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International vaudeville star and Broadway prima ballerina Jeanne Devereaux performed for millions across America and Europe from age eleven until her retirement at forty. A headliner at Radio City Music Hall, she led a large group of performers on one of the first USO Camp Shows tours to Japan. Born Jean Helman, she entered showbiz as a dancing trouper performing in palatial theaters and was one of the last vaudevillians surviving into the 2010s. In her later years living in Pasadena, California, Devereaux indulged her passion for research and writing in the Huntington Library's Rothenberg Reading Room, losing none of her intelligence and wit despite a fading memory. Drawing on personal interviews, theatrical programs, and her diary and letters, this biography illuminates the life and career of one of vaudeville's stars of stage, film, and television.
Vaudeville, as it is commonly known today, began as a response to scandalous variety performances appealing mostly to adult, male patrons. When former minstrel performer and balladeer Tony Pastor opened the Fourteenth Street Theatre in New York in 1881, he was guided by a mission to provide family-friendly variety shows in hopes of drawing in that portion of the audience – women and children – otherwise inherently excluded from variety bills prior to 1881. There he perfected a framework for family-oriented amusements of the highest obtainable quality and style. Historical Dictionary of Vaudeville contains a chronology, an introduction, an extensive bibliography, and the dictionary section has more than 1,000 cross-referenced entries on performing artists, managers and agents, theatre facilities, and the terminology central to the history of vaudeville. This book is an excellent resource for students, researchers, and anyone wanting to know more about vaudeville.
International vaudeville star and Broadway prima ballerina Jeanne Devereaux performed for millions across America and Europe from age eleven until her retirement at forty. A headliner at Radio City Music Hall, she led a large group of performers on one of the first USO Camp Shows tours to Japan. Born Jean Helman, she entered showbiz as a dancing trouper performing in palatial theaters and was one of the last vaudevillians surviving into the 2010s. In her later years living in Pasadena, California, Devereaux indulged her passion for research and writing in the Huntington Library's Rothenberg Reading Room, losing none of her intelligence and wit despite a fading memory. Drawing on personal interviews, theatrical programs, and her diary and letters, this biography illuminates the life and career of one of vaudeville's stars of stage, film, and television.
There have been wonderful books about dancing, and superbly evocative ones about old Russia: but here the two themes are fascinatingly wedded. For these are the memoirs of the prima ballerina assoluta of the imperial Russian ballet, Mathilde Kschessinska (the Princess Romanovsky-Krassinsky), with whom, at her first appearance, the Tsarevitch Nicholas fell in love. As a dancer she had few rivals: apart from her marvellous technique she had a star personality, and was adored by the public. At the height of her fame she appeared in London with Diaghilev's company and danced with Nijinsky: she preferred, however, to dance in Russia, and for twenty years she was the adored darling of the great world of Petersburg. After the Revolution, when she was living as an emigre in the South of France, Diaghilev begged her to dance for him in his new Paris season, but to no avail. Kschessinska's memoirs fall roughly into three parts: the glittering fairy-story of her life as prima ballerina in Russia; her flight during the Revolution; and the era in which she established herself as a teacher of the highest rank. It is an extraordinary self-revelation of a great dancer and an utterly human person.
Songs written for Disney productions over the decades have become a potent part of American popular culture. Since most Americans first discovered these songs in their youth, they hold a special place in one's consciousness. The Disney Song Encyclopedia describes and discusses hundreds of famous and not-so-famous songs from Disney films, television, Broadway, and theme parks from the 1930s to the present day. Over 900 songs are given individual entries and presented in alphabetical order. The songwriters and original singers are identified, as well as the source of the song and other venues in which it might have been used over the years. Notable recordings of the song are also listed. But most important, the song is described and what makes it memorable is discussed. This is not a reference list but a true encyclopedia of Disney songs. The book also contains a preface describing the criteria for selecting the songs, a glossary of song terms, a list of all the Disney songs and their sources, a songwriter's directory in which every song by each composer/lyricist is listed, a bibliography, a guide to recordings and DVDs of Disney productions, and an index of people and titles.