chapter two Playbill

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

Collection of 26 Hanna Theatre Programs 1970s & 1980s - Free Shipping
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"The Allergists Wife" Cast Signed (X4) Playbill Cover PAAS COA
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DRACULA BELA LUGOSI BRAM STOKER RARE 1927 BROADWAY PROGRAM
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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).

LEGENDARY DANCER LOIE FULLER & HER MUSES RARE 1910 DANCE PROGRAM
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A rare large original 1910 dance program for the legendary Loie Fuller and Her Muses at the Boston Opera House. Isadora Duncan. Ten pages. Dimensions nine and a quarter by three and three quarters inches. Light wear otherwise good. See Loie Fuller'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 Wikipedia:Loie Fuller (/?lo?i/;[1] born Marie Louise Fuller; January 15, 1862 – January 1, 1928), also known as Louie Fuller and Loïe Fuller, was an American dancer and a pioneer modern dance and theatrical lighting techniques Early life and debutMarie Louise Fuller was born on January 15, 1862 in Fullersburg, Illinois, on a remote farm conveniently linked to Chicago by a newly constructed plank road. When Fuller was two, her parents Reuben Fuller and Delilah Eaton moved to Chicago and opened a boarding house. Fuller's parents took her to the Progressive Lyceum, a hub of Freethought, on Sunday mornings [2]Fuller debuted on the stage as a toddler, performing a variety of dramatic and dance roles in Chicago. Her dramatic debut at the age of four was at the Chicago Academy of Music, playing a young boy in Was He Right?.[3] Fuller's career as a child perfomer progressed with little formal training and much variety, as she experimented with dramatic reading, singing, and dance.[4] As a child, Fuller's family moved in and out of Chicago, with Fuller eventually securing a part in Buffalo Bill's touring act at the age of nineteen [2]Marie Louise Fuller changed her name to the more glamorous "Loïe" at the age of sixteen. An early free dance practitioner, Fuller developed her own natural movement and improvisation techniques. In multiple shows she experimented with a long skirt, choreographing its movements and playing with the ways it could reflect light.By 1891, Fuller combined her choreography with silk costumes illuminated by multi-coloured lighting of her own design, and created the Serpentine Dance.[5] After much difficulty finding someone willing to produce her work when she was primarily known as an actress, she was finally hired to perform her piece between acts of a comedy entitled Uncle Celestine, and received rave reviews [6]CareerPortrait of Fuller by Frederick Glasier, 1902Almost immediately, she was replaced by imitators (originally Minnie "Renwood" Bemis). In the hope of receiving serious artistic recognition that she was not getting in America, Fuller left for Europe in June 1892. She became one of the first of many American modern dancers who traveled to Europe to seek recognition. Her warm reception in Paris persuaded Fuller to remain in France, where she became one of the leading revolutionaries in the arts.[4]A regular performer at the Folies Bergère with works such as Fire Dance, Fuller became the embodiment of the Art Nouveau movement and was often identified with symbolism, as her work was seen as the perfect reciprocity between idea and symbol.[2] Fuller began adapting and expanding her costume and lighting, so that they became the principal element in her even more important than the actual choreography, especially as the length of the skirt was increased and became the central focus, while the body became mostly hidden within the depths of the fabric.[7] The choreography of the Serpentine Dance was filmed by multiple early filmmakers, including Auguste and Louis Lumière, but it is unclear whether the recordings depict Fuller herself [8][9]Table lamp: Dance of the Lily (Loie Fuller) - around 1901-Gilt bronze-Museum Wiesbaden-Raoul Larche (1860 1912)Fuller at the Folies Bergère, poster by PAL (Jean de Paléologue)Fuller s pioneering work attracted the attention, respect, and friendship of many French artists and scientists, including Jules Chéret, Henri de Toulouse Lautrec François-Raoul Larche, Henri-Pierre Roché, Auguste Rodin, Jean-Léon Gérôme, Franz von Stuck, Maurice Denis, Thomas Theodor Heine, Paul-Léon Jazet, Koloman Moser, Demétre Chiparus, Stéphane Mallarmé, and Marie Curie. Fuller was also a member of the Société astronomique de France (French Astronomical Society) [citation needed]Fuller patented many of her innovations in stage lighting, including the use of chemical compounds for creating color gel, and the application of chemical salts to luminescent lighting and garments [8]Fuller also sought legal protection for her choreography, but was less successful. Her lawsuit against imitator Minnie Renwood Bemis was decided in Bemis' favor, allowing Bemis' performances at Madison Square Garden to continue. The judge in the case ruled that Fuller's original choreography told no story and therefore could not be copyrighted [10][11] The precedent set by Fuller's case remained in place until the passage of the Copyright Act of 1976, which explicitly extended protection to nondramatic choreographic works.[12][13] Another notorious imitator was Lord Yarmouth, later 7th Marquess of Hertford, who performed the Serpentine Dance under the stage name of ‘Mademoiselle Roze’ [14][15]Fuller supported other pioneering performers, such as fellow United States-born dancer Isadora Duncan. Fuller helped Duncan ignite her European career in 1902 by sponsoring independent concerts in Vienna and Budapest [16]Loie Fuller's original stage name was "Louie". In modern French "L'ouïe" is the word for a sense of hearing. When Fuller reached Paris she gained a nickname which was a pun on Louie L ou e She was renamed "Loïe" - this nickname is a corruption of the early or Medieval French "L'oïe", a precursor to "L'ouïe", which means "receptiveness" or understanding She was also referred to by the nickname "Lo Lo Fuller [citation needed]A dancer (not Fuller) performing Fuller's serpentine dance in a 1902 film directed by Segundo de ChomónPersonal lifeFuller met her romantic partner of over 30 years, Gab Sorère, in the mid-1890s. Sorère was born Gabrielle Bloch, the daughter of wealthy French bankers, in 1870, and eventually took the name Gab Sorère in 1920. Bloch first saw Fuller perform at the age of 14, and by 1898 Fuller and Bloch were living together [17]Fuller and Bloch's relationship initially yattracted some attention in the press, as Bloch dressed exclusively in menswear, and was 8 years Fuller's junior. The press coverage of their relationship declined over time, focusing more on Fuller's mother, and allowing Bloch and Fuller to live a relatively unbothered life.[18]Fuller met Crown Princess Marie of Romania, later to become Queen Marie, in 1902, at a performance in Bucharest. Marie and Fuller became close, and maintained an extensive correspondence as close friends. Their relationship was the subject of scandalous rumors,[19] alleging that Fuller and Queen Marie were lovers.[20] Fuller, through a connection at the United States embassy in Paris, played a role in arranging a United States loan for Romania during World War I.[citation needed]Later, during the period when the future Carol II of Romania was alienated from the Romanian royal family and living in Paris with his mistress Magda Lupescu, she befriended them; they were unaware of her connection to Carol's mother Marie. Fuller initially advocated to Marie on behalf of the couple, but later schemed unsuccessfully with Marie to separate Carol from Lupescu.[21] With Queen Marie and American businessman Samuel Hill, Fuller helped found the Maryhill Museum of Art in rural Washington state, which has permanent exhibits about her career [22]Later life and deathFuller occasionally returned to America to stage performances by her students, the "Fullerets" or Muses, but spent the end of her life in Paris. She died of pneumonia at the age of 65 on January 1, 1928, in Paris, two weeks shy of her 66th birthday. She was cremated and buried in the columbarium of the Père-Lachaise cemetery (site No. 5382) in Paris [23]LegacyFuller depicted by Koloman Moser (1901)Fuller painted by Toulouse LautrecPoster featuring Fuller at the Folies Bergères by Jules ChéretAfter Fuller's death, her romantic partner of thirty years, Gab Sorère inherited the dance troupe as well as the laboratory Fuller had operated [24][17] Sorère took legal action against dancers who wrongfully used Fuller's fame to enhance their own careers[25] and produced both films and theatrical productions to honor Fuller's legacy as a visual effects artist [26]Fuller s work has been experiencing a resurgence of professional and public interest. Rhonda K. Garelick's 2009 study entitled Electric Salome demonstrates her centrality not only to dance, but also modernist performance [27] Sally R. Sommer has written extensively about Fuller's life and times[28] Marcia and Richard Current published a biography entitled Loie Fuller, Goddess of Light in 1997.[29] The philosopher Jacques Rancière devoted a chapter of Aisthesis, his history of modern aesthetics, to Fuller's 1893 performances in Paris, which he considers emblematic of Art Nouveau in their attempt to link artistic and technological invention.[30] Giovanni Lista compiled a 680-page book of Fuller-inspired art work and texts in Loïe Fuller, Danseuse de la Belle Epoque in 1994.[31] In the 1980s, Munich dancer Brygida Ochaim[32] revived Fuller's dances and techniques, also appearing in the Claude Chabrol film The Swindler.In 2016, Stéphanie Di Giusto directed the movie The Dancer about the life of Loïe Fuller, with actresses Soko as Loïe and Lily-Rose Depp as Isadora Duncan. Jody Sperling choreographed Soko's dances for the movie, served as creative consultant and was Soko's dance coach, training her in Fuller technique.[33] The movie premiered at the 2016 Cannes Film Festival [34]Fuller continues to be an influence on contemporary choreographers. Sperling, who re-imagines Fuller's genre from a contemporary perspective, has choreographed dozens of works inspired by Fuller and expanded Fuller's vocabulary and technique into the 21st century. Sperling's company Time Lapse Dance consists of six dancers all versed in Fuller-style technique and performance. Another is Ann Cooper Albright, who collaborated with a lighting designer on a series of works that drew inspiration from Fuller’s original lighting design patents.[35] Shela Xoregos choreographed a tribute, La Lo?e, a solo which shows several of Fuller's special effects [citation needed]Taylor Swift's 2018 Reputation Tour featured a segment dedicated to Fuller. During her performance of "Dress" each night on the tour, several dancers recreated the "Serpentine Dance."[36][37] In the reputation Stadium Tour concert film on Netflix, after “Dress” there is a message showing Taylor’s dedication to Fuller.[38]Into the 2019 film Radioactive Loie Fuller (Drew Jacoby) is a friend of the main character Marie Curie. The scientist envisions Fuller dancing in the green light of radium.[39] The dancer also introduces the Curies to a medium.Written worksFuller's memoir Quinze ans de ma vie was written in English, translated into French by Bojidar Karageorgevitch and published by F. Juven (Paris) in 1908 with an introduction by Anatole France.[40] She drafted her memoirs again in English a few years later, which were published under the title Fifteen Years of a Dancer's Life by H. Jenkins (London) in 1913.[41] The New York Public Library Jerome Robbins Dance Collection holds the nearly complete manuscript to the English edition and materials related to the French edition Fuller s autobiography is a first hand account, and she was known for being very adaptive in her story telling. There are seven highly dramatized versions of how she got her first silk skirt; however, the real story is unknown. As well as writing about inventing the Serpentine Dance, she also wrote extensively about her own theories of modern dance and motion.

40 Broadway Theater Stage Playbill Lot 1960s-1980s Evita Pippin Annie Amadeus
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Big lot of 50 BROADWAY PLAYBILLS 1970's - 1990's RARE musicals vintage RARE
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eBay You're looking a big lot of 50 random and rare BROADWAY PLAYBILLS. It's a grouping of older playbills from the mid 1970's through the late 1990's. They are from different Broadway theatres, which are indicated below. No duplicates are included in this lot as far as I can tell. These programs are used, but in good vintage condition overall. Some of the programs are in slightly better condition than others (none of them is complete beat up). The programs have some rather minor imperfections such as corner dings or creases, minor vertical fold/crease marks from being stored in a Playbill pleather binder, writing (like the date of the show), visible but rather insignificant tears (cover page/loser cover page), minor cover page wear, loose staples, visible discoloration and staining due to age or minor water exposure, ticket stubs attached to playbill, and other similar imperfections. See pictures. Other minor flaws may be present as these are very old (some close to 50 years). What you see is what you get.Here's a link to my priority mail shipping within Continental US. Priority mail international shipping is $70Please ask any questions before making a purchase. Thanks and good luck!Here is a list of all the playbills that you will get (in mostly alphabetical order):1.) Rumors (Broadhurst) January 19892.) Rose (Cort) May 19813.) Pirates Of Penzance (Uris) July 19814.) On The Twentieth Century (St. James) April 19785.) Oklahoma! (Palace) December 19796.) Onward Victoria (Martin Beck) December 19807.) Nunsense (Douglas Fairbanks) April 1991 8.) LaCage Aux Folles (Palace) December 19839.) Loose Ends (Circle In The Square) November 197910.)Lost In Yonkers (Richard Rodgers) September 199111.)Les Miserables (Imperial) February 199612.)Lettice & Lovage (Ethel Barrymore) September 199013.)King And I, The (Uris) April 197814.)Jake's Women (Neil Simon) April 198215.)June Moon (Variety Arts) December 199716.)Jekyll & Hyde (Plymouth) December 199717 )Inspector Calls, An (Royale) April 199418.)Home (Cort) July 198019.)H2$ (Richard Rodgers) September 199520.)Heidi Chronicles, The (Plymouth) April 198921.)Grand Hotel The Musical (Gershwin) March 199222.)Fifth Of July (New Apollo) October 198123.)Will Rodgers Follies, The - A Life In Revue (Lyric Opera House) May 199324.)Few Good Men, A (Music Box) November 198925.)42nd Street (Winter Garden) February 198326.)Equus (Plymouth) November 197427.)Evita (Broadway) August 198228 )Elephant Man, The (Booth) October 197929.)Da (Morosco) April 197830.)Dracula (Martin Beck) February 197831 )Dreamgirls (Shubert) October 198132.)Driving Miss Daisy (John Houseman) May 198833.)Chicago (46th Street) August 197634.)Chorus Line, A (Shubert) September 197635.)Chapter Two (Imperial) September 197936 )Children Of A Lesser God (Longacre) September 198037.)Cats (Winter Garden) March 199038.)Crazy For You (Shubert) April 199439.)Best Little Whorehouse In Texas, The (46th Street) January 197940 )Ballroom (Majestic) November 197841.)Barnum (St. James) July 198142 )Brigadoon (Majestic) October 198143.)Jerome Robbins' Broadway (Imperial) June 198944 )Broadway Bound (Broadhurst) January 198745 )Bubbling Brown Sugar (Anta) April 197646.)Absurd Person Singular (Music Box) February 197547.)Agnes Of God (Music Box) August 198248.)Amadeus (Broadhurst) February 198149.)Act, The (Majestic) December 197750.)Irving Berlin's Annie Get Your Gun (Marquis) August 1999

GILBERT & SULLIVAN 1870s 1880s STAR GEORGE GROSSMITH 1901 RECITAL PROGRAM
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A rare original April 1901 recital program of the great Gilbert and Sullivan patter comedian George Grossmith. Dimensions ten by eight inches. Light wear, edgewear, small tears, and ligght folds otherwise good. See George Grossmith'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. George Grossmith (9 December 1847 – 1 March 1912) was an English comedian, writer, composer, actor, and singer. His performing career spanned more than four decades. As a writer and composer, he created 18 comic operas, nearly 100 musical sketches, some 600 songs and piano pieces, three books and both serious and comic pieces for newspapers and magazines Grossmith is best remembered for two aspects of his career. First, he created a series of nine memorable characters in the comic operas of Gilbert and Sullivan from 1877 to 1889, including Sir Joseph Porter, in H.M.S. Pinafore (1878), the Major-General in The Pirates of Penzance (1880) and Ko-Ko in The Mikado (1885–87). Second, he wrote, in collaboration with his brother Weedon, the 1892 comic novel The Diary of a Nobody Grossmith was also famous in his day for performing his own comic piano sketches and songs, both before and after his Gilbert and Sullivan days, becoming the most popular British solo performer of the 1890s. Some of his comic songs endure today, including "See Me Dance the Polka". He continued to perform into the first decade of the 20th century. His son, George Grossmith Jr., became a famous actor, playwright and producer of Edwardian musical comedies.George Grossmith was born in Islington, London, and grew up in St. Pancras and Hampstead, London. His father, also named George (1820–1880), was the chief reporter for The Times and other newspapers at the Bow Street Magistrates' Court and was also a lecturer and entertainer. His mother was Louisa Emmeline Grossmith née Weedon (d. 1882). Over the years, Grossmith's father spent less of his time at Bow Street and more of it touring as a performer.[1] As a young man, Grossmith was usually credited as "Jnr" to distinguish him from his father, especially when they performed together, but for most of his career, he was credited simply as "George Grossmith". Later, his actor playwright theatre manager son was credited as George Grossmith "Jr" rather than "III"; some sources confuse the two men. His other son, Lawrence Grossmith, was also a successful actor, primarily in America [2]Grossmith had a younger sister, Emily, and younger brother, Weedon. In 1855, he went to boarding school at Massingham House on Haverstock Hill in the district of Hampstead. There he studied the piano and began to amuse his friends and teachers with shadow pantomimes, and later by playing the piano by ear. His family moved to Haverstock Hill when young Grossmith was 10, and he became a day student.[3] At the age of 12, he transferred to the North London Collegiate School in Camden Town. He was back in St. Pancras by age 13.[4] He was an avid amateur photographer and painter as a teenager, but it was his brother Weedon who went to art school. The Grossmith family had many friends engaged in the arts, including J. L. Toole, Ellen Terry, Henry Irving, H. J. Byron, Tom Hood, T. W. Robertson, and John Hollingshead (later, the manager of the Gaiety Theatre, London) [3]Grossmith had hoped to become a barrister. Instead, he worked for many years, beginning in the 1860s, training and then substituting for his father as the Bow Street reporter for The Times, among other publications, when his father was on his lecture tours. Among the cases on which he reported was the Clerkenwell bombing by the Fenians in 1867.[1] At the same time as he began reporting, he began to write humorous articles for periodicals and to participate in amateur theatrical performances [5] He also joined his father in his entertainments, lectures, and imitations, and began to add music to the entertainments, which his father had not done.[6] In 1873, Grossmith married Emmeline Rosa Noyce (1849–1905), the daughter of a neighbourhood physician, whom he had met years earlier at a children's party.[3] The couple had four children: George, Sylvia (1875–1932; married Stuart James Bevan in 1900), Lawrence and Cordelia Rosa (1879–1943) [7] The family lived initially in Marylebone before moving, about 1885, to Dorset Square nearby.Early performing career1870 sheet musicYoung Grossmith received some recognition for amateur songs and sketches at private parties and, beginning in 1864, at penny readings. He also participated in a small number of theatricals as an amateur, including playing John Chodd, Jr. in Robertson's play, Society, at the Gallery of Illustration, in 1868. The after-piece was a burlesque, written by Grossmith's father, on the Dickens play No Thoroughfare. He then played the title role in Paul Pry, a comedy by Poole, also at the Gallery of Illustration, in 1870.[8] But he and his father felt that his talents lay in "sketch" comedy rather than theatre. The younger Grossmith admired the comic pianist and entertainer John Orlando Parry, who created and performed in many of the German Reed Entertainments, and he tried to emulate Parry in developing his own sketches, consisting of humorous anecdotes, mildly satirical comment, ad lib chat, and comic songs centred on the piano [9]Grossmith took to the professional stage in 1870 with a sketch called Human Oddities, written by his father, and a song called "The Gay Photographer" (that is, the "carefree" photographer) [9] The song, with words by Grossmith's father and music by young Grossmith, concerns a photographer who broke the heart of a young lady named Miss Jenkins; so she drank his chemicals and died.[10] In late 1870, the younger Grossmith appeared on his own with a nightly spot at the "old Polytechnic" in Regent Street, where comic sketches alternated with scientific and serious lectures for the entertainment of the public.[6] Human Oddities and another sketch, The Yellow Dwarf, were successful for Grossmith, and he took the former work on tour for six months. An 1871 Grossmith sketch was called He was a Careful Man.[9] Biographer Tony Joseph notes that, except for a few early pieces, nearly all of Grossmith's material was written and composed by Grossmith himself. Joseph describes the sketches as "a light-hearted sending up of various aspects of contemporary life and manners. ...he was the complete performer... as a pianist (he performed for the most part sitting at a piano)... as a raconteur... as a mimic, facial expression, timing—he had it all. A short, dapper figure, he turned his lack of inches to positive advantage, and audiences took to him everywhere [1]1878 programme for Cups and Saucers and H.M.S. toured in the summer of 1871 with Mr and Mrs Howard Paul and occasionally afterwards. He and Mrs Paul would also appear together in The Sorcerer in 1877.[11] Also in 1871, at the Polytechnic, he performed three more sketches, The Puddleton Penny Readings, Theatricals at Thespis Lodge[9] and The Silver Wedding[12] (including what would be one of his most popular songs, "I am so Volatile", with words by his father).[13] On 14 February 1872, Grossmith gave a sketch parody of a penny reading at the Gaiety Theatre, London, since on Ash Wednesday, theatres refrained from presenting costumed performances out of respect for the holiday. At the time, coincidentally, the Gaiety was presenting Thespis, Gilbert and Sullivan's first collaboration [14] Throughout these years, Grossmith continued working at Bow Street during the day.In 1873, Grossmith and his father began joint tours of humorous recitations and comic sketches at literary institutes and public halls, to church groups and to branches of the YMCA all over England and even in Scotland and Wales. Young Grossmith's sketches at this time included The Puddleton Penny Readings, Our Choral Society and In the Stalls. They toured almost constantly for the following three years, but they returned to see their families in London on weekends.[15] Around this time, he met and became firm friends with Fred Sullivan, and afterwards, he met Sullivan's brother Arthur.[16] Through Arthur Cecil, Sullivan, and some of their friends, Grossmith began to be invited to entertain at private "society" parties, which he continued to do throughout his career. Later, these parties would often occur late in the evening after Grossmith performed at the Savoy Theatre.[17] In 1876, he collaborated with Florence Marryat, the author and reciter, on Entre Nous. This piece consisted of a series of piano sketches, alternating with scenes and costumed recitations, including a two-person "satirical musical sketch", really a short comic opera, called Cups and Saucers, which they then toured.[15] Grossmith also took a number of engagements, including recitals at private homes.[13] In 1877, Lionel Brough introduced another popular Grossmith song, "The Muddle Puddle Junction Porter".[14] By then, Grossmith had become friendly with many in the music and theatre establishments, including Arthur Sullivan and impresario Richard D'Oyly Carte; and Grossmith had the opportunity to perform in Gilbert and Sullivan's Trial by Jury and other Sullivan works at charity benefits [18]Grossmith as Wells in The Sorcerer, 1877After entertaining professionally in sketch comedy for seven years, however, Grossmith discovered that his income decreased each year as his family and household expenses increased. He also disliked travelling. Accordingly, he was pleased when, despite his relative inexperience in legitimate theatre, he received a letter from Arthur Sullivan in November 1877 inviting him to take a part in his new piece with W. S. Gilbert: The Sorcerer [8]D Oyly Carte yearsGrossmith had appeared in charity performances of Trial by Jury, where both Sullivan and Gilbert had seen him[19] (indeed, Gilbert had directed one such performance, in which Grossmith played the judge),[20] and Gilbert had earlier commented favourably on his performance in Tom Robertson's Society at the Gallery of Illustration [8][21] Sullivan mentioned to Arthur Cecil, the leading tenor from the Gallery of Illustration, that he was looking for someone to play the comic title role in his new comic opera, The Sorcerer. Cecil reminded Sullivan about Grossmith, and Sullivan seized on the idea.[8] After singing for Sullivan, upon meeting Gilbert, Grossmith wondered aloud if the role shouldn't be played by "a fine man with a fine voice". Gilbert replied, "That is exactly what we don't want."[22] Although Grossmith had reservations about cancelling his touring engagements and going into the "wicked" professional theatre (a move that might lose him church and other engagements in the future), and Richard D'Oyly Carte's backers objected to casting a sketch comedian in the central role of a comic opera, Grossmith was hired.Grossmith as Bunthorne in Patience, 1881Grossmith was a hit as the tradesmanlike John Wellington Wells, the title role in The Sorcerer, and became a regular member of Richard D'Oyly Carte's company. He created all nine of the lead comic baritone roles in Gilbert and Sullivan's Savoy Operas in London from 1877 to 1889, including the pompous First Lord of the Admiralty, Sir Joseph Porter, in H.M.S. Pinafore (1878); Major-General Stanley in The Pirates of Penzance, who is an expert at everything except "military knowledge" (1880); the aesthetic poet, Reginald Bunthorne in Patience (1881); the love-lonely Lord Chancellor in Iolanthe (1882); the sarcastic cripple, King Gama, in Princess Ida (1884); Ko-Ko the cheap tailor, elevated to the post of Lord High Executioner, in The Mikado (1885); the accursed Robin Oakapple in Ruddigore (1887); and the pathetic jester, Jack Point, in The Yeomen of the Guard (1888).[13] On 29 January 1887, one week after the opening night of Ruddigore, Grossmith fell dangerously ill.[23] However, by 13 February, his physicians pronounced him convalescent [24] and he resumed the role of Robin by 18 February.[25] During Grossmith's absence, his understudy Henry Lytton, who would later become the principal comedian of the company, had the opportunity to perform the role in Grossmith's place [26]Grossmith as Jack Point in Yeomen, 1888Years later, Grossmith's obituary in The Times noted the comedian's "nimbleness, his diverting tricks, his still more diverting dignity—the dignity of a man of few inches high or round—and his incomparable power of rapid speech and singing."[6] The Daily Telegraph wrote of his Jack Point: "Whether giving expression to poor Jack’s professional wit, or hiding a sorry heart behind light words... Mr Grossmith was master of the part he assumed."[27] In 1883, The Times, reviewing a matinee performance of Iolanthe, wrote: "Mr. Grossmith's impersonation of the Lord Chancellor has ... become an exquisitely refined satire."[28] On the other hand, his sketch comedy background had trained Grossmith to improvise comic business. Gilbert and the actor had an exchange during rehearsals for The Mikado about an improvised moment in which Jessie Bond pushed Grossmith, as they kneeled before the Mikado, and he rolled completely over. Gilbert requested that they cut out the gag, and Grossmith replied: "but I get an enormous laugh by it". Gilbert replied "So you would if you sat on a pork pie [22][29]The actor, jittery on opening nights, is depicted both on and off stage in the biographical film, Topsy Turvy. Hesketh Pearson wrote in 1935 that Grossmith injected himself with drugs to calm his nerves.[30] and in the film he is shown injecting himself on the opening night of The Mikado. In his diary, Arthur Sullivan wrote afterwards, "All went very well except Grossmith, whose nervousness nearly upset the piece".[31] Grossmith spoke self deprecatingly about his own vocal prowess (Sullivan and others disagreed):Of course, I haven't any voice to speak of, but I have a great register, and Sullivan used to amuse himself by making me sing bass in one number of an opera and tenor in another. In Ruddygore, Sir Arthur had engaged a man to play the servant, my menial, so to speak, who had an enormous bass voice, and who had to go down to the lower E flat. Singularly enough, he could go down to G, and then he dropped out entirely, and I did the [low E-flat] below. Generally the audience roared with laughter, and it absolutely brought down the house [32]Grossmith s The Great Tay-KinDuring his time with the D'Oyly Carte Opera Company, Grossmith's father and mother died (in 1880 and 1882, respectively). Throughout this period, Grossmith continued to perform his sketches, often late at night after performing at the Savoy, and continued to write new sketches, such as Amateur Theatricals (1878), A Juvenile Party (1879), A Musical Nightmare (1880), and A Little Yachting (1886).[33] He also wrote the music for Arthur Law's short comic opera, Uncle Samuel (1881), the one-act curtain raiser that preceded Patience on the Opera Comique programme. His Cups and Saucers was revived and played with Pinafore and also played by the company on tour. Other comic operas by Grossmith during these years included Mr Guffin's Elopement (1882) and A Peculiar Case (1884, both with libretti by Arthur Law) and The Real Case of Hide and Seekyll (1886).[33] Grossmith also continued to give his "society" and other entertainments, often late at night after his performance at the Savoy. He also composed the music for another comic opera, The Great Tay-Kin and another piece, both with libretti by Arthur Law, which were performed at Toole's Theatre in 1885 [34]Grossmith also wrote, composed, and performed in several one-man drawing room sketches, short comic operas or monologues that were given at the Opera Comique or the Savoy Theatre in place of the companion pieces when shorter matinee programmes were playing. These works included Beauties on the Beach (1878),[12] Five Hamlets (1878),[12] a revival of his A Silver Wedding (1879), The Drama on Crutches (1883), Homburg, or Haunted by The Mikado (1887–88) [12][35] and Holiday Hall (1888).[13] In reviewing a matinee performance of The Drama on Crutches, The Times commented, "he not only satirizes the present tendency of fashionable amateurs to join the stage, but also parodies ... the manner of Mr. Irving and other actors of the present day, including himself. The sketch created great amusement, though of course, it depends entirely for its success upon the actor's powers of mimicry."[28] Grossmith also performed in charity events, including as Bouncer in Cox and Box in 1879 at the Opera Comique [13]Vanity Fair print, 1888In addition, Grossmith's comic song written in 1886, "See me dance the polka", was extremely popular. It has been used in a number of films and has been quoted or referred to in literature and music, including in the poem/song "Polka" from Façade by Edith Sitwell and William Walton. Other songs he wrote during this period include "An Awful Little Scrub" (1880), "The Speaker's Eye" (1882), "The 'Bus Conductor's Song" (1883), "How I Became an Actor" (1883), "See Me Reverse" (1884), "The Lost Key" (1885), and "The Happy Fatherland" (1887) [33]Later yearsGrossmith left the D'Oyly Carte company near the end of the original run of The Yeomen of the Guard on 17 August 1889 and resumed his career entertaining at the piano,[36] which he continued to do for more than 15 years afterwards.[37] Despite his dislike of travelling, he toured in Britain, Ireland, and, on five occasions, North America. His drawing-room sketches included his own popular songs, such as "See me Dance the Polka", "The Happy Fatherland", "The Polka and the Choir-boy", "Thou of My Thou", "The French Verbs", "Go on Talking – Don't Mind Me", "I Don't Mind Flies". His new sketches during this period included Modern Music and Morals (1889), On Tour; or, Piano and I (1891), A Seaside Holiday (1892), Fashionable Music (1892) and Is Music a Failure? (1892).[33] According to The Times, "His genial satire was enjoyed even by those at whom its shafts were aimed."[6] When he toured Scotland in the autumn of 1890, Grossmith gave a command performance for Queen Victoria at Balmoral Castle.[13] He also composed the music for a three-act comic opera with a libretto by Gilbert, Haste to the Wedding (1892). In this piece, his son George Grossmith Jr. made his stage debut. Musically more challenging than any composition he had attempted before, this work was unsuccessful. Later, however, Grossmith said that the experience of writing with Gilbert was one of the happiest of his life.[38] In 1892–93 he toured North America (his second tour there), writing successful new sketches, "How I Discovered America" and "Baby on the Shore" (1893) [13][39]Charles (left) and Lupin Pooter at Broadstairs, from Chapter VI of The Diary of a NobodyIn 1892, Grossmith collaborated with his brother Weedon Grossmith to expand a series of amusing columns they had written in 1888–89 for Punch. The Diary of a Nobody was published as a novel[40] and has never been out of print since. The book is a sharp analysis of social insecurity, and Charles Pooter of The Laurels, Brickfield Terrace, Holloway, was immediately recognised as one of the great comic characters of English literature.[1] The work has itself been the object of dramatisation and adaptation, including three times for television: 1964,[41] 1979[42] and 2007.[43]"The Firm of Grossmith and son"Grossmith had become the most popular solo entertainer of his day, and his tours earned him far more than he had earned while performing with the D'Oyly Carte Opera Company.[1] He also continued to compose music, including the comic opera Castle Bang (1894) and the sketches The Ibsenite Drama (1895) and Do We Enjoy Our Holidays? (1897) and songs like "The Baby on the Shore" (1893), "Johnnie at the Gaiety" (1895), "Tommy's First Love" (1897), and "The Happy Old Days at Peckham" (1903).[33] In 1894–95, however, Gilbert enticed Grossmith to take the role of George Griffenfeld in His Excellency, with music by Frank Osmond Carr. Also in 1897, he played briefly as King Ferdinand V of Vingolia in F. C. Burnand's His Majesty at the Savoy Theatre and made two more short London stage appearances thereafter, as Scoones in Young Mr Yarde (1898) and Lambert Simnel in The Gay Pretenders (1900).[13][44] An 1896 interview of Grossmith reveals him feeling his age and considering the end of his touring career, while enjoying time spent at home with his family, dogs and antique piano collection.[45] Grossmith suffered from depression after the death of his wife of cancer in 1905, and his health began to fail, so that he increasingly missed engagements. He was nevertheless persuaded to continue giving his entertainments, which he did on a less frequent basis, until November 1908.[1][6] The following year, Grossmith retired to Folkestone, Kent, a town that he had visited for many years, where he wrote his second volume of reminiscences, Piano and I (1910) Grossmith died at his home in Folkstone at the age of 64. He is buried in Kensal Green Cemetery, in the London Borough of Brent.[46] In his will, dated 26 October 1908, Grossmith left small bequests to a variety of charities and persons; 2,000 pounds, artworks and heirlooms to each of his children (except that Lawrence did not receive a cash bequest), his son George receiving also "two silver bowls presented to him by [Gilbert, Sullivan and] Carte [and] the ivory baton with which he conducted the orchestra on the occasion of his said son's first appearance on the stage" in Haste to the Wedding; and smaller bequests to his children's spouses and his nieces, nephews, grandchildren and some cousins, with the residuary estate shared equally by his children (although the residuary estate was not large) [47]Writings and compositions; legacy; Carte after the failure of The Grand DukeGrossmith wrote numerous comic pieces for the magazine Punch, including a series of ten skits in 1884 inspired by his Bow Street experiences, which he called "Very Trying".[1] He also wrote two memoirs, A Society Clown: Reminiscences (1888) and Piano and I: Further Reminiscences (1910). In his career, Grossmith wrote 18 comic operas, nearly 100 musical sketches, some 600 songs and piano pieces, and three books. He also wrote both serious and comic pieces for newspapers and magazines throughout his career, displaying a wide range of styles [6]Grossmith was followed, in the Gilbert and Sullivan comic roles, by a number of other popular performers, including Henry Lytton, Martyn Green, Peter Pratt, John Reed, and many others, who each owed a debt to Grossmith as the creator of the roles. Many actors have portrayed Grossmith in biographical films, revues and sketches. In Britain, among others, Martyn Green, John Reed (in A Song to Sing, O at the Savoy Theatre in 1981), Simon Butteriss[48] and Leon Berger[49] have done so. Australian Anthony Warlow played Grossmith in A Song to Sing, O in 1987.[50]Over forty of the songs that Grossmith wrote or performed in his one-man shows have been recorded by baritone Leon Berger (a British Gilbert & Sullivan singer and Grossmith scholar), accompanied by Selwyn Tillett (G&S scholar) on two CDs: A Society Clown: The Songs of George Grossmith and The Grossmith Legacy. The latter also contains the recorded voice of Grossmith's son, George Grossmith Jr. Both are on the Divine Art Label.[51] No recordings of Grossmith's voice are known to exist, although wax cylinder recording technology was available during his lifetime.[52] Cups and Saucers was recorded by Retrospect Opera in 2016, together with F. C. Burnand and Edward Solomon's Pickwick.[

RARE 1894 DR JEKYLL MR HYDE HANDBILL RICHARD MANSFIELD ROBERT LOUIS STEVENSON
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A rare original November 1894 handbill program for Robert Louis Stevenson's classic Dr. Jekyll and Mr. Hyde starring Richard Mansfield in the dual title roles. Four pages. Dimensions nine by five and a half inches. Light wear and small tears with mouting traces to reverse otherwise good. See Robert Louis Stevenson and Richard Mansfield's extraordinary biographies and the story of the play below. Shipping discounts for multiple purchases please wait for invoice. Credit cards accepted with Paypal. Inquiries always welcome. Please visit my other eBay items for more early theatre and historical autographs, photographs and programs and great singer, actor and actress cabinet photos and CDV's. From Wikipedia: Strange Case of Dr Jekyll and Mr Hyde is a Gothic novella by Scottish author Robert Louis Stevenson, first published in 1886. The work is also known as The Strange Case of Jekyll Hyde, Dr. Jekyll and Mr. Hyde, or simply Jekyll and Hyde.[1] It is about a London legal practitioner named Gabriel John Utterson who investigates strange occurrences between his old friend, Dr. Henry Jekyll [2][3][4] and the evil Edward Hyde. The novella's impact is such that it has become a part of the language, with the vernacular phrase "Jekyll and Hyde" referring to people with an unpredictably dual nature: outwardly good, but sometimes shockingly evil.Stevenson had long been intrigued by the idea of how human personalities can reflect the interplay of good and evil. While still a teenager, he developed a script for a play about Deacon Brodie, which he later reworked with the help of W. E. Henley and which was produced for the first time in 1882.[7] In early 1884, he wrote the short story, "Markheim", which he revised in 1884 for publication in a Christmas annual. According to his essay, "A Chapter on Dreams" (Scribner's, Jan. 1888), he racked his brains for an idea for a story and had a dream, and upon waking had the intuition for two or three scenes that would appear in the story Strange Case of Dr. Jekyll and Mr. Hyde. Biographer, Graham Balfour, quoted Stevenson's wife, Fanny Stevenson:In the small hours of one morning,[...] I was awakened by cries of horror from Louis. Thinking he had a nightmare, I awakened him. He said angrily: "Why did you wake me? I was dreaming a fine bogey tale." I had awakened him at the first transformation scene.[8]Lloyd Osbourne, Stevenson's stepson, wrote: "I don't believe that there was ever such a literary feat before as the writing of Dr. Jekyll. I remember the first reading as though it were yesterday. Louis came downstairs in a fever; read nearly half the book aloud; and then, while we were still gasping, he was away again, and busy writing. I doubt if the first draft took so long as three days [8]Inspiration may also have come from the writer's friendship with Edinburgh-based French teacher, Eugene Chantrelle, who was convicted and executed for the murder of his wife in May 1878.[9] Chantrelle, who had appeared to lead a normal life in the city, poisoned his wife with opium. According to author, Jeremy Hodges,[10] Stevenson was present throughout the trial and as "the evidence unfolded he found himself, like Dr. Jekyll, 'aghast before the acts of Edward Hyde'." Moreover, it was believed that the teacher had committed other murders both in France and Britain by poisoning his victims at supper parties with a "favourite dish of toasted cheese and opium".[11]As was customary, Mrs. Stevenson would read the draft and offer her criticisms in the margins. Robert Stevenson was confined to bed at the time from a haemorrhage. In her comments in the manuscript, she observed that in effect the story was really an allegory, but Robert was writing it as a story. After a while, Robert called her back into the bedroom and pointed to a pile of ashes: he had burnt the manuscript in fear that he would try to salvage it, and thus forced himself to start again from nothing, writing an allegorical story as she had suggested. Scholars debate whether he really burnt his manuscript; there is no direct factual evidence for the burning, but it remains an integral part of the history of the novella [12]Stevenson rewrote the story in three to six days. A number of later biographers have alleged that Stevenson was on drugs during the frantic re-write; for example, William Gray's revisionist history A Literary Life (2004) said he used cocaine while other biographers said he used ergot.[13] However, the standard history, according to the accounts of his wife and son (and himself), says he was bed-ridden and sick while writing it. According to Osbourne, "The mere physical feat was tremendous and, instead of harming him, it roused and cheered him inexpressibly". He continued to refine the work for four to six weeks after the initial revision. The novella was written in the southern English seaside town of Bournemouth, where Stevenson had moved to benefit from its sea air and warmer climate [citation needed]The name Jekyll was borrowed from the Reverend Walter Jekyll, a friend of Stevenson and younger brother of and landscape designer Gertrude Jekyll.Robert Louis Stevenson (born Robert Lewis Balfour Stevenson; 13 November 1850 – 3 December 1894) was a Scottish novelist, essayist, poet and travel writer. He is best known for works such as Treasure Island, Strange Case of Dr Jekyll and Mr Hyde, Kidnapped and A Child's Garden of Verses.Born and educated in Edinburgh, Stevenson suffered from serious bronchial trouble for much of his life, but continued to write prolifically and travel widely in defiance of his poor health. As a young man, he mixed in London literary circles, receiving encouragement from Andrew Lang, Edmund Gosse, Leslie Stephen and W. E. Henley, the last of whom may have provided the model for Long John Silver in Treasure Island. In 1890, he settled in Samoa where, alarmed at increasing European and American influence in the South Sea islands, his writing turned away from romance and adventure fiction toward a darker realism. He died in his island home in 1894 at age 44.[1]A celebrity in his lifetime, Stevenson's critical reputation has fluctuated since his death, though today his works are held in general acclaim. In 2018 he was ranked, just behind Charles Dickens, as the 26th most translated author in the world.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.Mansfield 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.[

Big lot of 48 BROADWAY PLAYBILLS 1970's - 1990's RARE musicals vintage RARE
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You're looking a big lot of 48 random and rare BROADWAY PLAYBILLS. It's a grouping of older playbills from the mid 1970's through the late 1990's. They are from different Broadway theatres, which are indicated below. No duplicates are included in this lot as far as I can tell. These programs are used, but in good vintage condition overall. Some of the programs are in slightly better condition than others (none of them is complete beat up). The programs have some rather minor imperfections such as corner dings or creases, minor vertical fold/crease marks from being stored in a Playbill pleather binder, writing (like the date of the show), visible but rather insignificant tears (cover page/loser cover page), minor cover page wear, loose staples, visible discoloration and staining due to age or minor water exposure, ticket stubs attached to playbill, and other similar imperfections. See pictures. Other minor flaws may be present as these are very old (some close to 50 years). What you see is what you get.Here's a link to my priority mail shipping within Continental US. Priority mail international shipping is $70Please ask any questions before making a purchase. Thanks and good luck!Here is a list of all the playbills that you will get (in random order):1.) Royal Family, The (Wilbur) 19762.) Bette! Diving Madness (Majestic) 19793.) Starlight Express (Gershwin) 19874.) Show Boat (Gershwin) 19955.) Twice Around The Park (Cort) 19826.) Titanic (Lunt-Fontanne) 19977.) Woman Of The Year (Palace) 19818.) They're Playing Our Song (Imperial) 19819.) Signs Of Intelligent Forms Of Life In The Universe, The (Plymouth) 198610.)Sisters Rosensweig, The (Ethel Barrymore) 1994 11.)Sugar Babies (Mark Hellinger) 198012.)Ragtime The Musical (Ford Center) 199813 )Privates On Parade (Roundabout) 198914.)Paul Robeson (Colonial) 197715.)On The Twentieth Century (St. James) 197916.)M. (Eugene O'Neill) 198817.)My One And Only (St. James) 198318.)La Cage Aux Folles (Palace) 198519.)Lost In Yonkers (Richard Rodgers) 199120.)Les Miserables (Broadway) 198721.)Little Foxes, The (Martin Beck) 198122.)The King And I (Uris) 23.)Jake's Women (Neil Simon) 199224 )Inspector Calls, An (Royale) 199425.)Heidi Chronicles, The (Plymouth) 198926.)42nd Street (Winter Garden) 198027.)Fences (46th Street) 198728.)Few Good Men, A (Music Box) 199129.)Equus (Plymouth) 197630 )Elephant Man, The (Booth) 198031.)Driving Miss Daisy (John Houseman) 198732.)Dracula (Martin Beck) 197933.)Dancin' (Broadhurst) 197934.)Day In Hollywood, A, NIght In The Ukraine, A (Royale) 198035 )Dreamgirls (Imperial) 198136.)Chicago (Colonial) 197737.)Chorus Line, A (Shubert) 197738.)Can-Can (Minskoff) 198139.)Chapter Two (Imperial) 197840.)Crazy For You (Shubert) 199441.)Biloxi Blues (Neil Simon) 198542.)Best Little Whorehouse In Texas, The (46th Street) 197843 )Ballroom (Majestic) 197844.)Barnum (St. James) 198145.)Agnes Of God (Music Box) 198246.)Aspects Of Love (Broadhurst) 199047.)Annie Get Your Gun (Wagner College) 48.)Act, The (Majestic)

BORIS KARLOFF JEAN ARTHUR 1951 PETER PAN PROGRAM
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A rare original 1951 program for the Jean Arthur and Boris Karloff production of James M. Barrie's Peter Pan, with music by Leonard Bernstein. Thirty two pages, with cast biographies. Dimensions eight and a quarter by five and three quarters inches. Light wear otherwise good. See Jean Arthur and Boris Karloff's extraordinary biographies and the story of the play below. Buyer pays first class insured shipping. Overseas shipping by Reistered Airmail. 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: Peter Pan is a fictional character created by Scottish novelist and playwright J. M. Barrie. A free-spirited and mischievous young boy who can fly and never grows up, Peter Pan spends his never-ending childhood having adventures on the mythical island of Neverland as the leader of the Lost Boys, interacting with fairies, pirates, mermaids, Native Americans, and occasionally ordinary children from the world outside Neverland.Peter Pan has become a cultural icon symbolizing youthful innocence and escapism. In addition to two distinct works by Barrie, The Little White Bird (1902, with chapters 13–18 published in Peter Pan in Kensington Gardens in 1906), and the West End stage play Peter Pan; or, the Boy Who Wouldn't Grow Up (1904, which expanded into the 1911 novel Peter and Wendy), the character has been featured in a variety of media and merchandise, both adapting and expanding on Barrie's works. These include the 1924 silent film, 1953 Disney animated film, a 2003 dramatic live action film, a television series and many other works.Jean Arthur (born Gladys Georgianna Greene; October 17, 1900 – June 19, 1991)[1] was an American Broadway and film actress whose career began in silent films in the early 1920s and lasted until the early 1950s.Arthur had feature roles in three Frank Capra films: Mr. Deeds Goes to Town (1936) with Gary Cooper, You Can't Take It with You (1938) co-starring James Stewart, and Mr. Smith Goes to Washington (1939), also starring Stewart. These three films all championed the "everyday heroine", personified by Arthur. She also co-starred with Cary Grant in the adventure-drama Only Angels Have Wings (1939) and in the comedy-drama The Talk of the Town (1942). Arthur was nominated for an Academy Award for Best Actress in 1944 for her performance in The More the Merrier (1943), a comedy which also starred Joel McCrea.[2]James Harvey wrote in his history of the romantic comedy: "No one was more closely identified with the screwball comedy than Jean Arthur. So much was she part of it, so much was her star personality defined by it, that the screwball style itself seems almost unimaginable without her."[3] She has been called "the quintessential comedic leading lady".[4] Her last film performance was non-comedic, playing the homesteader's wife in George Stevens's Shane in 1953.Like Greta Garbo, Arthur was well known in Hollywood for her aversion to publicity; she rarely signed autographs or granted interviews. Life magazine observed in a 1940 article: "Next to Garbo, Jean Arthur is Hollywood's reigning mystery woman."[5] As well as recoiling from interviews, she avoided photographers and refused to become a part of any kind of publicity William Henry Pratt (23 November 1887 – 2 February 1969), better known by his stage name Boris Karloff ( ?k??rl?f ) was an English actor who starred as Frankenstein's monster in the horror film Frankenstein (1931), which established him as a horror icon. He reprised the role in Bride of Frankenstein (1935) and Son of Frankenstein (1939). Karloff also appeared as Imhotep in The Mummy (1932), and voiced the Grinch, as well as narrating the animated television special of Dr. Seuss' How the Grinch Stole Christmas! (1966), which won him a Grammy Award.For his contribution to film and television, Karloff was awarded two stars on the Hollywood Walk of Fame on 8 February 1960.[

Lot Of Collectible Theater Playbill 47pc 1976-2001

Chapter Two Playbill

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Collection of 26 Hanna Theatre Programs 1970s & 1980s - Free Shipping
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"The Allergists Wife" Cast Signed (X4) Playbill Cover PAAS COA
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DRACULA BELA LUGOSI BRAM STOKER RARE 1927 BROADWAY PROGRAM
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GILBERT & SULLIVAN 1870s 1880s STAR GEORGE GROSSMITH 1901 RECITAL PROGRAM
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RARE 1894 DR JEKYLL MR HYDE HANDBILL RICHARD MANSFIELD ROBERT LOUIS STEVENSON
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BORIS KARLOFF JEAN ARTHUR 1951 PETER PAN PROGRAM
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Lot Of Collectible Theater Playbill 47pc 1976-2001
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LOT OF 25 PLAYBILLS Broadway 1970's. GiGi, Beatlemania, 1776+
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Collection of 23 Broadway NYC PLAYBILLS mostly 1960's & 70's, a few 1980’s
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Chapter Two Playbill

Huge lot of 229 BROADWAY PLAYBILLS from the 1970's to 1980's - UNIQUE PLAYBILLSClick here for more information

Collection of 26 Hanna Theatre Programs 1970s & 1980s - Free ShippingClick here for more information

"The Allergists Wife" Cast Signed (X4) Playbill Cover PAAS COAClick here for more information

*DRACULA BELA LUGOSI BRAM STOKER RARE 1927 BROADWAY PROGRAM*Click here for more information

*LEGENDARY DANCER LOIE FULLER & HER MUSES RARE 1910 DANCE PROGRAM*Click here for more information

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*GILBERT & SULLIVAN 1870s 1880s STAR GEORGE GROSSMITH 1901 RECITAL PROGRAM*Click here for more information

*RARE 1894 DR JEKYLL MR HYDE HANDBILL RICHARD MANSFIELD ROBERT LOUIS STEVENSON *Click here for more information

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Lot Of Collectible Theater Playbill 47pc 1976-2001Click here for more information

LOT OF 25 PLAYBILLS Broadway 1970's. GiGi, Beatlemania, 1776+Click here for more information

May 1979 - Imperial Theatre Playbill - Chapter Two - Laurence LuckinbillClick here for more information

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Chapter Two Stage Program 1980 Fisher TheatreClick here for more information

CHAPTER TWO- orig. Playbill-Oct. 1978- David Groh, Anita Gillette, Dick LatessaClick here for more information

Collection of 23 Broadway NYC PLAYBILLS mostly 1960's & 70's, a few 1980’sClick here for more information

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Collection of 26 Hanna Theatre Programs 1970s & 1980s - Free Shipping
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"The Allergists Wife" Cast Signed (X4) Playbill Cover PAAS COA
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DRACULA BELA LUGOSI BRAM STOKER RARE 1927 BROADWAY PROGRAM
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RARE 1894 DR JEKYLL MR HYDE HANDBILL RICHARD MANSFIELD ROBERT LOUIS STEVENSON
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BORIS KARLOFF JEAN ARTHUR 1951 PETER PAN PROGRAM
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Lot Of Collectible Theater Playbill 47pc 1976-2001
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LOT OF 25 PLAYBILLS Broadway 1970's. GiGi, Beatlemania, 1776+
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May 1979 - Imperial Theatre Playbill - Chapter Two - Laurence Luckinbill
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Chapter Two - Coachlight Dinner Theatre Playbill - September 1980 - Kate Mulgrew
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Chapter Two Stage Program 1980 Fisher Theatre
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CHAPTER TWO- orig. Playbill-Oct. 1978- David Groh, Anita Gillette, Dick Latessa
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Collection of 23 Broadway NYC PLAYBILLS mostly 1960's & 70's, a few 1980’s
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Vintage Lot 5 NY Playbills- LENNY GANTRY SUNSET CHAPTER TWO COME BLOW YOUR HORN
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VINTAGE FISHER THEATER 1980 DETROIT CHAPTER TWO PLAYBILL
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