Playbill Collectibles : dead Playbill

Huge lot of 390 BROADWAY PLAYBILLS 1930's to 1950's only - ALL UNIQUE PLAYBILLS
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eBay You're looking a HUGE lot of 390 of random BROADWAY PLAYBILLS from the1930's - 1950's only. All the playbills are unique for the theatre and years of issue. In other words, there are no exact duplicates, but plays from the same theater for a different date with different cover and contents. These programs are used, but in good vintage condition overall. Some of the programs are in better condition than others (none of them is complete beat up). The programs have imperfections such as: corner dings, creases, fold marks, writing (like a date on the show), sticker on cover page (with date), staple marks (from ticket stub), clear tape on corner of cover page, very small insignificant tears, minor cover page/spine wear, discoloration or staining due to age, and other similar imperfections. See pictures. Other minor flaws may be present. What you see is what you get. A few of these programs may come with original inserts. To be sold as a lot only. Great starter collection or opportunity to add to your playbill collection Please note: I threw in some extra free (unique) playbills with condition issues (like loose cover page, more staining, etc.) to bump the actual number of playbills to well over 400.Here's a link to my UPS, USPS or FedEx Ground shipping within Continental US. Priority Mail international shipping is $250.Please ask any questions before making a purchase. Thanks and good luck! Complete list of programs in alphabetical order:1.) A View From The Bridge (Coronet, 1955)2.) Accent On Youth (Plymouth, 1935)3.) Affairs Of State (Music Box, 1951)4.) All For Love (Mark Hellinger, 1949)5.) All My Songs (Coronet, 1947)6.) Allegro (Majestic, 1947)7.) Almanac (Imperial, 1953)8.) American Repertory Theatre (International, 1946)9.) American Way, The (Center, 1939)10.)An Evening With Beatrice Lillie (Booth, 1952)11.)An Inspector Calls (Booth, 1947)12 )Anastasia (Lyceum, 1955)13.)Angel In The Wings (Coronet, 1948)14.)Angel In The Wings (Coronet, 1947)15.)Anna Lucasta (Mansfield, 1945)16.)Anna Lucasta (Mansfield, 1945) different cover date17 )Anne Of The Thousand Days (Sam S. Shubert, 1949)18.)Angel Street (John Golden, 1942)19 )Another Part Of The Forest (Fulton, 1946)20 )Another Part Of The Forest (Fulton, 1947)21 )Another Love Story (Fulton, 1943)22 )Antigone (Cort, 1946)23 )Anything Goes (Alvin, 1935)24.)Apple Cart, The (Plymouth, 1956)25.)Around The World In 80 Days (Rivoli, 1956)26 )Arsenic And Old Lace (Fulton, 1943)27 )Arsenic And Old Lace (Fulton, 1941)28.)Arms And The Girl (Forth-Sixth Street, 1950)29.)Army Play By Play, The (Martin Beck, 1943)30.)Awake And Sing (Windsor, 1939)31 )Bachelor Born (Morosco, 1938)32.)Bad Seed, The (Forty-Sixth Street, 1955)33 )Ballett Russe (Majestic, 1935)34 )Barefoot Boy With Cheek (Martin Beck, 1947)35 )Barretts Of Winpole Street, The (Ethel Barrymore, 1945)36 )Beautiful People, The (Lyceum, 1941)37 )Beggar s Holiday (Broadway, 1947)38.)Bells Are Ringing (Sam S. Shubert, 1957)39.)Bell, Book And Candle (Ethel Barrymore, 1951)40.)Best Foot Forward (Ethel Barrymore, 1941)41 )Billion Dollar Baby (Alvin, 1946)42.)Bless You All (Mark Hellinger, 1951)43.)Blithe Spirit (Booth, 1943)44 )Bloomer Girl (Sam S. Shubert, 1945)45 )Blossom Time (Forty-Sixth Street, 1938)46.)Blow Ye Winds (Forty-Sixth Street, 1937)47.)Born Yesterday (Lyceum, 1946)48 )Borscht Capades (Royale, 1951)49.)Boy Meets Girl (Cort, 1936)50.)Boy Friend, The (Royale, 1955)51 )Burgess Meredith (Booth, 1946)52 )Burlesque (Belasco, 1947)53.)By Jupiter (Sam S. Shubert, 1943)54.)By The Beautiful Sea (Imperial, 1954)55.)Caesar And Cleopatra (National, 1950)56.)Caesar And Cleopatra (National, 1950) different cover date57 )Caine Mutiny Court Martial, The (Plymouth, 1954)58.)Call Me Madam (Imperial, 1951)59 )Can Can (Sam S. Shubert, 1955)60.)Carmen Jones (Broadway, 1944)61 )Carousel (Majestic, 1945)62.)Child Of Fortune (Royale, 1956)63 )Children s Hour, The (Coronet, 1953)64 )Children s Hour, The (Maxine Elliott's, 1936)65.)Clash By Night (Belasco, 1941)66 )Claudia (Booth, 1941)67 )Clutterbuck (Biltmore, 1950)68 )Cocktail Party, The (Henry Miller s 1950)69 )Come Back, Little Sheba (Booth, 1950)70.)Come In Music (John Golden, 1954)71 )Compulsion (Ambassador, 19 )72 )Compulsion (Ambassador, 19??) different cover date73 )Common Ground (Fulton, 1945)74 )Confidential Clerk, The (Morosco, 1954)75 )Constant Wife, The (National, 1952)76 )Consul The (Ethel Barrymore, 1950)77.)Cradle Will Rock, The (Mansfield, 1948)78 )Craig s Wife (Playhouse, 1947)79.)Cranks (Bijou, 1956)80.)Cream In The Well, The (Booth, 1941)81 )Crucible The (Martin Beck, 1953)82.)Cup Of Trembling, The (Music Box, 1948)83.)D'Oyly Carte Opera Company (Martin Beck, 1939)84.)Damn Yankees (Forty-Sixth Street, 1956)85.)Damn Yankees (Forth-Sixth Street, 1956) different cover date86 )Dance Me A Song (Royale, 1950)87.)Daphne Laureola (Music Box, 1950)88.)Dark Eyes (Belasco, 1943)89.)Dark Is Light Enough, The (Anta, 1955)90.)Dark Victory (Plymouth, 1934)91.)Dead End (Belasco, 1936)92.)Dear Charles (Morosco, 1954)93.)Dear Ruth (Henry Miller's, 1944)94.)Death Of A Salesman (Morosco, 1949)95.)Deep Are The Roots (Fulton, 1946)96.)The Deep Blue Sea (Morosco, 1952)97.)Desk Set, The (Broadhurst, 1955)98 )Desperate Hours, The (Ethel Barrymore, 1955)99 )Detective Story (Hudson, 1949)100 )Devil s Disciple, The (Royale, 1950)101.)Dial 'M' For Murder (Plymouth, 1953)102.)Diary Of Anne Frank, The (Cort, 1956)103.)Diary Of Anne Frank, The (Cort, 1955)104.)Diary Of Anne Frank, The (Ambassador, 1957)105 )Distaff Side, The (Booth, 1934)106 )Dodsworth (Sam S. Shubert, 1934)107 )Doll s House, A (Broadhurst, 1938)108 )Doughgirls The (Lyceum, 1943)109.)Dream Child (Vanderbilt, 1934)110.)Du Barry Was A Lady (Forty-Sixth Street, 1940)111.)Earl Carroll Vanities (St. James, 1940)112.)Earl Carroll Sketch Book (Winter Garden, 1935)113 )Edward My Son (Martin Beck, 1948)114.)End As A Man (Vanderbilt, 1953)115 )Ernest Pascal's Peepshow (Fulton, 1944) 116.)Ethel Barrymore In The Corn Is Green (Martin Beck, 1943)117 )Evening With Beatrice Lillie, An (Booth, 1952)118 )Fabulous Invalid, The (Broadhurst, 1938)119.)Fair Game (Longacre, 19 )120 )Fallen Angels (Playhouse, 1956)121.)Fanny (Majestic, 1955)122 )Father Malady's Miracle (St. James, 1938)123.)Farm Of Three Echoes (Cort, 1939)124.)Fifth Season, The (Cort, 1953)125 )Finian s Rainbow (Forty-Sixth Street, 1947)126.)First Lady (Music Box, 1936)127 )Flowering Peach, The (Belasco, 1955)128 )Foolish Notion (Martin Beck, 1945)129.)Four Winds (Cort)130 )Fourposters The (John Golden, 1953)131 )Fourposters The (Ethel Barrymore, 1951)132 )Gentle People, The (Belasco, 1939)133 )Gentlemen Prefer Blondes (Ziegfeld, 1951)134 )Gilbert And Sullivan Operas (New Century, 1948)135.)Girl In Pink Tights, The (Mark Hellinger, 1954)136.)Girl On The Via Flaminia, The (Forty-Sixth Street, 1954)137.)Girls Of Summer (Longacre 1956)138 )Gladys George (Henry Millers, 1935)139.)Glass Menagerie, The (Playhouse, 1945)140 )Golden Apple, The (Phoenix, 1954)141 )Golden Boy (Belasco, 1938)142.)Good Night Ladies (Royale, 1945)143 )Goodbye My Fancy (Morosco, 1948)144.)Green Pastures, The (Broadway, 1951)145.)Guys & Dolls A Musical Fable Of Broadway (Forty-Sixth Street, 1952)146 )Hallams The - Booth (Booth, 1948)147 )Happies Millionaire, The (Lyceum, 1957)148.)Happy Time, The (Plymouth, 1950)149 )Harriet (Henry Millers, 1944)150 )Harvey (Forty-Eigth Street, 1947)151 )Hatful Of Rain, A (Lyceum, 1956)152.)Helen Goes To Troy (Alvin, 1944)153.)Helen Hayes (Broadhurst, 1936)154.)Hellz Poppin (Winter Garden, 1939)155.)Henry IV (St. James, 1939)156 )Hidden River, The (Playhouse, 1957)157.)High Tor (Martin Beck, 1937)158.)Hold On To Your Hats (Sam S. Shubert, 1940)159 )Hooray For What (Winter Garden, 1938)160.)I Knock At The Door (Belasco, 19??)161.)I Know My Love (Sam S. Shubert, 1950)162.)I Remember Mama (Music Box, 1945)163.)I'd Rather Be Right (Alvin, 1938)164 )Idiot s Delight (Sam S. Shubert, 1936)165 )Inherit The Wind (National, 1957)166 )Importance Of Being Earnest, The (Royale, 1947)167 )Importance Of Being Earnest, The (Vanderbilt, 1939168 )Innocents The (Playhouse, 1950)169 )Jackpot (Alvin, 1944)170.)Janus (Plymouth, 1956)171.)Jason (Hudson, 1942)172.)Joan Of Lorraine (Alvin, 1947)173.)Joy To The World (Plymouth, 1948)174 )Jubilee (Imperial, 1935)175 )Junior Miss (Majestic, 1943)176 )Junior Miss (Lyceum, 1942)177.)Juno And The Paycock (Mansfield, 1935)178.)Kind Lady (Longacre, 1935)179.)King And I, The (St. James, 1952)180.)Kind Sir (Alvin, 1954)181.)King Of Hearts (Lyceum 1954)182 )King Richard III (St. James, 1937)183 )Kismet (Ziegfeld, 1954)184.)Kiss And Tell (Biltmore, 1944)185.)La Vida Es Sueno (Broadhurst, 1953)186.)Lady From The Sea, The (Fulton, 1950)187.)The Lady's Not For Burning (Royale, 1950)188.)Land Is Bright, The (Music Box 1941)189 )Lady In The Dark (Alvin, 1942)190.)Lark, The (Longacre, 1956)191.)Late George Apley, The (Lyceum, 1945)192.)Leave It To Me! (Mansfield, 1939)193.)Leave It To Me! (Imperial 1939)194 )Lend An Ear (National, 1948)195.)Let's Face It (Imperial, 1942)196.)Les Ballets De Paris (Winter Garden, 1949)197 )Liberty Jones (Sam S. Shubert, 1941)198.)Light Up The Sky (Royale, 1948)199 )Little Foxes, The (National, 1939)200.)Li'l Abner (St. James, 1956)201 )Little Blue Light, The (Anta Playhouse, 1951)202 )Living Room, The (Henry Miller's, 1954)203.)Look, Ma, I'm Dancin'! (Adelphi, 1948)204 )Louisiana Purchase (Imperial, 1941)205.)Love Of Four Colonels, The (Sam S. Shubert, 1953)206 )Lovers And Friends (Plymouth, 1944)207 )Lunatics And Lovers (Broadhurst, 1955)208.)Lute Song (Plymouth, 1945)209 )Madame Bovary (Broadhurst, 1937)210 )Mademoiselle Colombe (Longacre, 1954)211 )Madwoman Of Chaillot, The (Belasco, 1949)212.)Major Barbara (Morosco, 1957)213.)Make Mine Manhattan (Broadhurst, 1948)214.)Make Way For Lucia (Cort, 1949)215.)Male Animal, The (Cort, 1940)216.)Male Animal, The (Music Box, 1952)217.)Man And Superman (Alvin, 1948)218.)Man Who Came To Dinner, The (Music Box, 1940)219 )Marcel Marceau (Ethel Barrymore, 1955)220 )Margin For Error (Plymouth, 1948)221 )Marinka (Winter Garden, 1945)222.)Mary Rose (Anta Playhouse, 1951)223.)May Wine (St. James, 1936)224.)Me And Juliet (Majestic, 1953)225 )Member Of The Wedding, The (Empire, 1950)226 )Merrily We Roll Along (Music Box 1934)227 )Merry Widow, The (Majestic, 1944)228 )Mexican Hayride (Majestic, 1945)229 )Middle Of The Night (Anta, 1956)230 )Misalliance (Ethel Barrymore, 1953)231.)Miss Isabel (Royale, 19 )232 )Mister Roberts (Alvin, 1948)233.)Moon Is Blue. The (Henry Milller's, 1951)234 )Morning s At 7 (Longacre, 1939)235.)Most Happy Fella, The (Imperial, 1957)236.)Mr. And Mrs. North (Belasco, 1941)237.)Mr. Wonderful (Broadway, 1956)238.)Mr. Wonderful (Broadway. 1956) different cover date239 )My Fair Lady (Mark Hellinger, 1957)240.)My Name Is Aquilon (Lyceum, 1949(241.)My Sister Eileen (Biltmore, 1941)242.)My 3 Angels (Morosco, 1953)243 )Native Son (St. James, 1941)244.)New Faces Of 1952 (Royale, 1952)245.)New Girl In Town (Forty-Six Street, 1957)246.)New Pins And Needles (Windsor, 1940)247.)New York City Ballet, (New York City Ballet, 1958)248.)New York City Ballet Winter Season (New York City Ballet, 1958)249.)Night Of January 16 (Ambassador, 1935)250.)No Time For Comedy (Ethel Barrymore, 1939)251.)No Time For Sergeants (Alvin, 1956)252.)Now I Lady Me Down To Sleep (Broadhurst, 1950)253.)Nude With Violin (Belasco, 19??)254.)O Mistress Mine (Empire 1947)255 )Of Mice And Men (Music Box, 1937)256.)Oh, Men! Oh, Women! (Henry Miller's, 1954)257 )Oklahoma (St. James, 1947)258.)Old Acquaintance (Morosco, 1941)259.)On Borrowed Time (Longacre, 1938)260.)On The Town (Forty-Fourth Street, 1945) 261.)On Your Toes (Forth-Sixth Street, 1954)262.)On Whitman Avenue (Cort 1946)263 )Once Is Enough (Henry Miller's, 1938)264.)One Touch Of Venus (Forty-Sixth Street, 1944)265.)One Touch Of Venus (Forty-Sixth Street, 1944) different cover date266 )Our Town (Morosco, 1938)267.)Out Of This World (New Century, 1951)268 )Overtons The (Forrest, 1945)269.)Paint Your Wagon (Sam S. Shubert, 1952)270 )Pajama Game, The (St. James, 1955)271 )Parisienne (Fulton, 1950272 )Patriots The (National, 1943)273 )Personal Appearance (Henry Miller's, 1934)274 )Petrified Forest, The (Broadhurst, 1935)275 )Philadelphia Story, The (Sam S. Shubert, 1939)276 )Pirate The (Martin Beck, 1943)277 )Pirate The (Martin beck, 1942)278.)Plain And Fancy (Winter Garden, 1955)279.)Plain And Fancy (Winter Garden, 1955) different cover date280 )Play s The Thing, The (Booth, 1948)281 )Playboy Of The Western World, The (Booth, 1946)282 )Ponder Heart, The (Music Box, 1956)283.)Post Road (Masque, 1934)284 )Pre Honeyroom (Lyceum, 1936)285 )Present Laughter (Plymouth, 1946)286 )Pygmalion (Ethel Barrymore, 1946)287 )Ramshackle Inn (Royale, 1944)288.)Red Gloves (Mansfield, 1949)289.)Red Mill, The (Forth-Sixth Street, 1946)290 )Relapse The Or Virtue In Danger (Morosco, 1950)291 )Reluctant Debutante, The (Henry Miller s 1956)292 )Remarkable Mr. Pennypacker, The (Coronet, 1954)293 )Respectful Prostitute, The (Cort, 1948)294 )Righteous Are Bold, The (Holiday, 1956)295.)Ring Round The Moon (Martin Beck, 1950)296.)Romeo And Juliet (Fifty-First Street, 1940)297.)Romeo And Juliet (Martin Beck, 1935)298.)Room Service (Cort, 1937)299 )Roomful Of Roses, A (Playhouse, 1955)300 )Rosalinda (Forty-Fourth Street, 1943)301 )Rugged Path, The (Plymouth, 1945)302 )Rumple (Alvin, 19 )303 )Russet Mantle (Masque, 1936)304.)Ryan Girl, The (Plymouth, 1945)305 )Sabrina Fair (National, 1954)306 )Sabrina Fair (National, 1954) different cover date307 )School For Brides (Ambassador, 1945)308.)Say When (Imperial, 1934)309 )Seagull The (Phoenix, 1954)310 )Season In The Sun (Cort, 1950)311.)See My Lawyer (Adelphi 1940)312 )Separate Tables (Music Box, 1957)313 )Separate Tables (Music Box, 1957) different cover date314 )Set To Music (Music Box, 1939)315.)Seven Year Itch, The (Fulton, 1953)316.)Seven Year Itch, The (Fulton, 1954)317 )Seventeen (Broadhurst, 1951)318 )Shadow And Substance (John Golden, 1938)319.)Show Boat (Ziegfeld, 1946)320 )Shrike The (Cort, 1952)321.)Silk Stockings (Imperial, 1955)322.)Skin Of Our Teeth, The (Plymouth, 1942)323 )Skylark (Morosco, 1939)324 )Slavenska Franklin Ballet with Alexandra Danilova (New Century, 1952)325 )Sleeping Prince, The (Coronet, 1956)326.)Small Miracle (Golden, 1934)327.)Small Wonder (Coronet, 1948)328.)Solid Gold Cadillac, The (Music Box, 1954)329.)Solid Gold Cadillac, The (Belasco. 1954)330.)Sons O'Fun (Forty-Sixth Street, 1943)331.)Song Of Norway (Imperial, 1945)332.)South Pacific (Majestic, 1951)333.)South Pacific (Majestic, 1949)334.)South Pacific (Majestic, 1952)335.)South Pacific (Majestic, 1951) different cover date336 )South Pacific (Majestic, 1951) different cover date337 )Spring Thaw (Martin Beck. 1938)338.)Stars In Your Eyes (Majestic, 1939)339.)State Of The Union (Hudson, 1946)340.)Storm Operation (Belasco, 1944)341 )Street Scene (Adelphi. 1947)342 )Survivors The (Playhouse. 1948)343.)Swan Lake (Forty-Sixth Street, 1941)344 )Tallery Method, The (Henry Miller's, 1941)345 )Taming Of Shrew, The (Guild, 1935)346.)Tea And Symphony (Ethel Barrymore, 1954)347 )Teahouse Of The August Moon, The (Martin Beck 1954)348 )Tempest The (Broadway, 1945)349 )Tender Trap, The (Longacre, 1954)350.)Ten Little Indians (Plymouth, 1945)351.)That Lady (Martin Beck, 1950)352.)There Shall Be No Night (Alvin, 1940)353.)Three For Tonight (Plymouth, 1955)354.)Three Men On A Horse (Fulton, 1936)355.)Three To Make Ready (Broadhurst, 1946)356.)Three Waltzes (Majestic, 1938)357.)Tiger At The Gates (Plymouth, 1955)358.)Time Of The Cuckoo, The (Empire, 1952)359.)Time Of Your Life, The (Guild, 1940)360.)Time Out For Ginger (Lyceum, 1953)361 )Tobacco Road (Forrest, 1937)362 )Sweethearts (Sam S. Shubert, 1947)363 )Tomorrow The World (Ethel Barrymore, 1943)364 )Tonight At 8:30 (National, 1948)365 )Traitor The (Forty-Eigth Street, 1949)366.)Trial By Jury (Sam S. Shubert, 1955)367 )Tunnel of Love, The (Royale, 1957)368 )Twelfth Night (Empire 1949)369 )Uncle Harry (Hudson, 1943)370.)Uncle Willie (John Golden, 1956)371 )Victoria Regina (Martin Beck, 1938)372.)Visit To A Small Planet (Booth 1957)373 )Voice Of The Turtle, The (Morosco, 1947)374.)Voice Of The Turtle, The (Morosco, 1944)375.)Voice Of The Turtle, The (Morosco, 1945)376.)Walk With Music (Ethel Barrymore, 1940)377 )Wallflower (Cort, 1944)378.)Waltz Of The Toreadors (Coronet, 1957)379 )Washington Jitters (Guild, 1938)380.)What A Life (Biltmore, 1938)381.)When We Are Married (Lyceum, 1940)382 )Where s Charley? (St. James, 1950)383.)White Steed, The (Cort, 1939)384.)Will Success Spoil Rock Hunter? (Belasco, 1955)385 )Wisteria Trees, The (Martin Beck, 1950)386 )Women The (Ethel Barrymore, 1937)387.)You Can't Take It With You (Booth, 1937)388.)You Can't Take It With You (Imperial, 1938)389.)Yes, My Darling Daughter (Playhouse, 1937)390 )Ziegfeld Follies (Winter Garden, 1943)

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

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

INTO THE WOODS BROADWAY CAST NYC 1988 STEPHEN SONDHEIM BARBARA BRYNE PLAYBILL.
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eBay INTO THE WOODS BROADWAY CAST NYC 1988 STEPHEN SONDHEIM JAMES LAPINE MARTIN BECK.A Narrator introduces four characters: Cinderella, who wishes to attend the King's festival; Jack who wishes his cow, Milky White, would give milk; a Baker; and his Wife, both of whom wish to have a child. Cinderella's step-family mocks her wish while Jack's mother condemns Jack for never listening and how she wishes to be wealthy. Little Red Ridinghood appears at the bakery wishing for bread and sweets to bring to her grandmother's house. They give her a loaf of bread and allow her to take some sweets; she ends up taking more than they offered. Cinderella's stepmother puts a pot of lentils into the fireplace for Cinderella to clean up, promising that only then, they will let her go to the festival. She calls birds from the skies to help her clean up which they do. Meanwhile, an ugly old witch appears at the bakery revealing to the baker and his wife that they are infertile because of a spell she placed on the baker's father many years ago. She tells them that when the baker's mother was pregnant, she craved vegetables so his father stole them from witch's garden. He stole supposedly normal beans which turned out to be magic. Because she had lost the beans, the witch's mother turned her ugly and in return, the witch stole their daughter, Rapunzel, and placed the spell. She explains that the only way to lift the spell is to find four ingredients in the woods: a cow as white as milk, a cape as red as blood, hair as yellow as corn, and a slipper as pure as gold and bring them to her in three days before midnight. She hurries off and Cinderella's step-family prepares to leave for the festival. Cinderella asks if she can go, but her stepmother points out that, while she picked up the lentils, she is dirty from the ashes. They leave and even Cinderella's father barely acknowledges her existence. All begin the journey into the woods: Jack to sell his beloved cow; Cinderella to her mother's grave; Little Red to her grandmother's house; and the Baker, refusing his Wife's help, to find the ingredients. Cinderella receives a gown and golden slippers from her mother's spirit after wishing she could live a life in the palace. A Mysterious Man mocks Jack for valuing his cow more than a "sack of beans". Little Red meets a hungry Wolf who persuades her to take a longer path and admire the beauty, with his own thoughts of eating both her and her grandmother. The Baker, secretly followed by his Wife, meets Jack. They convince Jack that the beans found in the Baker's father's jacket are magic, trade them for the cow and Jack bids Milky White a tearful farewell. The Baker feels guilty about their deceit, but his wife reassures him. The Witch has raised Rapunzel in a tall tower accessible only by climbing Rapunzel's long, golden hair; a Prince spies Rapunzel and plans to meet her. The Baker, in pursuit of the red cape, slays the Wolf and rescues Little Red and her grandmother. In return, Little Red gives him her cape, and reflects on her experiences. Jack's Mother tosses his beans aside, which grow into an enormous stalk, and sends him to bed without food. Cinderella flees the Festival, pursued by another Prince, and the Baker's Wife hides her; asked about the ball, Cinderella is unimpressed. Spotting Cinderella's gold slippers, the Baker's Wife chases her and loses Milky White. The characters recite morals as the day ends. Jack describes his adventure climbing the beanstalk. He gives the Baker gold stolen from the giants to buy back his cow, and returns up the beanstalk to find more; the Mysterious Man questions the Baker's price of a child, and steals the money. Cinderella's Prince and Rapunzel's Prince, who are brothers, compare their unobtainable amours. The Baker's Wife overhears their talk of a girl with golden hair. She fools Rapunzel and takes a piece of her hair. The Mysterious Man returns Milky White to the Baker. The Baker's Wife again fails to seize Cinderella's slippers. The Baker admits they must work together. Jack arrives with a hen that lays golden eggs, but Milky White keels over dead as midnight chimes. The Witch discovers the Prince's visits and demands Rapunzel stay sheltered from the world. She refuses, and the Witch cuts off Rapunzel's hair and banishes her. The Mysterious Man gives the Baker money for another cow. Jack meets Little Red, now sporting a wolf skin cape and knife. He brags about his adventures in the sky, and mentions a golden Giant's harp. She skeptically goads him into returning to the Giant's home to retrieve it. Cinderella, torn between staying with her Prince or escaping, leaves him a slipper as a clue, and trades shoes with the Baker's Wife. The Baker arrives with another cow; they now have all four items. A great crash is heard, and Jack's mother reports a dead Giant in her backyard, which no one seems to care about. Jack returns with a magic harp. The Witch discovers the new cow is useless, and resurrects Milky White, who is fed the ingredients but fails to give milk. The Witch explains Rapunzel's hair will not work, and the Mysterious Man offers corn silk instead; Milky White produces the potion. The Witch reveals the Mysterious Man is the Baker's father, and she drinks – he falls dead, the curse is broken, and the Witch regains her youth and beauty. Cinderella's Prince seeks the girl who fits the slipper; the desperate stepsisters mutilate their feet. Cinderella succeeds and becomes his bride. Rapunzel bears twins and is found by her Prince. The Witch finds her, and attempts to claim her back, but the Witch's powers are gone. At Cinderella's wedding, her stepsisters are blinded by birds, and the Baker's Wife, very pregnant, thanks Cinderella for her help. Congratulating themselves on living happily, the characters fail to notice another beanstalk growing.

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

Ryan Idol "MAKING PORN" Blue Blake / Mitch Ellis 1997 Off-Broadway Playbill
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Huge lot of 78 BROADWAY PLAYBILLS 1950's - 1970's RARE musicals vintage RARE
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eBay You're looking a huge lot of 78 random and rare BROADWAY PLAYBILLS. It's a grouping of older playbills from the late 1950's through early 1970'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, and other similar imperfections. See pictures. Other minor flaws may be present as these are very old (some over 70 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.) All The Way Home (Belasco) 19612.) Apple Tree, The (Shubert) 19673.) Baker Street (Broadway) 19654.) Bells Are Ringing (Sam S. Shubert) 19585.) Ben Franklin In Paris (Lunt-Fontanne) 19656.) Best Man, The (Morosco) 19617.) Big Fish, Little Fish (Anta) 19618.) Butterflies Are Free (Booth) 19699.) Bye Bye Birdie (Martin Beck) 196010.)Cabaret (Imperial) 196611 )Delicate Balance, A (Martin Beck) 196612.)Destry Rides Again (Imperial) 195913.)Devil's Advocate, A (Billy Rose) 196114.)Do Re Mi (St. James) 196115 )Entertaining Mr. Sloane (Lyceum) 196516.)Fade Out-Fade In (Mark Hellinger) 196417.)Fiddler On The Roof (Imperial) 196618 )Fiorello (Broadhurst) 196119.)Follies (Winter Garden) 197220.)Funny Girl (Majestic) 196621.)Funny Thing Happened On The Way To The Forum, A (Alvin) 196222.)Golden Boy (Majestic)196523 )Grease (Broadhurst) 197224.)Great White Hope, The (Alvin) 196925.)Hair (Biltmore) 196926.)Half A Sixpence (Broadhurst) 196627.)Hello, Dolly! (St. James) 196628.)How To Succeed In Business Without Really Trying (46th Street) 1962 *** staples came off, pages are loose)29.)I Do! I Do! (46th Street) 196730.)Illya Darling (Mark Hellinger) 196731.)Jesus Christ Superstar (Mark Hellinger) 197232.)Killing Of Sister George, The (Belasco) 196633.)La Plume De La Tante (Royale) 196034.)Les Ballets De Paris (Broadway) 195835.)Luv (Booth) 196536 )Majority Of One, A (Sam S. Shubert) 195937.)Mame (Winter Garden) 196938.)Man And Boy (Brooks Atkinson) 196339.)Man Of La Mancha (Anta Washington) 196640.)Mary, Mary (Helen Hayes) 196141.)Me Nobody Knows, The (Helen Hayes) 42.)Milk & Honey (Martin Beck) 196243.)More Stanley Mansions (Broadhurst) 196744.)Most Happy Fella, The (City Center Of Music And Drama) 196645.)Mr. President (St. James) 196346.)Music Man, The (Majestic) 195847.)My Fair Lady (Mark Hellinger) 196148.)No, No, Nanette (46th Street) 197249.)Never Too Late (Playhouse) 196350.)Odd Couple, The (Eugene O'Neill) 196651.)Oh What A Lovely War (Broadhurst) 196452 )Oklahoma (City Center Of Music And Drama) 196353.)Oliver! (Sam S. Shubert) 196454.)110 In The Shade (Broadhurst) 196455.)Passage To India, A (Ambassador) 196256 )Philadelphia Here I Come! (Helen Hayes) 196657.)Plaza Suite (Plymouth) 196858 )Pleasure Of His Company, The (Longacre) 195959 )Promises Promises (Shubert) 197060.)Purlie (Broadway) 197061 )Rhinoceros (Longacre) 196162.)Roar Of The Greasepaint - The Smell Of The Crowd, The (Sam S. Shubert) 196563 )Rosencrantz And Guildenstern Are Dead (Eugene O'Neill) 196864.)1776 (Majestic) 65.)Skyscraper (Lint-Fontanne) 196666.)Sound Of Music, The (Lunt-Fontanne) 196167.)Star Spangled Girl (Plymouth) 196768.)Subways Are For Sleeping (St. James) 196269.)Sweet Bird Of Youth (Martin Beck) 195970.)Taste Of Honey, A (Lyceum) 196071.)Two Gentlemen Of Verona (St. James) 197172 )Unsinkable Molly Brown, The (Winter Garden) 196173.)Wait A Minim! (John Golden) 196674.)Walking Happy (Lunt-Fontanne) 196675.)What Makes Sammy Run? (54th Street) 196476.)Who's Afraid Of Virginia Woolf? (Billy Rose) 196477 )Wonderful Town (City Center Of Music And Drama) 196778.)You Know I Can't Hear You When The Water's Running (Ambassador) 1967

beetlejuice broadway playbill Closing Night 01/08/23 Plus Book Of Dead Rare
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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).

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

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

THE ICEMAN COMETH Playbill signed by JASON ROBARDS, BERNARD HUGHES
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Playbill Lot of 43 - Most with Ticket Stub
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GREAT AMERICAN PLAYWRIGHT TENNESSEE WILLIAMS 1949 STREETCAR PROGRAM BRANDO
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eBay A rare original March 1949 program for Tennessee Williams's brilliant play A Streetcar Named Desire with Marlon Brando, Jessica Tandy, Karl Malden, and Kim Hunter. Thirty two pages. Dimensions nine by six and a half inches. Light wear otherwise good. See Tennessee Williams's extraordinary biography 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: Thomas Lanier "Tennessee" Williams III (March 26, 1911– February 25, 1983) was an American playwright. Along with Eugene O'Neill and Arthur Miller, he is considered among the three foremost playwrights of 20th-century American drama.[1]After years of obscurity, at age 33 he became suddenly famous with the success of The Glass Menagerie (1944) in New York City.This play closely reflected his own unhappy family background. It was the first of a string of successes, including A Streetcar Named Desire (1947), Cat on a Hot Tin Roof (1955), and Sweet Bird of Youth(1959). With his later work, he attempted a new style that did not appeal to audiences. Increasing alcohol and drug dependence inhibited his creative expression. His drama A Streetcar Named Desire is often numbered on short lists of the finest American plays of the 20th century alongside Eugene O'Neill's Long Day's Journey into Night and Arthur Miller's Death of a Salesman [1]Much of Williams' most acclaimed work has been adapted for the cinema. He also wrote short stories, poetry, essays and a volume of memoirs. In 1979, four years before his death, Williams was inducted into the American Theater Hall of Fame.Thomas Lanier Williams III was born in Columbus, Mississippi, of English, Welsh, and Huguenot ancestry, the second child of Edwina Dakin (August 9, 1884 – June 1, 1980) and Cornelius Coffin "C. C." Williams (August 21, 1879 – March 27, 1957).[2] His father was a traveling shoe salesman who became alcoholic and was frequently away from home. His mother, Edwina, was the daughter of Rose O. Dakin, a music teacher, and the Reverend Walter Dakin, an Episcopal priest from Illinois who was assigned to a parish in Clarksdale, Mississippi, shortly after Williams' birth. Williams lived in his parsonage with his family for much of his early childhood and was close to his grandparents.He had two siblings, older sister Rose Isabel Williams and younger brother Walter Dakin Williams [4](1919[5]–2008) [6]As a young child Williams nearly died from a case of diphtheria that left him weak and virtually confined to his house during a period of recuperation that lasted a year. At least in part as a result of his illness, he was less robust as a child than his father wished. Cornelius Williams, a descendant of hearty East Tennessee pioneer stock, had a violent temper and was a man prone to use his fists. He regarded what he thought was his son's effeminacy with disdain. Edwina, locked in an unhappy marriage, focused her overbearing attention almost entirely on her frail young son.[7] Many critics and historians note that Williams drew from his own dysfunctional family in much of his writing.[1]When Williams was eight years old, his father was promoted to a job at the home office of the International Shoe Company in St. Louis, Missouri. His mother's continual search for what she considered to be an appropriate address, as well as his father's heavy drinking and loudly turbulent behavior, caused them to move numerous times around St. Louis. Williams attended Soldan High School, a setting he referred to in his play The Glass Menagerie.[8] Later he studied at University City High School.[9][10] At age 16, Williams won third prize (five dollars, = $70± in 2017) for an essay published in Smart Set, titled "Can a Good Wife Be a Good Sport?" A year later, his short story "The Vengeance of Nitocris" was published in the August 1928 issue of the magazine Weird Tales.[11]That same year he first visited Europe with his maternal grandfather Dakin EducationFrom 1929 to 1931, Williams attended the University of Missouri, in Columbia, where he enrolled in journalism classes.[12] He was bored by his classes and distracted by unrequited love for a girl. Soon he began entering his poetry, essays, stories, and plays in writing contests, hoping to earn extra income. His first submitted play was Beauty Is the Word (1930), followed by Hot Milk at Three in the Morning (1932).[13] As recognition for Beauty, a play about rebellion against religious upbringing, he became the first freshman to receive honorable mention in a writing competition [14]At University of Missouri, Williams joined the Alpha Tau Omega fraternity, but he did not fit in well with his fraternity brothers. According to Hale, the "brothers found him shy and socially backward, a loner who spent most of his time at the typewriter." After he failed a military training course in his junior year, his father pulled him out of school and put him to work at the International Shoe Company factory. Although Williams, then 21, hated the monotony, the job "forced him out of the pretentious gentility" of his upbringing, which had, according to Hale, "tinged him with [his mother's] snobbery and detachment from reality."[14] His dislike of his new nine-to-five routine drove him to write even more than before. He set himself a goal of writing one story a week, working on Saturday and Sunday, often late into the night. His mother recalled his intensity:Tom would go to his room with black coffee and cigarettes and I would hear the typewriter clicking away at night in the silent house. Some mornings when I walked in to wake him for work, I would find him sprawled fully dressed across the bed, too tired to remove his clothes [15]Overworked unhappy, and lacking any further success with his writing, by his twenty-fourth birthday Williams had suffered a nervous breakdown and left his job. He drew from memories of this period, and a particular factory co-worker, to create the character Stanley Kowalski in A Streetcar Named Desire.[14] By the mid-1930s his mother separated from his father, due to C.C.'s worsening alcoholism and abusive temper (part of his ear was bitten off in a poker game fight). They never divorced.In 1936, Williams enrolled at Washington University in St. Louis; while there, he wrote the play Me, Vashya (1937). In the autumn of 1937, he transferred to the University of Iowa, where he graduated with a B.A. in English in August 1938.[16] He later studied at the Dramatic Workshop of The New School in New York City. Speaking of his early days as a playwright and referring to an early collaborative play called Cairo, Shanghai, Bombay!, produced while he was a part of an amateur summer theater group in Memphis, Tennessee, Williams wrote, "The laughter ... enchanted me. Then and there the theatre and I found each other for better and for worse. I know it's the only thing that saved my life."[17] Around 1939, he adopted "Tennessee Williams" as his professional name.Literary influencesWilliams writings include mention of some of the poets and writers he most admired in his early years: Hart Crane, Arthur Rimbaud, Anton Chekhov (from the age of ten), William Shakespeare, Clarence Darrow, D. H. Lawrence, Katherine Mansfield, August Strindberg, William Faulkner, Thomas Wolfe, and Emily Dickinson. In later years he also referred to William Inge, James Joyce, and Ernest Hemingway; of Hemingway, he said "[his] great quality, aside from his prose style, is this fearless expression of brute nature [15]:xiCareerIn the late 1930s, as Williams struggled to gain production and an audience for his work, he worked at a string of menial jobs that included a notably disastrous stint as caretaker on a chicken ranch in Laguna Beach, California. In 1939, with the help of his agent Audrey Wood, he was awarded a $1,000 grant [2017 equivalent $17,000+] from the Rockefeller Foundation in recognition of his play Battle of Angels; it was produced in Boston in 1940, but poorly received.Using some of the Rockefeller funds, Williams moved to New Orleans in 1939 to write for the Works Progress Administration (WPA), a federally funded program begun by President Franklin D. Roosevelt created to put people to work. In addition to sponsoring construction and infrastructure projects, it hired many artists, musicians and writers, to create local cultural programs, to write state histories, and to create art for public buildings. It was critical to the survival of many such artists during the Great Depression. Williams lived for a time in New Orleans' French Quarter; first at 722 Toulouse Street, the setting of his 1977 play Vieux Carré. (The building is now part of The Historic New Orleans Collection )[18] The Rockefeller grant brought him to the attention of the Hollywood film industry and Williams received a six-month contract as a writer from the Metro Goldwyn Mayer film studio, earning $250 weekly.During the winter of 1944–45, his "memory play" The Glass Menagerie, developed from his 1943 short story "Portrait of a Girl in Glass", was successfully produced in Chicago and garnered good reviews. It moved to New York where it became an instant and enormous hit, and had a long Broadway run. It explores the lives of a young man named Tom, his disabled sister, Laura, and their controlling mother Amanda, who tries to make a match between Laura and a gentleman caller. Williams' use of his own familial relationships as inspiration for the play is clear. Elia Kazan (who directed many of Williams' greatest successes) said of Williams: "Everything in his life is in his plays, and everything in his plays is in his life."[19] The Glass Menagerie won the award for the best play of the season, the New York Drama Critics' Circle Award.The huge success of his next play, A Streetcar Named Desire in 1947 secured his reputation as a great playwright. Although widely celebrated and increasingly wealthy, Williams was still restless and insecure, always gripped by fear that he would not be able to replicate his success. During the late 1940s and 1950s, Williams began to travel widely with his partner Frank Merlo (1922 – September 21, 1963), often spending summers in Europe. To stimulate his writing he moved often, living in cities including New York, New Orleans, Key West, Rome, Barcelona, and London. Williams wrote, "Only some radical change can divert the downward course of my spirit, some startling new place or people to arrest the drift, the drag [20]Williams arriving at funeral services for Dylan Thomas, 1953Between 1948 and 1959 Williams had seven of his plays produced on Broadway: Summer and Smoke (1948), The Rose Tattoo (1951), Camino Real (1953), Cat on a Hot Tin Roof (1955), Orpheus Descending (1957), Garden District(1958), and Sweet Bird of Youth (1959). By 1959 he had earned two Pulitzer Prizes, three New York Drama Critics' Circle Awards, three Donaldson Awards, and a Tony Award.Williams' work reached wide audiences in the early 1950s when The Glass Menagerie and A Streetcar Named Desirewere adapted as motion pictures. Later plays also adapted for the screen included Cat on a Hot Tin Roof, The Rose Tattoo, Orpheus Descending, The Night of the Iguana, Sweet Bird of Youth, and Summer and Smoke.After the extraordinary successes of the 1940s and 1950s, he had more personal turmoil and theatrical failures in the 1960s and 1970s. Although he continued to write every day, the quality of his work suffered from his increasing alcohol and drug consumption, as well as occasional poor choices of collaborators [21] In 1963, his partner Frank Merlo died.Consumed by depression over the loss, and in and out of treatment facilities while under the control of his mother and younger brother Dakin, Williams spiraled downward. His plays Kingdom of Earth (1967), In the Bar of a Tokyo Hotel(1969), Small Craft Warnings (1973), The Two Character Play (also called Out Cry, 1973), The Red Devil Battery Sign(1976), Vieux Carré (1978), Clothes for a Summer Hotel (1980), and others were all box office failures. Relentlessly negative press notices wore down his spirit. His last play, A House Not Meant To Stand, was produced in Chicago in 1982. Despite largely positive reviews, it ran for only 40 performances Critics and audiences alike failed to appreciate Williams' new style and the approach to theater he developed during the 1970s. Williams said, "I've been working very hard since 1969 to make an artistic comeback there is no release short of death" (Spoto 335), and "I want to warn you, Elliot, the critics are out to get me. You'll see how vicious they are. They make comparisons with my earlier work, but I'm writing differently now" (Spoto 331). Leverich explains that Williams to the end was concerned with "the depths and origin of human feelings and motivations, the difference being that he had gone into a deeper, more obscure realm, which, of course, put the poet in him to the fore, and not the playwright who would bring much concern for audience and critical reaction" (xxiii).In addition to struggling with changing audience tastes, Williams had to deal with changes in the business model of the theatrical world. In the 1970s, free performances for charitable causes were becoming increasingly popular. The aging playwright found it a challenge to adapt to the times, although many of the changes in theater were due to his own legacy [citation needed] Despite the inferior quality of Williams's work compared to his creative peak 30 years earlier, he continued writing almost without a break.In 1974, Williams received the St. Louis Literary Award from the Saint Louis University Library Associates [22][23] In 1979, four years before his death, he was inducted into the American Theater Hall of Fame [24]Personal lifeThroughout his life Williams remained close to his sister Rose, who was diagnosed with schizophrenia as a young woman. In 1943, as her behavior became increasingly disturbing, she was subjected to a lobotomy. It required her to be for the rest of her life. As soon as he was financially able, Williams had her moved to a private institution just north of New York City, where he often visited her. He gave her a percentage interest in several of his most successful plays, the royalties from which were applied toward her care.[25][26] The devastating effects of Rose's illness may have contributed to Williams' alcoholism and his dependence on various combinations of amphetamines and barbiturates [27]After some early attempts at relationships with women, by the late 1930s Williams had finally accepted his homosexuality. In New York City he joined a gay social circle that included fellow writer and close friend Donald Windham (1920–2010) and his then partner Fred Melton. In the summer of 1940, Williams initiated an affair with Kip Kiernan (1918–1944), a young Canadian dancer he met in Provincetown, Massachusetts. When Kiernan left him to marry a woman, he was distraught. Kiernan's death four years later at age 26 was another heavy blow.On a 1945 visit to Taos, New Mexico, Williams met Pancho Rodríguez y González, a hotel clerk of Mexican heritage. Rodríguez was, by all accounts, a loving and loyal companion. But he was also prone to jealous rages and excessive drinking, and their relationship was tempestuous. In February I946 Rodríguez left New Mexico to join Williams in his New Orleans apartment. They lived and traveled together until late 1947, when Williams ended the affair. Rodríguez and Williams remained friends, however, and were in contact as late as the 1970s.Frank Merlo in Key West, 1950Williams spent the spring and summer of 1948 in Rome in the company of an Italian teenager, called "Rafaello" in Williams' Memoirs. He provided financial assistance to the younger man for several years afterward. Williams drew from this for his first novel, The Roman Spring of Mrs. Stone.235 E 58th Street, New York, New YorkTennessee Williams House, Key West, FloridaWhen he returned to New York that spring, Williams met and fell in love with Frank Merlo (1922–1963). An occasional actor of Sicilian heritage, he had served in the U.S. Navy in World War II. This was the enduring romantic relationship of Williams' life, and it lasted 14 years until infidelities and drug abuse on both sides ended it. Merlo, who had become Williams' personal secretary, took on most of the details of their domestic life. He provided a period of happiness and stability, acting as a balance to the playwright's frequent bouts with depression [28]Williams feared that, like his sister Rose, he would fall into insanity. His years with Merlo, in an apartment in Manhattan and a modest house in Key West, Florida, were Williams' happiest and most productive. Shortly after their breakup, Merlo was diagnosed with inoperable lung cancer. Williams returned to him and cared for him until his death on September 20, 1963.In the years following Merlo's death, Williams descended into a period of nearly catatonic depression and increasing drug use; this resulted in several and commitments to mental health facilities. He submitted to injections by Dr. Max Jacobson – known popularly as Dr. Feelgood – who used increasing amounts of amphetamines to overcome his depression. Jacobson combined these with prescriptions for the sedative Seconal to relieve his insomnia. During this time, influenced by his mother, a Roman Catholic convert, Williams joined the Catholic Church (though he later claimed that he never took his conversion seriously).[29] He was never truly able to recoup his earlier success, or to entirely overcome his dependence on prescription drugs.Edwina Dakin died in 1980 at the age of 95. Her health had begun failing during the early 1970s and she lived in a care facility from 1975 onward. Williams rarely saw his mother in her later years and retained a strong animosity toward her; friends described his reaction to her death as mixed [citation needed]As Williams grew older, he felt increasingly alone; he feared old age and losing his sexual appeal to younger gay men. In the 1970s, when he was in his 60s, Williams had a lengthy relationship with Robert Carroll, a Vietnam veteran and aspiring writer in his 20s. Williams had deep affection for Carroll and respect for what he saw as the younger man's talents. Along with Williams' sister Rose, Carroll was one of the two people who received a bequest in Williams' will [30]Williams described Carroll's behavior as a combination of "sweetness" and "beastliness". Because Carroll had a drug problem (as did Williams), friends such as Maria St. Just saw the relationship as "destructive". Williams wrote that Carroll played on his "acute loneliness" as an aging gay man. When the two men broke up in 1979, Williams called Carroll a "twerp", but they remained friends until Williams died four years later [31]DeathFirst page of the last will and testament of Tennessee WilliamsOn February 25, 1983, Williams was found dead at age 71 in his suite at the Hotel Elysée in New York. The Chief Medical Examiner of New York City, Elliot M. Gross, reported that Williams had choked to death from inhaling the plastic cap of a bottle of the type that might contain a nasal spray or eye solution.[32]He wrote in his will in 1972: "I, Thomas Lanier (Tennessee) Williams, being in sound mind upon this subject, and having declared this wish repeatedly to my close friends-do hereby state my desire to be buried at sea. More specifically, I wish to be buried at sea at as close a possible point as the American poet Hart Crane died by choice in the sea; this would be ascrnatible [sic], this geographic point, by the various books (biographical) upon his life and death. I wish to be sewn up in a canvas sack and dropped overboard, as stated above, as close as possible to where Hart Crane was given by himself to the great mother of life which is the sea: the Caribbean, specifically, if that fits the geography of his death. fits it [sic].".[33] But his brother Dakin Williams arranged for him to be buried at Calvary Cemetery, in St. Louis, Missouri, where his mother is buried [34]Williams left his literary rights to The University of the South in Sewanee, Tennessee, an Episcopal school, in honor of his maternal grandfather, Walter Dakin, an alumnus of the university. The funds support a creative writing program. When his sister Rose died in 1996 after many years in a mental institution, she bequeathed $7 million from her part of the Williams estate to The University of the South as well [35]Posthumous recognitionWilliams grave, Calvary Cemetery, St. Louis, MissouriFrom February 1 to July 21, 2011, to commemorate the 100th anniversary of his birth, the Harry Ransom Center at the University of Texas at Austin, the home of Williams' archive, exhibited 250 of his personal items. The exhibit, titled "Becoming Tennessee Williams," included a collection of Williams manuscripts, correspondence, photographs and artwork.[36] The Ransom Center holds the earliest and largest collections of Williams' papers, including all of his earliest manuscripts, the papers of his mother Edwina Williams, and those of his long-time agent Audrey Wood.[37]In late 2009, Williams was inducted into the Poets' Corner at the Cathedral of Saint John the Divine in New York. Performers and artists who took part in his induction included Vanessa Redgrave, playwright John Guare, Eli Wallach, Sylvia Miles, Gregory Mosher, and Ben Griessmeyer [38]The Tennessee Williams Theatre in Key West, Florida, is named for him. The Tennessee Williams Key West Exhibit on Truman Avenue houses rare Williams memorabilia, photographs, and pictures including his famous typewriter.At the time of his death, Williams had been working on a final play, In Masks Outrageous and Austere,[39] which attempted to reconcile certain forces and facts of his own life. This was a continuing theme in his work. As of September 2007, author Gore Vidal was completing the play, and Peter Bogdanovich was slated to direct its Broadway debut.[40] The play received its world premiere in New York City in April 2012, directed by David Schweizer and starring Shirley Knight as Babe.[41]The rectory of St. Paul's Episcopal Church in Columbus, Mississippi, where Williams's grandfather Dakin was rector at the time of Williams's birth, was moved to another location in 1993 for preservation. It was newly renovated in 2010 for use by the City of Columbus as the Tennessee Williams Welcome Center [42][43]Williams s literary legacy is represented by the literary agency headed by Georges Borchardt.In 1985, French author-composer Michel Berger wrote a song dedicated to Tennessee Williams, "Quelque chose de Tennessee" (Something of Tennessee), for Johnny Hallyday. It became one of the singer's most famous songs.Since 1986, the Tennessee Williams New Orleans Literary Festival has been held annually in New Orleans, Louisiana, in commemoration of the playwright. The festival takes place at the end of March to coincide with Williams's birthday [44]Since 2016, St. Louis, Missouri has held an annual Tennessee Williams' Festival, featuring a main production and related events such as literary discussions and new plays inspired by his work. In 2018 the festival produced A Streetcar Named Desire.The U.S. Postal Service honored Williams on a stamp in 1994 as part of its literary arts series.Williams is honored with a star on the St. Louis Walk of Fame [45]WorksCharacters in his plays are often seen as representations of his family members. Laura Wingfield in The Glass Menagerie was understood to be modeled on his sister Rose. Some biographers believed that the character of Blanche DuBois in A Streetcar Named Desire is also based on her.Amanda Wingfield in The Glass Menagerie was generally taken to represent Williams' mother, Edwina. Characters such as Tom Wingfield in The Glass Menagerie and Sebastian in Suddenly, Last Summer were understood to represent Williams himself. In addition, he used a lobotomy as a motif in Suddenly, Last Summer.The Pulitzer Prize for Drama was awarded to A Streetcar Named Desire in 1948 and to Cat on a Hot Tin Roof in 1955. These two plays were later adapted as highly successful films, by noted directors Elia Kazan (Streetcar), with whom Williams developed a very close artistic relationship, and Richard Brooks (Cat). Both plays included references to elements of Williams's life such as homosexuality, mental instability, and alcoholism Although The Flowering Peach by Clifford Odets was the preferred choice of the Pulitzer Prize jury in 1955, and Cat on a Hot Tin Roof was at first considered the weakest of the five shortlisted nominees, Joseph Pulitzer Jr., chairman of the Board, had seen Cat on a Hot Tin Roof and thought it worthy of the drama prize. The Board went along with him after considerable discussion [46]Williams wrote The Parade, or Approaching the End of a Summer when he was 29, and worked on it sporadically throughout his life. A semi autobiographical depiction of his 1940 romance with Kip Kiernan in Provincetown, Massachusetts, it was produced for the first time on October 1, 2006, in Provincetown by the Shakespeare on the Cape production company. This was part of the First Annual Provincetown Tennessee Williams Festival.His last play went through many drafts as he was trying to reconcile what would be the end of his life.[38] There are many versions of it, but it is referred to as In Masks Outrageous and Austere PlaysApprentice playsCandles to the Sun (1936)Fugitive Kind (1937)Spring Storm (1937)Me Vaysha (1937)Not About Nightingales (1938)Battle of Angels (1940)I Rise in Flame, Cried the Phoenix (1941)You Touched Me (1945)Stairs to the Roof (1947)Major playsVivien Leigh as Blanche DuBois in the film version of A Streetcar Named Desire(1951)The Glass Menagerie (1944)A Streetcar Named Desire (1947)Summer and Smoke (1948)The Rose Tattoo (1951)Camino Real (1953)Cat on a Hot Tin Roof (1955)Orpheus Descending (1957)Suddenly Last Summer (1958)Sweet Bird of Youth (1959)Period of Adjustment (1960)The Night of the Iguana (1961)The Eccentricities of a Nightingale (1962, rewriting of Summer and Smoke)The Milk Train Doesn't Stop Here Anymore (1963)The Mutilated (1965)The Seven Descents of Myrtle (1968, aka Kingdom of Earth)In the Bar of a Tokyo Hotel (1969)Will Mr. Merriweather Return from Memphis? (1969)Small Craft Warnings (1972)The Two-Character Play (1973)Out Cry (1973, rewriting of The Two-Character Play)The Red Devil Battery Sign (1975)This Is (An Entertainment) (1976)Vieux Carré (1977)A Lovely Sunday for Creve Coeur (1979)Clothes for a Summer Hotel (1980)The Notebook of Trigorin (1980)Something Cloudy, Something Clear (1981)A House Not Meant to Stand (1982)In Masks Outrageous and Austere (1983)NovelsThe Roman Spring of Mrs. Stone (1950, adapted into a film in 1961, and again in 2003)Moise and the World of Reason and teleplaysThe Glass Menagerie (1950)A Streetcar Named Desire (1951)The Rose Tattoo (1955)Baby Doll (1956)Suddenly, Last Summer (1959)The Fugitive Kind (1959)Ten Blocks on the Camino Real (1966)Boom! (1968)The Loss of a Teardrop Diamond (2009; screenplay from 1957)Short storiesThe Vengeance of Nitocris (1928)The Field of Blue Children (1939)Oriflamme (1944)The Resemblance Between a Violin Case and a Coffin (1951)Hard Candy: A Book of Stories (1954)Three Players of a Summer Game and Other Stories (1960)The Knightly Quest: a Novella and Four Short Stories (1966)One Arm and Other Stories (1967)"One Arm""The Malediction The Poet""Chronicle of a Demise""Desire and the Black Masseur Portrait of a Girl in Glass""The Important Thing""The Angel in the Alcove""The Field of Blue Children""The Night of the Iguana""The Yellow Bird"Eight Mortal Ladies Possessed: a Book of Stories (1974)Tent Worms (1980)It Happened the day the Sun Rose, and Other Stories (1981), published by Sylvester & OrphanosOne-act playsMain article: List of one-act plays by Tennessee wrote over 70 one-act plays during his lifetime. The one-acts explored many of the same themes that dominated his longer works. Williams' major collections are published by New Directions in New York City.American Blues (1948)Mister Paradise and Other One-Act Plays (2005)Dragon Country: a book of one-act plays (1970)The Traveling Companion and Other Plays (2008)The Magic Tower and Other One-Act Plays (2011)At Liberty (1939)The Magic Tower (1936)Me, Vashya (1937)Curtains for the Gentleman (1936)In Our Profession (1938)Every Twenty Minutes (1938)Honor the Living (1937)The Case of the Crushed Petunias (1941)Moony's Kid Don't Cry (1936)The Dark Room (1939)The Pretty Trap (1944)Interior: Panic (1946)Kingdom of Earth (1967)I Never Get Dressed Till After Dark on Sundays (1973)Some Problems for the Moose Lodge (1980)27 Wagons Full of Cotton and Other Plays (1946 and wild...» (introduction) (1953)27 Wagons Full of Cotton (1946 and 1953)The Purification (1946 and 1953)The Lady of Larkspur Lotion (1946 and 1953)The Last of My Solid Gold Watches (1946 and 1953)Portrait of a Madonna (1946 and 1953)Auto da Fé (1946 and 1953)Lord Byron's Love Letter (1946 and 1953)The Strangest Kind of Romance (1946 and 1953)The Long Goodbye (1946 and 1953)At Liberty (1946)Moony's Kid Don't Cry (1946)Hello from Bertha (1946 and 1953)This Property Is Condemned (1946 and 1953)Talk to Me Like the Rain and Let Me Listen... (1953)Something Unspoken (1953)Now the Cats with Jeweled Claws and Other One-Act Plays (2016)A Recluse and His Guest (1982)Now the Cats with Jeweled Claws (1981)Steps Must Be Gentle (1980)Ivan's Widow (1982)This Is the Peaceable Kingdom (1981)Aimez vous Ionesco? (c.1975)The Demolition Downtown (1971)Lifeboat Drill (1979)Once in a Lifetime (1939)The Strange Play (1939)The Theatre of Tennessee Williams, Volume VIThe Theatre of Tennessee Williams, Volume VIIPoetryIn the Winter of Cities (1956)Androgyne Mon Amour (1977)Selected worksGussow, Mel and Holditch, Kenneth, eds. Tennessee Williams, Plays 1937–1955 (Library of America, 2000) ISBN 978 1 883011 86 4 Spring StormNot About of AngelsI Rise in Flame, Cried the PhoenixFrom 27 Wagons Full of Cotton (1946)27 Wagons Full of CottonThe Lady of Larkspur LotionThe Last of My Solid Gold WatchesPortrait of a MadonnaAuto da FéLord Byron's Love LetterThis Property Is CondemnedThe Glass MenagerieA Streetcar Named DesireSummer and SmokeThe Rose TattooCamino RealFrom 27 Wagons Full of Cotton (1953) Something Wild"Talk to Me Like the Rain and Let Me ListenSomething UnspokenCat on a Hot Tin RoofGussow, Mel and Holditch, Kenneth, eds. Tennessee Williams, Plays 1957–1980 (Library of America, 2000) ISBN 978 1 883011 87 1 Orpheus DescendingSuddenly Last SummerSweet Bird of YouthPeriod of AdjustmentThe Night of the IguanaThe Eccentricities of a NightingaleThe Milk Train Doesn't Stop Here AnymoreThe of Earth (The Seven Descents of Myrtle)Small Craft WarningsOut CryVieux CarréA Lovely Sunday for Creve Coeur"Crazy Night [47]Tennessee Williams: Memoirs (New Directions Publishing Corporation, 2006) ISBN 978 0 811216 69 2A Streetcar Named Desire is a play written by Tennessee Williams and first performed on Broadway on December 3, 1947.[1] The play dramatizes the experiences of Blanche DuBois, a former Southern belle who, after encountering a series of personal losses, leaves her privileged background to move into a shabby apartment in New Orleans rented by her younger sister and brother in law Williams most popular work, A Streetcar Named Desire is one of the most critically acclaimed plays of the twentieth century.[1] It still ranks among his most performed plays, and has inspired many adaptations in other forms, notably a critically acclaimed film that was released in 1951.[

Broadway Playbills - Huge Lot
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eBay Over 100 Broadway Playbills ... check the list. Build a full collection right away! They're all yours. Box weighs about 17 pounds. Shipping will be $10-$20. Photo shows a sample. Aida 2000 (opening night) and 2003 Aladdin 2014 Altar Boyz 2005 and 2009 Amadeus 2000 A Christmas Story 2012 A Gentleman’s Guide to Love and Murder 2015 The Anarchist 2012 An American in Paris 2015 An Enemy of the People 2012 A Time to Kill 2013 A Raisin in the Sun (pride) 2014 August: Osage County 2009 Beauty and the Beast 2006 Betrayal 2013 Big Fish 2013 The Big Knife 2012 Billy Elliot 2011 Blast 2001 The Book of Mormon 2012 Bullets Over Broadway 2014 Chaplin 2012 Clybourne Park 2012 The Color Purple 2006 Constellations 2014 Contact 2001 The Cripple if Inishmaan 2014 The Curious Incident of the Dog in the Night 2014 Curtains 2007 Cyrano de Bergerac 2012 Dead Accounts 2012 Dream a Little Dream A Mamas and Papas Musical 2003 Don’t Dress for Dinner 2012 The Elephant Man 2015 Elf 2010 Evita 2014 Fall for Dance Festival 2004 First date 2013 Forever Dusty 2013 Four Dogs and a Bone 1993 Freud’s Last Session 2012 Golden Age 2013 The Frogs 2004 Fun Home 2015 Grace 2012 Golden Age 2013 Golden Boy 2012 Golda’s Balcony 2004 Ghost 2012 Gigi 2015 Gypsy 2003 and 2008 Hands on a Hardbody 2013 Harbor 2013 The Heidi Chronicles 2015 Honeymoon in Vegas 2014 How to Succeed in Business Without Really Trying 2011 and 2012 I am My Own Wife 2003 If There is I Haven’t Found it Yet 2012 I’ll Eat You Last 2013 Indian Ink 2014 It’s Only a Play 2014 Jersey Boys 2013 Jekyll & Hyde 2013 Lady Day at Emerson’s 2014 (pride) The Last Ship 2014 Legally Blonde 2008 Les Miserables 2014 (color and B%W cover) London Suite 1995 Lucky Guy 2012 Jewtopia 2004 Magic Bird 2012 The Madrid 2013 Mame 1983 Mary Poppins 2012 Mike Tyson Undisputed Truth 2012 Motown 2013 Movin’ Out 2003 The Nance 2013 Newsies 2012 Nice Work if You Can Get It 2012 Noises Off 2001 Of Mice and Men 2014 The Other Place 2012 Once 2012 and 2014 (color and B&W cover) On the Town 2014 On the 20th Century 2015 Other People’s Money 1989 Passing Strange 2008 Pippin (2013) The Rascals Once Upon a Dream 2013 The Realistic Joneses 2014 The River 2014 Riverdance 2000 Sideshow 2014 Slava’s Snowshow 2004 Something Rotten 2015 Spamamlot 2006 Spring awakening 2007 Stomp 1996 Tarzan 2006 Tally’s Folly 2013 The Testament of Mary 2013 Titanic 1998 Tooth of Crime 1996 The Trip to Bountiful 2013 The Unavoidable Disappearance of Tom Durnin 2013 The Vagina Monologues 2001 Vanya and Sonia and Masha and Spike 2013 Victor Victoria 1996 (torn back cover) Waiting in the Wings 2000 When Pigs Fly 1998 The Winslow Boy 2013 Wit 2014 You Can’t Take it with You 2014

Spook Show Horror Ghost Skeleton Skull Morrison Theater Midnight Free Pass Lot
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Spook Show Horror Ghost Skeleton Skull Morrison Theater Midnight Free Pass Lot 2 very nice VINTAGE ORIGINAL 1950's ad displays ....APPROX. 6 1/2 X 4 3/4 and 5x5 great shape from Spook Show Theatre Scrapbook...WIN A FREE PASS....SUPRISE MIDNIGHT HORROR SHOW..HORROR SHOW...CAN YOU TAKE IT ?TONITE AT MIDNITE! WHEN THE COFFIN IS OPENED ON THE STAGE! BOYS.....BRING YOUR GHOUL~FRIENDS! Spook Show Horror Ghost Skeleton Skull Morrison Theater Midnight Free Pass Lot of 2 DescriptionTHIS IS A NO RESERVE AUCTION! PLEASE SCROLL DOWN FOR FRESHLY SHOT PICS OF THESE GORGEOUS VERY FINE SPOOK SHOW THEATRE DISPLAY ADS VERY NICE CONDITION ON THESE VINTAGE ORIGINAL 1950 S MIDNIGHT SPOOK SHOW ITEMS NO SURPRISES HERE...WHAT YOU SEE AND WHAT I DESCRIBE IS WHAT YOU GET AND YOU MUST BE HAPPY!.. AND YOU WILL BE!! ANY GLARE IS FROM THE CAMERA FLASH! Spook Show Horror Ghost Skeleton Skull Morrison Theater Midnight Free Pass Lot of 2 SPOOKY IMAGES OF A SHROUDED GHOSTLY GHOUL AND 9 SCREAMING SKELETON SKULLS! MORRISON THEATRE tickets now on sale at box office! we dare you to be here at midnight when the monster will be released from his sealed coffin....fre pass for a near-future show VERY RARE AND VERY NICE INDEED! THIS IS AN ARTICLE I WROTE FOR "SCARY MONSTERS" MAGAZINE BOUT GHOSTMASTER JACK BAKER...DR. SILKINI! Direct From Hollywood!” ASYLUM OF HORRORS! A unique brand of entertainment in American Movie House history was known as the Midnight Ghost Show. From its rise in the late 1920’s to its eventual demise in the late 60’s, the Spook Show captured imaginations and thrilled audiences in movie houses and drive-ins around the country. Midnight Ghost Shows or Spook Shows, later called Midnight Horror Shows, were orchestrated by a magician or “Spook Master,” and occurred live in the theatre before, between and after feature horror films. Spook Show operators would take their shows on the road to small theaters across the country. Thousands of dollars could easily be made with a good routine and the willingness to live a somewhat transient existence. Theater operators made easy money booking these shows, with little out of pocket expense. Because the shows typically began at midnight, when the theater would otherwise be closed, the theater owners risked nothing by booking them and were all but guaranteed a profit. Elaborate advertising and posters were provided way in advance by the Spook Show operators, who mailed them to the theater with instructions about how to build up interest and suspense in their patrons. Intriguing posters often bearing shocking claims were placed in the movie house lobbies weeks before the show rolled into town for its one- night- stand. Trailers for these events were shown with the feature films in the weeks leading up to the Spook Show, generating intense interest and advance tickets sales. Gimmicks such as give-aways and free passes were employed to great success, as was radio advertising. Advertising included such blurbs as, “SO SCARY WE DARE YOU TO SIT THROUGH IT ALL! IF YOU DO---YOU WIN FREE 2 FOR 1 PASSES TO A NEAR FUTURE MOVIE!” Another promised, “MONSTERS AND WEIRD BEAUTIES.” Or from the Ahmen Ra and His Weird Tomb of Terrors featuring the Mummy in Person, “MONSTERS GRAB GIRLS FROM THE AUDIENCE!” The Spook Show phenomena began in the lavish theaters of the 1920’s where they were billed predominantly as midnight Magic Shows complete with magicians, seances, floating phantoms, illuminated spirits and often comedy as well. One of the unique aspects of these shows was the “blackout” where at the end of the show the theater lights would be turned off and glow in the dark ghosts would appear to materialize overhead and on the stage, thrilling and terrifying audiences. Everything and anything could happen. Spiders would fly from the balcony, James Dean, Marilyn Monroe or Elvis Presley might materialize, if you were brave enough to sit through the whole show you might win a “dead body.” Then the feature film, generally a horror film, would be shown. Some would consider one man to be the king of the Spook Show Circuit- Jack Baker. John Kessler, later known as Jack Baker, was born in Detroit Michigan in 1914. He started his career in show business as a teenager, doing magic. He later went on to sell trade magazines and in his travels he was invited to a Midnight Ghost Show. When the mentalist, Mel-Roy didn’t show, Jack was tapped to do his magic act for the expectant audience. He was hooked. In time young Kessler joined up with Wyman Baker. Adopted by Baker’s parents, (thus the change from Kessler to Baker) the two “brothers” teamed up to create “Dr. Silkini’s Spiritualistic Séance and Ghost Show in 1938: what would become the long-standing, “Asylum of Horrors.” The advertising for the “Asylum of Horrors” promised Monsters and Fright but leaned towards a type show, replete with laughs as well as shrieks. Typical Baker poster advertisement ‘ballyhoo’ for the Asylum of Horrors Show consisted of blurbs such as: “Eerie! See it Happen-right before your startled eyes- IN PERSON!…And on a rampage. DIRECT FROM HOLLYWOOD…THE FRANKENSTEIN MONSTER.” The show was a big hit. In fact it broke box office records. Over the years, real movie actors from Universal Films such as Glenn Strange, Bela Lugosi and Lon Chaney Jr., made guest appearances in Jack’s show. Universal even gave Baker special permission to use their Frankenstein character in the show because they felt that it contributed to the popularity of their monster. At one point there were 7 “units” like franchises, doing the show around the country. For many years Asylum of Horrors was the most successful and lucrative Spook Show on the circuit and Jack Baker became known as the King of the Spook Shows. The decline of Spook Shows had many causes; greed for profit, jaded audiences, television and cinemascope, (resulting in the removal of stages from movie theaters.) But perhaps there was more. In the advent of Abbott and Costello meeting all the monsters, the Addams Family and The Munsters, there was a saturation of comedy into horror that spelled doom for the whole shebang. Or perhaps too, the world was growing up, becoming more cynical, unwilling to suspend their disbelief even for a few short hours, when the Magic could happen. HERE'S WHAT THE CUSTOMERS ARE SAYING!!! I buy from Colossusofny often and am always pleased. casarama Nice vntg. item in great condition! FAST shpng. & friendly service! thebonechief Wasn't beauty killed the beast....twas COLOSSUS, The best EBAY has to offer!! mo382 ED IS THE ULTIMATE SPOOK SHOW HISTORIAN AND COLLECTOR cinemanure Poster is in beautiful condition, thank you! jlsx Beautiful poster,good packing,fast shipping,A 1 Seller shadowman_65 Honest, dependable, reliable, considerate dealer. Packaging flawless. Excellent hinton1000 Unusual items, extremely low price, very happy with deal buy4jim EXCELLENT!!! Honest and pleasant ebayer, truly one of the best!! Thanks Ed! rods-n-bods Thanks Ed & thanks for the bonus card! Great poster & speedy delivery greshplow THE BEST OF THE BEST - FEEL WHAT ITS LIKE TO DEAL WITH A PRO - BID W/CONFIDENCE! audiobknow INCREDIBLE ..DON'T MISS IT!!! POSTER ADS WILL BE SENT FLAT SECURELY ~ANY QUESTIONS OR MORE PICS PLEASE JUST ASK~ FREE ANYWHERE IN THE U.S.A. 45.00 OVERSEAS GO NOW!, BID AND WIN! WINNER CAN COMBINE ANY AND ALL WINS FOR ONE LOW SHIPPING PRICE OF FREE FOR WHAT IT TAKES HERE IN THE U.S.A.! $45.00 FOR OUR FRIENDS OVERSEAS! NO RESERVE! LOW MINIMUM PAYPAL ONLY PLEASE AS EBAY STATES I WILL BE AUCTIONING OFF SOME ONE OF A KIND RARE SPOOK SHOW ITEMS,VINTAGE COMIC BOOKS,SCI FI AND HORROR SEXPLOITATION ORIGINAL MOVIE POSTERS,8MM FILMS,NON SPORTS TRADING CARD WAX PACKS,VINTAGE MENS STAG MAGAZINES DVD S VIDEOS, AND MORE IN THE UPCOMING WEEKS SO STAY TUNED, AND CHECK OUT OUR MANY OTHER FINE STUFF!!! PLEASE E-MAIL WITH ANY QUESTIONS AND QUERIES Pictures sell!Auctiva offers Free Image Hosting and Editing.300+ Listing Templates Auctiva gets you noticed!The complete eBay Selling Solution. Track Page Views WithAuctiva's Counter

Dead Accounts Katie Holmes Norbet Leo Butz 14" x 22" Window Card Poster - Signed
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Steve Lot Playbills 85 total
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Get 10 playbills from the list below selected at random for $5.00. Take a chance. Maybe you'll get something amazing! There are more than 100 in the collection. Playbills weigh about 2 pounds. Shipping is $8-$12 Aida 2000 (opening night) and 2003 Aladdin 2014 Altar Boyz 2005 and 2009 Amadeus 2000 A Christmas Story 2012 A Gentleman’s Guide to Love and Murder 2015 The Anarchist 2012 An American in Paris 2015 An Enemy of the People 2012 A Time to Kill 2013 A Raisin in the Sun (pride) 2014 August: Osage County 2009 Beauty and the Beast 2006 Betrayal 2013 Big Fish 2013 The Big Knife 2012 Billy Elliot 2011 Blast 2001 The Book of Mormon 2012 Bullets Over Broadway 2014 Chaplin 2012 Clybourne Park 2012 The Color Purple 2006 Constellations 2014 Contact 2001 The Cripple if Inishmaan 2014 The Curious Incident of the Dog in the Night 2014 Curtains 2007 Cyrano de Bergerac 2012 Dead Accounts 2012 Dream a Little Dream A Mamas and Papas Musical 2003 Don’t Dress for Dinner 2012 The Elephant Man 2015 Elf 2010 Evita 2014 Fall for Dance Festival 2004 First date 2013 Forever Dusty 2013 Four Dogs and a Bone 1993 Freud’s Last Session 2012 Golden Age 2013 The Frogs 2004 Fun Home 2015 Grace 2012 Golden Age 2013 Golden Boy 2012 Golda’s Balcony 2004 Ghost 2012 Gigi 2015 Gypsy 2003 and 2008 Hands on a Hardbody 2013 Harbor 2013 The Heidi Chronicles 2015 Honeymoon in Vegas 2014 How to Succeed in Business Without Really Trying 2011 and 2012 I am My Own Wife 2003 If There is I Haven’t Found it Yet 2012 I’ll Eat You Last 2013 Indian Ink 2014 It’s Only a Play 2014 Jersey Boys 2013 Jekyll & Hyde 2013 Lady Day at Emerson’s 2014 (pride) The Last Ship 2014 Legally Blonde 2008 Les Miserables 2014 (color and B%W cover) London Suite 1995 Lucky Guy 2012 Jewtopia 2004 Magic Bird 2012 The Madrid 2013 Mame 1983 Mary Poppins 2012 Mike Tyson Undisputed Truth 2012 Motown 2013 Movin’ Out 2003 The Nance 2013 Newsies 2012 Nice Work if You Can Get It 2012 Noises Off 2001 Of Mice and Men 2014 The Other Place 2012 Once 2012 and 2014 (color and B&W cover) On the Town 2014 On the 20th Century 2015 Other People’s Money 1989 Passing Strange 2008 Pippin (2013) The Rascals Once Upon a Dream 2013 The Realistic Joneses 2014 The River 2014 Riverdance 2000 Sideshow 2014 Slava’s Snowshow 2004 Something Rotten 2015 Spamamlot 2006 Spring awakening 2007 Stomp 1996 Tarzan 2006 Tally’s Folly 2013 The Testament of Mary 2013 Titanic 1998 Tooth of Crime 1996 The Trip to Bountiful 2013 The Unavoidable Disappearance of Tom Durnin 2013 The Vagina Monologues 2001 Vanya and Sonia and Masha and Spike 2013 Victor Victoria 1996 (torn back cover) Waiting in the Wings 2000 When Pigs Fly 1998 The Winslow Boy 2013 Wit 2014 You Can’t Take it with You 2014

Playbill Collectibles : Dead Playbill

Huge lot of 390 BROADWAY PLAYBILLS 1930's to 1950's only - ALL UNIQUE PLAYBILLS
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Huge lot of 337 BROADWAY PLAYBILLS late 1950's to 1970's only - UNIQUE PLAYBILLS
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Pianist SERGEI RACHMANINOFF / Masonic Auditorium 1934 Detroit Concert Program
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INTO THE WOODS BROADWAY CAST NYC 1988 STEPHEN SONDHEIM BARBARA BRYNE PLAYBILL.
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A VIEW FROM THE BRIDGE Full Cast Russell Tovey Signed Opening Night Playbill
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A CONAN DOYLE JAMES O'NEILL CRESTON CLARKE 1903 ADVENTURES OF GERARD PROGRAM
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Ryan Idol "MAKING PORN" Blue Blake / Mitch Ellis 1997 Off-Broadway Playbill
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Huge lot of 78 BROADWAY PLAYBILLS 1950's - 1970's RARE musicals vintage RARE
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beetlejuice broadway playbill Closing Night 01/08/23 Plus Book Of Dead Rare
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DRACULA BELA LUGOSI BRAM STOKER RARE 1927 BROADWAY PROGRAM
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WORLD'S GREATEST ACTOR: THE AMAZING EDMUND KEAN (1787-1833) RARE 1817 PROGRAM
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LEGENDARY DANCER ISADORA DUNCAN RARE 1916 DANCE PROGRAM
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THE ICEMAN COMETH Playbill signed by JASON ROBARDS, BERNARD HUGHES
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Playbill Lot of 43 - Most with Ticket Stub
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GREAT AMERICAN PLAYWRIGHT TENNESSEE WILLIAMS 1949 STREETCAR PROGRAM BRANDO
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Broadway Playbills - Huge Lot
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Spook Show Horror Ghost Skeleton Skull Morrison Theater Midnight Free Pass Lot
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Dead Accounts Katie Holmes Norbet Leo Butz 14" x 22" Window Card Poster - Signed
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Steve Lot Playbills 85 total
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Gabriel Dell (Debut) "DEAD END" Sidney Kingsley / "Dead End Kids" 1935 Playbill
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Playbill Collectibles : Dead Playbill

Huge lot of 390 BROADWAY PLAYBILLS 1930's to 1950's only - ALL UNIQUE PLAYBILLSClick here for more information

Huge lot of 337 BROADWAY PLAYBILLS late 1950's to 1970's only - UNIQUE PLAYBILLSClick here for more information

Pianist SERGEI RACHMANINOFF / Masonic Auditorium 1934 Detroit Concert ProgramClick here for more information

INTO THE WOODS BROADWAY CAST NYC 1988 STEPHEN SONDHEIM BARBARA BRYNE PLAYBILL.Click here for more information

A VIEW FROM THE BRIDGE Full Cast Russell Tovey Signed Opening Night PlaybillClick here for more information

*A CONAN DOYLE JAMES O'NEILL CRESTON CLARKE 1903 ADVENTURES OF GERARD PROGRAM*Click here for more information

Ryan Idol "MAKING PORN" Blue Blake / Mitch Ellis 1997 Off-Broadway PlaybillClick here for more information

Huge lot of 78 BROADWAY PLAYBILLS 1950's - 1970's RARE musicals vintage RAREClick here for more information

beetlejuice broadway playbill Closing Night 01/08/23 Plus Book Of Dead RareClick here for more information

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

*WORLD'S GREATEST ACTOR: THE AMAZING EDMUND KEAN (1787-1833) RARE 1817 PROGRAM*Click here for more information

*LEGENDARY DANCER ISADORA DUNCAN RARE 1916 DANCE PROGRAM*Click here for more information

THE ICEMAN COMETH Playbill signed by JASON ROBARDS, BERNARD HUGHESClick here for more information

Playbill Lot of 43 - Most with Ticket StubClick here for more information

*GREAT AMERICAN PLAYWRIGHT TENNESSEE WILLIAMS 1949 STREETCAR PROGRAM BRANDO*Click here for more information

Broadway Playbills - Huge LotClick here for more information

Spook Show Horror Ghost Skeleton Skull Morrison Theater Midnight Free Pass LotClick here for more information

Dead Accounts Katie Holmes Norbet Leo Butz 14" x 22" Window Card Poster - SignedClick here for more information

Steve Lot Playbills 85 totalClick here for more information

Gabriel Dell (Debut) "DEAD END" Sidney Kingsley / "Dead End Kids" 1935 PlaybillClick here for more information

Click here to view all

Huge lot of 390 BROADWAY PLAYBILLS 1930's to 1950's only - ALL UNIQUE PLAYBILLS
Click here for more information

Huge lot of 337 BROADWAY PLAYBILLS late 1950's to 1970's only - UNIQUE PLAYBILLS
Click here for more information

Pianist SERGEI RACHMANINOFF / Masonic Auditorium 1934 Detroit Concert Program
Click here for more information

INTO THE WOODS BROADWAY CAST NYC 1988 STEPHEN SONDHEIM BARBARA BRYNE PLAYBILL.
Click here for more information

A VIEW FROM THE BRIDGE Full Cast Russell Tovey Signed Opening Night Playbill
Click here for more information

A CONAN DOYLE JAMES O'NEILL CRESTON CLARKE 1903 ADVENTURES OF GERARD PROGRAM
Click here for more information

Ryan Idol "MAKING PORN" Blue Blake / Mitch Ellis 1997 Off-Broadway Playbill
Click here for more information

Huge lot of 78 BROADWAY PLAYBILLS 1950's - 1970's RARE musicals vintage RARE
Click here for more information

beetlejuice broadway playbill Closing Night 01/08/23 Plus Book Of Dead Rare
Click here for more information

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

WORLD'S GREATEST ACTOR: THE AMAZING EDMUND KEAN (1787-1833) RARE 1817 PROGRAM
Click here for more information

LEGENDARY DANCER ISADORA DUNCAN RARE 1916 DANCE PROGRAM
Click here for more information

THE ICEMAN COMETH Playbill signed by JASON ROBARDS, BERNARD HUGHES
Click here for more information

Playbill Lot of 43 - Most with Ticket Stub
Click here for more information

GREAT AMERICAN PLAYWRIGHT TENNESSEE WILLIAMS 1949 STREETCAR PROGRAM BRANDO
Click here for more information

Broadway Playbills - Huge Lot
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Spook Show Horror Ghost Skeleton Skull Morrison Theater Midnight Free Pass Lot
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Dead Accounts Katie Holmes Norbet Leo Butz 14" x 22" Window Card Poster - Signed
Click here for more information

Steve Lot Playbills 85 total
Click here for more information

Gabriel Dell (Debut) "DEAD END" Sidney Kingsley / "Dead End Kids" 1935 Playbill
Click here for more information