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Most of the time, there is nothing remarkable about a movie theater today; but that wasn't always the case. When the great American movie palaces began opening in the early 20th century, they were some of the most lavish, stunning buildings ever seen. However, they wouldn't last -- with the advent of in-home television, theater companies found it harder and harder to keep them open. Some were demolished, some were converted, and some remain empty to this day. After the Final Curtain: The Fall of the American Movie Theatre will take you through 24 of these magnificent buildings, revealing the beauty that remains years after the last ticket was sold.
Regina Mingotti was the first female impresario to run London's opera house. Born in Naples in 1722, she was the daughter of an Austrian diplomat, and had worked at Dresden under Hasse from 1747. Mingotti left Germany in 1752, and travelled to Madrid to sing at the Spanish court, where the opera was directed by the great castrato, Farinelli. It is not known quite how Francesco Vanneschi, the opera promoter, came to hire Mingotti, but in 1754 (travelling to England via Paris), she was announced as being engaged for the opera in London 'having been admired at Naples and other parts of Italy, by all the Connoisseurs, as much for the elegance of her voice as that of her features'. Michael Burden offers the first considered survey of Mingotti‘s London years, including material on Mingotti's publication activities, and the identification of the characters in the key satirical print 'The Idol'. Burden makes a significant contribution to the knowledge and understanding of eighteenth-century singers' careers and status, and discusses the management, the finance, the choice of repertory, and the pasticcio practice at The King's Theatre, Haymarket during the middle of the eighteenth century. Burden also argues that Mingotti‘s years with Farinelli influenced her understanding of drama, fed her appreciation of Metastasio, and were partly responsible for London labelling her a 'female Garrick'. The book includes the important publication of the complete texts of both of Mingotti's Appeals to the Publick, accounts of the squabble between Mingotti and Vanneschi, which shed light on the role a singer could play in the replacement of arias.
Life is full of fun and games on the African plains for Simba, a young lion cub. But when Simba's father is killed, and his uncle, Scar takes over, he makes Simba leave the Pride. With the help of his comical friends, Pumbaa the warthog and Timon the meerkat, Simba can finally claim his throne. But first he must stand up to his villainous uncle, Scar.
Created when James I granted royal patronage to the former Chamberlain's Men in 1603, the King's Men were the first playing company to exercise a transformative influence on Shakespeare's plays. Not only did Shakespeare write his plays with them in mind, but they were also the first group to revive his plays, and the first to have them revised, either by Shakespeare himself or by other dramatists after his retirement. Drawing on theatre history, performance studies, cultural history and book history, Shakespeare in the Theatre: The King's Men reappraises the company as theatre artists, analysing in detail the performance practices, cultural contexts and political pressures that helped to shape and reshape Shakespeare's plays between 1603 and 1642. Reconsidering casting and acting styles, staging and playing venues, audience response, influence and popularity, and local, national and international politics, the book presents case-studies of performances of Macbeth, The Tempest, The Winter's Tale, Richard II, Henry VIII, Othello and Pericles alongside a broader reappraisal of the repertory of the company and the place of Shakespeare's plays within it.
This fascinating selection of photographs traces the history of two of Edinburgh's best-loved theatres, the changes that have taken place inside and out, and many of the legendary acts that have appeared over the years.
Reprint of the original, first published in 1837.