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"dumb waiter" Definitions
  1. a small lift for carrying food and plates from one floor to another in a restaurant
"dumb waiter" Synonyms
lift elevator paternoster conveyor dumbwaiter escalator hoist paternoster lift platform compartment

81 Sentences With "dumb waiter"

How to use dumb waiter in a sentence? Find typical usage patterns (collocations)/phrases/context for "dumb waiter" and check conjugation/comparative form for "dumb waiter". Mastering all the usages of "dumb waiter" from sentence examples published by news publications.

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In "The Dumb Waiter," Pinter mines abundant comedy from the absurd exhortation to "light the kettle" while accenting the gathering dread as the two men, Ben (Danny Dyer) and Gus (Martin Freeman), interact increasingly testily with each other and with the dumb waiter that gives this comedy of menace its title.
Maisie also has a useful habit of climbing inside a dumb waiter set into a wall in her house, recalling a similar maneuver in Jurassic Park's unforgettable kitchen scene.
Through the 1960s and early '70s, his London stage credits included Harold Pinter's "The Caretaker" and "The Dumb Waiter"; Tom Stoppard's "Travesties"; and John Osborne's "Inadmissible Evidence," which starred Nicol Williamson.
The director, Jamie Glover, generates a considerable dramatic charge from this slice of theatrical esoterica, as he did in a revival for The Print Room of Harold Pinter's "The Dumb Waiter" in 193.
The Japanese menu will be supplied by restaurant chain Sticks'n'Sushi, which will be based on the building's ground floor and will deliver to its various offices via a series of dumb waiter-style lifts.
A seam of hilarity derives from the menus read aloud every time the dumb waiter snaps open, and Mr. Freeman in particular has a field day bleating the word "scampi," as if the crustacean itself contained some unnameable horror.
Still on view in London is a comprehensive season of one-act plays by Harold Pinter that is entering the final stretch with two knockout productions, "A Slight Ache" and "The Dumb Waiter," on a single bill at (where else?) the Harold Pinter Theater through Feb. 23.
Neatly matched in their mixture of humor and terror, "A Slight Ache" — a little-known title written originally for radio — and "The Dumb Waiter," a classic two-hander about a pair of hit men biding their time in the bowels of a Birmingham house while they await orders to carry out a contract killing, make for a provocative combination.
"A Slight Ache" precedes "The Dumb Waiter" and posits its own man of mystery in the never-seen Barnabas, an aging match seller who nonetheless comes to impinge mightily on the frayed marriage of the crisply accented Edward (the excellent John Heffernan, careering from heartiness to hysteria) and the genteel — or maybe not — Flora (Gemma Whelan).
As if they were stretched outside The Oval or Villa Park, Philip Larkin, MCMXIV. Aston Villa are also mentioned in Harold Pinter's play The Dumb Waiter.
Much of this remains, such as an exhaust fan, cupboard and servery joinery and fitments. The kitchen is linked to the main bedroom by a dumb waiter.
2 October 2007. Rpt. in Various Voices 56-57. :—. The Caretaker and The Dumb Waiter: Two Plays by Harold Pinter. 1960. New York: Grove, 1988. (10). (13). Print.
"The Dumb Waiter, Print Room, theatre review", Evening Standard, 29 October 2013. Retrieved 2013-12-11. Armstrong co-starred with Louise Brealey in the 2015 touring production of Constellations.Bannister, Rosie.
Alfred Hickling of The Guardian remarked that "Joe Armstrong's Jean ... flips back and forth between brute arrogance and fawning servility with the casual manner of tossing a coin."Hickling, Alfred. "Miss Julie – review", The Guardian, 17 April 2012. Retrieved 2012-07-03. In a 2013 production of Harold Pinter's The Dumb Waiter at The Print Room, Armstrong played Gus alongside Clive Wood as Ben."Plays Cast: Glover's Dumb Waiter, Arcola Home and Adult Supervision", What's On Stage, 25 September 2013.
The three internal spiral staircases, based on Palladian precedent, were not intended to be accessed by Lord Burlington's guests, and were used only by the house servants; a dumb waiter was installed in place of the fourth internal staircase.
"The Dumb Waiter, The Print Room, review", The Telegraph, 1 November 2013. Retrieved 2013-12-11. and Fiona Mountford of The Evening Standard wrote, "Armstrong, always an actor of easy geniality, flourishes in particular with this short, sharp, light-footed humour."Mountford, Fiona.
This room is located to the east and is flanked by the pink and blue cabinets. The pink cabinet, unlike the other cabinets, had a real function. The king used it as a robing room. The dining room is famous for its disappearing dumb-waiter called "Tischlein deck dich".
Normally I feel—as I've just > said—absoute malice and hatred towards everyone within spitting distance—but > here I feel love. How do you explain it? > SUKI It's the ambience. (370–71) Lambert and Matt are distantly reminiscent of Gus and Ben from The Dumb Waiter; but distinctly less polite while living much higher on the hog.
George III dumbwaiter (), auctioned for $3,900 by Christie's in London on 20 Jan. 2010 Part of the mystery arises from the variety of devices that were grouped under the term "dumb waiter" (today written dumbwaiter). An early 18th-century British article in The Gentleman's Magazine describes how silent machines had replaced garrulous servants at some tablesWeekly Register, No. 105. 15 Apr 1732.
In 2007 he appeared in the 50th anniversary production of The Dumb Waiter. May 2007 saw him star in a television adaptation of the book The History of Mr. Polly. Evans appeared as Malcolm Taylor, a Welsh scientist, in the 2009 Doctor Who Easter special "Planet of the Dead". Between September 2013 and January 2014, Evans starred in the play Barking in Essex at London's Wyndham's Theatre.
The designs for the flats were developed between 1929–1932 and opened on 9 July 1934Burke (2014) p.41 as an experiment in minimalist urban living. Most of the "existenz minimum" flats had tiny kitchens as there was a communal kitchen for the preparation of meals, connected to the residential floors via a dumb waiter. Services, including laundry and shoe-polishing, were provided on site.
She was then buried in the store by the workers. Babs goes to try on a dress while a fight soon breaks out in the store that quickly spirals into looting. The dress catches fire and the flames spread quickly around the store. Babs burns to death, unable to escape her changing room, while Luckmoore flees down into the dumb waiter with a dismembered mannequin.
In 1975, she published her own collection of poetry titled Half Way and toured the United States and Canada with her writing. Frequently performing with other Hungarian poets, she met György Faludy, becoming lifetime friends. Living in Los Angeles, she created her own theater: Pocket Stage. She received a favorable review from the Los Angeles Times for her direction of The Dumb Waiter by Harold Pinter.
Before the present kitchen was built by congregation member and contractor Ward F. Mack, the kitchen was located on the lower level of the chapel and the food brought up to the main floor via a Dumb Waiter which still exists today. During the time it was permissible, Woodside would produce Minstrel Shows on the stage in Proudfit Chapel and they were well attended.
The house has a double depth plan, being two rooms wide. The interior retains many 18th-century features, including a library containing books and manuscripts from the period and a mahogany staircase dating back to its original constructions. There is a marble mantelpiece, with Corinthian columns and a frieze with depictions of sphinxes and cherubs. Surviving additions from the 19th century include a pantry and a dumb waiter.
On the main deck was an deck house covered by the deck above the full width of the yacht so as to provide a sheltered promenade deck extending from the forecastle to the sheltered afterdeck. The dining room occupied the forward portion. Aft of the dining room were quarters and pantry for the steward with a dumb waiter to the galley below. Aft of the steward's space was a living room.
The plot has similarities to Harold Pinter's 1957 one-act play The Dumb Waiter. The film also contains many references to the 1973 Nicolas Roeg film Don't Look Now, including the claim by Chloë that the film-within-a-film is almost an homage to it. The film contains many visual allusions to the work of Hieronymus Bosch, and at one point displays a Bosch painting of the Last Judgement.
Access was by arcaded balcony on the eastern side. Toilet blocks were located at both ends of the pavilion separated by air locks which included a "dumb waiter" type lift and a sink. later balconies were closed to form corridors and wards subdivided. The 1935 four storey extension is a steel and concrete framed structure with brick cladding and stone dressing and slate roof to match the original building.
Cast rehearsals began on 5 August and the show opened on 16 September 2013, at the Wyndham's Theatre following previews from 6 September. The plays cast included Lee Evans, Sheila Hancock, Keeley Hawes, Montserrat Lombard and Karl Johnson. The play marked Evans first stage appearance since the 2007 revival of the play The Dumb Waiter. Shortly before Christmas, Hawes left the play prematurely and was replaced by her understudy Rachel Marwood.
At the train's inauguration Taptuka, a Hopi chief led the ceremony. The train used a mix of old and new lightweight cars, including full-length dome cars (called "Big Domes") built by the Budd Company. There were improved reclining chairs in the coaches, "classic and popular music...on individual, push-button type receivers," and bar service on the upper level of the dome car via a dumb waiter.
He was a member of Derwent College, for which he was an enthusiastic rugby player. At university he was also a keen student actor, director and writer. He was a key member of the University of York Gilbert and Sullivan society and even appeared in productions put on by friends at Cambridge University, including a production of Harold Pinter's The Dumb Waiter. After graduating from university, Callis trained at LAMDA.
At some point during or before the 3rd quarter of the 18th century, the name dumb waiter also began to be applied to rotating trays. (Jefferson never had a lazy Susan at Monticello, but he did construct a box-shaped rotating book stand and, as part of serving "in the French style", employed a revolving dining-room door whose reverse side supported a number of shelves.Monticello.org. "Design and Decor Convenience". Accessed 11 Aug 2013.).
The principal bedroom and dressing room are finished in a similar but simpler manner to the drawing room and without the wall paneling. The other rooms show clear differentiation between family/guest use and servants' use in their scale and detail. The hospital use has introduced a lift adjacent to the ballroom and an upgraded dumb waiter adjacent to the kitchen. The joinery, including door and window hardware has been moved around in many instances.
It was among the first buildings in San Francisco to have a high-speed transport system (a glorified dumb waiter) for computer data cards, files and inner-office mail, at the time a state-of-the-art system. Its largest tenant today is law firm Morrison & Foerster LLP, one of the original tenants when the building first opened. The building is partially owned by the Government Pension Fund of Norway, who according to their 2015 report owns 47.5%.
You've never missed that out before, you know that? > (Pinter, The Dumb Waiter 116) The crucial significance of the omission becomes clear only at the very end of the play, when "Gus enters through the door stage-right – the one marked for the intended victim – stripped of his gun and holster"; it becomes clear that he is going to be "Ben's target" (Billington 92), as Ben's "revolver [is] levelled at the door", though the play ends before Ben fires any shot (Pinter, The Dumb Waiter 121). ;The Caretaker (1960) In an entry on Pinter for the 1969 edition of The Encyclopedia of World Drama cited by Merritt, Wardle repeats and updates some of his first perspective on comedy of menace as he had applied it initially to Pinter's writing: > Early in his writing career Pinter admitted to three influences: Franz > Kafka, American gangster films, and Samuel Beckett. . . . At that time his > plays, more than those of any other plawright's , were responsible for the > newly coined term 'comedy of menace.
The kitchen is large by Victorian standards and forms a considerable apartment with the butler's pantry. It displays Armstrong's "technical ingenuity" to the full, having a dumb waiter and a spit both run on hydraulic power. An electric gong announced mealtimes. For the visit of Edward and Alexandra, Armstrong brought in the Royal caterers, Gunters, who used the kitchen to prepare an eight- course menu which included oysters, turtle soup, stuffed turbot, venison, grouse, peaches in maraschino jelly and brown bread ice cream.
Oakes has directed a number of theatre pieces alongside his acting career. In 2003 he took a stage adaptation of The Wicker Man to the Epping Forest Theatre Festival. Rehearsing in and around his hometown of Salisbury, Oakes "got kicked out of the [Cathedral] Close for rehearsing pagan rituals for [his] open-air production of The Wicker Man." At University he directed numerous plays including Martin McDonagh's Beauty Queen of Leenane, Harold Pinter's The Dumb Waiter and Anthony Minghella's Whale Music.
At the end of 1958, Krzysztofiak met his future wife, Krystyna Miłotworska, a journalist and later editor with Radio Free Europe. At the beginning of 1960, he became graphic editor of the biweekly Ruch Muzyczny and designed the magazine's covers. He designed decorations for three one-act plays directed by Krystyna Meissner within her director's workshop; the first night was 21 June 1961, in Ateneum Theatre in Warsaw. The plays were Michel de Ghelderode’s Escurial, Harold Pinter’s The Dumb Waiter and Sławomir Mrożek’s At Sea.
Suda's another long-term collaborative artistic colleague was Attila Galambos with whom they not only have written mainstream musicals (That's Enough!, Covershow, Better Than Sex), but Galambos, as an actor, was a part of many of Suda's productions (The Dumb-waiter, Cursed Cows, Covershow, moNOporno). In 2005, he was selected as one of the best young playwrights of the year by the Young Writers’ Association, Hungary, (FISz) for his play Cursed Cows, which he both wrote and directed. The script was published by the Association in 2006.
Many of these books were housed in specially commissioned cabinets designed by William Kent. Today the Library is devoid of books, the collections having been removed to Chatsworth House, Derbyshire, or in the Royal Institute of British Architects collections, which can be consulted at the Victoria and Albert Museum. Twelve steps leading from the octagonal section of the Library descend to an octagonal brick cellar vaulted in Early English style. From this cellar wine and beer were raised by dumb waiter to guests on the piano nobile.
In some societies, it can also denote charisma or strength of personality.Hahn, T; Sensational knowledge: embodying culture through Japanese dance, Wesleyan University Press, 2007, p67 Takie Lebra identified four dimensions of Japanese silence - truthfulness, social discretion, embarrassment and defiance. In Western literature, the essence of the difference between just talking and really communicating through silence is analyzed in Harold Pinter’s The Dumb Waiter. In negotiation, haragei is characterised by euphemisms, vague and indirect statements, prolonged silences and careful avoidance of any comment that might cause offense.
The service core contains service risers and shared facilities, including lifts, a fire stair, dumb waiter for office files, tearooms, and large toilet and shower rooms. The fire stair in the service core retains original finishes, including black and white terrazzo stair treads and risers, black- painted metal balustrades with black plastic handrails, textured stair undersides, and vinyl tile clad walls with contrasting inset floor numerals. The rear podium levels (B3 - G) each comprise large, open floor plans with later lightweight partitions. Window sills are black terrazzo.
Although he did not expect the endeavor to be successful, he decided to become a professional actor so that he would not regret not having tried later in life. His first acting job was an advertisement for Italian television when he was 17 years old. He also worked as a busboy. He originally intended to work predominantly as a theatrical actor, and he and Platt set up a company called Big Theatre, although Harold Pinter's The Dumb Waiter was the only show they ever performed.
The theatre was picketed in Belfast and at other venues on the tour. Other theatre includes Antony & Cleopatra (Liverpool Playhouse), Mamma Mia! (West End) A Doll’s House and Hedda Gabler (Battersea Arts Centre), Rush (King's Head Theatre), Crystal Clear and Gatsby (King's Head Theatre), The Dumb Waiter (Lee Strasberg Theatre and Film Institute, L.A.) Ivanov (Bridewell Theatre), The Memory of Water (Vienna's English Theatre), Canaries Sometimes Sing (Old Red Lion), The Picture of Dorian Gray (Finborough Theatre), The Caretaker (San Fedele Theatre, Milan), Waiting for Godot (Tour) and Whose Life Is It Anyway? (Tour).
Near the daughter's room was the gun case, containing a mix of revolvers, shotguns, rifles, and cutlasses, which were thought to come in handy during visits to the South Seas. Wade's stateroom had elaborately carved mahogany, a double bed, a closet, moveable reading desk, and a porcelain-lined bathtub with hot and cold running water. The table in the dining room seated eight and was furnished in polished red mahogany. The dining room also featured a wine closet, a butler's pantry and a dumb waiter to the galley below.
Professional suites occupy the ground and sub-floors, with the remaining levels providing residential accommodation. Apart from the sixth level, which has always accommodated two apartments, each of the residential levels originally contained one spacious flat with central arrival hall, servants' rooms in the back western corner and family living in the L-shape. Most of the flats have been subdivided since, with apartments currently numbering twelve. The block is serviced by a central elevator, dumb waiter and common L-shaped hallways, which are lined with dark-stained silky oak dado panelling.
Intended to be the last word in contemporary living, the block of flats was aimed at young professionals. It contained 22 single flats, four double flats, three studio flats, staff quarters, kitchens and a large garage. Services included shoe cleaning, laundry, bed making and food sent up by a dumb waiter at the spine of the building. In 1937, a restaurant and bar designed by Marcel Breuer and F. R. S. Yorke named the Isobar, located on the ground floor with a decked outdoor area, was added to the building.
His family originates on paternal side from Turkish immigrants in Kavala, Greece, and on maternal side from Turkish immigrants in Skopje, Macedonia. Özşener graduated from Yıldız Technical University with a degree in Electronics and Communications Engineering in 1996. Özşener, who had begun studying acting at the Şahika Tekand acting studio, began acting there in various plays, including Harold Pinter's The Dumb Waiter, which was directed by Şahika Tekand herself. He gained national attention for appearing as the "Özgür Çocuk" (Free Child) in a series of commercials for Turkcell.
Intended to be the last word in contemporary modernist living, the block of flats was aimed at young professionals. It contained 22 single flats, four double flats, three studio flats, staff quarters, kitchens and a large garage. Services included shoe cleaning, laundry, bed making and food sent up by a dumb waiter at the spine of the building. In 1937, a restaurant and bar designed by Marcel Breuer and Maxwell Fry named the Isobar – located on the ground floor with a decked outdoor area - was added to the complex.
The conference poster features a photograph of a portrait of Harold Pinter by artist Amy Shuckburgh. The portrait ("pastel and acrylic on wood, 2006") was on display at the Workshop Theatre during the conference, displayed later at Trafalgar Studios, during Harry Burton's production of The Dumb Waiter, and also "reproduced in the programmes for The Dumb Waiter; the touring production of Old Times; Betrayal at the Donmar Warehouse; and The Hothouse at the National Theatre, London.""Harold Pinter: Portrait and Rehearsal Studies by Amy Shuckburgh" , nationaltheatre.org.uk, National Theatre, 2007, Web, 24 April 2009. Following the honorary degree ceremony, on the evening of 13 April 2007, the Free Theatre, of Minsk, Belarus, where several of its members have been censored, imprisoned, and "under attack" by the authorities, performed their "collage" of Pinter's work Being Harold Pinter, introduced by "their patron" Sir Tom Stoppard, receiving strong notices from Billington and his colleagues; Pinter participated in the post-performance discussion with the company through a Belarusian-English interpreter.Michael Billington, "The Importance of Being Pinter", Guardian, Theatre Blog, Guardian Media Group, 16 April 2007, Web, 15 October 2008.Alfred Hickling, "Being Harold Pinter", Guardian, Theatre Blog, 16 April 2007, Guardian Media Group, 16 April 2007, Web, 15 October 2008.
He was nominated for a Golden Globe Award for The State Within (2006) and for the British Academy Television Award for Best Actor for his portrayal of Harry H. Corbett in The Curse of Steptoe (2008). Isaacs' stage roles include Louis Ironson in Declan Donnellan's 1992 and 1993 Royal National Theatre premieres of Parts One (Millennium Approaches) and Two (Perestroika) of Tony Kushner's Pulitzer Prize-winning play Angels in America: A Gay Fantasia on National Themes, and as hitman Ben in a 50th-anniversary revival of Harold Pinter's 1957 play The Dumb Waiter at Trafalgar Studios in the West End.
The original theatre (The Hampstead Theatre Club) was created in 1959 in Moreland Hall, a parish church school hall in Holly Bush Vale, Hampstead Village. James Roose-Evans was the first Artistic Director, and the 1959–1960 season included The Dumb Waiter and The Room by Harold Pinter, Eugène Ionesco's Jacques and The Sport of My Mad Mother by Ann Jellicoe. In 1962 the company moved to a portable cabin in Swiss Cottage where it remained for nearly 40 years, before, in 2003, the new purpose-built Hampstead Theatre opened in Swiss Cottage. The main auditorium seats 375 people.
In the grounds, Armstrong built dams and lakes to power a sawmill, a water-powered laundry, early versions of a dishwasher and a dumb waiter, a hydraulic lift and a hydroelectric rotisserie. In 1887, Armstrong was raised to the peerage, the first engineer or scientist to be ennobled, and became Baron Armstrong of Cragside. The original building consisted of a small shooting lodge which Armstrong built between 1862 and 1864. In 1869, he employed the architect Richard Norman Shaw to enlarge the site, and in two phases of work between 1869 and 1882, they transformed the house into a northern Neuschwanstein.
Cummings began his career studying acting at the HB Studios in New York and at The Lee Strasberg Theatre Institute in New York and Los Angeles. He established himself as an actor with roles in several theater productions including Dumb Waiter, The Street Poet and Tom Topor's Answers (which he also produced). After taking leading roles in films such as Close Up and The Compulsion, he began to produce his own project titled Southie. He wrote the script and secured financing, then found a director (John Shea) and worked alongside young, rising talent: Donnie Wahlberg, Rose McGowan, Will Arnett and Amanda Peete.
The opposite triangular room was once the rear entryway, perhaps featuring another circular stairway and/or a dumb waiter to and from the basement kitchen. The other two triangular areas are now bisected by walls, such that approximately half of each of those triangular areas became parts of their respectively adjoining rectangular rooms. This most likely occurred in the 1920s, at which time, the window in one of those triangular rooms was closed and sealed. In subsequent years, the triangular area that originally featured the rear entryway has contained a large closet and a full bath.
The Marsh-Warthen House was built in 1836, by Spencer Stewart Marsh and his wife, Ruth Terrell Brantley Marsh. The original house consisted of four rooms over four rooms with wide hallways running through the center of the building on both the upper and lower levels. A large porch with square columns was constructed on the south side of the house; a second-story balcony with a door from the upstairs hall was built over this porch. The original kitchen was in the basement, and food was brought up to the main level by a dumb waiter.
The Maltese Mackeral Scrappy, Scooby and Shaggy now work fr Shaggy's Uncle Fearless Shagaford; of the three, only Scrappy seems really excited about it. They go to retrieve the Maltese Mackerel, a bronzed fish. Scrappy locks the criminals in a fish crate at the end, and then the three have to find the mackerel, which has been buried under the other fish. Dumb Waiter Caper Catfish Burglar Caper Movie Monster Menace Scrappy, Scooby, and Shaggy get parts in a horror movie-it turn out that the director wants live footage of monsters getting victims, and has actually obtained a ray to make his cast of monsters actually transform into real monsters.
He served in the British Army during World War II, making his stage debut in Dangerous Corner at Preston, Lancashire, for the forces' entertainment organisation ENSA. In 1948 he enrolled at the Central School of Speech and Drama, receiving commendation for his student performance in Mary Hayley Bell's Men in Shadow. There then followed seasons in repertory at Liverpool, Birmingham, Coventry, York, Hornchurch and Cambridge. His first professional West End appearance was in 1959, in William Douglas-Home's Aunt Edwina, followed by his creation of the hit-man Ben in the London premiere of Harold Pinter's The Dumb Waiter at the Hampstead Theatre Club in January 1960.
The Roberson Mansion, part of the Roberson Museum and Science Center, is a home in Binghamton, New York. It is an Italian Renaissance style house, designed by Binghamton architect C. Edward Vosbury and built in 1904, and completed in 1907, for Alonzo Roberson Jr. and his wife Margaret Hays Roberson. It was built with all of the then modern conveniences: an elevator, central heat, combination gas and electric lighting, a dumb waiter, an intercom system, and a private bath for each bedroom. Stained glass windows at the top of the main staircase The New York City interior design firm, Pottier & Stymus designed the interior decorations.
The ground floor has two rooms to the northeast, with the northern room having a white marble fireplace surround with painted tile inserts and the other having a darker marble surround with black stone in relief and painted tiles. The southwest side consists of one large room with a red and green marble fireplace surround, with painted tile inserts, at the southern end. The first floor consists of four rooms, with only the northern room containing a marble fireplace surround, but this has been damaged with the mantlepiece missing. A bar has been inserted on the southwest side and a dumb waiter at the rear connecting the kitchen below.
Since 1992, Rockwell has been a member of the New York-based LAByrinth Theater Company, where John Ortiz is a co-artistic director. In 2005, Philip Seymour Hoffman directed him in Stephen Adly Guirgis' hit play The Last Days of Judas Iscariot. Rockwell workshopped a LAByrinth production, North of Mason-Dixon, which debuted in London in 2007 and then premiered in New York later the same year. Other plays in which Rockwell has performed include: Dumb Waiter (2001), Zoo Story (2001), The Hot L Baltimore (2000), Goosepimples (1998), Love and Human Remains, Face Divided, Orphans, Den of Thieves, Dessert at Waffle House, The Largest Elizabeth, and A Behanding in Spokane.
A tall arched opening in the north side wall leads from the upstairs central hallway onto the enclosed north verandah, which is a s addition. This opening was originally a window, and evidence of this can be seen in the fabric. A narrow timber service staircase in the northeast corner of the verandah links both the ground and first floors to the basement, which contains the original kitchen and pantries. An opening in the southern wall of the kitchen appears to be associated with the operation of an early "dumb waiter", from outside the kitchen to the verandah adjacent to the dining room above.
King Homestead at 209 Main Street The King Homestead, a vernacular frame house to start, had several additions with Italianate and Queen Anne influenced detailing. It is possible that the original house may just have consisted of the current parlor, Exhibit Rooms 1 and 2, one or both staircases to the second floor, on which there were two front bedrooms (current RHT Office and Conference Room) and a smaller bedroom at the rear. There were stairs to the basement which contained the kitchen (basement kitchens were common in Victorian homes). The dumb waiter was probably moved to its present location when the dining room was added, so that food could be brought up from the kitchen below.
In 1962, he created the role of the hit-man Ben in the U.S. premiere of Harold Pinter's The Dumb Waiter at the Cherry Lane Theater in Greenwich Village, New York City. That same year he was cast on the long running CBS daytime drama, The Guiding Light as Andrew Murray, the District Attorney of Los Angeles County. Later in 1962 and 1963, due to his stint on The Guiding Light, he was cast in three episodes of the NBC sitcom, Car 54, Where Are You?, and two segments of the ABC crime drama, Naked City, both set in New York City. In 1966 and 1967, Elcar played Sheriff George Patterson on the vampire soap opera Dark Shadows.
Silhouette portrait of the duo in Redcar, England Laurel and Hardy's influence over a very broad range of comedy and other genres has been considerable. Lou Costello of the famed duo of Abbott and Costello, stated "They were the funniest comedy duo of all time", adding "Most critics and film scholars throughout the years have agreed with this assessment." Writers, artists and performers as diverse as Samuel Beckett, Jerry Lewis, Peter Sellers, Marcel Marceau Steve Martin, John Cleese, Harold Pinter,Patterson, Michael in Brewer, Mary F. (2009) Harold Pinter's The Dumb Waiter, Rodolpi, p. 249 Alec Guinness, J. D. Salinger,Harness, Kyp (2006) The Art of Laurel and Hardy: Graceful Calamity in the Films, McFarland, p.
From 1946 to 1956 she was one of the first women producers in television, producing, writing and directing network series for the National Broadcasting Company (NBC), including the award-winning telecast of Pirandello's Six Characters in Search of an Author. In the 1950s, she served on NBC's radio show, Monitor, and interviewed various public figures, including actor Marlon Brando. She spent her later life living and working in New York City, where she was a theatrical producer, co-producing Broadway stagings of Paddy Chayefsky's The Tenth Man, and Brendan Behan's The Hostage. In 1962, she produced the first stage productions of Harold Pinter's The Dumb Waiter and The Collection at the Cherry Lane Theatre.
The stairwell to the north corner travels from the first floor to the roof level only, does not have terrazzo dado panelling and has sheeting to the balustrade of the top flight of the dogleg stair. A dumb waiter in the north corner services each level but is presently sealed over at ground level. The ground floor and some of the first floor have recently undergone an aggressive refurbishment but the logic of the circulation and the internal spaces remains though fabric has been lost. The former ground floor waiting room, now the reception and administration area, is lit from the courtyard by a bank of full height plain leadlight awning and fixed glass windows which are operated by a manual turning device.
In 2007, he was cast in Jan de Bont's then- still-upcoming film Stopping Power, to play its star John Cusack's "nemesis", but, on 31 August 2007, Variety reported that the film, also planned for release in 2009, had been cancelled after a financial backer pulled out. Isaacs appeared in one episode of the TV show Entourage in the autumn of 2008 as Fredrick Line. In 2009, he was nominated at the British Academy Television Awards for Best Actor for his role as Harry H. Corbett in The Curse of Steptoe. On the evening of 2 May 2009, Isaacs performed the role of Ben again, opposite his Brotherhood co-star (and Tony Award winner) Brian F. O'Byrne (as Gus), in a "rehearsed reading" of The Dumb Waiter.
In 1959 Roose-Evans founded the Hampstead Theatre Club, at Moreland Hall, in Holly Bush Vale, London. The first season opened with Siwan, a play by the Welsh poet Saunders Lewis, translated by Emyr Humphreys, and with Siân Phillips as the Princess Siwan. A double-bill by Harold Pinter, The Dumb Waiter and The Room, received rave reviews from Harold Hobson in The Sunday Times, and put the fledgling theatre on the cultural map. Roose-Evans remained at the Hampstead Theatre until 1971, during which time his production of Noël Coward's Private Lives transferred to the West End, followed by his adaptation and production of Laurie Lee's Cider with Rosie – at one point Hampstead had two productions running simultaneously in the West End.
Later the same year he also staged adaptations of Harold Pinter's The Dumb Waiter (Kjøkkenheisen) and Eugène Ionesco's La Cantatrice chauve (Den skallete sangerinnen). Among his other productions are Ibsen's Ghosts (Gengangere), Brand and An Enemy of the People (En folkefiende), Shakespeare's Romeo and Juliet, and Cecilie Løveid's Maria Q. Bang-Hansen was part of the group that established the regional theatre for Møre og Romsdal, Teatret Vårt, in 1972. At this theatre he produced an adaptation of Shakespeare's Comedy of Errors in 1972, Kaj Munk's Ordet in 1973, and Henrik Ibsen's Kongsemnerne in 1974. He headed the Norwegian National Academy of Theatre from 1973 to 1976, and was theatre director at Rogaland Teater in Stavanger from 1976 to 1982.
After a while the marvellous, hope-inspiring concert starts, which is listened to by the hiding inhabitants of the house with enraptured faces through the villa's open dumb waiter. Already in the "palmy years of peacetime" Rose had competed with Csortos, the famous actor, for the title of "Budapest's Greatest Misanthrope". Thus it does not surprise anybody that the eccentric singer never, not even once, tries to make contact with his fellow Jews who took refuge in his house. And when Halász recounts that the singer swore within an hour of the Arrow Cross's seizing power that he would not utter a single word nor cross the threshold of his tower room until "Andrássy Avenue has been purged of this Arrow Cross scum", even the slightest suspicion about Rose's "invisibility" vanishes.
Alan Schneider (December 12, 1917 – May 3, 1984) was an American theatre director responsible for more than 100 theatre productions. In 1984 he was honored with a Drama Desk Special Award for serving a wide range of playwrights. He directed the 1956 American premiere of Samuel Beckett's Waiting for Godot, Edward Albee's Who’s Afraid of Virginia Woolf? and Tiny Alice; the American première of Joe Orton's Entertaining Mr Sloane, Harold Pinter's The Birthday Party, as well as Pinter's The Dumb Waiter, The Collection, and a trilogy of Pinter's plays under the title Other Places (including One for the Road, Family Voices, and A Kind of Alaska); Bertolt Brecht's The Caucasian Chalk Circle; You Know I Can't Hear You When the Water's Running; and Michael Weller's Moonchildren and Loose Ends.
Citing Wardle's original publications in Encore magazine (1958), Susan Hollis Merritt points out that in "Comedy of Menace" Wardle "first applies this label to Pinter's work … describ[ing] Pinter as one of 'several playwrights who have been tentatively lumped together as the "non-naturalists" or "abstractionists" ' (28)" (Merritt 225). His article "Comedy of Menace," Merritt continues, > centers on The Birthday Party because it is the only play of Pinter's that > Wardle had seen [and reviewed] at the time, yet he speculates on the basis > of "descriptions of [Pinter's] other plays, 'The Room' and 'The Dumb > Waiter', [that Pinter] is a writer dogged by one image—the womb" (33). > Mentioning the acknowledged "literary influences" on Pinter's work—"Beckett, > Kafka and American gangster films"—Wardle argues that " 'The Birthday Party' > exemplifies the type of comic menace which gave rise to this article." > (225)Cf.
An All-Round Addition at historytoday.com Reichel, the sole male owner in over two hundred years, was responsible for substantial structural changes. These included the construction of a water tower and laundry room, the installation of a bathroom and central heating, the construction of upstairs bedrooms with dormer windows, the fitting of first-floor windows, a heavy pulley dumb-waiter and speaking tubes, the replacement of the original thatch with roof tiles and the addition of an external catwalk. Entrance to the Shell Gallery; this is now closed to the public Since taking ownership, conservation measures by The National Trust have included removal of all but one of the very large central heating radiators installed by Reichel, restoration of the wall coverings from a deep red to the original pale green and rigging of the delicate Shell Gallery on the uppermost storey of the house with a CCTV system to allow observation without risk of damage.
Pinter acknowledges the influence of Samuel Beckett, particularly on his early work; they became friends, sending each other drafts of their works in progress for comments.See Billington, Harold Pinter 64, 65, 84, 197, 251 and 354 Pinter wrote The Hothouse in 1958, which he shelved for over 20 years (See "Overtly political plays and sketches" below). Next he wrote The Dumb Waiter (1959), which premièred in Germany and was then produced in a double bill with The Room at the Hampstead Theatre Club, in London, in 1960. It was then not produced often until the 1980s, and it has been revived more frequently since 2000, including the West End Trafalgar Studios production in 2007. The first production of The Caretaker, at the Arts Theatre Club, in London, in 1960, established Pinter's theatrical reputation. The play transferred to the Duchess Theatre in May 1960 and ran for 444 performances, receiving an Evening Standard Award for best play of 1960.
Born in Leicester, Hurley first became interested in acting at Alderman Newton's Boys' School when he played Le Beau in As You Like It before going on to act in youth theatre, school plays and amateur dramatic societies.Hurley interviewed on the Shakespeare's Globe website On leaving school in 1969 he spent ten years working in repertory theatres around the United Kingdom when his roles included the title role in Hamlet, Nero in Britannicus, Gus in The Dumb Waiter, Tony Lumpkin in She Stoops to Conquer, (Salisbury Playhouse), Ariel in The Tempest (Gateway Theatre, Chester), the title role in Henry V, The Black Prince in Edward III (Theatr Clwyd), Pip in Great Expectations (Wolsey Theatre, Ipswich) and Dromio of Syracuse in The Comedy of Errors (Bristol Old Vic). He also worked with Communicado and The Custard Factory, playing Tyresius in Antigone, Johnnie in Hello and Goodbye, and the Farrant twins in Corpse! for Vienna's English Theatre.
Directly after finishing training at Birmingham (UK)'s Stage2 Theatre Company and getting his LAMDA acting diploma with honours, Knapman jobbed as an actor, director, and workshop leader, mainly in the West Midlands of the UK. Companies he worked for include Gazebo Theatre; Bigfoot Theatre; Loud-Mouth Theatre; Purple Monster; EIL and Geese Theatre Company. In 2003, Knapman set up Ubiquity Theatre Company with theatre producer Ruth Harrell, which has since become an important and innovative producer of performances and workshop programmes with an aim of 'enabling our audience to question and re-evaluate the social problems they encounter in their everyday lives' (Ubiquity website). Ubiquity's first venue-based performance was a stage adaption of the 1985 Brat Pack film The Breakfast Club in Birmingham's Patrick Centre in the Birmingham Hippodrome. Subsequent performance projects have included re-workings of classic texts such as William Shakespeare's The Tempest; The Importance of Being Earnest by Oscar Wilde and The Dumb Waiter by Harold Pinter along with devised productions including Nomad No More in Leipzig, Germany and Heads Above Feet for Wolverhampton City Council.
During the course of his treatment, he directed a production of his play No Man's Land, and wrote and performed in a new sketch, "Press Conference", for a production of his dramatic sketches at the National Theatre, and from 2002 on he was increasingly active in political causes, writing and presenting politically charged poetry, essays, speeches, as well as involved in developing his final two screenplay adaptations, The Tragedy of King Lear and Sleuth, whose drafts are in the British Library's Harold Pinter Archive (Add MS 88880/2). From 9 to 25 January 2003, the Manitoba Theatre Centre, in Manitoba, Canada, held a nearly month-long PinterFest, in which over 130 performances of twelve of Pinter's plays were performed by a dozen different theatre companies. Productions during the Festival included: The Hothouse, Night School, The Lover, The Dumb Waiter, The Homecoming, The Birthday Party, Monologue, One for the Road, The Caretaker, Ashes to Ashes, Celebration, and No Man's Land.Merritt, "PinterFest", in "Forthcoming Publications, Upcoming Productions, and Other Works in Progress", "Harold Pinter Bibliography: 2000–2002" (299).
Sheffield Theatres' programme Pinter: A Celebration took place from 11 October to 11 November 2006. The programme featured selected productions of Harold Pinter's plays (in order of presentation): The Caretaker, No Man's Land, Family Voices, Tea Party, The Room, One for the Road and The Dumb Waiter; films (most his screenplays; some in which Pinter appears as an actor): The Go-Between, Accident, The Birthday Party, The French Lieutenant's Woman, Reunion, Mojo, The Servant, The Pumpkin Eater; and other related programme events: "Pause for Thought" (Penelope Wilton and Douglas Hodge in conversation with Michael Billington), "Ashes to Ashes – A Cricketing Celebration", a "Pinter Quiz Night", "The New World Order", the BBC Two documentary film Arena: Harold Pinter (introd. Anthony Wall, producer of Arena), and "The New World Order – A Pause for Peace" (a consideration of "Pinter's pacifist writing" [both poems and prose] supported by the Sheffield Quakers), and a screening of "Pinter's passionate and antagonistic 45-minute Nobel Prize Lecture."See "Latest News: August 2006: Sheffield Theatres Presents Pinter: A Celebration", sheffieldtheatres.co.
On British television, he also portrayed actor Harry H. Corbett in The Curse of Steptoe, part of "a season of new one-off dramas for BBC Four revealing the stories behind some of Britain's best loved television entertainers, and their achievements," first broadcast in March 2008. On American television, Isaacs appeared in three episodes of The West Wing in 2004, prior to developing his most notable TV serial role, as Michael Caffee in Brotherhood (2006–08). Isaacs at the 2011 San Diego Comic-Con International Between 2 February and 24 March 2007, Isaacs played Ben, opposite Lee Evans (Gus), in the critically acclaimed 50th-anniversary production of Harold Pinter's The Dumb Waiter, at Trafalgar Studios, in London, his first theatre performance since appearing in The Force of Change (2000). Isaacs played Major Briggs, an American military officer, opposite Matt Damon and Greg Kinnear, in Paul Greengrass's thriller Green Zone (2010), a fictionalised drama set in Iraq after the defeat of Saddam Hussein based on the book Imperial Life in the Emerald City: Inside Baghdad's Green Zone (2006), by Rajiv Chandrasekaran, for which production began in Morocco, in January 2008.
The "punning title" of The Dumb Waiter, Billington observes, "carries several layers of meaning": "It obviously refers to the antique serving-hatch that despatches [sic] ever more grotesque orders for food to these bickering gunmen"—the dumbwaiter; "But it also applies to Gus, who, troubled by the nature of the mission [their next job as hitmen] to realise he is its chosen target; or, indeed to Ben, who, by his total obedience to a higher authority that forces him to eliminate his partner, exposes his own vulnerability" (89). As Gus "dumbly" awaits his fate, he may be a subservient partner who awaits orders from the "senior partner" Ben, but Ben too is subservient to The Powers That Be, a contemporary variation on Deus ex machina, manipulating both the mechanical dumbwaiter and them through its increasingly extravagant and thus comically inconvenient "orders" for increasingly exotic dishes, unnerving both of them. Billington adds: > This being Pinter, the play has a metaphorical openness. You can interpret > it as an Absurdist comedy – a kind of Godot in Birmingham – about two men > passing the time in a universe without meaning or purpose.

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