith, Helen Hayes, Lillian Gish, Mary Pickford[7] and Cecil B. DeMille.[7] DeMille's father had been close friends with Belasco, and after DeMille graduated from the American Academy of Dramatic Arts, he began his stage career under Belasco's guidance.[10] DeMille's later methods of handling actors, using dramatic lighting and directing films, were modeled after Belasco's staging techniques [7]Pickford appeared in his plays The Warrens of Virginia at the first Belasco Theatre in 1907 and A Good Little Devil in 1913. The two remained in touch after Pickford began working in Hollywood; Belasco appeared with her in the 1914 film adaptation of A Good Little Devil. He is credited as giving Pickford her stage name as well. He also worked with Lionel Barrymore, who starred in his play Laugh, Clown, Laugh opposite Lucille Kahn, whose Broadway career Belasco launched. Belasco was a member of The Lambs from 1893 to 1931 MarriageDavid Belasco was married to Cecilia Loverich for over fifty years; they had two daughters, Reina (who was married to producer Morris Gest) and Augusta DeathBelasco died in 1931 at the age of 77 in Manhattan.[1] He was interred in the Linden Hill Jewish Cemetery on Metropolitan Avenue in Ridgewood, Queens [11][12]Influence on American theatrePoster for The Heart of Maryland with Maurice Barrymore and Mrs. Leslie CarterBelasco demanded a natural acting style, and to complement that, he developed stage settings with authentic lighting effects to enhance his plays. His productions inspired several generations of theatre lighting designers [13]:29Belasco s contributions to modern stage and lighting techniques were originally not appreciated as much as those of his European counterparts, such as André Antoine and Constantin Stanislavski, however today he is regarded as "one of the first significant directorial figures in the history of the American theatre," writes theatre historian Lise-Lone Marker [3]:xiBelasco s monogramHe brought a new standard of naturalism to the American stage as the first to develop modern stage lighting along with the use of colored lights, via motorized color changing wheels, to evoke mood and setting [3]:xi[13] America's earliest stage lighting manufacturer, Kliegl Brothers, began by serving the specialized needs of producers and directors such as Belasco and Florenz Ziegfeld [13]:157 With regard to these modern lighting effects, Belasco is best remembered for his production of Girl of the Golden West (1905), with the play opening to a spectacular sunset which lasted five minutes before any dialogue started [13]:29Belasco became one of the first directors to eschew the use of traditional footlights in favor of lights concealed below floor level, thereby hidden from the audience. His lighting assistant, Louis Hartmann, realised Belasco's design ideas.[13]:29 He also used follow spots to further create realism and often tailored his lighting configurations to complement the complexions and hair of the actors.[13]:135 He ordered a specially made 1000-watt lamp developed just for his own productions, and was the only director to have one for the first two years after its introduction (1914–1915) [13]:135In his own theatres, the dressing rooms were equipped with lamps of several colors, allowing the performers to see how their makeup looked under different lighting conditions Supposedly he put appropriate scents to set scenes in the ventilation of the theaters, while his sets paid great attention to detail, and sometimes spilled out into the audience area. In one play, for instance, an operational laundromat was built onstage. In The Governor's Lady, there was a reproduction of a Childs Restaurant kitchen where actors actually cooked and prepared food during the play.Childs Restaurant Scene in The Governor's LadyHe is even said to have purchased a room in a flophouse, cut it out of the building, brought it to his theater, cut out one wall and presented it as the set for a production. Belasco's original scripts were often filled with long, specific descriptions of props and set dressings. He has not been noted for producing unusually naturalistic scenarios Belasco also embraced existing theatre technology and sought to expand on it. Both of Belasco's New York theatres were built on the cutting edge of their era's technology. When Belasco took over the Republic Theatre he drilled a new basement level to accommodate his machinery; the Stuyvesant Theatre was specially constructed with enormous amounts of flyspace, hydraulics systems and lighting rigs. The basement of the Stuyvesant contained a working machine shop, where Belasco and his team experimented with lighting and other special effects. Many of the innovations developed in the Belasco shop were sold to other producers.F. Scott Fitzgerald references Belasco's reputation for realism in The Great Gatsby when he has a drunken visitor in the library of Gatsby's mansion exclaim in amazement that the books are genuine: "See!" he cried triumphantly. "It's a bona-fide piece of printed matter. It fooled me. This fella's a regular Belasco. It's a triumph. What thoroughness! What realism! Knew when to stop, too—didn't cut the pages [14]TheatresSee also: Belasco TheatreSee also: The BelascoThe first Belasco Theatre in New York was located at 229 West 42nd Street, between 7th and 8th Avenues, in the Times Square district of Manhattan. Belasco took over management of the theater and completely remodeled it in 1902, only two years after it was constructed as the Theatre Republic by Oscar Hammerstein (the grandfather of the famous lyricist). He gave up the theater in 1910 and it was renamed the Republic. Under various owners, it went through a tumultuous period as a burlesque venue, hosted second-run and, eventually, pornographic films and fell into a period of neglect before being rehabilitated and reopened as the New Victory Theater in 1995.The second Belasco Theatre is located at 111 West 44th Street, between 6th and 7th Avenues, only a few blocks away from the New Victory. It was constructed in 1907 as the Stuyvesant Theatre and renamed after Belasco in 1910. The theater was built to Belasco's wishes, with Tiffany lighting and ceiling panels, rich woodwork and murals. His business office and private apartment were also housed there. The Belasco is still in operation as a Broadway venue with much of the original decor intact. In 2010 it underwent a massive US $14.5 million restoration, which strove to renovate and restore the theater to the condition it was in when David Belasco was alive [15]Belasco Theatres also existed in several other cities. In Los Angeles, the first Belasco Theatre was located at 337 S. Main St. The theater, which hosted the Belasco Stock Company, opened in 1904 and was operated by David Belasco's brother, Frederick. This theater was renamed twice: as the Republic in about 1913 and as the Follies, circa 1919. The theater eventually became a burlesque venue in the 1940s, fell into sharp decline, and was demolished in May 1974 [16][17]The second, and perhaps more well known theatre in Los Angeles, The Belasco is located at 1050 S. Hill St in Downtown Los Angeles. The theatre, which was built by Morgan, Walls & Clements, opened in 1926, and was managed by Edward Belasco, another of David's brothers. Many Hollywood stars with theatrical roots, as well as Broadway stars who were visiting the West Coast, appeared at the theatre.[18] The theater declined after the death of Edward Belasco in 1937. After closing altogether in the early 1950s, the theater was used as a church for several decades.[19] In 2010 - 2011, the theater underwent an extensive restoration, and is currently in operation as a nightclub and convention venue.[20]The Shubert-Belasco Theatre, located in Washington, D.C., was purchased by Belasco in September 1905. Originally built in 1895 as the Lafayette Square Opera House, at 717 Madison Place, across from the White House, the theater was razed in 1962 and replaced by the U.S. Court of Claims building [21]Selected playsHearts of Oak (1879), by James A. Herne and David BelascoLa Belle Russe (1882), by David BelascoMay Blossom (1884), by David BelascoLord Chumley (1888), by Henry Churchill de Mille and David BelascoMen and Women (1890), by Henry Churchill de Mille and David BelascoThe Girl I Left Behind Me (1893), by Franklin Fyles and David BelascoPawn Ticket No. 210 (1894), by Clay M. Greene and David BelascoThe Heart of Maryland (1895), by David BelascoZaza (1898), by David Belasco (based on the play Zaza by Pierre Berton and Charles Simon [fr])Madame Butterfly (1900), by David Belasco (based on the short story Madame Butterfly by John Luther Long)Du Barry (1901), by David BelascoThe Auctioneer Kitty Bellairs (1903), by David Belasco (based on the novel The Bath Comedy by Agnes Castle and Egerton Castle)The Music Master (1904), by Charles KleinAdrea (1905), by David Belasco and John Luther LongThe Girl of the Golden West (1905), by David BelascoRose of the Rancho (1906), by Richard Walton Tully and David BelascoThe Warrens of Virginia (1907), by William C. deMilleThe Fighting Hope (1908), by William J. HurlbutThe Easiest Way (1909), by Eugene WalterThe Lily (1909), by David Belasco (based on the play Le Lys by Pierre Wolff and Gaston Leroux)Just a Wife (1910), by Eugene WalterThe Woman (1911), by William C. deMilleThe Return of Peter Grimm (1911), by David BelascoThe Governor's Lady (1912), by Alice BradleyThe Case of Becky (1912), by Edward LockeA Good Little Devil (1913), by Austin Strong (based on the play Un bon petit diable by Rosemonde Gérard and Maurice Rostand)Seven Chances (1916), by Roi Cooper MegrueTiger Rose (1917), by Willard MackThe Gold Diggers (1919), by Avery HopwoodThe Son-Daughter (1919), by George Scarborough and David BelascoKiki (1921), by David Belasco (based on the play Kiki by André Picard [fr])Shore Leave (1922), by Hubert OsborneLaugh, Clown, Laugh (1923), by Tom Cushing and David Belasco (based on the play Ridi, pagliaccio! by Fausto Maria Martini [it])Ladies of the Evening (1924), by Milton Herbert GropperThe Dove (1925), by Willard Mack (based on a story by Gerald Beaumont)Lulu Belle (1926), by Charles MacArthur and Edward SheldonTonight or Never (1930), by Fanny Hatton and Frederic Hatton (based on the play Ma este vagy soha by Lili Hatvany Chumley, directed by James Kirkwood (1914, based on the play Lord Chumley)La Belle Russe [it], directed by William J. Hanley (1914, based on the play La Belle Russe)Men and Women, directed by James Kirkwood (1914, based on the play Men and Women)Rose of the Rancho, directed by Cecil B. DeMille (1914, based on the play Rose of the Rancho)The Girl of the Golden West, directed by Cecil B. DeMille (1915, based on the play The Girl of the Golden West)The Girl I Left Behind Me [it], directed by Lloyd B. Carleton (1915, based on the play The Girl I Left Behind Me)DuBarry, directed by Edoardo Bencivenga (1915, based on the play Du Barry)The Heart of Maryland, directed by Herbert Brenon (1915, based on the play The Heart of Maryland)May Blossom, directed by Allan Dwan (1915, based on the play May Blossom)The Case of Becky, directed by Frank Reicher (1915, based on the play The Case of Becky)Madame Butterfly, directed by Sidney Olcott (1915, based on the play Madame Butterfly)Zaza, directed by Edwin S. Porter and Hugh Ford (1915, based on the play Zaza)Sweet Kitty Bellairs, directed by James Young (1916, based on the play Sweet Kitty Bellairs)La Belle Russe, directed by Charles Brabin (1919, based on the play La Belle Russe)Harakiri, directed by Fritz Lang (Germany, 1919, based on the play Madame Butterfly)The Heart of Maryland, directed by Tom Terriss (1921, based on the play The Heart of Maryland)The Case of Becky, directed by Chester M. Franklin (1921, based on the play The Case of Becky)Pawn Ticket 210, directed by Scott R. Dunlap (1922, based on the play Pawn Ticket No. 210)The Girl of the Golden West, directed by Edwin Carewe (1923, based on the play The Girl of the Golden West)Zaza, directed by Allan Dwan (1923, based on the play Zaza)Tiger Rose, directed by Sidney Franklin (1923, based on the play Tiger Rose)Forty Winks, directed by Paul Iribe and Frank Urson (1925, based on the play Lord Chumley)Seven Chances, directed by Buster Keaton (1925, based on the play Seven Chances)Men and Women, directed by William C. deMille (1925, based on the play Men and Women)Kiki, directed by Clarence Brown (1926, based on the play Kiki)The Lily, directed by Victor Schertzinger (1926, based on the play The Lily)The Return of Peter Grimm, directed by Victor Schertzinger (1926, based on the play The Return of Peter Grimm)The Music Master, directed by Allan Dwan (1927, based on the play The Music Master)The Heart of Maryland, directed by Lloyd Bacon (1927, based on the play The Heart of Maryland)Laugh, Clown, Laugh, directed by Herbert Brenon (1928, based on the play Laugh, Clown, Laugh)Ladies of Leisure, directed by Frank Capra (1930, based on the play Ladies of the Evening)Sweet Kitty Bellairs, directed by Alfred E. Green (1930, based on the play Sweet Kitty Bellairs)Du Barry, Woman of Passion, directed by Sam Taylor (1930, based on the play Du Barry)The Girl of the Golden West, directed by John Francis Dillon (1930, based on the play The Girl of the Golden West)Kiki, directed by Sam Taylor (1931, based on the play Kiki)Tonight or Never, directed by Mervyn LeRoy (1931, based on the play Tonight or Never)Girl of the Rio, directed by Herbert Brenon (1932, based on the play The Dove)The Hatchet Man, directed by William A. Wellman (1932, based on the play The Honorable Mr. Wong)The Son-Daughter, directed by Clarence Brown (1932, based on the play The Son Daughter)Madame Butterfly, directed by Marion Gering (1932, based on the play Madame Butterfly)The Return of Peter Grimm, directed by George Nicholls Jr. (1935, based on the play The Return of Peter Grimm)Rose of the Rancho, directed by Marion Gering (1936, based on the play Rose of the Rancho)Follow the Fleet, directed by Mark Sandrich (1936, based on the play Shore Leave)The Girl of the Golden West, directed by Robert Z. Leonard (1938, based on the play The Girl of the Golden West)Zaza, directed by George Cukor (1939, based on the play Zaza)Lulu Belle, directed by Leslie Fenton (1948, based on the play Lulu Belle)Madame Butterfly, directed by Carmine Gallone (Italy, 1954, based on the opera Madama Butterfly, directed by Frédéric Mitterrand (France, 1995, based on the opera Madama Good Little Devil, directed by Edwin S. Porter (1914, Famous Players Film Company)Rose of the Rancho, directed by Cecil B. DeMille (1914, Jesse L. Lasky Feature Play Co.)The Girl of the Golden West, directed by Cecil B. DeMille (1915, Jesse L. Lasky Feature Play Co.)The Warrens of Virginia, directed by Cecil B. DeMille (1915, Jesse L. Lasky Feature Play Co.)The Governor's Lady, directed by George Melford (1915, Jesse L. Lasky Feature Play Co.)The Woman, directed by George Melford (1915, Jesse L. Lasky Feature Play Co.)The Fighting Hope, directed by George Melford (1915, Jesse L. Lasky Feature Play Co.)The Case of Becky, directed by Frank Reicher (1915, Jesse L. Lasky Feature Play Co.)Her Accidental Husband, directed by Dallas M. Fitzgerald (1923, Belasco Productions, Inc.)The Gold Diggers, directed by Harry Beaumont (1923, Warner Bros.)Tiger Rose, directed by Sidney Franklin (1923, Warner Bros.)Welcome Stranger, directed by James Young (1924, Belasco Productions, Inc.)Friendly Enemies, directed by George Melford (1925, Belasco Productions, Inc.)Fifth Avenue, directed by Robert G. Vignola (1926, Belasco Productions, Inc.)The Prince of Pilsen, directed by Paul Powell (1926, Belasco Productions, Inc.)Lulu Belle is a 1948 American drama musical romance film directed by Leslie Fenton and starring Dorothy Lamour.[1] The film was an adaption of a sensational 1926 hit play by Charles MacArthur and Edward Sheldon,[2][3] about a mulatto songstress, a "man-trap" who bewitched powerful men in New Orleans. This convoluted but heavily Code-sanitized film version of the play was about a Caucasian songbird who could not be true to her boxer beau. Although the film offered a change of pace for its star, Dorothy Lamour, it was not a success at the box office PlotFamous Broadway singer Lulu Belle (Dorothy Lamour) and Harry Randolph (Otto Kruger), her rich suitor, are found shot and severely wounded in her dressing room one night after the show. They are discovered by Lulu's best friend, Molly Benson (Glenda Farrell), and taken unconscious to the hospital [4]Lulu s ex-husband, George Davis (George Montgomery), is accused of the shooting, since he has been previously convicted of attempted murder of another man who got too close to Lulu. During George's interrogation he tells the story of how he met Lulu for the first time. She was performing in a dodgy place called the Natchez Café, and he was so taken with her that he left his fiancée and law practice to elope with her to New Orleans. They lived a wild life of luxury for awhile until his money ran out. She left for another man, high-stakes gambler Mark Brady (Albert Dekker) to support her expensive lifestyle. George realizes that Lulu is bad news and leaves her. It doesn't take long before they get back together again. Lulu is offered a job by Mark, as a singer at a club he is starting, and George starts drinking heavily to drown his sorrows. He tries to get Molly to help stop Lulu's way of life. Lulu wants to divorce him to set him free. That night a wealthy man named Harry Randolph comes to visit the club with his wife (Charlotte Wynters). He is immediately smitten with Lulu, and decides to help her become a star on Broadway.George picks a fight with boxer Butch and is beaten black and blue. George manages to stick a fork in Butch's eye and put an end to his fighting career. For this he is convicted and sentenced to prison. Lulu goes with Randolph, her new benefactor, to New York and Broadway. Randolph puts a lot of money and effort into building Lulu's career and a theater. After five years of working close together, Randolph asks Lulu to marry him. Lulu finds out that George has been released from prison and asks him to come her apartment. Mark turns up later in the evening at the theater and tries to force Lulu to come back with him, but she refuses. George meets Lulu right after the show that night and is sucked into her beam of charm again, when she proclaims her love for him. They decide to start a new life together. Without hesitation, Lulu tells Randolph that she won't marry him and he is upset. Then comes the night of the shooting Returning to the present, police commissioner Dixon (Addison Richards) gathers all the persons involved in the story, including Mrs. Randolph, at the dying Randolph's bedside. He asks Randolph to tell them who the shooter was, and he reveals it was his wife. George is vindicated and freed of all charges. He stays by Lulu's side long enough to make sure she will recover, then returns to his hometown alone.Edward Brewster (Ned) Sheldon (Chicago, Illinois, February 4, 1886 – April 1, 1946, New York City) was an American dramatist. His plays include Salvation Nell (1908) and Romance (1913), which was made into a motion picture with Greta Garbo.After becoming ill at age 29 with crippling rheumatoid arthritis, which eventually claimed his sight (around 1930), Sheldon became a source of emotional and creative support for his many friends, notably Minnie Maddern Fiske (he wrote Salvation Nell for her), Julia Marlowe, John Barrymore (his closest friend and confidante), Thornton Wilder, Alexander Woollcott, Anne Morrow Lindbergh, Ruth Gordon, Helen Hayes. While in hospital his advice was received by those in the theatrical profession as gospel. Actress and librettist Dorothy Donnelly formed a close friendship with Sheldon, and after he became bedridden often assisted with transcribing, editing, and supporting his work.In May 1915 Sheldon narrowly missed sailing on the Lusitania's infamous last voyage. He had been asked by theater impresario Charles Frohman to accompany him to England. A Harvard classmate of Sheldon's was getting married on May 11 and asked Sheldon to be best man. Sheldon then declined Frohman's offer.A 1936 lawsuit against Metro Goldwyn Mayer for copyright infringement claimed that the script MGM used for the 1932 motion picture Letty Lynton plagiarized material from the play Dishonored Lady by Sheldon and Margaret Ayer Barnes. The film is still unavailable today because of this lawsuit.His life is detailed in The Man Who Lived Twice by Eric Wollencott Barnes. In this biography Barnes states that Sheldon was in love all his adult life with Doris Keane, the actress who starred in Romance in 1913.Minnie Maddern Fiske and Frederick Perry in The High Road (1912)Basil Sydney and Doris Keane in the film Romance Nell (1908), made into the 1915, 1921, and 1931 motion pictures of the same nameThe Nigger (1909), made into the 1915 motion picture of the same name (aka The New Governor or The Mystery of Morrow's Rest) produced by William FoxThe Boss (1911), made into the 1915 motion picture of the same nameThe High Road (1912), made into the 1915 motion picture of the same nameRomance (1913), notable for its London run of 1,049 performances. Made into a 1920 silent film by United Artists starring Doris Keane, the actress who appeared in the role on stage. Also made into a 1930 motion picture starring Greta Garbo. Produced in New York as a musical, My Romance, with music by Sigmund Romberg and book and lyrics by Rowland Leigh, in 1948.The Song of Songs (1914), dramatization of the novel by Hermann Sudermann, made into films in 1918 (The Song of Songs), 1924 (Lily of the Dust), and in 1933 (The Song of Songs, starring Marlene Dietrich, Brian Aherne, and Lionel Atwill)The Garden of Paradise (1914), from "The Little Mermaid" by Hans Christian AndersenThe Call of Her People (1916), a silent film for Ethel Barrymore, from Sheldon's own play Egypt.The Jest (1919), adaptation from the Italian of Sem BenelliThe Czarina (1922), adaptation of the Hungarian play by Melchior Lengyel and Lajos Bíró, made into the 1924 silent Forbidden Paradise with Pola Negri.Bewitched (1924), with Sidney HowardLulu Belle (1926), with Charles MacArthur, starring Lenore Ulric; made into the 1948 motion picture of the same name, starring Dorothy LamourJenny (1929), with Margaret Ayer Lady (1930), with Barnes, made into the 1947 motion picture of the same name, starring Hedy Lamarr and directed by Robert Stevenson (alternate title Sins Lenore Ulric (born Lenore Ulrich, July 21, 1892 – December 30, 1970) was a star of the Broadway stage and Hollywood films of the silent-film and early sound era.Discovered in 1913 by theater director David Belasco, who would go on to manage her stage career, she was noted for portraying fiery, hot-blooded women of the typical vamp of Ulrich was born on July 21, 1892 to Franz Xavier Ulrich, who was a United States Army hospital steward, and Ida Ulrich (née Engenhart) [1][2] Both of her parents were first generation German Americans [3] Franz reportedly named his daughter Lenore due to his fondness for the Edgar Allan Poe poem, "The Raven".[1] She later dropped the "h" from her surname.[1] She had four sisters, Isabel, Francis, Alma, and Florence, and a brother, Roy Richard [4][5][6] She left school after completing 3rd grade.[7]As a young girl, Lenore obtained a job with a stock company in Milwaukee, Wisconsin. She played with stock companies in Grand Rapids, Michigan and Chicago, Illinois. She worked briefly as a film actress for Essanay Studios and joined another stock company in Schenectady, New York. She found work in The First Man (1911), A Polished Burglar (1911), Kilmeny (1915), and The Better Woman (1915).She specialized in playing sultry, impassioned women.[8] In 1915, she went to work for Pallas Pictures starring in several silent pictures, such as Frozen Justice and The Intrigue, that survive today at the Library of Congress [9][10]BroadwayCaricature by Ralph Barton, 1925Ulric was discovered by theatrical producer David Belasco who first saw her in The Bird of Paradise in 1913, after Ulric wrote to him requesting that he see her on stage.[10] Belasco, who would go on "fishing trips" to find new stage talents, recalled that it was often a long time between "bites," but he enjoyed the sport as he sometimes would "hook a big one [11]:367After watching her on stage, he asked her to audition at his playhouse. He watched her perform while he sat incognito in one of the theater's seats. "After twenty minutes," he said, "I knew I was watching a very talented and unusual young woman."[11]:369 He then offered her the leading role in The Heart of Wetona [11]:369[8] He recalled: "Among the biggest I have ever landed is, I believe, little Miss Ulric: I think she will grow bigger every season she is before the public [11]:367Biographer William Winter called her a "born actress," someone who Belasco hoped would fulfill the theater's need for talent. Winter also notes that no one in her family had ever been involved in acting, adding: "She resorted to the dramatic calling not through mere vanity, the impulse of personal exhibition, or the acquisitive hope of profit, but because her natural vocation is acting [11]:367Ulric in The Son-Daughter (1919)Under Belasco's management during most of her stage career, Ulric played a variety of female roles. Among them was her portrayal of Rose, a French-Canadian orphan, in Tiger Rose (1917). Winter says that Ulric's personality traits allowed her to play the role realistically as written:Miss Lenore Ulric, who acts the part, is possessed of exceptional natural advantages —youth; a handsome face; abundant hair; expressive eyes, dark and beautiful; a slender, lithe figure; a sympathetic voice; strong, attractive personality, and an engaging manner. Her temperament is intense, her nature passionate, her style direct and simple. Her acting reveals force of character, experience, observation, thought, sensibility, ardor, definite purpose, and unusual command of the mechanics of art...She is an admirable listener, an excellent speaker...The disposition she exhibits in this performance seems altogether childlike and lovely. Under Belasco's sagacious direction, she should go far.[11]:469She acted in numerous plays at the Belasco Theater, all under the direction of Belasco. She played in The Son-Daughter (1919), a play about China by Belasco and George Scarborough, which ran for 223 performances. She played a Parisian street urchin in Kiki (1921), a seductress in The Harem (1924), and in one of Ulric's biggest hits for Belasco, the 1926 Lulu Belle, where she played a prostitute, a genre that spawned several Broadway hits in the 1920s.[1] In 1928 she starred in Mima. Other stars who played at the Belasco during that period included Lionel Barrymore and Katharine Cornell [12]:28Success goes to women who are interesting. Nothing else matters. I don't believe even beauty matters.Lenore Ulric[13]After seeing Ulric in some of her plays, British producer Charles Cochrane cabled David Belasco with an "urgent request" that he be granted the privilege of presenting Ulric at one of his London playhouses.[14] During that time, however, Belasco had been writing a new version of Camille for Ulric to star in. According to one critic, "Miss Ulric's youth fits her peculiarly for the part, while her undisputed genius as an emotional actress justifies the prediction that she would be the greatest Camille who has ever been seen upon the stage."[14]In 1947 she returned to the Belasco Theater after doing seven films in Hollywood, beginning with a leading role in a revival of Antony and Cleopatra, alongside Eli Wallach, Maureen Stapleton and Charlton Heston.[12]:173 She told a critic, "I certainly never really left the theater."[1] Belasco had managed her stage career until shortly before his death.[1] In a tribute to Belasco, she said:All of us who were with him depended upon him so much that we'd just flounder around and say, "What do I do now?" He was a good soldier, a hard worker, and a great director [1]During the height of her stage career, Ulric was considered one of the American theater's "great stars."[1] She was noted for portraying fiery, hot-blooded women of the typical "femme fatale."[1] According to the New York Times, theater-goers would go to her plays just to see her, while the play in which she appeared was secondary. Ulric's "name in white lights blazing on the playhouse marquee was always more compelling" than the play itself [1]Hollywood and return to theaterLenore came to Hollywood in 1929 and appeared in Frozen Justice and South Sea Rose. She signed with Fox Film Corporation to make several films with an approximate salary of $650,000. Frozen Justice was directed by Allan Dwan. Some of the scenes were filmed in Alaska. She was successful in a supporting role in Camille, starring Greta Garbo. Ulric returned to Broadway in 1940, acting in The Fifth Column by Ernest Hemingway and again in 1947, in a revival of Antony and Cleopatra Personal lifeUlric had been married only once, to actor Sidney Blackmer from 1929 to 1939. She accepted some of the blame for their divorce:I don't think I'm comfortable to live with. I have a temper. I'm difficult. I'm too quick and too impulsive. And men have a right to be comfortable [1]She died of heart failure in Rockland State Hospital, Orangeburg, New York on December 30, 1970, aged 78.Charles Gordon MacArthur (November 5, 1895 – April 21, 1956) was an American playwright, screenwriter and 1935 winner of the Academy Award for Best Story.MacArthur was born in Scranton, Pennsylvania, the sixth of seven children of stern evangelist William Telfer MacArthur and Georgiana Welsted MacArthur.[1] He early developed a passion for reading. Declining to follow his father into ministry, he moved to the Midwest and soon became a successful reporter in Chicago, working for the Chicago Tribune and Chicago Daily News. MacArthur joined the United States Army for World War I, and served in France as a private assigned to Battery F, 149th Field Artillery, a unit of the 42nd Division.[2] He recounted his wartime experience in 1919's A Bug's-Eye View of the War.[3] After the war, he wrote several short stories, two of which, "Hang It All" (1921) and "Rope" (1923), were published in H. L. Mencken's The Smart Set magazine.[1] Eventually he settled in New York City, where he turned to playwriting MacArthur is best known for his plays in collaboration with Ben Hecht, Ladies and Gentlemen (filmed as Perfect Strangers), Twentieth Century and the frequently filmed The Front Page, which was based in part on MacArthur's experiences at the City News Bureau of Chicago. MacArthur also co-wrote, with Edward Sheldon, the play Lulu Belle, which was staged in 1926 by David Belasco MacArthur was friends with members of the Algonquin Round Table. He shared an apartment with Robert Benchley and had an affair with Dorothy Parker.His second marriage was to the stage and screen actress Helen Hayes, from 1928 until his death. They lived in Nyack, New York. He was preceded in death by his daughter, Mary, who died of polio in 1949 at the age of 19. The shock of her death hastened MacArthur's own, according to those who knew him.Their adopted son, James MacArthur, was also an actor, best known for playing Danny Williams on the American television series Hawaii Five-O.His brother, John D. MacArthur, was an insurance company owner and executive, and founded the John D. and Catherine T. MacArthur Foundation, the benefactor of the MacArthur Fellowships Awards and Award for Best Writing, Original Story - The Scoundrel (shared with Ben Hecht) Writing, Screenplay - Wuthering Heights (shared with Ben Hecht) in 1940Best Writing, Original Story - Rasputin and the Empress in 1934In 1983, MacArthur was posthumously inducted into the American Theater Hall of Fame.[4]Film was portrayed by Matthew Broderick in the 1994 film Mrs. Parker and the Vicious Circle [5]Selected Song (1946), (with Ben Hecht)Ladies and Gentlemen (1939), (with Ben Hecht), made into the 1950 film Perfect StrangersSpring Tonic, made into the 1935 movie of the same nameJohnny on a SpotJumbo, (with Ben Hecht), made into the 1935 musical play Jumbo and the 1962 film musical Billy Rose's JumboTwentieth Century (with Ben Hecht), made into the 1934 film Twentieth CenturyThe Front Page (1928), with Ben Hecht, made into the 1931, 1945, and 1974 motion pictures of the same name, the 1940 film His Girl Friday, and the 1988 movie Switching ChannelsLulu Belle (1926), (with Edward Heights (1939)Gunga Din (1939)Angels with Dirty Faces (1938) of Gamblers (1937), aka Czar of the Slot Machines the Rich (1936)The Scoundrel (1935)Barbary Coast (1935)Once in a Blue Moon (1935)Crime Without Passion (1934) (also directed by him and Ben Hecht)Topaze (1933)Freaks (1932) and the Empress (1932)The Unholy Garden (1931)Quick Millions (1931) Divers (1931)New Adventures of Get Rich Quick Wallingford (1931)The Sin of Madelon Claudet (1931)Paid (1930)Way for a Sailor (1930)King of Jazz (1930) the Kid (1930)The Girl Said No (1930)

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 July 21st, 2024

DRACULA BELA LUGOSI BRAM STOKER RARE 1927 BROADWAY PROGRAM

A rare original 1927 cast sheet program for Bela Lugosi starring on Broadway, years before the film, in Bram Stoker's Dracula. Dimensions nine and a half by four and a half inches, clipped from a larger program. Light wear otherwise good. See Bram Stoker and Bela Lugosi's extraordinary biographies 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 "Bram" Stoker (8 November 1847 – 20 April 1912) was an Irish author, best known today for his 1897 Gothic horror novel Dracula. During his lifetime, he was better known as the personal assistant of actor Sir Henry Irving and business manager of the Lyceum Theatre, which Irving owned.Stoker was born on 8 November 1847 at 15 Marino Crescent, Clontarf, on the northside of Dublin, Ireland.[1] His parents were Abraham Stoker (1799–1876) from Dublin and Charlotte Mathilda Blake Thornley (1818–1901), who was raised in County Sligo.[2] Stoker was the third of seven children, the eldest of whom was Sir Thornley Stoker, 1st Bt.[3] Abraham and Charlotte were members of the Church of Ireland Parish of Clontarf and attended the parish church with their children, who were baptised there,[4] and Abraham was a senior civil servant.Stoker was bedridden with an unknown illness until he started school at the age of seven, when he made a complete recovery. Of this time, Stoker wrote, "I was naturally thoughtful, and the leisure of long illness gave opportunity for many thoughts which were fruitful according to their kind in later years." He was educated in a private school run by the Rev. William Woods.[5]After his recovery, he grew up without further serious illnesses, even excelling as an athlete at Trinity College, Dublin, which he attended from 1864 to 1870. He graduated with a BA in 1870, and pursued his MA in 1875. Though he later in life recalled graduating "with honours in mathematics", this appears to have been a mistake.[6] He was named University Athlete, participating in multiple sports, including playing rugby for Dublin University. He was auditor of the College Historical Society (the Hist) and president of the University Philosophical Society (he remains the only student in Trinity's history to hold both positions), where his first paper was on Sensationalism in Fiction and Society.Early careerStoker became interested in the theatre while a student through his friend Dr. Maunsell. While working for the Irish Civil Service, he became the theatre critic for the Dublin Evening Mail,[7] which was co-owned by Sheridan Le Fanu, an author of Gothic tales. Theatre critics were held in low esteem, but he attracted notice by the quality of his reviews. In December 1876, he gave a favourable review of Henry Irving's Hamlet at the Theatre Royal in Dublin. Irving invited Stoker for dinner at the Shelbourne Hotel where he was staying, and they became friends. Stoker also wrote stories, and "Crystal Cup" was published by the London Society in 1872, followed by "The Chain of Destiny" in four parts in The Shamrock. In 1876, while a civil servant in Dublin, Stoker wrote the non-fiction book The Duties of Clerks of Petty Sessions in Ireland (published 1879) which remained a standard work.[5] Furthermore, he possessed an interest in art, and was a founder of the Dublin Sketching Club in 1879.Lyceum TheatreBram Stoker's former home, Kildare Street, DublinIn 1878, Stoker married Florence Balcombe, daughter of Lieutenant Colonel James Balcombe of 1 Marino Crescent. She was a celebrated beauty whose former suitor had been Oscar Wilde.[8] Stoker had known Wilde from his student days, having proposed him for membership of the university's Philosophical Society while he was president. Wilde was upset at Florence's decision, but Stoker later resumed the acquaintanceship and after Wilde's fall visited him on the Continent [9]The first edition cover of DraculaThe Stokers moved to London, where Stoker became acting manager and then business manager of Irving's Lyceum Theatre, London, a post he held for 27 years. On 31 December 1879, Bram and Florence's only child was born, a son whom they christened Irving Noel Thornley Stoker. The collaboration with Henry Irving was important for Stoker and through him he became involved in London's high society, where he met James Abbott McNeill Whistler and Sir Arthur Conan Doyle (to whom he was distantly related). Working for Irving, the most famous actor of his time, and managing one of the most successful theatres in London made Stoker a notable if busy man. He was dedicated to Irving and his memoirs show he idolised him. In London, Stoker also met Hall Caine, who became one of his closest friends – he dedicated Dracula to him.In the course of Irving's tours, Stoker travelled the world, although he never visited Eastern Europe, a setting for his most famous novel. Stoker enjoyed the United States, where Irving was popular. With Irving he was invited twice to the White House, and knew William McKinley and Theodore Roosevelt. Stoker set two of his novels in America, and used Americans as characters, the most notable being Quincey Morris. He also met one of his literary idols, Walt Whitman.Bram Stoker in Cruden BaySlains Castle, Cruden Bay. The early chapters of Dracula were written in Cruden Bay, and Slains Castle possibly provided visual inspiration for Bram Stoker during the writing phase.Stoker was a regular visitor to Cruden Bay in Scotland between 1893 and 1910. His month-long holidays to the Aberdeenshire coastal village provided a large portion of available time for writing his books. Two novels were set in Cruden Bay: The Watter's Mou' (1895) and The Mystery of the Sea (1902). He started writing Dracula here in 1895 while in residence at the Kilmarnock Arms Hotel. The guest book with his signatures from 1894 and 1895 still survives. The nearby Slains Castle (also known as New Slains Castle) is linked with Bram Stoker and plausibly provided the visual palette for the descriptions of Castle Dracula during the writing phase. A distinctive room in Slains Castle, the octagonal hall, matches the description of the octagonal room in Castle Dracula [10]WritingsBram Stoker Commemorative Plaque, Whitby, EnglandStoker visited the English coastal town of Whitby in 1890, and that visit was said to be part of the inspiration for Dracula. He began writing novels while working as manager for Irving and secretary and director of London's Lyceum Theatre, beginning with The Snake's Pass in 1890 and Dracula in 1897. During this period, Stoker was part of the literary staff of The Daily Telegraph in London, and he wrote other fiction, including the horror novels The Lady of the Shroud (1909) and The Lair of the White Worm (1911).[11] He published his Personal Reminiscences of Henry Irving in 1906, after Irving's death, which proved successful,[5] and managed productions at the Prince of Wales Theatre.Before writing Dracula, Stoker met Ármin Vámbéry, a Hungarian Jewish writer and traveller (born in Szent-György, Kingdom of Hungary now Svätý Jur, Slovakia). Dracula likely emerged from Vámbéry's dark stories of the Carpathian mountains.[12] Stoker then spent several years researching Central and East European folklore and mythological stories of vampires.The 1972 book In Search of Dracula by Radu Florescu and Raymond McNally claimed that the Count in Stoker's novel was based on Vlad III Dracula.[13] At most however, Stoker borrowed only the name and "scraps of miscellaneous information" about Romanian history, according to one expert, Elizabeth Miller; further, there are no comments about Vlad III in the author's working notes [14][15][16]Dracula is an epistolary novel, written as a collection of realistic but completely fictional diary entries, telegrams, letters, ship's logs, and newspaper clippings, all of which added a level of detailed realism to the story, a skill which Stoker had developed as a newspaper writer. At the time of its publication, Dracula was considered a straightforward horror novel" based on imaginary creations of supernatural life.[11] "It gave form to a universal fantasy ... and became a part of popular culture [11]Stoker was a deeply private man, but his almost sexless marriage, intense adoration of Walt Whitman, Henry Irving and Hall Caine, and shared interests with Oscar Wilde, as well as the homoerotic aspects of Dracula have led to scholarly speculation that he was a repressed homosexual who used his fiction as an outlet for his sexual frustrations [17] In 1912, he demanded imprisonment of all homosexual authors in Britain: it has been suggested that this was due to self-loathing and to disguise his own vulnerability [18] Possibly fearful, and inspired by the monstrous image and threat of otherness that the press coverage of his friend Oscar's trials generated, Stoker began writing Dracula only weeks after Wilde's conviction [18][19]According to the Encyclopedia of World Biography, Stoker's stories are today included in the categories of "horror fiction", "romanticized Gothic" stories, and melodrama [11] They are classified alongside other "works of popular fiction" such as Mary Shelley's Frankenstein [20]:394 which also used the "myth-making" and story-telling method of having multiple narrators telling the same tale from different perspectives. According to historian Jules Zanger, this leads the reader to the assumption that "they can't all be lying".[21]The original 541-page typescript of Dracula was believed to have been lost until it was found in a barn in northwestern Pennsylvania in the early 1980s.[22] It consisted of typed sheets with many emendations and handwritten on the title page was "THE UN-DEAD." The author's name was shown at the bottom as Bram Stoker. Author Robert Latham remarked: "the most famous horror novel ever published, its title changed at the last minute."[20] The typescript was purchased by Microsoft co-founder Paul Allen.Stoker's inspirations for the story, in addition to Whitby, may have included a visit to Slains Castle in Aberdeenshire, a visit to the crypts of St. Michan's Church in Dublin, and the novella Carmilla by Sheridan Le Fanu [23]Stoker s original research notes for the novel are kept by the Rosenbach Museum and Library in Philadelphia. A facsimile edition of the notes was created by Elizabeth Miller and Robert Eighteen-Bisang in 1998.Stoker at The London LibraryStoker was a member of The London Library and it is here that he conducted much of the research for Dracula.[24] In 2018, the Library discovered some of the books that Stoker used for his research, complete with notes and marginalia [25]DeathUrn which contains Stoker's ashes in Golders Green suffering a number of strokes, Stoker died at No. 26 St George's Square, London on 20 April 1912.[26] Some biographers attribute the cause of death to overwork,[27] others to tertiary syphilis.[28] Bram Stoker's death certificate named the cause of death as "Locomotor ataxia 6 months", presumed to be a reference to syphilis [29][30] He was cremated, and his ashes were placed in a display urn at Golders Green Crematorium in north London. The ashes of Irving Noel Stoker, the author's son, were added to his father's urn following his death in 1961. The original plan had been to keep his parents' ashes together, but after Florence Stoker's death, her ashes were scattered at the Gardens of Rest.Beliefs and was raised a Protestant in the Church of Ireland. He was a strong supporter of the Liberal Party and took a keen interest in Irish affairs.[5] As a "philosophical home ruler", he supported Home Rule for Ireland brought about by peaceful means. He remained an ardent monarchist who believed that Ireland should remain within the British Empire, an entity that he saw as a force for good. He was an admirer of Prime Minister William Ewart Gladstone, whom he knew personally, and supported his plans for Ireland [31]Stoker believed in progress and took a keen interest in science and science-based medicine. Some of Stoker's novels represent early examples of science fiction, such as The Lady of the Shroud (1909). He had a writer's interest in the occult, notably mesmerism, but despised fraud and believed in the superiority of the scientific method over superstition. Stoker counted among his friends J.W. Brodie-Innis, a member of the Hermetic Order of the Golden Dawn, and hired member Pamela Colman Smith as an artist for the Lyceum Theatre, but no evidence suggests that Stoker ever joined the Order himself [32][33][34] Although Irving was an active Freemason, no evidence has been found of Stoker taking part in Masonic activities in London.[35] The Grand Lodge of Ireland also has no record of his membership [36]PosthumousThe short story collection Dracula's Guest and Other Weird Stories was published in 1914 by Stoker's widow, Florence Stoker, who was also his literary executrix. The first film adaptation of Dracula was F. W. Murnau's Nosferatu, released in 1922, with Max Schreck starring as Count Orlok. Florence Stoker eventually sued the filmmakers, and was represented by the attorneys of the British Incorporated Society of Authors. Her chief legal complaint was that she had neither been asked for permission for the adaptation nor paid any royalty. The case dragged on for some years, with Mrs. Stoker demanding the destruction of the negative and all prints of the film. The suit was finally resolved in the widow's favour in July 1925. A single print of the film survived, however, and it has become well known. The first authorised film version of Dracula did not come about until almost a decade later when Universal Studios released Tod Browning's Dracula starring Bela Lugosi.Dacre StokerCanadian writer Dacre Stoker, a great grandnephew of Bram Stoker, decided to write "a sequel that bore the Stoker name" to "reestablish creative control over" the original novel, with encouragement from screenwriter Ian Holt, because of the Stokers' frustrating history with Dracula's copyright. In 2009, Dracula: The Un-Dead was released, written by Dacre Stoker and Ian Holt. Both writers "based [their work] on Bram Stoker's own handwritten notes for characters and plot threads excised from the original edition" along with their own research for the sequel. This also marked Dacre Stoker's writing debut [37][38]In spring 2012, Dacre Stoker (in collaboration with Elizabeth Miller) presented the "lost" Dublin Journal written by Bram Stoker, which had been kept by his great-grandson Noel Dobbs. Stoker's diary entries shed a light on the issues that concerned him before his London years. A remark about a boy who caught flies in a bottle might be a clue for the later development of the Renfield character in Dracula [39]CommemorationsOn 8 November 2012, Stoker was honoured with a Google Doodle on Google's homepage commemorating the 165th anniversary of his birth [40][41]An annual festival takes place in Dublin, the birthplace of Bram Stoker, in honour of his literary achievements. The 2014 Bram Stoker Festival encompassed literary, film, family, street, and outdoor events, and ran from 24–27 October in Dublin.[42][43] The festival is supported by the Bram Stoker Estate[44] and funded by Dublin City Council and Fáilte Ireland.Béla Ferenc Dezs? Blaskó (Hungarian: [?be?l? ?f?r?nt?s ?d??ø? ?bl??ko?]; October 20, 1882 – August 16, 1956), known professionally as Bela Lugosi ( l???o?si ; Hungarian: [?lu?o?i]), was a actor, best remembered for portraying Count Dracula in the 1931 horror film classic Dracula, Ygor in Son of Frankenstein (1939) and his roles in many other horror films from 1931 through 1956.[1]Lugosi began acting on the Hungarian stage in 1902. After playing in 172 productions in his native Hungary, Lugosi moved on to appear in Hungarian silent films in 1917. He had to suddenly emigrate to Germany after the failed Hungarian Communist Revolution of 1919 because of his former socialist activities (organizing a stage actors' union), leaving his first wife in the process. He acted in several films in Weimar Germany, before arriving in New Orleans as a seaman on a merchant ship, then making his way north to New York City and Ellis Island.In 1927, he starred as Count Dracula in a Broadway adaptation of Bram Stoker's novel, moving with the play to the West Coast in 1928 and settling down in Hollywood.[2] He later starred in the 1931 film version of Dracula directed by Tod Browning and produced by Universal Pictures. Through the 1930s, he occupied an important niche in horror films, but his notoriety as Dracula and thick Hungarian accent greatly limited the roles offered to him, and he unsuccessfully tried for years to avoid typecasting.He co-starred in a number of films with Boris Karloff, who was able to demand top billing. To his frustration, Lugosi, a charter member of the American Screen Actors Guild, was increasingly restricted to mad scientist roles because of his inability to speak English more clearly. He was kept employed by the studios principally so that they could put his name on the posters. Among his teamings with Karloff, he performed major roles only in The Black Cat (1934), The Raven (1935), and Son of Frankenstein (1939); even in The Raven, Karloff received top billing despite Lugosi performing the lead role.By this time, Lugosi had been receiving regular medication for sciatic neuritis, and he became addicted to doctor prescribed morphine and methadone. This drug dependence (and his gradually worsening alcoholism) was becoming apparent to producers, and after 1948's Abbott and Costello Meet Frankenstein, the offers dwindled to parts in low-budget films; some of these were directed by Ed Wood, including a brief appearance in Wood's Plan 9 from Outer Space (released posthumously in 1957).[3]Lugosi married five times and had one son, Bela G. Lugosi (with his fourth wife, Lillian).

Sold on eBay August 28th, 2023

WORLD'S GREATEST ACTOR: THE AMAZING EDMUND KEAN (1787-1833) RARE 1817 PROGRAM

He may have been the greatest actor that ever lived. To see Edmund Kean, wrote Samuel Taylor Coleridge, was like reading Shakespeare "by flashes of lightning." Lord Byron was among his greatest admirers. A rare February 1817 issue of the Drury Lane Theatrical Gazette with attractions at the leading London playhouses featuring the great Edmund Kean as Sir Giles Overreach in A New Way To Pay Old Debts, also a role played by Junius Brutus Booth and his son Edwin. Eight pages. Dimensions eight and a half by five and three quarters inches. Light wear otherwise good. See Edmund Kean's extraordinary biography 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 Kean (4 November 1787 – 15 May 1833) was celebrated Shakespearean stage actor born in England, who performed in London, Belfast, New York, Quebec, and Paris among other places. He was well known for his short stature, tumultuous personal life, and controversial divorce. He expired of dissipation at the age of 44.Kean was born in Westminster London. His father was probably Edmund Kean (see Ó Catháin), an architect’s clerk, and his mother was an actress, Anne Carey, daughter of the 18th-century composer and playwright Henry Carey.Kean made his first appearance on the stage, aged four, as Cupid in Jean-Georges Noverre’s ballet of Cymon. As a child his vivacity, cleverness and ready affection made him a universal favorite, but his harsh circumstances and lack of discipline, both helped develop self-reliance and fostered wayward tendencies. About 1794 a few benevolent persons paid for him to go to school, where he did well; but finding the restraint intolerable, he shipped as a cabin boy atPortsmouth. Finding life at sea even more restricting, he pretended to be both deaf and lame so skilfully that he deceived the doctors at Madeira.On his return to England, he sought the protection of his uncle, Moses Kean, a mimic, ventriloquist and general entertainer, who, besides continuing his pantomimic studies, introduced him to the study of Shakespeare. At the same time, Miss Charlotte Tidswell, an actress who had been especially kind to him from infancy, taught him the principles of acting.On the death of his uncle, she took charge of him, and he began the systematic study of the principal Shakespearean characters, displaying the peculiar originality of his genius by interpretations entirely different from those of John Philip Kemble, then considered the great exponent of these roles. Kean’s talents and interesting countenance caused a Mrs Clarke to adopt him, but he took offense at the comments of a visitor and suddenly left her house and went back to his old surroundings DiscoverAged fourteen, he obtained an engagement to play leading characters for twenty nights in the York Theatre, appearing as Hamlet, Hastings and Cato.Shortly afterwards, while he was in Richardson's Theatre, a travelling theatre company, the rumor of his abilities reached George III, who commanded him to appear at Windsor Castle. He subsequently joined Saunders’s circus, where in the performance of an equestrian feat he fell and broke both legs—the accident leaving traces of swelling in his insteps throughout his life.About this time, he picked up music from Charles Incledon, dancing from D’Egville, and fencing from Angelo. In 1807, he played leading parts in the Belfast theater with Sarah Siddons, who began by calling him "a horrid little man" and on further experience of his ability said that he "played very, very well," but that "there was too little of him to make a great actor." In 1808, he joined Samuel Butler’s provincial troupe and went on to marry Mary Chambers of Waterford, the leading actress, on 17 July. His wife bore him two sons, one of whom was actor Charles Kean.Drury Lane and New YorkFor several years, his prospects were very gloomy, but in 1814, the committee of Drury Lane Theatre, which was on the verge of bankruptcy, resolved to give him a chance among the "experiments" they were making to win a return of popularity. When the expectation of his first appearance in London was close upon him, he was so feverish that he exclaimed, "If I succeed I shall go mad." Unable to afford medical treatment for some time, his elder son died the day after he signed the three-year Drury Lane contract.His opening at Drury Lane on 26 January 1814 as Shylock roused the audience to almost uncontrollable enthusiasm.[1] Contemporaries recognized that Kean had brought dignity and humanity to his portrayal of the character [2]Successive appearances in Richard III, Hamlet, Othello, Macbeth and King Lear demonstrated his mastery of the range of tragic emotion. His triumph was so great that he himself said on one occasion, "I could not feel the stage under me."In 1817, a local playwright named Charles Bucke submitted his play The Italians, or; The Fatal Accusation to Drury Lane, for which Kean was to play the lead. The play was well received by both council and actors until Kean seemed to have a change of heart and began to make several offhand remarks that his part was not big enough for him. Then, after a performance where Kean went out of his way to botch the opening night of Switzerland by historical novelist Jane Porterin February 1819, for whom Kean had had a personal dislike, Bucke pulled the play out of contempt for Kean's conduct.[3] After much cajoling to still perform the play by the theater staff, Mr. Bucke then later had it republished with a preface concerning the incident, including excerpts from correspondences between the involved parties, which was later challenged in two books, The Assailant Assailed and A Defense of Edmund Kean, Esq. The result was loss of face on both sides and the play being performed anyway on 3 April 1819 to a disastrous reception thanks to the controversy already surrounding the play and Kean's previous conduct.[4]On 29 November 1820, Kean appeared for the first time in New York, as Richard III. The success of his visit to America was unequivocal, although he fell into a vexatious dispute with the press. In 1821, he appeared in Boston with Mary Ann Duff in The Distrest Mother, by Ambrose Philips, an adaptation of Racine's Andromaque. On 4 June 1821, he returned to England.Kean was the first to restore the tragic ending to Shakespeare's King Lear, which had been replaced on stage since 1681 by Nahum Tate's happy ending adaptation The History of King Lear. Kean had previously acted Tate's Lear, but told his wife that the London audience "have no notion of what I can do till they see me over the dead body of Cordelia."[5] Kean played the tragic Lear for a few performances. They were not well received, though one critic described his dying scene as "deeply affecting",[6] and with regret, he reverted to Tate [7]8]Private lifeKean's lifestyle became a hindrance to his career. As a result of his relationship with Charlotte Cox, the wife of a London city alderman, Kean was sued by Mr Cox for damages for criminal conversation (adultery). Damages of £800 were awarded against him by a jury that had deliberated for just 10 minutes. The Times launched a violent attack on him. The adverse decision in the criminal conversation case of Cox v. Kean on 17 January 1825 caused his wife to leave him, and aroused against him such bitter feeling that he was booed and pelted with fruit when he re-appeared at Drury Lane and nearly compelled to retire permanently into private life. For many years, he lived at Keydell House, Horndean.Second American visitA second visit to America in 1825 was largely a repetition of the persecution which he had suffered in England. Some cities showed him a spirit of charity; many audiences submitted him to insults and even violence. In Quebec City, he was much impressed with the kindness of some Huron Indians who attended his performances, and he was purportedly made an honorary chief of the tribe, receiving the name Alanienouidet [9] Kean’s last appearance in New York was on 5 December 1826 in Richard III, the role in which he was first seen in America.Decline and deathHe returned to England and was ultimately received with favour, but by now he was so dependent on the use of stimulants that the gradual deterioration of his gifts was inevitable. Still, his great powers triumphed during the moments of his inspiration over the absolute wreck of his physical faculties. His appearance in Paris was a failure owing to a fit of drunkenness.His last appearance on the stage was at Covent Garden on 25 March 1833, when he played Othello to the Iago of his son, Charles Kean, who was also an accomplished actor. At the words "Villain, be sure," in scene 3 of act iii, he suddenly broke down, and crying in a faltering voice "O God, I am dying. Speak to them, Charles," fell insensible into his son’s arms. He died at Richmond, Surrey where he had spent his last years as manager of the local theatre, and is commemorated in the Parish Church where there is a floor plaque marking his grave and a wall plaque originally on the outside but moved inside and heavily restored during restoration work in 1904. He is buried in the parish church of All Saints, in the village of Catherington, Hampshire. His last words were alleged to be "dying is easy; comedy is hard."[10] In Dublin, Gustavus Vaughan Brooke took up the part of William Tell vacated by Kean.Artistic legacyIt was in the impersonation of the great creations of Shakespeare’s genius that the varied beauty and grandeur of the acting of Kean were displayed in their highest form, although probably his most powerful character was Sir Giles Overreach in Philip Massinger’s A New Way to Pay Old Debts, the effect of his first performance of which was such that the pit rose en masse, and even the actors and actresses themselves were overcome by the terrific dramatic illusion. His main disadvantage as an actor was his small stature. Coleridge said, "Seeing him act was like reading Shakespeare by flashes of lightning [11]EccentricityHis eccentricities at the height of his fame were numerous. Sometimes he would ride recklessly on his horse, Shylock, throughout the night. He was presented with a tame lion with which he might be found playing in his drawing room The prize-fighters Mendoza and Richmond the Black were among his visitors. Grattan was his devoted friend.

Sold on eBay February 28th, 2024

Shirley Booth "BY THE BEAUTIFUL SEA" Wilbur Evans 1954 Theatre Souvenir Program

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PLAYBILL BROCHURE PROGRAM BOOKLET THEATRE BY THE SEA JACKIE GLEASON MATUNUCK RI

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EDMUND KEAN WORLD'S GREATEST ACTOR (1787-1833) RARE 1818 RICHARD III BROADSIDE

He may have been the greatest actor that ever lived. To see Edmund Kean, wrote Samuel Taylor Coleridge, was like reading Shakespeare "by flashes of lightning." Lord Byron was among his greatest admirers. A rare February 1818 trimmed broadside featuring the great Edmund Kean in Richard III, also a role played by Junius Brutus Booth and his son Edwin. Eight pages. Dimensions six and a half by six inches. Light wear otherwise good. See Edmund Kean's extraordinary biography 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:Edmund Kean (4 November 1787 - 15 May 1833) was celebrated Shakespearean stage actor born in England, who performed in London, Belfast, New York, Quebec, and Paris among other places. He was well known for his short stature, tumultuous personal life, and controversial divorce. He expired of dissipation at the age of 44.Kean was born in Westminster London. His father was probably Edmund Kean (see O Cathain), an architect's clerk, and his mother was an actress, Anne Carey, daughter of the 18th-century composer and playwright Henry Carey.Kean made his first appearance on the stage, aged four, as Cupid in Jean-Georges Noverre's ballet of Cymon. As a child his vivacity, cleverness and ready affection made him a universal favorite, but his harsh circumstances and lack of discipline, both helped develop self-reliance and fostered wayward tendencies. About 1794 a few benevolent persons paid for him to go to school, where he did well; but finding the restraint intolerable, he shipped as a cabin boy atPortsmouth. Finding life at sea even more restricting, he pretended to be both deaf and lame so skilfully that he deceived the doctors at Madeira.On his return to England, he sought the protection of his uncle, Moses Kean, a mimic, ventriloquist and general entertainer, who, besides continuing his pantomimic studies, introduced him to the study of Shakespeare. At the same time, Miss Charlotte Tidswell, an actress who had been especially kind to him from infancy, taught him the principles of acting.On the death of his uncle, she took charge of him, and he began the systematic study of the principal Shakespearean characters, displaying the peculiar originality of his genius by interpretations entirely different from those of John Philip Kemble, then considered the great exponent of these roles. Kean's talents and interesting countenance caused a Mrs Clarke to adopt him, but he took offense at the comments of a visitor and suddenly left her house and went back to his old surroundings.DiscoverAged fourteen, he obtained an engagement to play leading characters for twenty nights in the York Theatre, appearing as Hamlet, Hastings and Cato.Shortly afterwards, while he was in Richardson's Theatre, a travelling theatre company, the rumor of his abilities reached George III, who commanded him to appear at Windsor Castle. He subsequently joined Saunders's circus, where in the performance of an equestrian feat he fell and broke both legs--the accident leaving traces of swelling in his insteps throughout his life.About this time, he picked up music from Charles Incledon, dancing from D'Egville, and fencing from Angelo. In 1807, he played leading parts in the Belfast theater with Sarah Siddons, who began by calling him "a horrid little man" and on further experience of his ability said that he "played very, very well," but that "there was too little of him to make a great actor." In 1808, he joined Samuel Butler's provincial troupe and went on to marry Mary Chambers of Waterford, the leading actress, on 17 July. His wife bore him two sons, one of whom was actor Charles Kean.Drury Lane and New YorkFor several years, his prospects were very gloomy, but in 1814, the committee of Drury Lane Theatre, which was on the verge of bankruptcy, resolved to give him a chance among the "experiments" they were making to win a return of popularity. When the expectation of his first appearance in London was close upon him, he was so feverish that he exclaimed, "If I succeed I shall go mad." Unable to afford medical treatment for some time, his elder son died the day after he signed the three-year Drury Lane contract.His opening at Drury Lane on 26 January 1814 as Shylock roused the audience to almost uncontrollable enthusiasm.[1] Contemporaries recognized that Kean had brought dignity and humanity to his portrayal of the character.[2]Successive appearances in Richard III, Hamlet, Othello, Macbeth and King Lear demonstrated his mastery of the range of tragic emotion. His triumph was so great that he himself said on one occasion, "I could not feel the stage under me."In 1817, a local playwright named Charles Bucke submitted his play The Italians, or; The Fatal Accusation to Drury Lane, for which Kean was to play the lead. The play was well received by both council and actors until Kean seemed to have a change of heart and began to make several offhand remarks that his part was not big enough for him. Then, after a performance where Kean went out of his way to botch the opening night of Switzerland by historical novelist Jane Porterin February 1819, for whom Kean had had a personal dislike, Bucke pulled the play out of contempt for Kean's conduct.[3] After much cajoling to still perform the play by the theater staff, Mr. Bucke then later had it republished with a preface concerning the incident, including excerpts from correspondences between the involved parties, which was later challenged in two books, The Assailant Assailed and A Defense of Edmund Kean, Esq. The result was loss of face on both sides and the play being performed anyway on 3 April 1819 to a disastrous reception thanks to the controversy already surrounding the play and Kean's previous conduct.[4]On 29 November 1820, Kean appeared for the first time in New York, as Richard III. The success of his visit to America was unequivocal, although he fell into a vexatious dispute with the press. In 1821, he appeared in Boston with Mary Ann Duff in The Distrest Mother, by Ambrose Philips, an adaptation of Racine's Andromaque. On 4 June 1821, he returned to England.Kean was the first to restore the tragic ending to Shakespeare's King Lear, which had been replaced on stage since 1681 by Nahum Tate's happy ending adaptation The History of King Lear. Kean had previously acted Tate's Lear, but told his wife that the London audience "have no notion of what I can do till they see me over the dead body of Cordelia."[5] Kean played the tragic Lear for a few performances. They were not well received, though one critic described his dying scene as "deeply affecting",[6] and with regret, he reverted to Tate.[7]8]Private lifeKean's lifestyle became a hindrance to his career. As a result of his relationship with Charlotte Cox, the wife of a London city alderman, Kean was sued by Mr Cox for damages for criminal conversation (adultery). Damages of GBP800 were awarded against him by a jury that had deliberated for just 10 minutes. The Times launched a violent attack on him. The adverse decision in the criminal conversation case of Cox v. Kean on 17 January 1825 caused his wife to leave him, and aroused against him such bitter feeling that he was booed and pelted with fruit when he re-appeared at Drury Lane and nearly compelled to retire permanently into private life. For many years, he lived at Keydell House, Horndean.Second American visitA second visit to America in 1825 was largely a repetition of the persecution which he had suffered in England. Some cities showed him a spirit of charity; many audiences submitted him to insults and even violence. In Quebec City, he was much impressed with the kindness of some Huron Indians who attended his performances, and he was purportedly made an honorary chief of the tribe, receiving the name Alanienouidet.[9] Kean's last appearance in New York was on 5 December 1826 in Richard III, the role in which he was first seen in America.Decline and deathHe returned to England and was ultimately received with favour, but by now he was so dependent on the use of stimulants that the gradual deterioration of his gifts was inevitable. Still, his great powers triumphed during the moments of his inspiration over the absolute wreck of his physical faculties. His appearance in Paris was a failure owing to a fit of drunkenness.His last appearance on the stage was at Covent Garden on 25 March 1833, when he played Othello to the Iago of his son, Charles Kean, who was also an accomplished actor. At the words "Villain, be sure," in scene 3 of act iii, he suddenly broke down, and crying in a faltering voice "O God, I am dying. Speak to them, Charles," fell insensible into his son's arms. He died at Richmond, Surrey where he had spent his last years as manager of the local theatre, and is commemorated in the Parish Church where there is a floor plaque marking his grave and a wall plaque originally on the outside but moved inside and heavily restored during restoration work in 1904. He is buried in the parish church of All Saints, in the village of Catherington, Hampshire. His last words were alleged to be "dying is easy; comedy is hard."[10] In Dublin, Gustavus Vaughan Brooke took up the part of William Tell vacated by Kean.Artistic legacyIt was in the impersonation of the great creations of Shakespeare's genius that the varied beauty and grandeur of the acting of Kean were displayed in their highest form, although probably his most powerful character was Sir Giles Overreach in Philip Massinger's A New Way to Pay Old Debts, the effect of his first performance of which was such that the pit rose en masse, and even the actors and actresses themselves were overcome by the terrific dramatic illusion. His main disadvantage as an actor was his small stature. Coleridge said, "Seeing him act was like reading Shakespeare by flashes of lightning."[11]EccentricityHis eccentricities at the height of his fame were numerous. Sometimes he would ride recklessly on his horse, Shylock, throughout the night. He was presented with a tame lion with which he might be found playing in his drawing-room.The prize-fighters Mendoza and Richmond the Black were among his visitors. Grattan was his devoted friend.

Sold on eBay Dec 02, 2020

Tom Sturridge & Jake Gyllenhaal Signed SEA WALL/A LIFE Opening Night Playbill

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