Sentences Generator
And
Your saved sentences

No sentences have been saved yet

282 Sentences With "playhouses"

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

type: All Declarative Interrogative Exclamative

structure: All Simple Compound Complex Compound-Complex

length: All <=10 words 10-20 words 20-30 words 30-50 words

In 2015, Leavitt founded Charmed Playhouses which specialize in creative, awe-inspiring playhouses.
Though many of Charmed Playhouses' creations are inspired by fairy tales, the company can also create more fantastical or modern playhouses.
Charmed Playhouses is bringing childhood dreams to life with intricately designed playhouses that have electricity, running water, turrets, multiple stories, and more.
Leavitt tells Insider his team works on multiple playhouses at a time and can complete around five or six large-scale playhouses per year.
Our playhouses are thoroughly tested by our young playhouse experts.
Practically every element of Leavitt's magical playhouses can be customized.
The same is true for larger items like playhouses or bicycles.
That was the start of his journey working on luxe playhouses.
Playhouses can come with electricity, running water, and more extravagant features.
Playhouses and troupes beyond Broadway generate $241 million in economic benefit.
Some of the playhouses are almost the size of a tiny home.
His wife, Audrey Leavitt, oversees all the interior design for Charmed Playhouses.
The discovery has made Bowsher rethink some of his ideas about Tudor playhouses.
Life-size elephant sculptures with staircases and viewing platforms inside serve as playhouses.
Unexpectedly, the dig has revealed that the venue wasn't round, like most Elizabethan playhouses.
They were climbing with their kids on the playhouses and tumbling down the slides.
"We're constantly trying to incorporate our own artistic sensibilities into our playhouses," Leavitt told Insider.
One of these moguls, I was at their house and their kid has seven playhouses.
Theaters and playhouses flourished, most famously Shakespeare's Globe Theater, as did brothels, bearbaiting pits and breweries.
Playhouses can take as little as a few weeks to a couple of months to complete.
The plague closed London's playhouses and forced Shakespeare's acting company, the King's Men, to get creative about performances.
Leavitt's three children also play a role in testing out the playhouses to make sure they're kid-approved.
Leavitt shared that his wife Audrey and their three children were all a huge inspiration behind creating Charmed Playhouses.
Shows of discontent similar to that at the Katona Theater took place in other playhouses around Budapest, the capital.
Playhouses are constructed in Leavitt's workshop before being taken apart and shipped across North America to their rightful homes.
With plenty of standout items for the warmer months ahead, the lineup includes everything from printed swimsuits to outdoor playhouses.
This area for hanging up witches' and wizards' brooms is just one example of the Charmed Playhouses team's incredible creativity.
And as the filthy and wild-haired Buster, his inscrutability is played for laughs, as he indifferently defiles rich vacationers' empty playhouses.
In its 20-year history, Rockstar Games has garnered prestige for lavish playhouses where players can run amok, social mores be damned.
Parties with bouncy castles are parties kids want to attend, but those air-filled playhouses have an unfortunate habit of taking flight.
Leavitt's playhouses have attracted a number of celebrity clients, from Ryan Zimmerman of the Washington Nationals to Stephen Curry, NBA All-Star.
See: A truly great solo show doesn't come around often, but there are three at leading playhouses in the German-speaking world.
Canadian dad Tyson Leavitt has a dream job, which consists of bringing people's dream playhouses to life in the most stunning way imaginable.
Several new stagings at leading playhouses throughout the German-speaking world show what can happen when American classic drama meets European theater practice.
These magical playhouses come equipped with everything from electric lights, running water, and furniture to custom windows and doors, princess-worthy towers, and fireplaces.
Fujio lit each one as if in a studio, even setting up lights inside cavernous playhouses so they seem to beam with unseen life.
Tyson Leavitt tells Insider that the most rewarding part of working on Charmed Playhouses is being able to give back through foundations like Make-A-Wish.
Whether they're building a dream playhouse for a celebrity client or working with charities, Charmed Playhouses is committed to making kids' lives a little more magical.
"Out of the nine playhouses that we know in Tudor London, there are only two that have no reference to any construction," he said — including the Curtain.
Driving through Nevada, Iowa, he spotted the Camelot Theater and suggested a nationwide program to revitalize old playhouses that used to be hubs at the center of town.
Makeup can be donated to playhouses and school drama clubs, teen and youth development centers; makeup and perfume samples are also welcome at many Dress For Success chapters.
Pete Nelson has built impressive forest homes, playhouses, recording studios and more on his Animal Planet show Treehouse Masters and counts Zac Brown and CeeLo Green among his clients.
A collapse at a performance of "Death of a Salesman," in which five people were hurt, shone a light on the run-down state of some playhouses in the city.
Target will give a fuller remodel to 5003 stores, which will allow those locations to showcase larger items, including electric ride-on vehicles, playhouses and outdoor play sets, the company said.
Theater ceilings: The collapse of a ceiling at a recent performance of "Death of a Salesman" in London, in which five people were hurt, raises safety concerns about the city's playhouses.
The show's spaceship-cum-classroom set (designed by Raul Abrego) may remind you of a more sophisticated version of the intergalactic fantasy lands you created as personal playhouses as a grade-schooler.
Taking cues from sources as diverse as the Spanish corrales and the ancient Greek amphitheatres, each would aim to consign the cramped and creaking auditoria of London's airless West End playhouses to history.
DeSantis issued an executive order on Friday directing all beaches, movie theaters, concert houses, auditoriums, playhouses, bowling alleys, arcades, gymnasiums and fitness studios to close in Palm Beach County and neighboring Broward County.
The pair own Charmed Playhouses, a family-run business that specializes in creating completely custom buildings for clients who are more interested in secret passageways and princess balconies than granite countertops and hardwood floors.
Mansion—one of South Beach's most iconic VIP playhouses, closed its door for good in September 2015, just two years after it was voted the 47th Best Club in the World by DJ Mag.
In 2016, state-run theaters, which make up the vast majority of playhouses in Hungary, sold 6.7 million tickets in a country of 9.8 million people, and the government also helps fund independent productions.
"Today's homes are built to be as cheap and efficient as possible, but these playhouses have all the extra things you don't see with everyday houses, like turrets, custom window furnishings, and other elements."
Each kit allows Switch users to create strange cardboard toys that have slots for the Switch and its detachable, motion-sensing controllers.. Players can craft fishing poles, playhouses, robots, and even a rudimentary paper piano.
Knight says the Curtain dig is filling in the picture of one of the oldest and least-known London playhouses, which served as a base for Shakespeare's troupe, the Lord Chamberlain's Men, between 1597 and 1599.
In an exclusive clip from the premiere, hosts Tyson and Audy Leavitt of Charmed Playhouses, tackle Riley's request for a pony-themed space and mom Ayesha's over-the-top wish for a built-in ball pit.
It's been a great run for cinema, a business that began with the Lumière brothers' early creations flickering in Paris playhouses in 229.99, then generated untold billions in ticket sales over its 219.99-plus years since.
Instead, this latest retelling of Kenneth Grahame's perennially popular 1908 tale of Mr. Toad, Ratty and their anthropomorphized chums has taken up inert occupancy of the London Palladium, another of the city's largest playhouses (through Sept. 2).
The stadium was transformed into a psychedelic 1950s suburban idyll, full of playhouses and white picket fences, bare-chested milkmen and paperboys as well as a towering garden gnome with flashing eyes and the word Pimp emblazoned across its chest.
Because there were still moral misgivings about the role of alcohol in society, the New Deal invested generously in public leisure infrastructure like parks, playhouses, and hunting lodges, giving people some way to spend their time other than at the bar.
In the postwar era, scaffolding appealed to architects working on temporary buildings, particularly theaters: Lina Bo Bardi's Teatro Oficina, in São Paulo, Brazil, and Tadao Ando's Kara-za, in Tokyo, both use standardized metal elements to create pop-up playhouses on tricky lots.
Theatre in Paris translates French theater performances into English in 10 playhouses in Paris, including Theatre Mogador, currently showing French productions of "The Adventures of Tom Sawyer" and the musical "Grease," and Theatre de Ranelagh, currently showing the play "Ruy Blas" by Victor Hugo, "Cyrano de Bergerac" and more.
A truly great solo show comes around only once in a long while — and this is especially true on the commercial stages of Broadway or the West End in London — which is why it seems incredible that there are three such productions running at leading playhouses in the German-speaking world.
At this scale and in these shades, they almost seem fun, like playhouses rather than penitentiaries — which is appropriate, as they are meant to celebrate, in the custom of abebuu adekai, the lives that were unsactimoniously lost due to the white, male, hegemonic Western "pursuit of happiness" — sins for which we are still struggling to atone today.
Source: Tour MauiRead more:36 photos of elaborate playhouses that have electricity, princess-worthy towers, and price tags of up to $400,000A couple took their wedding photos in the supermarket cereal aisle where it all beganAn artist drew celebrities in the style of Disney characters and the results are magical21 adorable photos of mixed-breed dogs that'll make your day
Read more:Kylie Jenner gave a mini tour of daughter Stormi's playroom and it has everything from a 'storm' light to luxury bagsA mom took her love for Target to the next level by throwing her son's birthday party in the store36 photos of elaborate playhouses that have electricity, princess-worthy towers, and price tags of up to $400,000We toured a $7 million NYC apartment that has a slide and zip line, and it's a kid's paradise
More playhouses such as The Rose and The Swan were built.
The following is a list of English Renaissance theatres, from the first theatres built in 1567, to their closure at the beginning of the English Civil War in 1642. English Renaissance theatres were more commonly known by the term 'playhouses'. They can be divided into indoor playhouses (which were small and performed to high-paying audiences) and outdoor playhouses (large, partly open-air amphitheatres that charged lower prices).
At Gotham's Playhouses, The Opera Glass, p. 188 (November 1897, Vol. 4, No. 11)(23 November 1897).
She is known as the first woman ever to have directed two individual playhouses in North America.
Joseph Quincy Adams, Shakespearean Playhouses, Boston, Houghton Mifflin, 1917; pp. 368–9. Neither of his plays has survived.
"Playhouses and Players". In The Cambridge Companion to English Renaissance Drama. A.R. Braunmuller and Michael Hattaway (eds.). Cambridge: Cambridge University Press, 6. .
The show is filmed with multiple cameras set up in the celebrities home. Unlike the Korean version, on early episodes cameraman's are clearly visible and not hidden in tents or playhouses. Starting from episode 5 tents and playhouses are used to hide the cameraman's presence in the dads home. Filming takes place at each of the celebrities actual home or work place.
There are a number of companies that specialize in creating elaborate and distinctive playhouses which can be used for both commercial and private purposes.
The third-largest theatre owner on Broadway, behind the Shubert Organization and the Nederlander Organization, Jujamcyn owns five of the 41 Broadway district playhouses.
411–412; and "The Playhouses", Illustrated London News, 29 March 1902, p. 450 the production closed after three weeks."Theatres", The Times, 9 April 1902, p.
13; "The Playhouses", Illustrated London News, 17 September 1932, p. 440; and "Aldwych Theatre", The Times, 6 September 1932, p. 10 The Illustrated London News observed, "The Aldwych authors have taught us to expect a laugh in every line, but Mr. H. F. Maltby, probably ill at ease in adapting this play from the French, was not his usual witty self.""The Playhouses", Illustrated London News, 17 September 1932, p.
Woodroffe is especially noted for a letter he wrote to Lord Burghley about the spread of infection in the city. He complained of there being too many Playhouses, which attracted unmanageable multitudes, encouraged the spread of plague, and distracted people from the service of God. He proposed various regulations, and an injunction against the 'haunting of playhouses'.E.K. Chambers and W.W. Greg, Dramatic Records of the City of London.
He was said to be quite rich because he was earning income from being the primary housekeeping of two playhouses, a sharer in the King's Men, a lead actor and a painter.
While The Revenger's Tragedy was apparently performed by an adult company at the Globe Theatre, its bizarre violence and vicious satire mark it as influenced by the dramaturgy of the private playhouses.
The Newington Butts Theatre was one of the earliest Elizabethan theatres, possibly predating even The Theatre of 1576 and the Curtain Theatre, which are usually regarded as the first dedicated playhouses in London.
The play has also been performed by high schools, colleges, and community theaters across the country, as well as professional playhouses in the United States, Canada, the United Kingdom, Ireland, Australia, and New Zealand.
Pilkington, pp. xxxiv–xxxv In the early 17th century, two private playhouses were opened, the Wine Street Playhouse and Redcliffe Hall. Drama historian Mark Pilkington considers this "a situation unique in the provinces."Pilkington, p.
553-574, 555, 557, 563. The playhouse was completed two years later for the Queen's Men.Herbert Berry, 'Building Playhouses, the Accession of James I, and the Red Bull', Medieval & Renaissance Drama in England, vol. 18 (2005), pp.
Although The Dragon of Wantley would be more fully an opera, Chrononhotonthologos is a spectacular that is also an exaggeration of spectaculars. There had been farce spectacles before. In the era of the competing playhouses and the Restoration spectacular, the playhouses that had no capacity for special effects put on farces of the plays they could not stage. However, those plays had concentrated more specifically on effects than on the total experience of bombast, unmotivated dance, pompous music, and special effects, and Carey's play attacks not a specific rival, but an entire genre.
Gou is a stage director who is attracting attention at local playhouses. Rei, his wife, always stars in his plays. This time, however, the script is not ready for an upcoming production. His desperation leads to more strife.
The audience greeted the announcement with "a mixture of jeers, cheers, and laughter." The box office refunded patron's tickets, costing $2,740."Strike Closes Two More Playhouses," The New York Times, August 14, 1919, p. 1 The five actors were sued for $500,000 damages.
Barrie also performed at various playhouses across the U.S, debuting on Broadway in 1937. For her contributions to the film industry, Barrie received a motion pictures star on the Hollywood Walk of Fame in 1960. Her star is located at 6140 Hollywood Boulevard.
Meanwhile he disposed of his interest in Olympia Theatres, Inc., to the Paramount Famous Lasky Corp. in 1925. According to the Boston Daily Globe, the transaction was reportedly valued at $12 million and included Gordon's holdings in 38 moving picture playhouses in New England.
This organization took control of first-class playhouses in the U.S., dictated the plays chosen, and the actors that were cast. She fought for artistic freedom for 12 years, which caused her to perform in third-class theatres, such as churches and skating rinks.
Also the rise of motion pictures drew audiences away from touring shows, because they offered the same stars and entertainment but at a cheaper price and more diverse productions. Slowly but surely playhouses converted back to regional theaters and combination companies became non-existent.
He worked extensively in summer stock."SETTING THE STAGE ALONG THE RUSTIC TRAIL: THE RUSTIC TRAIL Summer Playhouses, Barns and Tents Are Being Heard From Once Again Possible Trend" By ARTHUR GELB. New York Times 17 June 1956: 97."Front Views & Profiles: Theater Street" LUCY KEY MILLER.
The City and the Theatre: The History of New York Playhouses, a 250-year Journey from Bowling Green to Times Square. New York: Back Stage Books. . p.61 This location made the gardens accessible to the people of both the Broadway and Bowery districts.Caldwell, Mark (2005).
It opened on November 2, 1903, with the play The Proud Prince. Frohman's brother Charles served as the theater's manager until his death in 1915. Two previous New York playhouses had also been called "Lyceum Theatre". The Fourteenth Street Theatre used the name from 1871 to 1879.
Publishers sent artists to the playhouses of Georgian and early-Victorian London to record the scenery, costumes and dramatic attitudes of the greatest successes of the day. The theatre management often provided these artists with a free seat, as the toy theatre sheets were excellent free advertising.
Over more than four decades, ACT has established itself as one of Seattle's leading theaters.David-Edward Hughes, Seattle, Talkin' Broadway Regional Theater. Accessed online 2009-11-06. Along with the Cornish Playhouse and Seattle Repertory Theatre ("The Rep"), it is one of the city's three largest playhouses.
The early Spirit covered goings on at all of New York's playhouses. Jacksonian entertainment was stratifying by class, however, and the Spirit quickly relegated most of its coverage to the Park Theatre.Cockrell 28. Any coverage of the Bowery or Chatham Garden theatres was negative from about 1832 on.
The Company enjoyed a de facto monopoly on professional theatrical performances in North America until the 1790s. In many places, they were the first professional company to perform theatre, and they founded playhouses for their use in many of the cities and towns they visited, often the very first playhouses in those places. They toured from Newport in Rhode Island to Williamsburg in Virginia, and between Annapolis, Philadelphia and New York. They founded a playhouse in New York in 1754, the 'New Theatre' playhouse in Charleston, South Carolina in 1754, the Southwark Theatre in Philadelphia in 1766, the John Street Theatre in New York in 1767, and the New Theatre in Annapolis in 1770.
Four New York City theaters have borne the name Wallack's Theatre. Each has had other names before or after, or both. All are demolished. The last was one of the ten theaters which in the early 20th century made one block of 42nd Street internationally famous for its concentration of playhouses.
As a six-year-oldThe Playhouses, Los Angeles Times, October 10, 1899, pg. 8. she performed feats of memory at the Orpheum Theatre in Los Angeles.Plays and Players-Music and Musicians, Los Angeles Times, October 8, 1899, pg. C1. A particular venue often headlined her ability to solve a psychological puzzle.
The Fun Spot is an activity centre featuring various interactive elements designed for children. The indoor attraction also features play kitchens, a mini supermarket, playhouses and a dress-up chest. During the area's expansion into ABC Kids World in 2015, the attraction was renamed the ABC Kids World Fun Spot.
When the closed Moor Street Theatre was converted into a Methodist chapel in 1764, John Wesley preached how "Happy would it be, if all playhouses in the kingdom were converted to so good an use", though some elements of the town evidently disagreed, and stoned the congregation as they left.
Berlin dominated the German theater scene, with the government- supported Opernhaus and Schauspielhaus, as well as numerous private playhouses included the Lessing and the Deutsches theatres. They featured the modern plays of Ernst von Wildenbruch, Hermann Sudermann, and Gerhart Hauptmann. who managed to work around the puritanical censorship imposed by the Berlin police.
The play was a hit, and its songs were printed up and sold. However, when Gay wrote a sequel called Polly, Walpole had the play suppressed before performance (Winn 112–114). Playwrights were therefore in straits. On the one hand, the playhouses were doing without plays by turning out hack-written pantomimes.
The Newington Butts Theatre was one of the earliest Elizabethan theatres, possibly predating even The Theatre of 1576 and the Curtain Theatre, which are usually regarded as the first dedicated playhouses in London. William Ingram believes it was probably the first of the three to begin construction, and may have been the first completed.
Any political content designed to agitate the court was censored. Tilney's career as Master (1579–1610) spanned some of the most eventful years in the history of English drama. In 1576, The Theatre and The Curtain, the first public playhouses, were built. There were many more being built all over the country at this time.
From 1944 Caryl Jenner wrote Christmas pantomimes for small-time playhouses. During performances she would make note of the behaviour of the children, recording what scenes and sequences held their attention, and which did not. She began to formulate the principles that would guide her theatre and writing. In 1947 she founded the Mobile Theatre.
Chao has participated in theatre productions, like La Jolla Playhouses' Sideways, Surf Report, and WoW Festivals' Our Town. Additionally, she appeared in Ensemble Theatre Company's Amadeus. In 2016, Chao appeared in the off-Broadway play Friend Art at Second Stage. Chao has worked alongside directors Christopher Guest, Les Waters, Ping Chong, and Chris Ashley.
New York: Press Syndicate of the U. of Cambridge, 1994; pp. 164. The structure originally belonged to the Monastery of Bermondsey. After the Dissolution of the Monasteries, it became royal property and passed through several hands before being sold to Langley for £850.Adams, Joseph Q. Shakespearean Playhouses: A History of English Theaters from the Beginnings to the Restoration.
"The Playhouses", The Illustrated London News, 19 June 1926, p. 1112 Reviewing the 1988 revival, Michael Coveney called the play "a fascinating blend of the country house ill-manners of [Hay Fever] and the late Victorian problem drama".Coveney, Michael. "Arts: Review of Easy Virtue at the Kings Head", The Financial Times, 14 January 1988, p.
"Playhouses in the Provinces", Illustrated London News, 5 September 1891, p. 322 Billington as Pooh-Bah (1888) In 1880, in D'Oyly Carte touring companies, Billington added the roles of the Notary and later Doctor Daly in The Sorcerer,Rollins and Witts, pp. 33 and 36 and Sisyphus Twister in the curtain-raiser Six and Six.Walters, Michael and George Low.
This is a smaller, candle-lit space based on the indoor playhouses of Jacobean London. The Sackler Studios, an educational and rehearsal studio complex, is situated just around the corner from the main site. Michelle Terry currently serves as artistic director. She is the second actor-manager in charge of the organisation, following Mark Rylance, the founding artistic director.
He returned to specific editing with work on Doctor Faustus (1950). Greg also wrote on the material conditions of Renaissance theater and publishing; his work in this regard includes Dramatic Documents from the Elizabethan Playhouses (1931) and English Literary Autographs, 1550–1650 (1932). The Variants in the First Quarto of King Lear (1940) offered a careful examination of this printing.
The List of English Renaissance theatres covers the period from the establishment of the first Tudor theatres, through to their suppression by parliament at the beginning of the English Civil War. The List of Former theatres in London covers the period from the reopening of the playhouses after the English Restoration through to the 21st century. It includes music halls.
Geer built the houses for the development in 1833. The area became a fashionable, upper-class residential district, and when Lafayette Street was opened in the 1820s, it quickly became one of the most fashionable streets in New York.Henderson, Mary C. (2004). The City and the Theatre: The History of New York Playhouses, a 250-year Journey from Bowling Green to Times Square.
To that end, they built several new theaters and playhouses throughout the city. Dalstroy developed a renowned theater troupe known as the Sevvostlag Club (Klub USVITL), which included many professional singers and dancers from among the local camps’ prisoners. The troupe performed mainly for the higher-up officials in Magadan but also sent “cultural brigades” to entertain officials and prisoners throughout Kolyma.
Cambodia is a land of broken dreams. There is no more theatre, no more playhouses." The film is an urging by the director to restore Cambodia's lost cultural heritage. In comments prepared for the Tokyo Filmex in 2005, Panh wrote: "When it comes to reconstruction, we must restore our identity first and have some space of cultural expression to do so.
Scott, Clement. "The Playhouses", Illustrated London News, 5 August 1893, p. 170 1895 Trip to America Although most celebrated for her performances in contemporary comedies, Mrs Tree appeared with success in more serious roles, including Ophelia in Hamlet (1891, 1882, and 1905), Lady Percy in Henry IV, Part 1, Calpurnia in Julius Caesar (1900), Gertrude in Hamlet (1905), and Portia in Julius Caesar (1911).
Joseph Quincy Adams, Shakespearean Playhouses, Boston, 1917, p. 76. (The name bears no relationship to the front curtain associated with modern theatres.) The remains of the theatre were rediscovered in archaeological excavations in 2012–16. The most significant revelation was that the Curtain was rectangular, not round. The excavation revealed a stage, and evidence of a tunnel under the stage and galleries at the first floor level.
Three male dancers perform in blue, green and red shirts. Throughout the video, there are shots of rotating playhouses, falling banknotes, mannequin hands hanging in threads, and spinning umbrellas, some with the chorus written on them, making the words spin with them. Towards the end, the "gypsy woman" lies on a park bench. Waters continues singing the chorus and makes the sign of the cross.
The sense of the creator of plays as a "maker" rather than a "writer" is preserved in the word "playwright." The Theatre, one of the first purpose-built playhouses in London, was "a self-conscious latinism to describe one particular playhouse" rather than a term for the buildings in general (1967, 133). The word 'dramatist' "was at that time still unknown in the English language" (1981, 68).
In addition to slides and pools, the park featured several other family attractions. In 2010 it added a beach family-fun area, a children's attraction featuring a giant chessboard with movable playing pieces such as knights, rooks and pawns. There was also a sand-beach area overlooking Geauga Lake. Little Tikes Town, a children's area with playhouses and toys, was located behind Thunder Falls.
Henry John Wallack (1790 – 30 August 1870) was a British actor, stage manager, and brother of actor James William Wallack. Wallack was born in London. Wallack's parents were comedians, who performed at the London minor playhouses and in the British provinces. He worked in the United States about 1821, and appeared at Drury Lane on 26 October 1829 as Julius Cæsar to his brother's Mark Antony.
In the 1930s, the Globe was converted into a movie house operated by the Brandt chain. City Playhouses Inc. (which consisted of developers Robert W. Dowling and William Zeckendorf) bought it in 1957 and had the firm Roche and Roche gut renovate it. Major changes were made, including the removal of the second balcony level, the Broadway entrance, and much of the original decor.
The first performance was September 30. Other adaptations followed, including an 1816 three-act version attributed to Sir Henry Bishop, and a two-act version by Thomas Dibdin. Versions were performed at many playhouses in London and in the United States throughout the nineteenth century. A German translation by Ignaz Franz Castelli, with music by Ignaz von Seyfried, premiered on 4 October 1815 at Berlin's Königliche Schauspiele.
Smith suggested that several letters to and from Francis Bacon hinted at his authorship. A year later, both Smith and Delia Bacon published books expounding the Baconian theory.Smith, William Henry: Bacon and Shakespeare: An Inquiry Touching Players, Playhouses, and Play- writers in the Days of Elizabeth (John Russell Smith, 1857).Bacon, Delia: The Philosophy of the Plays of Shakespeare Unfolded (1857); The Philosophy of the Plays of Shakespeare Unfolded.
He was educated in Norwich and later in London."Klein, Herman", Who Was Who, A & C Black, 1920–2008; online edn, Oxford University Press, December 2007, accessed 3 January 2009 Klein was married three times. His first wife was Emily May Brown, a ballerina, with whom he had a daughter, Sibyl Klein, who became an actress;"News of the Playhouses", The New York Times, 12 January 1903, p. 9 they divorced.
Ranft was regarded as the "theatre emperor of Stockholm" in the early 20th century. For a while his empire comprised all the private playhouses in the city: Vasateatern, the Swedish Theatre, Södra Teatern, and Oscarsteatern. Simultaneously, he ran the Royal Swedish Opera. The jewel in his crown was the Swedish Theatre, where several plays that have made theatre history premiered, notably A Dream Play by August Strindberg in 1907.
Poster from a 1908 production of Aida at the Hippodrome Theater The Hippodrome Theater was located at 720 Euclid Ave in Cleveland, Ohio. In its day, it was a very lavish theater and ranked as one of the world's greatest playhouses. Performers appearing at the Hipprodome included Enrico Caruso, Sarah Bernhardt, W. C. Fields, Will Rogers, Al Jolson, and John McCormack. The auditorium had two balconies and seating for 3,548.
"The Theatrical World – The White Heather at Drury Lane", St James's Gazette, 17 September 1897, p. 12, accessed 15 April 2018, via British Newspaper Archive "At Gotham's Playhouses", The Opera Glass, p. 188 (November 1897, Vol. 4, No. 11); and Advertisement, New York Tribune (rightmost column has theatre listings for 30 April 1897 and notes "last day" of the play.) It was adapted as an American silent film in 1919.
Johnston Forbes-Robertson as Hamlet In 1902 Johnston Forbes- Robertson starred in a season; his repertory included Othello and Hamlet, with Gertrude Elliott as his co-star. His Hamlet was described in the press as "the most refined and beautiful embodiment of Hamlet vouchsafed to our generation","Stageland", The Clarion, 11 July 1902, p. 3 and "a revelation"."The Playhouses", The Illustrated London News, 12 July 1902, p.
Casting Shakespeare's Plays; London actors and their roles 1590–1642, Cambridge University Press. (Paperback edition 2009, ) Richard Cowley, and William Kempe. Shakespeare's plays continued to be staged after his death until the Interregnum (1642–1660), when most public stage performances were banned by the Puritan rulers. After the English Restoration, Shakespeare's plays were performed in playhouses, with elaborate scenery, and staged with music, dancing, thunder, lightning, wave machines, and fireworks.
Only a small number of the Einheitsempfänger TV also called People's TV, were produced. Film propaganda had the highest priority in Germany even under the severe conditions of the last years of World War II. While schools and playhouses stopped working in 1944, cinemas continued to operate until the very end of the war. In Berlin for instance, anti-aircraft units were posted specially to protect the local cinemas in 1944.
Northern Kentucky contributes many attractions to the Greater Cincinnati community. Beyond the shops, restaurants, and riverside views of Cincinnati's famous skyline, some of the more well-known attractions are The Florence Speedway, MainStrasse Village, Newport on the Levee (including the Newport Aquarium), and the World Peace Bell. There are also several community playhouses and music venues, along with community parks, arboretums, and museums. Campbell County even boasts some wineries.
One of his later theatrical parts was in Thomas Hardy's Tess of the d'Urbervilles in 1925, with Gwen Ffrangcon-Davies in the title role."The Playhouses", Illustrated London News, 19 September 1925, p. 550 The reviewer in Punch wrote, "Mr John Le Hay gave us a superb little study of an old countryman which richly deserved the enthusiastic applause that rewarded it"."At the Play", Punch, 16 September 1925, p.
The idea of celebrity was at full force and people would flock to theater houses to see their favorite stars perform. Stars made famous in New York would travel to stock theaters and perform limited engagements there. “The engagements of the first important stars… were rare and special events”(Poggi 4). Audiences would come in from all over to sold out performances at playhouses and see their favorite stars.
In addition to a permanent exhibition of his paintings, there is small cinema. The summer studio at the top of the garden (the atelier) houses an exhibition illustrating the story of the artist, his family and friends. The garden also has a small cafe, and two playhouses for children. However, not all the paintings on display in the museum are widely known, as several of his better works are exhibited at the Bornholm Art Museum.
Robert Benchley, E. B. White, S. J. Perelman, and James Thurber, amongst others.Catherine Keyser, "Robert Benchley and Dorothy Parker 'In Broadway Playhouses': Middlebrow Theatricality and Sophisticated Humour". Modernist Cultures, Volume 6, pp. 121–154. Perelman is highly regarded for his humorous short stories that he published in magazines in the 1930s and 1940s, most often in The New Yorker, which are considered to be the first examples of surrealist humor in America.
The stage employs unique stagecraft tricks used in Japanese Kabuki theater such as Hanamichi (runway stage), Seri (trap-door lift stage mechanism), and Mawari-butai (revolving stage), all of which were invented in playhouses during Edo period."Experience the Stage of Minamiza" Kabuki Museum Minamiza. 〒605-0075 京都府京都市東山区四条通大和大路西入中之町１９８. April 15, 2013.
As Berry explains, the Boar's Head differed from many other playhouses of the time in that it "was not a single free-standing building, like the Globe, Fortune, and others, but, except for the stage, mostly a scheme of additions and alterations to existing buildings originally meant for very different uses."Berry, 95. These other sections included various lodgings, stables, gardens, barns, and, thankfully for its customers, a privy.Berry, 107; 139-155.
Brewery owners and doctors commissioned mansions along Bushwick and Irving Avenues at the turn of the 20th century. New York mayor John Francis Hylan kept a townhouse on Bushwick Avenue during this period. Bushwick homes were designed in the Italianate, Neo Greco, Romanesque Revival, and Queen Anne styles by well-known architects. Bushwick was a center of culture, with several Vaudeville-era playhouses, including the Amphion Theatre, the nation's first theatre with electric lighting.
"Aldwych Theatre", The Times, 8 March 1932, p. 12 Many members of the familiar company remained: Lynn, in his customary "silly ass" role, Robertson Hare, as a figure of put-upon respectability; Mary Brough as a good-hearted battle-axe; Ethel Coleridge as the voice of middle-class primness; and the saturnine Gordon James.Trussler, p. 278 Walls was missed by the critics and the public;"The Playhouses", The Illustrated London News, 19 March 1932, p.
Nimax Theatres Ltd. is a theatre group owned and operated by Nica Burns and Max Weitzenhoffer. In July 2005, Weitzenhoffer and Burns announced they were forming Nimax to buy four of London’s playhouses from Andrew Lloyd Webber, namely the Apollo Theatre, Garrick Theatre, Duchess Theatre and Lyric Theatre, taking control the following October. Additionally, Weitzenhoffer had already owned the Vaudeville Theatre since January 2001; it was transferred in September 2005 to the newly formed company.
The anti-ministerial (Tory) sentiment was entirely derived from interpretation. Playwrights were therefore in straits. On the one hand, when the playhouses were not running operas imported wholesale from the continent, they were dispensing with dramatists by turning out hack-written pantomimes. On the other hand, when a satirical play appeared from a literary source, the Whig ministry suppressed it even though it came from the most popular dramatist of the day (i.e.
Therefore, the playhouses had little choice but to present old plays and pantomime and plays that had no conceivable political content. One consequence was that William Shakespeare's reputation grew enormously as his plays saw a quadrupling of performances, and sentimental comedy and melodrama were the only "safe" choices for new drama. Dramatists themselves had to turn to prose or to less obvious forms of criticism, such as puppet shows that Charlotte Charke would invest in.
Although the theatre styles of the Restoration lasted a while even after Collier's pamphlets, a new and more restrained theatre began to develop due, in part, to Collier's critiques. Due to the strict morals of the Puritans as well as others such as Collier, neoclassism drama began to emerge even while Restoration drama was still flourishing. During Collier's time, Societies for the Reformation of Manners dedicated themselves to maintaining honour in playhouses.
Steiner and Butler outline five types of arts districts commonly found in the United States. # Cultural compounds - tend to be the oldest art districts often established in cities before the 1930s. These tend to be well-known art districts engrained into the mentality and culture of a community or nation. # Major Cultural Institutions - large institutions that serve as anchors for an arts district such as large concert halls, playhouses, libraries, or museums.
It was rechristened the Lunt-Fontanne in honor of Alfred Lunt and Lynn Fontanne and reopened on May 5, 1958 with Friedrich Dürrenmatt's The Visit, starring the distinguished theatrical couple. In 1960, City Playhouses sold the theatre to producers Cy Feuer and Ernest H. Martin; they sold it on to developer Stanley Stahl in 1965. The theatre, which seats 1,415, is currently co-owned by the Stahl Organization and the Nederlander Organization.
During the 1570s, Shoreditch was London's first theatre district and the birthplace of modern theatre. The Curtain opened in 1577. It disappeared from historical records in 1622 but could have remained in use until the outbreak of the Civil War, 20 years later, giving it the longest history of use of all of London's Shakespearian playhouses. Documents show that the Curtain was later used as tenements from the 1630s, by which time the playhouse had fallen out of use.
In 1981, the theatre was purchased by Jujamcyn Theaters and named the Virginia Theatre for owner and Jujamcyn Board member Virginia McKnight Binger. After her husband, James H. Binger's death in 2004, producer and president of Jujamcyn Rocco Landesman announced that he planned to buy Jujamcyn. He told The New York Times he had a long-standing understanding with Binger that he would buy the corporation's five playhouses. The theatres had an estimated net asset value of $30 million.
Historians specializing in the history of the parterre in France attribute the movement to install seats in playhouses with efforts to silence the unwieldy parterre. Seats were installed in the Comédie-Française in 1782 and in 1788 benches were installed in the Comédie-Italienne.Ravel (1999), p. 220–21. In 1777 Jean-François de La Harpe's proposal to install seats in the parterre sparked the debates between philosophes, playwrights, and officials about the desirability and motives behind seating the parterre.
Augustan drama has a reputation as an era of decline. One reason for this is that there were few dominant figures of the Augustan stage. Instead of a single genius, a number of playwrights worked steadily to find subject matter that would appeal to a new audience. In addition to this, playhouses began to dispense with playwrights altogether or to hire playwrights to match assigned subjects, and this made the producer the master of the script.
When Pinafore was first revived in London in 1887, it was already treated as a classic. The Illustrated London News observed that the opera had not been updated with new dialogue, jokes and songs, but concluded that this was for the best, as the public would have missed the "time-honoured jokes, such as 'Hardly Ever.' The Savoy has once more got a brilliant success.""The Playhouses", The Illustrated London News, 19 November 1887, 91(2535): 580, col.
The three London playhouses (Drury Lane, Dorset Garden, and Haymarket) were thus alike for a short while under Rich. Rich, however, was abrasive, and one of the chief proprietors, Sir Thomas Skipwith, parted with his share to Henry Brett. Intrigue by Brett seems to have influenced Henry Grey, 1st Duke of Kent, the Lord Chamberlain, to issue, on 31 December 1707, an edict restricting the Haymarket to opera under Swiney's directorship, and ordering Rich's actors back to Drury Lane.
Read's end is mysterious; but his continuing fame is demonstrated by allusions to him, in works from his own and the next generation. In the Praeludium of The Careless Shepherdess (published 1656), one speaker says, ::I never saw Reade peeping through the curtain, ::But ravishing joy entered my heart.R. A. Foakes, "Playhouses and players," in The Cambridge Companion to English Renaissance Drama, A. R. Braunmiller and Michael Hattaway, eds., Cambridge, Cambridge University Press, 2003: p. 45.
Cort had the basement level of the Grand built in 1898 and opened it as a variety and beer hall known as the Palm Gardens."Grand Was Oldest of Seattle's Playhouses", The Seattle Daily Times, January 20, 1917, p.2. In the summer of 1900, the rest of the building was built "in record time," with its official opening on October 8, 1900. In the winter of 1901, Cort signed a contract with New York-based impresarios Klaw & Erlanger.
Evan- Burrows Fontaine - Ziegfeld’s Midnight Follies (1919) Fontaine was taught the Dance Egyptienne by St. Denis’ husband, choreographer Ted Shawn, one of several dances Shawn would teach her based on his interpretation of Javanese ceremonial dancing. Fontaine’s stage debut may have occurred on December 16, 1914, when she performed Shawn’s Syvillia in a production staged by St. Denis’ company at the Ye Liberty Playhouse in Oakland, California.At Local Playhouses-The Oakland Tribune, December 13, 1914 pg. 5, Ancestry.
148–158 Robert D. Hume of Penn State University explained that use of the drawing "rests almost entirely on the supposition that the so-called "Wren section" at All Souls represents this theatre. It could just as easily be a discarded sketch unconnected to Drury Lane in any way."Hume, Robert D. "Theatre History 1660–1800: Aims, Materials, Methodology", in Players, Playwrights, Playhouses: Investigating Performance, 1660–1800, ed. Michael Cordner and Peter Holland, Palgrave Macmillan (2007), p.
Subjective meant free, personal, non-functional practice. The radical artist Chargesheimer (pseudonym of Karl-Heinz Hargesheimer) having studied graphics and photography at the Cologne Werkschulen (1942–43) and at the Bavarian State Institute for Photography in Munich (1943–44), and pursuing his interest in theatre from 1947 as a freelance photographer for various playhouses in Germany, encountered fotoform and in 1950 participated in their “photo-kino” exhibition in Cologne and also in their legendary exhibitions of “subjektive fotografie” in 1952 and 1954.
The Boar's Head featured a covered, square playing area in an age of polygonal playhouses (such as the Globe, the Swan and the Rose) and was surrounded on all sides by the audience. Even after its expansion, the Boar's Head remained a comparatively small theatre for its time, with only two levels of galleries on the east side, and one each on the north and south sides. (For comparison, the Swan and Fortune theatres each had three levels of galleries.)Leggatt, 14.
She sang in country playhouses all over the area, as a special guest at a Warren Talent Show, and she was second-place winner in the New York Apollo competition held in Houston. On October 11, 2001, Harrison's father died after the plane he was on crashed off the coast of Spain. After sixth grade, her family moved to Nashville to pursue her singing career. She attended seventh grade there, and was home schooled afterwards to devote more time to her music.
Harry Steppe was represented by several theatrical agencies during his career, including Cain & Davenport and Chamberlain and Lyman Brown. Some of his shows were produced by Sam N. Reichblum and well-known burlesque producer I.H. Herk. Steppe also secured theater bookings through the support of entertainment circuits, or "wheels," like the B.F. Keith Vaudeville Exchange, the Columbia Amusement Company (so- called "clean" burlesque) and the Mutual Burlesque Association."In the City's Playhouses: Harry Steppe - Orpheum" Reading Eagle, Sep 27, 1930, page 14.
The rear side was restricted for the entrances and exits of the actors and seating for the musicians. The upper level behind the stage could be used as a balcony, as in Romeo and Juliet and Antony and Cleopatra, or as a position from which an actor could harangue a crowd, as in Julius Caesar. The playhouses were generally built with timber and plaster. Individual theatre descriptions give additional information about their construction, such as flint stones being used to build the Swan.
The Red Bull was constructed in about 1605 on St John Street in Clerkenwell on a site corresponding to the eastern end of modern-day Hayward's Place. Contemporary documents reveal that it was converted from a yard in an inn. This origin accounts for its square-ish shape, shared, for example, by the original Fortune Theatre among playhouses of the time. The Red Bull inn's name may relate to drovers bringing cattle down St John Street toward the markets at Smithfield.
Preferring stage acting, Ross returned to the small playhouses in Los Angeles for much of the 1970s. "I'm aware that I have the reputation of being difficult," she later said. One of her best-known roles came in 1975's film The Stepford Wives, for which she replaced Tuesday Weld at the last moment and won the Saturn Award for Best Actress. She married Gaetano "Tom" Lisi after making the film; they met when he was a chauffeur and technician on the set.
The Playhouse was shot in late 2015, starring Brian Cox, Elizabeth Taylor, Joseph Fiennes. It also featured Carrie Fisher in one of her final roles. Before the planned 2017 transmission of the show adverse reaction to the casting of Fiennes as Jackson, particularly from Jackson’s daughter Paris Jackson, saw the show controversially pulled by Sky. Another of Forsyth’s Sky Playhouses, Waiting for Andre, concerned the real-life friendship between Samuel Beckett (David Threlfall) and a teenage Andre the Giant (Liam Macdonald).
Since 1994, government policy changed dramatically. All performing arts boards were transformed to managers of playhouses and the various arts companies had to become independent. The CAPAB Drama Department staged its last production in May 1997 with a final performance of David Mowat's The Guise, a play which has the survival of the theatre as its theme. The new organisation, Artscape, was launched on 27 March 1999 to replace CAPAB and the Nico Malan Theatre Complex was renamed the Artscape Theatre Centre.
It Happened One Night (1934) At the end of the war, Riskin returned to New York City, where, in partnership with a friend, he found some success in producing plays for Broadway. Riskin began his career as a playwright, writing for many local New York City playhouses. Two of his plays, Bless You, Sister and Many a Slip, had successful runs. Riskin continued his Broadway career until the 1929 stock market crash and the Great Depression caused many theatres to close.
In Amsterdam, they had three children: Louis Victor (born 1778), Johannes Victor (born 1780) and Georg Samuel (born in 1783, but buried in Amsterdam in 1784). L.V. Gerverot lived in the Plantage (plantation), then a large park with inns, speelhuizen (playhouses, where billiards was played) and brothels, now Artis and its surroundings. All his children were baptized at home, since he did not belong to a particular church. On 1 March 1779, Gerverot was dismissed in Loosdrecht, having lent De Mol 28,000 guilder.
Cirkus Cirkör emerged as a small independent contemporary circus group, founded in Stockholm in 1995. The company was formed - and is today still run by - Tilde Björfors. Cirkus Cirkör was one of Sweden's very first contemporary circus groups, inspired by Cirque du Soleil, among others. Cirkus Cirkör, however, moves more towards vaudeville- and variety show-inspired circus shows in expression, preferring small and intimate stage shows (in smaller playhouses and older theatre stages), in contrast to big, Las Vegas-style circus shows.
Malave studied acting at Herbert Berghoff Studios in the West Village, while pursuing his budding career as a professional boxer. He acted in a number of plays at various playhouses around New York. He got his first lead role in Miguel Pinero's "Short Eyes" at Lincoln Center where he received rave reviews from The New York Times. He played the role of "Ramon Santos" in the Barney Miller pilot for ABC, reprising the role when the episode was re- shot for Season One.
Under Elizabeth, the drama was a unified expression as far as social class was concerned: the Court watched the same plays the commoners saw in the public playhouses. With the development of the private theatres, drama became more oriented towards the tastes and values of an upper-class audience. By the later part of the reign of Charles I, few new plays were being written for the public theatres, which sustained themselves on the accumulated works of the previous decades.
The rear side was restricted for the entrances and exits of the actors and seating for the musicians. The upper level behind the stage could be used as a balcony, as in Romeo and Juliet and Antony and Cleopatra, or as a position from which an actor could harangue a crowd, as in Julius Caesar. The playhouses were generally built with timber and plaster. Individual theatre descriptions give additional information about their construction, such as flint stones being used to build the Swan.
The earliest known form of stage lighting was during the early Grecian (and later the Roman) theaters. They would build their theatres facing east to west so that in the afternoon they could perform plays and have the natural sunlight hit the actors, but not those seated in the orchestra. Natural light continued to be utilized when playhouses were built with a large circular opening at the top of the theater. Early Modern English theaters were roofless, allowing natural light to be utilized for lighting the stage.
Charles II, who would later become King Charles II witnessed Italian theatrical methods and brought them back to England when he came to power. New playhouses were built in England and their large sizes called for more elaborate lighting. After the refurbishing of the theaters, it was found that the "main source of light in Restoration theaters to be chandeliers" which were "concentrated toward the front of the house, and especially over the forestage". English theatres during this time used dipped candles to light chandeliers and sconces.
Dane grew up in Southeast Missouri (Cape Girardeau), where he spent his childhood making playhouses and treehouses. At age 14, Dane was involved in a motorcycle accident, rendering him clinically dead for several minutes until his was miraculously revived. His esophagus, trachea and vocal cords were injured in the accident, prohibiting him from speaking for two years, a period Dane defines as when he "learned to really listen". His injuries required 33 surgeries, one of which removed a vocal chord, contributing to his distinct voice.
Its beginnings date to the 1920s, when the Lithuanian Artists' Association established drama and opera playhouses. The first play performed by the Kaunas Drama Theatre was Hermann Sudermann's St. John's Day, directed by Juozas Vaičkus, premiering on December 19, 1920, in the former Russian City Theatre, in what is now the Kaunas State Musical Theatre. The company was the only professional theatre organization in Lithuania until 1931, when its branch opened in Šiauliai. Dramas shared the house with opera, and in 1925 they were joined by ballet.
Tent shows have been an important part of American history since the mid-to- late nineteenth century. In 1927, Don Carle Gillette gave "statistical evidence that the tented drama constituted 'a more extensive business than Broadway and all the rest of the legitimate theatre industry put together.'" The shows first began "in regions which couldn’t support full-time playhouses." Men such as Fayette Lodowick, one of the earliest tent show entrepreneurs, would travel around river towns all over the United States making money on traveling tent shows.
In November 2008 Amy Brees, the National Park Service’s Alcatraz site supervisor, invited Ava Roy, We Players’ Artistic Director, to be the first artist-in-residence on the island. Since then, the theater company has co-operated with the National Park Service and California State Parks by bring their performances into these areas turning public park spaces into "impromptu playhouses". In 2012 the theatre company entered into a five-year cooperative agreement with San Francisco Maritime National Historical Park to perform in the park.
The present Opera House is a simple, two-story, red brick structure. The structure is approximately 104 feet long by 60 feet wide; and its walls are 20 inches thick. A stage house on top of the north end of the Opera House (destroyed by fire in the 1930s) rose to a height of 60 feet above the street level. The building partially shares a common wall with the building on its western side Its interior is an example of 19th-century American playhouses.
Textile Museum in Jakarta, an example of a later period of Indies Empire style with the additions of corrugated steel shades. By the end of 19th-century, clubhouses and playhouses were built in big cities of the Indies such as Batavia, Semarang and Surabaya; most were built following the Indies Empire style trend. City development at the end of 19th-century also influenced the form of Indies Empire style. The lack of available space in city centers required modification of typical Indies Empire styled houses.
Shakespeare's plays continued to be staged after his death until the Interregnum (1649–1660), when all public stage performances were banned by the Puritan rulers. After the English Restoration, Shakespeare's plays were performed in playhouses with elaborate scenery and staged with music, dancing, thunder, lightning, wave machines, and fireworks. During this time the texts were "reformed" and "improved" for the stage, an undertaking which has seemed shockingly disrespectful to posterity. Victorian productions of Shakespeare often sought pictorial effects in "authentic" historical costumes and sets.
Waterfall Junction (opened in April 2016) at Riverbanks Botanical Garden invites families and children of all ages to get outdoors and explore nature. Imagination blooms in this 3-acre wonderland where you can pop in and out of a rabbit hole, unearth a life-size replica of a T-Rex, frolic between giant tree houses and kid-size playhouses, splash around and under a 25-foot cascading waterfall and run or rest on a grassy meadow. Cool refreshments await at The Oasis concession stand.
Since 1978, Keter has expanded its home product lines to include garden sheds, toolboxes, bathroom cabinets, backyard playhouses for children, and more – all made of resin. In 1991, Keter acquired competitor L.M. Lipski. In 2005 Keter acquired Curver international In 2011, Keter won Red Dot Design Award for its RealBarrow, a heavy-duty wheelbarrow with an L-shape "bulldozer" shovel. In June 2013, Keter was one of several companies subjected to a boycott by the United Church of Canada and the Presbyterian Church (USA) because it had a factory in the Barkan Industrial Park.
Initially owned by the Beck Family, the theatre was purchased in 1965 by William L. McKnight of Jujamcyn Theaters. On June 21, 2003, it was renamed the Al Hirschfeld Theatre in honor of the caricaturist famous for his drawings of Broadway celebrities, and reopened on November 23, 2003, with a revival of the musical Wonderful Town. In 2004, longtime president and producer of Jujamcyn, Rocco Landesman announced his plans to buy the five playhouses. In 2005, Jordan Roth joined Jujuamcyn as a resident producer, and in 2009 he acquired a 50% stake in the company.
The Annual Summer Fair and other seasonal fairs such as May Day were often bawdy affairs. Watching plays became very popular during the Tudor period. Most towns sponsored plays enacted in town squares followed by the actors using the courtyards of taverns or inns (referred to as inn-yards) followed by the first theatres (great open-air amphitheatres and then the introduction of indoor theatres called playhouses). This popularity was helped by the rise of great playwrights such as William Shakespeare and Christopher Marlowe using London theatres such as the Globe Theatre.
The public attended when they saw their lives represented on the stage, but also attended when there was a sight that would impress them. If costumes were lavish, the sets impressive or the actresses alluring, audiences would attend. The Restoration spectacular had seen the development of English opera and oratorio and a war between competing theaters to produce the most expensive and eye-popping plays. However, these blockbuster productions could mean financial ruin as much as security, and neither of the two main playhouses could continue the brinksmanship for long.
After these battles between the playhouses, and these were multiple,Shesgreen 27 the theaters calculatingly sought the highest appeal with the lowest cost. If the cost of rehearsal time, in particular, could be shortened, the theater's investment would be reduced. Rehearsal time cost a playhouse its cast, its property masters, and its stages, and a long rehearsal meant fewer plays put on. Additionally, dramatists received the money from each third night of box office, and this could be dangerous to a house that needed every farthing to defray costs.
Sheridan, on the other hand, very consciously turned back to the Restoration comedy for his models but carefully toned down the dangers of the sexual plots. As mentioned above, another effect of the Licensing Act was to send the playhouses to old plays. Since any play written before 1737 could be staged without permission, theaters had a great deal to choose from. However, they sought out Shakespeare, in particular, as the one author whose name alone could generate an audience as large as those formerly provided by leading poets.
The Laramie Project premiered at The Ricketson Theatre by the Denver Center Theatre Company (Denver) (part of the Denver Center for the Performing Arts) in February 2000. It was next performed in the Union Square Theatre in New York CityTHEATER REVIEW; A Brutal Act Alters a Town before a November 2002 performance in Laramie, Wyoming. The play has also been performed by high schools, colleges, and community theaters across the country. It has been produced at professional playhouses in the United States, Canada, the United Kingdom, Ireland, Australia, and New Zealand.
He was transferred to the Durham Light Infantry in 1944 but was later declared unfit for service just before D-Day after being diagnosed with a neurological condition that caused partial paralysis. He was initially sent to a psychiatric hospital in error but was then sent to the correct facility for treatment. Demobbed as a lieutenant in December 1944, Phillips' acting career initially took in "the murkiest rat-infested old playhouses and music halls in the North of England". It was during the 1950s that he became known for playing amusing English stereotypes.
Both playhouses were a stone's throw away from the original Bethlem site at Bishopsgate. From the fourteenth century, Bethlem had been referred to colloquially as "Bedleheem", "Bedleem" or "Bedlam". Initially "Bedlam" was an informal name but from approximately the Jacobean era the word entered everyday speech to signify a state of madness, chaos, and the irrational nature of the world. This development was partly due to Bedlam's staging in several plays of the Jacobean and Caroline periods, including The Honest Whore, Part I (1604); Northward Ho (1607); The Duchess of Malfi (1612); The Pilgrim (c.
In 1990, Mendes was appointed artistic director of the Donmar Warehouse, a Covent Garden studio space previously used by the Royal Shakespeare Company. He spent two years overseeing the redesign of the theatre, which formally opened in 1992 with the British premiere of Stephen Sondheim's Assassins. Mendes's tenure at the Donmar saw its transformation into one of the most successful and fashionable playhouses in London. In 1993, Mendes staged an acclaimed revival of John Kander and Fred Ebb's Cabaret starring Jane Horrocks as Sally Bowles and Alan Cumming as Emcee.
Greenville Little Theatre The Carolina Ballet Theatre is a professional dance company that regularly presents programs at the Peace Center and elsewhere. CBT presents four performances annually as the resident professional dance company of the Peace Center with their largest as the holiday classic, "The Nutcracker, Once Upon A Time in Greenville." This production is modelled after the major companies that have set their holiday class in their hometown. Centre Stage, Greenville Little Theater, South Carolina Children's Theater and the Warehouse Theatre are the major playhouses in the area.
Matthew Hale Smith, Sunshine and Shadow in New York (1869) p. 121f. In the meantime, in December 1820 Astor had the house set upon logs and rolled down the hill to the southeast corner of Varick and Charlton Streets. He opened the house and its gardens as a public resort in 1822Mary C. Henderson, The City and the Theatre: The History of New York Playhouses (1973; 2004) p. 65. It was remembered as a genteel roadhouse by a surveyor working when the Commissioners' Plan of 1811 was being laid out.
There were three different types of theaters in London – public, private and court. The size and shape varied but many were suggested to be round theaters. Public playhouses such as the Globe Theatre used rigging housed in a room on the roof to lower and raise in scenery or actors, and used the raised stage by developing the practice of using trap-doors in theatrical productions. Most of the theatres had circular-design, with an open area above the pit to allow sunlight to enter and light the stage.
Following Haussmann's modernization of Paris and the destruction of the theatres on the boulevard du Temple, the last of a succession of playhouses called the Théâtre de la Gaîté was built in the rue Papin. It opened on 3 September 1862.Théâtre de la Gaîté Alphonse-Adolphe Cusin, Théâtre de la Gaîté Musée d'Orsay, 2006 The building was designed by the architects Jacques-Ignace Hittorff and Alphonse Cusin, with an 1800-seat auditorium decorated by Félix Jobbé-Duval. Concentrating on operettas, it also became known as the Gaîté-LyriqueBlock 1881, vol. 38, p. 514.
And oh! if the younger generation would only go to the Lyceum and hear how Miss Marriott speaks verse! Every word she has to speak is distinctly heard in every corner of the house."Illustrated London News, Saturday 27 September 1890 p3 col3: The playhouses Marriott in a kilt, 1864 The New Zealand Railways Magazine (1939) described her thus: "A rather masculine woman, with a fine presence and considerable talent, a beautiful voice and a phenomenal memory, she was playing for over forty years, and she had an enormous repertoire of long and difficult roles.
From 1801, Thomas Edward Barker set up a rival panorama to his father's in Leicester Square, at 168/169 Strand. On the death of Robert Barker, in 1806, his younger brother, Henry Aston Barker took over management of the Leicester Square rotunda. In 1816, Henry bought the panorama in the Strand, which was then known as Reinagle and Barker's Panorama,Sherson, Erroll, ‘Lost London Playhouses’, The Stage, 28 June 1923, p. 21. One of a series of articles later published in a book of same name in 1925.
Margaret Brayne (née Stowers; d. 1593) was an important figure in the early modern theatre industry – particularly in relation to the construction and running of The Theatre in Shoreditch (the playhouse in which William Shakespeare began his career as actor and playwright). Margaret is best known for the lengthy legal battle she fought to regain co-ownership of The Theatre following her husband's death. The documents produced during this dispute provide a large quantity of information about the appearance and management of early modern playhouses as well as the area and contemporary inhabitants of Shoreditch.
The Red Lion was an Elizabethan playhouse located in Whitechapel (part of the modern Borough of Tower Hamlets), just outside the City of London on the east side. Built in 1567 for John Brayne, citizen and Grocer, this was the first known attempt to provide a purpose-built playhouse in London for the many Tudor age touring theatrical companies - and perhaps the first purpose-built venue known to have been built in the city since Roman times. Its existence was short-lived.J. Bowsher and P. Miller, The Rose and the Globe — Playhouses of Shakespeare's Bankside, Southwark (Museum of London, 2010), p. 19. .
Carousel first mounted its productions in Vancouver playhouses such as the Arts Club Theatre Company's old Seymour Street theatre and the Vancouver East Cultural Centre. In about 1993, it relocated to Granville Island, where it has administrative offices and three rehearsal halls. Its administrative and rehearsal space is located across the street from the Waterfront Theatre, which Carousel helped to build and is where it mounts many of its productions. When Higgins took over as Artistic Director, Carousel Theatre rebranded itself as Carousel Theatre for Young People, in order to signify its focus on children and youth.
She begged hard for five pounds more than Tonson offered for some of her verses. In connection with Jeremy Collier's attack on the stage, the Middlesex justices presented the playhouses in May 1698, and also William Congreve for writing the Double Dealer, Thomas d'Urfey for Don Quixote, and Tonson and Brisco, booksellers, for printing them. Tonson published Congreve's reply to Collier, and at a later date The Faithful Friend and The Confederacy by his friend, Sir John Vanbrugh. Jacob Tonson took into partnership his nephew (pictured), also named Jacob Tonson and sometimes referred to as Tonson Junior.
The League serves as the central hub for statistical information about Broadway theatre production in North America. Its research department maintains historical data on individual playhouses and productions. In addition, many reference documents, including weekly box office grosses and season-by-season statistics, are available to the public, journalists, and scholars via the website. Theatre publications such as The New York Times, Playbill, and Variety publish databases and articles using data provided by the League. The research department also publishes annual reports that track trends in the industry over time including the Demographics of the Broadway Audience and Broadway’s Economic Contribution.
When the theatres opened again in 1660 after this uniquely long and sharp break in British theatrical history, two newly licensed London theatre companies, the Duke's and the King's Company, started business with a scramble for performance rights to old plays. Shakespeare, Ben Jonson, and the Beaumont and Fletcher team were among the most valuable properties and remained popular after Restoration playwriting had gained momentum. Restoration playhouses had elaborate scenery. They retained a shortened version of the apron stage for actor/audience contact, although it is not visible in this picture (the artist is standing on it).
The Theatre, one of the first purpose-built playhouses in London, was an intentional reference to the Latin term for that particular playhouse, rather than a term for the buildings in general (1967, 133). The word 'dramatist' "was at that time still unknown in the English language" (1981, 68). The use of "drama" in a more narrow sense to designate a specific type of play dates from the modern era. "Drama" in this sense refers to a play that is neither a comedy nor a tragedy—for example, Zola's Thérèse Raquin (1873) or Chekhov's Ivanov (1887).
The novel was adapted for the stage by Gunter, and under the management of Frank W. Sanger, first performed in Utica, New York on November 7, 1892.(8 November 1892). "My Official Wife" In Utica, The New York TimesChatterjee, Choi. The Russian Romance in American Popular Culture 1890–1939, pp. 91–92, in Americans Experience Russia: Encountering the Enigma, 1917 to the Present (2013) After out of town warm-ups,(8 January 1893). The Chicago Playhouses, The New York Times (played at the Schiller Theater in Chicago) its Broadway debut occurred at the Standard Theatre on January 23, 1893.
One of the most beautiful playhouses in Europe, it was equipped with a revolving stage and up-to-date lighting, and was under Szyfman's management from 1913-1939, except for his two-year internment in Russia in the First World War. In hiding during the next war, Szyfman resumed management of the Polski in 1945, was fired by the communist authorities in 1949, and returned for a final time from 1955-1957. He was also manager of other Warsaw theaters and companies. At the Polski, he employed the best artists and directed numerous productions himself, including 22 Shakespeare plays.
Alleyn went into business with his father-in-law Philip Henslowe and became wealthy. He was part-owner in Henslowe's ventures, and in the end sole proprietor of several profitable playhouses, bear-pits and other rental properties. Among them were the Rose Theatre at Bankside, the Paris Garden and the Fortune Theatre on Finsbury Fields. The Fortune was built for Alleyn and Henslowe in 1600, the year after the rival Globe Theatre was completed south of the river, by the same contractor Peter Street, but was square rather than round;Historic London: The Rose Theatre . Britannia.com.
Combs was born in Oxnard, California, to Jean (née Sullins) Owens (1921–1986) and Eugene "Gene" Combs (1922–1999), and raised in Lompoc. A graduate of Lompoc High School, as a senior Combs played the lead role of Captain Fisby in a stage production of The Teahouse of the August Moon. Combs then attended Santa Maria's Pacific Conservatory of the Performing Arts, and later developed his acting skills in the Professional Actor's Training Program at the University of Washington. In 1980, after spending several years performing in playhouses on the West Coast, Combs moved to Los Angeles.
Construction commenced on a venue that would have a cinema, ballroom, tea rooms and other auxiliary facilities. Fairweather was to design three other Green's Playhouses, Ayr (1931), Dundee (1936), and Wishaw (1940). All four buildings displayed elaborate Corinthian columned interiors with the family slogan It's Good – It's Green's woven into the custom-made carpets laid throughout the buildings. Other notable cinemas by Fairweather include the Savoy in Cambuslang (1929), the Ritz Cinema, Burton-on-Trent (1935), the Ritz Cinema, Wigan (1938), and the Playhouse in Edinburgh (1927), designed as a super cinemaThe Scotsman – 10 August 1929 and now used as a theatre.
The Chicago Playhouses, The New York Times (playing in Chicago in October 1890)(13 January 1891). Theatrical Gossip, The New York Times (reporting that run at the Chestnut Street Theatre started on December 22, 1890, and still going strong, and that the company next planned to go to Baltimore, Washington, Pittsburg, Cincinnati, and back to Chicago for two more weeks) The play returned after the long run of Wang concluded, and ran from October 5 through December 26, 1891, for 84 more performances. On the second run, a young Lulu Glaser served as the understudy for star Marie Jansen.
After Davenant's death in April 1668, Betterton took command of the company, in collaboration with Davenant's widow Lady Mary Davenant. Their management team expanded its strategies to ensure success: the company engaged in three consecutive (and profitable) summer seasons in Oxford starting in 1669. On 9 November 1671 the company moved into a new theatre in Dorset Garden, sometimes called the Queen's Theatre, "the most elegant of all the Restoration playhouses...". The Duke's Company exploited the scenic capacities of the Dorset Garden Theatre to produce many of the Restoration spectaculars and the early operas and semi-operas that characterized the Restoration era.
Virginia Binger died in 2002, and James Binger died in 2004. Rocco Landesman, producer and President of Jujamcyn since 1987, announced that he planned to buy Jujamcyn Theatres, telling the New York Times that he had a long-standing understanding with Binger that he would buy Jujamcyn's five playhouses. The theatres had an estimated net asset value of about $30 million. Landesman closed the deal in February 2005 for $30M, but then tried to sell a 50% stake in the group for $50M to enable investment in the Cincinnati Reds baseball team - his group lost out to Robert Castellini.
What the Players Are Doing, The New York Times, September 15, 1903, p. 5 Her services were obtained by Samuel S. Shubert of the Shubert Theatre in May 1903.Notes of the Theatre, The New York Times, May 27, 1903, p. 5 She appeared in ' at Daly's Theatre on Broadway (30th Street), New York City, in January 1904.News of the Playhouses, The New York Times, January 12, 1904, p. 3 Earle was summoned to rehearsal at the New Amsterdam Theatre as a member of the Klaw & Erlanger Comedy Company in October 1904. The troupe included Fay Templeton.
The Dorset Garden Theatre, on the Thames. It was fashionable and convenient for the audience to arrive by boat, avoiding the crime-ridden neighbourhood of Alsatia. An era came to an end in 1668 with two events: Davenant died suddenly, leaving a messy ownership situation for the Duke's Company, and Pepys' eyesight forced him to stop keeping a diary. Thomas Betterton, though formally a minority shareholder, continued to run the Duke's Company, and, in the spirit of Davenant, commissioned the most elaborate of the Restoration playhouses, the theatre at Dorset Garden (or Dorset Gardens), with a flat for himself on top.
Landmarks Preservation Commission of the City of New York and Save the Theatres, Inc. , Supreme Court of New York, Appellate Division, First Department, May 16, 1991; accessed March 10, 2013 The movement's aim was to preserve vintage playhouses that were then being threatened with demolition by monied Manhattan development interests.Corwin, Betty. "Theatre on film and tape archive" , International Association of Libraries and Museums of the Performing Arts, accessed May 10, 2013 Papp's initiative was sparked by the impending demolition in 1982 of the historic Morosco and Helen Hayes theatres, as well as the old Piccadilly Hotel, on West 45th Street.
Born and raised in Brooklyn, Weinstein graduated from City College of New York and earned a master's degree in drama from Carnegie Institute of Technology. He began his theatre work as a director at playhouses in Falmouth and Norwich, and was the stage manager for The Innocents on Broadway. Weinstein was the general manager of the Falmouth Playhouse on Cape Cod for two years, at which he premiered A View from the Bridge by Arthur Miller, before joining Philip Langner as co-manager in 1958 at the Westport Country Playhouse. Weinstein and Langner packaged shows for the summer stock theatre circuit.
New York Times, May 19, 1907: 'The Lay of the Last of the Old Minstrels; Interesting Reminiscenses of Isaac Odell, Who Was A Burnt Cork Artist Sixty Years Ago: "In nearly all the playhouses at least one minstrel appeared on the stage, but there were no regular bands or minstrel troupes until Dan Emmet, Billy Whitlock, Frank Brower and Dick Pelham got together and organized the original Virginia troupe, which opened up at the Chatham Theatre... That was back in 1842." They followed with a brief run at the Bowery Amphitheater in early February before an expanded schedule of venues.
Theatres sprang up in suburbs, especially in the liberty of Southwark, accessible across the Thames to city dwellers but beyond the authority's control. The companies maintained the pretence that their public performances were mere rehearsals for the frequent performances before the Queen, but while the latter did grant prestige, the former were the real source of the income for the professional players. Along with the economics of the profession, the character of the drama changed toward the end of the period. Under Elizabeth, the drama was a unified expression as far as social class was concerned: the Court watched the same plays the commoners saw in the public playhouses.
In 1845, the Ethiopian Serenaders purged their show of low humor and surpassed the Virginia Minstrels in popularity.. Shortly thereafter, Edwin Pearce Christy founded Christy's Minstrels, combining the refined singing of the Ethiopian Serenaders (epitomized by the work of Christy's composer Stephen Foster) with the Virginia Minstrels' bawdy schtick. Christy's company established the three-act template into which minstrel shows would fall for the next few decades. This change to respectability prompted theater owners to enforce new rules to make playhouses calmer and quieter. Minstrels toured the same circuits as opera companies, circuses, and European itinerant entertainers, with venues ranging from lavish opera houses to makeshift tavern stages.
This little theatre served the town well and prospered so much, especially during the time of Napoleonic wars, that William Wilkins, who managed the Norwich circuit of playhouses, was inspired to acquire a site in Westgate Street, on which he built the Theatre Royal, whereupon the Market Cross theatre became the Concert Room.”Statham, M. The Book of Bury St Edmunds: 1996 The theatre was in use for only a few weeks each year during the period of the Bury Fair. In 1753 it was announced that the theatre would be equipped with boxes and the audience was forbidden to sit on the stage.
Marcus Andrew Sinden (born 9 May 1954) is an English actor and film & theatre director and producer. Sinden has worked in film and theatre (mainly in London's West End) as both actor and producer and directed the documentary series Great West End Theatres, detailing the history of the 40 major playhouses in London. He was artistic director of the Mermaid Theatre and inaugurated the British Theatre Season in Monaco, which was awarded a Royal Warrant by Prince Albert of Monaco. His first West End production was nominated for a Laurence Olivier Award for Best Entertainment and another won the Stage Award for Best Ensemble work at the Edinburgh Festival Fringe.
Bedford joined Jeremy Collier and other pamphleteers in their crusade against the stage, and issued a series of tracts, of which one became notorious: A Serious Remonstrance in behalf of the Christian Religion against the Horrid Blasphemies and Impieties which are still used in the English Playhouses (1719). This work cited a number of scripture texts travestied, and 7,000 "immoral sentiments" collected from English dramatists, especially those of the previous four years. Bedford also gave his attention to church music; his aim was to promote a simpler style of religious music. He published The Temple Musick (Bristol, 1706), The Great Abuses of Music (1711), and The Excellency of Divine Music (1733).
Plans for the redevelopment of the Haymarket site were originally drawn up in 1960, but these were superseded by the 1961 declaration of a larger Comprehensive Development Area.Fair, Alistair (2018) Modern Playhouses: An Architectural History of Britain's New Theatres, 1945 ― 1985, Oxford University Press, , p. 114 Tenders for development of the site were invited, with Taylor Woodrow awarded it in early 1966. The plans originally included a motel, an office block, a 500-seat cinema, and, at the request of the Town Planning (Development) Subcommittee, a 650-seat theatre (later increased to 710), to replace the Phoenix Theatre, which had been built in 1963 as a temporary facility.
Bob Servant made the leap to television in early 2013 in the cult BBC Four comedy Bob Servant Independent which added Jonathan Watson and Rufus Jones to the existing radio cast. The series was well-received and a second series (renamed Bob Servant) was broadcast in 2015 on BBC Four across the UK and BBC One in Scotland. The second series won the Royal Television Society Scotland award for Comedy. In 2016, Forsyth wrote four one-off Playhouses for Sky. Elizabeth, Michael & Marlon was based on the apocryphal story that on 9/11, Marlon Brando, Elizabeth Taylor and Michael Jackson hired a rental car and drove from New York to Ohio.
In 1925 a new bond issue was voted on. The new school, dedicated in 1926, comprised three connected buildings, including the original 1903 structure which was refurbished to blend with the architectural style of the other two. The architecture, designed by local architect Carl Werner, is early twentieth-century Neo-Classical Revival in nature, evoking images of ancient Greek temples with Ionic columns in front of the Kofman Auditorium, a facility known throughout the Bay Area as one of the best of the local playhouses. By 1955, the "old building" had outlived its usefulness and was replaced with what became known as the "new building" by subsequent students until 1977.
During the Revolution, "a misogynistic, nationalistic and class-driven polemic swirled around the hameau, which had previously seemed a harmless agglomeration of playhouses in which to act out a Boucher pastorale."Rosasco, in review of Lablaude 1995, in The Journal of the Society of Architectural Historians 55:4 (December 1996), pp. 475–476 [476] The queen was accused by many of being frivolous, and found herself a target of innuendos, jealousy and gossip throughout her reign. Although for Marie Antoinette, the hameau was an escape from the regulated life of the Court at Versailles, in the eyes of French people, the queen seemed to be merely amusing herself.
One reason for the lack of information for the public theatres is that stage effects, and particularly machines, were trade secrets. Inventors of theatrical effects took great pains to hold on to their secrets, and the playhouses guarded their machine workings as zealously as a magician guards her or his tricks. What the technology and the visual experiences were can only be tenuously inferred from stage directions. Milhous concludes from a review of Dorset Garden performances that "at a conservative estimate" the theatre was equipped to fly at least four people independently, and had some very complex floor traps for "transformations" such as that of Proteus.
"The Theatre came to a sudden end with the outbreak of the rebellion in 1641. In October the Lords Justices prohibited playing there; and shortly after, we are told, the building was 'ruined and spoiled, and a cow- house made of the stage.'"Joseph Quincy Adams, quoting a contemporary manuscript source, in Shakespearean Playhouses: A History of English Theatres from the Beginnings to the Restoration, Boston, Houghton Mifflin, 1917; p. 419. (Shirley had sailed for England on 18 April 1640.) Three and a half centuries later, the site of the former theatre was the yard of Kerfoot's Dining Rooms at 13 Werburgh St., Dublin.
Samuel Johnson wrote a Swiftian parodic satire of the licensers entitled A Complete Vindication of the Licensers of the English Stage. The satire was, of course, not a vindication at all, but rather a reductio ad absurdum of the position for censorship. Had the licensers not exercised their authority in a partisan manner, the Act might not have chilled the stage so dramatically, but the public was well aware of the bannings and censorship and so any play that passed the licensers was regarded with suspicion by the public. Therefore, the playhouses had little choice but to present old plays and pantomime and other plays that had no conceivable political content.
In 1732 Ashbridge sailed to New York as an indentured servant, owned first by a woman in the slave trade and later by the ship's captain. After completing three of the four years of servitude required to pay her passage to the colonies, she bought her freedom with money she earned performing odd jobs and sewing. With her new-found freedom she considered a career on the stage, even going so far as to befriend members of local playhouses and study scripts in her spare time; instead, she married a school teacher surnamed Sullivan. The nature of Sullivan's profession led the couple to travel widely throughout New England in search of schools in need of a schoolmaster.
In 1900, she starred as Freydenyu in the premiere of Gordin's God, Man and the Devil, and that prompted Gordin to write the role of Etty in The Kreutzer Sonata and the title role in his Sappho and Phaon especially for Kalich. These productions made it out of the Yiddish playhouses, going all the way to Broadway, and establishing Kalich as a household name. Kalich as Miriam Friedlander in The Kreutzer Sonata, a play based on a story by Leo Tolstoy, adapted from Yiddish play Jacob Gordin by Langdon Mitchell; performed on Broadway, 1906. Along with her male counterpart, Boris Thomashefksy (1868–1939), Kalich became a darling of the press, admired by her fans and critics alike.
The show is filmed with set up cameras and cameraman hiding in tents and playhouses in each of the celebrities' actual home. Family and friends of the celebrity dads will occasionally show up in episodes. In each episode, as the show moves from one family to the next, a brief narration by the narrator is given to introduce the next segment of the episode. During each individual family segment the parents (husband and wife), with the exception of Junu, Junseo and Haru who were old enough to answer questions when they started the show, would give a talking head interview while being asked questions by the shows PDs (producers) about the current situation being aired.
In the elaborate Restoration London playhouses, designed by Christopher Wren, Shakespeare's plays were staged with music, dancing, thunder, lightning, wave machines, and fireworks. The texts were "reformed" and "improved" for the stage. A notorious example is Irish poet Nahum Tate's happy-ending King Lear (1681) (which held the stage until 1838), while The Tempest was turned into an opera replete with special effects by William Davenant. In fact, as the director of the Duke's Company, Davenant was legally obliged to reform and modernise Shakespeare's plays before performing them, an ad hoc ruling by the Lord Chamberlain in the battle for performance rights which "sheds an interesting light on the many 20th-century denunciations of Davenant for his adaptations".
Palmer was the eldest son of a prosperous Bath brewer and theatre owner who inherited his father's Old Orchard Street Theatre, and obtained a royal letters patent for it in 1768 which gave him an effective monopoly on playhouses in the city and the right to use the title "Theatre Royal", the first theatre outside London to acquire it. Palmer's second theatre in Bristol was granted the same status in 1778, becoming the Theatre Royal, Bristol. Palmer worked as his father's London agent, frequently travelling between London and Bath, and after his father decided to retire in 1776 the patent was transferred to him. He continued to manage the theatre until 1785.
The street hosted several movie theaters and vaudeville playhouses, and at night their many neon signs and lighted marquees gave the area a look that was similar to Manhattan's more-famous Broadway. Almost all of the movie theaters have since closed, most in the 1960s and 1970s, but the street remains the center of downtown's nightlife. Theaters still located on Broadway in downtown include the Arlene Schnitzer Concert Hall (in a former Paramount Theatre) and the Antoinette Hatfield Hall. Over a dozen buildings on Broadway are listed on the National Register of Historic Places, but the street is meant to be a busy and commercial, and to provide a route through which Portlanders could commute.
A theatre has stood on the site since the 17th century. Known as Gibbon's Tennis Court, or the Vere Street Theatre. Mrs Hughes became the first (identified) woman to tread the boards of a London theatre, on 8 December 1660, in a performance of Othello.Peacock theatre history Retrieved 28 July 2012 The company left the theatre in 1663 and there is no record of further plays at the theatre. The building was finally destroyed by fire in 1809. Oscar Hammerstein's London Opera House At the beginning of the 20th century, the creation of Aldwych and Kingsway, linking High Holborn and Aldwych, destroyed a number of established London playhouses and the site between Portugal Street and Sardinia Street became available.
Plan of London in the late 16th and early 17th centuries, showing the locations of playhouses: the Red Bull lies to the north-west of the City The Red Bull was an inn-yard conversion erected in Clerkenwell, London operating in the 17th century. For more than four decades, it entertained audiences drawn primarily from the City and its suburbs, developing a reputation over the years for rowdiness. After Parliament closed the theatres in 1642, it continued to host illegal performances intermittently, and when the theatres reopened after the Restoration, it became a legitimate venue again. There is a myth that it burned down in the Great Fire of London but the direct reason for its end is unclear.
The series of Playhouses (Urban Myths) was nominated for an International Emmy. In 2017, Forsyth wrote Eric, Ernie and Me, a one-off drama about Morecambe and Wise from the point of view of their writer Eddie Braben. It was broadcast on BBC4 on 29 December 2017 to a positive reception. The Observer said “What a lovely programme, rewatchable often”., while the Sunday Express said, “Eric, Ernie And Me was not just beautifully realised nostalgia…but a reminder of how difficult the creative process can be.”.. Eric, Ernie and Me was nominated for a number of awards, and Forsyth was nominated for a Royal Television Society Award for his writing of the show.
Macmillan (1899) Ingenioso does speak in praise of Nashe, who died in 1601. The author of the plays was evidently very familiar with Nashe's works, and all three parts are full of reminiscences of Nashe's writings. In the third play Ingenioso announces that he is in trouble for the plays he has written, and he exits saying, "now I am bound for the Ile of doggs … Fare well." A notorious dramatic satire titled The Isle of Dogs, written by Nashe and Ben Jonson, and performed in 1597, was considered so slanderous that the Privy Council gave in to pressure from the City government and demanded theatrical performances be stopped and that London's playhouses be torn down.
The Mayor and Corporation of London banned plays in 1572 as a measure against the plague, not wanting to attract crowds of strangers. In 1575 they formally expelled all players from the city. This prompted the construction of playhouses outside the jurisdiction of London, in the liberties of Halliwell/Holywell in Shoreditch and later the Clink, and at Newington Butts near the established entertainment district of St. George's Fields in rural Surrey. The Theatre was constructed in 1576 by James Burbage in partnership with his brother-in-law, one John Brayne, (the owner of the Red Lion) on property that had originally been the grounds of the dissolved Halliwell Priory (or Holywell).
Pittsburgh In Stages: Two Hundred Years of Theater. University of Pittsburgh Press. pp. 33–34. . Retrieved June 6, 2011. An important milestone in the creation of indigenous Pittsburgh theatre occurred when William Henderson took over the lease of the Old Drury in 1859 and produced plays by Pittsburgh playwrights in the theatre's season. Other theatres followed Henderson's lead, including the Pittsburgh Opera House, which held the first productions of nationally regarded playwright Bartley Campbell.Conner, Lynne (2007). Pittsburgh In Stages: Two Hundred Years of Theater. University of Pittsburgh Press. pp. 38–40. . Retrieved June 6, 2011. In the early 1900s, Pittsburgh became a key location for productions handled by the Theatrical Syndicate due to its strategic location, abundance of playhouses, excellent rail service, and established audiences.
The Theatre Royal was opened by its proprietor and architect William Wilkins on 11 October 1819, and was one of the most elegant, sophisticated and up-to-date playhouses of its age. The fact that it has survived, without significant alteration, into our time is a miracle and it is now one of only three buildings to give the experience of theatre-going in pre-Victorian Britain. Wilkins was an architect of national repute, responsible for, amongst other buildings, the National Gallery in London and Downing College, Cambridge. As the proprietor of the Norwich circuit, he employed a small company of players to undertake an annual tour of six theatres: Yarmouth, Ipswich, Cambridge, Bury St Edmunds, Colchester and King's Lynn.
Thomas Betterton played the irresistible Dorimant in George Etherege's Man of Mode. Betterton's acting ability was praised by Samuel Pepys, Alexander Pope, and Colley Cibber. During the Restoration period, both male and female actors on the London stage became for the first time public personalities and celebrities. Documents of the period show audiences being attracted to performances by the talents of particular actors as much as by particular plays, and more than by authors (who seem to have been the least important draw, no performance being advertised by author until 1699). Although the playhouses were built for large audiences—the second Drury Lane theatre from 1674 held 2000 patrons – they were of compact design, and an actor's charisma could be intimately projected from the thrust stage.
Margaret Sully West was married to Thomas Wade West, mother of Ann West Bignall and mother-in-law of John Bignall. Her spouse, in companionship with Thomas Bignall, had broken the theater monopoly of the Old American Company in 1790 by establishing the Virginia Comedians. The Virginia Comedians established the so called "Virginia circuit", and regularly performed in Richmond-Fredericksburg-Charleston (1794)-Norfolk (1795)-Petersburg (1796)- Alexandria (1797), cities where they also constructed playhouses. Margaret Sully West took over the management of the Virginia Comedians when she was widowed in 1799, and as such played an important role, being the managing director of one of few theater companies existent in America at the time, as well as one of the larger and more successful.
Much of the action of the film echoes that of Romeo and Juliet. Will and Viola play out the famous balcony and bedroom scenes; like Juliet, Viola has a witty nurse, and is separated from Will by a gulf of duty (although not the family enmity of the play: the "two households" of Romeo and Juliet are supposedly inspired by the two rival playhouses). In addition, the two lovers are equally "star-crossed" – they are not ultimately destined to be together (since Viola is of rich and socially ambitious merchant stock and is promised to marry Lord Wessex, while Shakespeare himself is poor and already married). There is also a Rosaline, with whom Will is in love at the beginning of the film.
The liberty lay outside the jurisdiction of the City of London, and that of the county authorities of Surrey, and some activities forbidden in those areas were permitted within it. In 1161 Bishop Henry of Blois was granted the power to license prostitutes and brothels in the liberty by King Henry II. The prostitutes were known as Winchester Geese, and many are buried in Cross Bones, an unconsecrated graveyard. Similarly, to "be bitten by a Winchester goose" meant "to contract a venereal disease",Take Our Word For It Issue 199, page 4 and "goose bumps" was slang for symptoms of venereal diseases. Theatres and playhouses were allowed in the Clink; the most famous was the Globe Theatre where William Shakespeare performed his plays.
Bankside is the riverside of the former liberties of the Clink and Paris Garden. In the Elizabethan period, because of its location outside the jurisdiction of the City of London, the area of the Clink and Paris Garden were outside of the City of London's authority and so became occupied by the bear baiting pits and playhouses, including the Rose, the Hope Theatre, the Swan and the Globe Theatre of which a replica was constructed in the late 1990s. The history of the area is traced in a study that traces the earliest known history of a particular building on Bankside until the present day. It has experienced regeneration in recent decades, becoming a significant tourist destination, and forms a business improvement district.
The term has proved useful to literary studies that are emphasizing the continuity of English literature in the half century 1575–1625.E.g. by S. Gorley Putt, reviewing works on Jacobethan drama in "Jacobethan wonderlands", The Sewanee Review 1976:699ff; "the revival of non- Shakespearean 'Jacobethan' plays has been particularly successful in two Elizabethan-style playhouses, the Swan at Stratford-upon-Avon and Shakespeare's Globe in London", observe Angela Stock and Ann-Julia Zwirerlein in D. Mehl and A. Stock, eds., Plotting Early Modern London: New Essays on Jacobean City Comedy, "Introduction: 'Our scene is London...'", 2004:1. For example, the 1603 death of Elizabeth I falls in the middle of Shakespeare's career as dramatist: he is both an Elizabethan and a Jacobean writer.
Shakespeare's funerary monument in Stratford-upon-Avon Rowe was the first biographer to record the tradition, repeated by Johnson, that Shakespeare retired to Stratford "some years before his death". He was still working as an actor in London in 1608; in an answer to the sharers' petition in 1635, Cuthbert Burbage stated that after purchasing the lease of the Blackfriars Theatre in 1608 from Henry Evans, the King's Men "placed men players" there, "which were Heminges, Condell, Shakespeare, etc.". However, it is perhaps relevant that the bubonic plague raged in London throughout 1609. The London public playhouses were repeatedly closed during extended outbreaks of the plague (a total of over 60 months closure between May 1603 and February 1610), which meant there was often no acting work.
Many of his plays appeared in print as a series of quartos, but approximately half of them remained unpublished until 1623, when the posthumous First Folio was published. The traditional division of his plays into tragedies, comedies, and histories follows the categories used in the First Folio. However, modern criticism has labeled some of these plays "problem plays" that elude easy categorisation, or perhaps purposely break generic conventions, and has introduced the term romances for what scholars believe to be his later comedies. When Shakespeare first arrived in London in the late 1570s or early 1580s, dramatists writing for London's new commercial playhouses (such as The Curtain) were combining two strands of dramatic tradition into a new and distinctively Elizabethan synthesis.
159 The arrival of talkies in 1931, with Alam Ara, meant outflow of Hindi theatre audience that had already dwindled away after the incursions by Parsi theatre across the Hindi-speaking belt. Soon theatre actors, director, writers and technicians followed suit, shifting to Mumbai, the base for Hindi cinema, where the promise of easy money from studios was too captivating to resist. As a result, numerous theatre companies and playhouses closed down and some started showing cinema, the new medium of the age. As the masses moved away from theatre, lured by the glitz of cinema, which Parsi theatre provided readily till now, theatre landscape was now populated by an educated and sophisticated audience, moving away from cinema in response to its escapism, looking for realistic and socially-relevant plays.
80th Anniversary Season The Playhouse celebrated 80 years in theatre with the most successful season to-date that included Sally Struthers in Always, Patsy Cline and 9 to 5, Rodgers and Hammerstein's South Pacific, Carson Kressley in Damn Yankees The Boston Red Sox Version, and Ballroom with a Twist featuring celebrity pros and talents from Dancing with the Stars, American Idol and So You Think You Can Dance, including Anna Trebunskaya and Jonathan Roberts. The season closed with what became the theatre's most popular musical ever, Buddy - The Buddy Holly Story starring Kurt Jenkins. The demand was so high that the show was brought back the following year as the season closer. This feat was achieved again two years later with the Playhouses production of Million Dollar Quartet.
Acadia Cafe 2012 Cedar-Riverside is home to a thriving arts culture. There are many playhouses and theatre groups in the area, including the Mixed Blood Theatre Company, Theatre in the Round, and The Southern Theater. There is also a percolating music scene, with musicians frequenting venues like The Cedar Cultural Center, The Cabooze, The Red Sea, Part Wolf MPLS, Acadia Cafe, and Palmer's Bar. Additionally, the West Bank music scene is known as a catalyst for major musicians, such as Bonnie Raitt, Leo Kottke, Butch Thompson (Jazz Originals), Peter Ostroushko (Prairie Home Companion), Dave "Snaker" Ray (Koerner, Ray & Glover), Erik Anderson (The Wallets), Dakota Dave Hull, Sean Blackburn (Prairie Home Companion), Bill Hinkley (Minnesota Music Hall of Fame), Karen Mueller (Autoharp Hall of Fame), and, to a lesser extent, Bob Dylan.
However, he appears to have been exempted. In June 1916, Hulbert and Courtneidge were appearing together in a sketch called “A Lucky Mistake”,”MISS CICELY COURTNEIDGE AND MR. JACK HULBERT In a Farcical Sketch, entitled A LUCKY MISTAKE“ in Leicester Daily Post, 24 June 1916, p. 2 and in December 1916 he was appearing at the Comedy Revue in “See-Saw”.“THE PLAYHOUSES. SEE-SAW.” in Illustrated London News, 23 December 1916, p. 19 In May 1917, he opened at the Comedy in “Bubbly”, and the Illustrated Sporting and Dramatic News commented that “Mr. Jack Hulbert, Miss Winnie Melville, and Miss Irene Greville also stay on at this same munition factory for high explosives of laughter”.”OUR CAPTIOUS CRITIC: BUBBLY, AT THE COMEDY THEATRE“ in Illustrated Sporting and Dramatic News, 26 May 1917, p.
City of New York, North of Canal street, in 1808 to 1821 (on-line text). After serving as a resort in its new location it opened in November 1831 as a theater, and "the following year it became the Italian Opera House but finished the year with equestrian shows," the historians of theatre in New York report,Mary C. Henderson, The City and the Theatre: The History of New York Playhouses (1973; 2004) p. 65. and eventually was a common saloon before it was razed in 1849. During the time that the mansion was in existence, the surrounding neighborhood, built up from the 1820s by Astor as modest brick rowhouses, was also called Richmond Hill, connected to the city through the former water meadow, now drained and filled, as a continuation of Canal Street.
The site of the Majestic was occupied at the end of the 19th century by a timber yard and a row of small buildings named Eye Bright Place; the western end survives as 34–38 Wellington Street. At the construction of City Square in 1896–1903, the corner site was cleared and left as an open space. It was the location of a recruitment office during the First World War, which was demolished at its conclusion in 1918. Leeds Picture Playhouses Ltd bought the land, occupying a prime position beside Leeds railway station, from Leeds City Council for £80,000 () and made plans for a cinema, which were described in a Yorkshire Evening News article on 16 January 1920; it claimed "the decorations and appointments will be of a most sumptuous character".
Rooms, outdoor structures, and entire buildings were dismantled in Europe and reassembled on the North Shore. Complimenting the great houses were formal gardens, gazebos, greenhouses, stables, guest houses, gate houses, swimming pools, reflecting pools, ponds, children’s playhouses, pleasure palaces, golf courses, and tennis courts. Activities such as horse riding, hunting, fishing, fox hunting, polo, yachting, golf, swimming, tennis, skeet shooting and winter sports, were held at the estates or exclusive clubs nearby such as the Beaver Dam Club, the Seawanhaka Corinthian Yacht Club (1871), Meadow Brook Club (1881), Manhasset Bay Yacht Club (1892), Piping Rock Club (1912), and Creek Club (1923). Privacy was maintained with the huge land holdings, hedges and trees, fences, gates and gate houses, private roads, and lack of maps showing the location of the estates.
In 1745, The Gentleman's Magazine published "God save our lord the king: A new song set for two voices", describing it "As sung at both Playhouses" (the Theatres Royal at Drury Lane and Covent Garden). Traditionally, the first performance was thought to have been in 1745, when it was sung in support of King George II, after his defeat at the Battle of Prestonpans by the army of Charles Edward Stuart, son of James Francis Edward Stuart, the Jacobite claimant to the British throne. It is sometimes claimed that, ironically, the song was originally sung in support of the Jacobite cause: the word "send" in the line "Send him victorious" could imply that the king was absent. However, the Oxford English Dictionary cites examples of "[God] send (a person) safe, victorious, etc." meaning "God grant that he may be safe, etc.".
The troupe was formed in early 1637, under a royal warrant, by the theatre manager and impresario Christopher Beeston, during a time of disorder and reorganisation in the theatre profession; the London playhouses had been closed since the summer of 1636 because of bubonic plague. The creation of a company of boy actors was a return to a practice of the early 17th century, the era of companies like the Children of Paul's and the Children of the Chapel. Those companies, while controversial in their time, had been effective at developing and educating young talent, to the eventual benefit of the adult companies and the theatrical profession as a whole. Beeston's formation of the Young Company was an attempt to recover that training function – as well as to provide effective drama while paying relatively less in actors' salaries.
In the 18th century, Shakespeare dominated the London stage, while Shakespeare productions turned increasingly into the creation of star turns for star actors. After the Licensing Act of 1737, a quarter of plays performed were by Shakespeare, and on at least two occasions rival London playhouses staged the very same Shakespeare play at the same time (Romeo and Juliet in 1755 and King Lear the next year) and still commanded audiences. This occasion was a striking example of the growing prominence of Shakespeare stars in the theatrical culture, the big attraction being the competition and rivalry between the male leads at Covent Garden and Drury Lane, Spranger Barry and David Garrick. There appears to have been no issues with Barry and Garrick, in their late thirties, playing adolescent Romeo one season and geriatric King Lear the next.
Douglas Ellington served as the architectural advisor for the project; Charleston architects Simons & Lapham then supervised the daily work while Ellington was in Washington, D.C. The woodwork and mantels of the second floor drawing room were salvaged from the Radcliffe-King Mansion (circa 1799), which stood at the corner of George and Meeting streets and was razed to build the College of Charleston gymnasium, another WPA project. Modeled on 18th century London playhouses by Charleston architect and pioneering preservationist Albert Simons, the present Dock Street Theatre's stage house and auditorium were built in the hotel's courtyard. The local carpenters, who were put to work as a part of this Depression-era relief effort, used locally grown and milled native black cypress for the wooden interior. Following this $350,000 renovation, The Historic Dock Street Theatre's second grand opening took place on November 26, 1937.
Nokes was one of the male actors who played female roles in the newly reopened playhouses shortly after the Restoration of Charles II. This practice didn't last long, as Thomas Killigrew's King's Company put the first English actress on the stage on December 1660, and from then on they appeared more and more frequently, until in 1662 Charles II ordered that only women should play female roles. There was a brief period in late 1660 and early 1661 when both men and women were playing female roles. On 29 January 1661, the diarist Samuel Pepys went to the Duke’s playhouse, where "after great patience and little expectation, from so poor beginning, I saw three acts of ‘The Mayd in ye Mill’ acted to my great content." It was Nokes who was playing the title female role of the Mayd.
The exterior of the Swan Theatre: a redrawing of a detail from a panorama of London by Claes Van Visscher A 1595 sketch of a performance in progress on the thrust stage of the Swan Enlarge Enlarge The Swan was a theatre in Southwark, London, England, built in 1595 on top of a previously standing structure, during the first half of William Shakespeare's career.F. E. Halliday, A Shakespeare Companion 1564–1964, Baltimore, Penguin, 1964; p. 481. It was the fifth in the series of large public playhouses of London, after James Burbage's The Theatre (1576) and Curtain (1577), the Newington Butts Theatre (between 1575 and 1577) and Philip Henslowe's Rose (1587–88). The Swan Theatre was located in the manor of Paris Gardens, on the west end of the Bankside district of Southwark, across the Thames River from the City of London.
Shoreditch church In 1574 the City authorities banned the building of playhouses in the City of London area, consequently theatres were built in the suburbs, beyond its jurisdiction.The Times History of London p146 The first of these came in 1576, when James Burbage built the first playhouse in England, known as "The Theatre", on the site of the Priory (commemorated today by a plaque on Curtain Road, and excavated in 2008, by MoLAS).Shakespeare's Shoreditch theatre unearthed Maev Kennedy, The Guardian, Thursday, 7 August 2008 William Shakespeare lived nearby in a property overlooking St Helen's churchyard in the Bishopsgate Within area of the City. His early plays were first performed in Shoreditch, at The Theatre and at the nearby Curtain Theatre, built the following year and to the south (marked by a commemorative plaque in Hewett Street off Curtain Road).
In the 18th century, Shakespeare dominated the London stage, while Shakespeare productions turned increasingly into the creation of star turns for star actors. After the Licensing Act of 1737, one fourth of the plays performed were by Shakespeare, and on at least two occasions rival London playhouses staged the very same Shakespeare play at the same time (Romeo and Juliet in 1755 and King Lear the next year) and still commanded audiences. This occasion was a striking example of the growing prominence of Shakespeare stars in the theatrical culture, the big attraction being the competition and rivalry between the male leads at Covent Garden and Drury Lane, Spranger Barry and David Garrick. In the 1740s, Charles Macklin, in roles such as Malvolio and Shylock, and David Garrick, who won fame as Richard III in 1741, helped make Shakespeare truly popular.
Immensely successful, together they built a large chain of theatres and vaudeville playhouses. In 1896 they joined with theatre operators Al Hayman, Charles Frohman, Samuel F. Nixon, and Fred Zimmerman to form the Theatrical Syndicate. Their organization, known as "Klaw & Erlanger", established systemized booking networks throughout the United States and created a monopoly that controlled every aspect of contracts and bookings until the late 1910s when the Shubert brothers broke their hold on the industry. 1901 poster for the representation of Ben Hur at the Illinois Theater of Chicago. The operations of Klaw & Erlanger produced dozens of Broadway shows during the first three decades of the 20th century, including Dracula, Ben-Hur, and The Jazz Singer."A.L. Erlanger Broadway Listings" Internet Broadway Database, accessed December 2, 2011 They produced the first Ziegfeld Follies in 1907 at the rooftop "Jardin de Paris" in New York City.
The original toy theatres were mass-produced replicas of popular plays, sold as kits that people assembled at home, including stage, scenery, characters and costumes. They were printed on paperboard, available at English playhouses and commercial libraries for "a penny plain or two pence coloured." Hobbyists often went to great pains to not only hand-colour their stages but to embellish their toy theatre personae with bits of cloth and tinsel; tinsel print characters could be bought pre-tinselled, or a wide range of supplies for home tinselling could be bought. Just as the toy-sized stages diminished a play’s scale, their corresponding scripts tended to abridge the text, paring it down to key characters and lines for a shorter, less complicated presentation. In the first half of the 19th century, more than 300 of London’s most popular plays saw the issue as toy theatres.
Their construction was prompted when the Mayor and Corporation of London first banned plays in 1572 as a measure against the plague, and then formally expelled all players from the city in 1575. This prompted the construction of permanent playhouses outside the jurisdiction of London, in the liberties of Halliwell/Holywell in Shoreditch and later the Clink, and at Newington Butts near the established entertainment district of St. George's Fields in rural Surrey. The Theatre was constructed in Shoreditch in 1576 by James Burbage with his brother-in-law John Brayne (the owner of the unsuccessful Red Lion playhouse of 1567) and the Newington Butts playhouse was set up, probably by Jerome Savage, some time between 1575 and 1577. The Theatre was rapidly followed by the nearby Curtain Theatre (1577), the Rose (1587), the Swan (1595), the Globe (1599), the Fortune (1600), and the Red Bull (1604).
The Apollo was initially a musical theatre venue for such works as the Gershwin musical Strike Up the Band and several editions of George White's Scandals, featuring W.C. Fields, Bert Lahr and Ed Wynn. As with many other legitimate playhouses of the 1920s, movies were also screened; in 1922, for example, Silver Wings, Around the World With Burton Holmes, and two D. W. Griffith films, Orphans of the Storm and One Exciting Night, had engagements."The Screen" The New York Times (January 4, 1922) (review of Orphans of the Storm); "The Screen" The New York Times (April 25, 1922) (review of Around the World with Burton Holmes); "The Screen" The New York Times (May 18, 1922) (review of Silver Wings); "The Screen" The New York Times (October 24, 1922) (review of One Exciting Night) In 1934 the Apollo became 42nd Street's third stock burlesque house, joining Minsky's Republic three doors to the east and the Eltinge Theater across the street.
The play belongs to the special subgenre known as city comedy; it provides a satirical and rather cynical view of life, as an amoral and fairly ruthless battle of wits in the urban metropolis of early 17th-century London. It was premiered sometime around the middle of the first decade of the century by the Children of Paul's, a company of boy actors popular at the time—a troupe that tended to specialise in a drama for an elite audience of gentlemen rather than the more broad-based theatre of the large public playhouses like the Globe or Fortune Theatres. Middleton likely drew upon a wide range of contemporary literature for the play's plot and atmosphere, including a chapbook titled The Merry Conceited Jests of George Peele that was registered in 1605. The play is generally considered one of the best of the satirical city comedies that Middleton wrote in the early 17th century, along with A Trick to Catch the Old One.
Of his summation of the ages of man in the famous Youth, Maturity, Old Age and Death, one critic said: "He accomplishes in less than two minutes what most novelists cannot do in volumes." During an interview with CBS in 1987, Marceau tried to explain some of his inner feelings while creating mime, calling it the "art of silence:" In 1949, following his receipt of the Deburau Prize (established as a memorial to the 19th-century mime master Jean-Gaspard Deburau) for his second mimodrama, Death before Dawn, Marceau founded Compagnie de Mime Marcel Marceau, the only company of pantomime in the world at the time. The ensemble played the leading Paris theaters, such as Le Théâtre des Champs-Élysées, Le Théâtre de la Renaissance, and the Bernhardt Theatre, as well as other playhouses throughout the world. From 1959 to 1960, a retrospective of his mimodramas, including The Overcoat by Gogol, ran for a full year at the Amibigu Theatre in Paris.
In September 1599, John Marston began to work for Philip Henslowe as a playwright. Following the work of O. J. Campbell, it has commonly been thought that Marston turned to the theatre in response to the Bishops' Ban of 1599; more recent scholars have noted that the ban was not enforced with great rigor and might not have intimidated prospective satirists at all. At any rate, Marston proved a good match for the stage—not the public stage of Henslowe, but the "private" playhouses where boy players performed racy dramas for an audience of city gallants and young members of the Inns of Court. Traditionally, though without strong external attribution, Histriomastix has been regarded as his first play; performed by either the Children of Paul's or the students of the Middle Temple in around 1599, it appears to have sparked the War of the Theatres, the literary feud between Marston, Jonson and Dekker that took place between around 1599 and 1602.
The large, yet compact, Restoration playhouses, with audience capacities from 700 (Bridges Street) to upwards of 2,000 (the next house on the same site, the Theatre Royal, Drury Lane, finished in 1674), were enormous investments, financed through selling shares in the companies, which were thus bound to make more and more money from ticket sales. Not only the theatres and their technical equipment, but the flats painted for a single performance, the special effects, and the elaborate stage clothes, were extremely expensive. Audiences appreciated both luxury and appropriateness of décor and costume: Pepys was quite capable of going several times to see a play that, as such, he disliked, purely for the pleasure of viewing striking and innovative scenery like "a good scene of a town on fire". The companies struggled to outdo each other in catering to these expensive tastes, with precarious finances and the ever-present consciousness that the investments could literally burn to the ground in a few hours.
Among other things, it would have established a Federally chartered citizens advisory group to be chaired by Papp, known as the "Broadway/Times Square Theatre District Preservation Commission".H.R. 6885, Library of Congress Faced with fierce opposition and extensive lobbying against its passage by Mayor Ed Koch's administration and Manhattan developers, the bill was not enacted into law, but the ultimate effect of the "Save the Theatres" effort was to slow destruction of the old Theater District enough to eventually ensure preservation of a number of other historic playhouses and a measure of the District's original atmosphere and historic character.New York City's Theater District (officially zoned as the "Theater Subdistrict") is an area in Midtown Manhattan where most Broadway theatres are located, as well as many other theaters, movie theaters, restaurants, hotels, and other places of entertainment. It extends from West 40th Street to West 54th Street, from west of Sixth Avenue to east of Eighth Avenue, and includes Times Square.
Bamboo tallies were issued by local business and trading firms, exchange-offices, merchant guilds or associations, as well as playhouses, other producers include the Jiheyi Society (a local producer of rice), the Deyuan Society (a local manufacturer mats), and the Xuyichang candy shop. The first bamboo tallies from this region were actually manufactured during the Southern Song dynasty, but the modern bamboo tallies were only produced in the aftermath of the Taiping rebellion which devastated the local economy. Bamboo tallies were originally produced by mat-manufacturers of Xushuan in 1877 under the Guangxu Emperor as "emergency money" and had a nominal value of 100 wén. These early bamboo tallies were at first just meant to be used between their suppliers and customers from the countryside but then began to circulate on the entire market which was not prohibited by the local authorities at the time due to the economic situation of the region.
It was a lively part of Covent Garden, full of businesses and people, coffee houses, taverns, and soup kitchens. It appealed to “publishers, printers, authors and tradesmen who occupied its houses and frequented its taverns.” And it was always bustling with “innumerable trades, tradesmen and customers, coaches, wagons playhouses”. Before founding Ward and Lock, Ward had worked as the manager of the book department at Herbert Ingram and Company. In 1855, Herbert Ingram and Company folded and Ward and Lock, with some help from their business partners Thomas Dixon Galpin and George William Petter, bought some of Ingram's “publications, including the copyrights, wood- blocks, stereotype plates and engravings [that] were put up for sale.” Perhaps, the most important book from the Ingram catalogue was Webster’s Dictionary of the English Language, which Ward and Lock started reissuing with great success. By the 1870s, Webster’s Dictionary had sold 140,000 copies. Other titles published by Ward and Lock around this time included books on travel, mechanics, and reprints of classical works, such as Homer's Odyssey and Alexandre Dumas’ Pictures of Travel in the South of France.
The Mayor and Corporation of London banned plays in 1572 as a measure against the plague, and in 1575 they formally expelled all players from the city. This prompted the construction of playhouses outside the jurisdiction of London, in the liberties of Halliwell (in Shoreditch) and later the Clink, and at Newington near the established entertainment district of St. George's Fields. The Newington theatre was located not on Newington Butts itself, but nearby on the east side of Walworth Road near the junction with New Kent Road. The playhouse stood less than an acre of land in Lurklane, occupying of frontage on what became Walworth Road and bounded to the south by a drainage ditch (or "sewer" in the language of the time).Ingram (1992) pp 157–158 Ingram has a general map on page 151 and a more detailed map on p 161 Ingram uses Commissions of Sewers records of 1576–1578 to deduce that the actor Jerome Savage lived adjacent to the sewer and thus the playhouse was in the northern part of the plot.
Before the Civil War, theatres in New York City were primarily located along Broadway and the Bowery up to 14th Street, with those on Broadway appealing more to the middle and upper classes and the Bowery theatres attracting immigrant audiences, clerks and the working class. After the war, the development of the Ladies' Mile shopping district along Fifth and Sixth Avenues above 14th Street had the effect of pulling the playhouses uptown, so that a "Rialto" theatrical strip came about on Broadway between 14th and 23rd Streets, between Union Square and Madison Square. Union Square in 1908 At the same time, a transition from stock companies, in which a resident acting company was based around a star or impresario, to a "combination" system, in which productions were put together on a one-time basis to mount a specific play, expanded the amount of outside support needed to service the theatrical industry. Thus, suppliers of props, costumes, wigs, scenery, and other theatrical necessities grew up around the new theatres.
The Elizabethan era is appropriately famous for the construction of the earliest permanent professional playhouses in Britain, starting with James Burbage's The Theatre in 1576 and continuing through the Curtain (1577), the Rose, Swan, Globe and others —; a development that allowed the evolution of the drama of Christopher Marlowe, William Shakespeare, Ben Jonson and their contemporaries and successors. Prior to the building of The Theatre, plays were sometimes staged in public halls, the private houses of aristocrats, or royal palaces —; but most often, and most publicly, they were acted in the courtyards of inns. (It is an often-stated truism of the critical literature that the open-air public theatres or amphitheatres of Burbage and his successors were modeled on the inn yards, with their surrounding balconies, open space in the center, and stage to one side.) Though the surviving documentary record is frustratingly limited, "it seems certain that some of the inn-yards were converted into something like permanent theatres."F. E. Halliday, A Shakespeare Companion 1564–1964, Baltimore, Penguin, 1964; p. 243.
In the confused theatre scene of the Caroline era – what Andrew Gurr has called "a complex game of musical playhouses"Andrew Gurr, The Shakespearian Playing Companies, Oxford, Oxford University Press, 1996; p. 438. in which companies switched theatres and changed their names – there was a troupe that acted under the name in the 1631–42 period, with royal patronage under the name of the infant Prince Charles, the future Charles II; scholars sometimes designate it Prince Charles's Men (II). This company, which included some personnel from the Admiral's/Palsgrave's company that had collapsed in 1631, was at Richard Gunnell's new Salisbury Court Theatre in the 1631–33 era, at the Red Bull Theatre in 1634–40, and at the Fortune Theatre in 1640–42. The original 1631 sharers in this company were Andrew Cane (their star clown), Ellis Worth, Joseph Moore, Matthew Smith, Richard Fowler, William Brown, James Sneller (or Kneller), Thomas Bond, Henry Gradwell, and William Hall. The same men (except for Moore, who may have been a manager rather than an actor) were named Grooms of the Chamber on 10 May 1632.
Just as the first capital of British India, Calcutta, saw the rise of Bengali theatre in the light of Bengal renaissance early 19th century, at the same time Parsi theatre was coming up in Mumbai, inspired by English-style playhouses which had come up in the late 18th century in Mumbai and Kolkata, exclusively for the Raj gentry. Taking over the same proscenium stages, Parsi theatre took cue their European theatricality, but it brought in Indian themes, thus it "blended realism and fantasy, music and dance, narrative and spectacle, earthy dialogue and ingenuity of stage presentation, integrating them into a dramatic discourse of melodrama. The Parsi plays contained crude humour, melodious songs and music, sensationalism and dazzling stagecraft." Though it originally was in Gujarati language, by the 1870s, a flourishing Parsi theatre lead to the creation numerous travelling theatre companies, though they mostly used Indianised versions of Shakespeare’s plays initially, soon Indian legends, epic and mythological tales made an appearance as source material, as Parsi theatre companies started travelling across North India, and employed native writers to churn out scripts in Hindustani the popular language in the territory, akin to Urdu, the court language in the Mughal era.

No results under this filter, show 282 sentences.

Copyright © 2024 RandomSentenceGen.com All rights reserved.