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In 1899, when film projection was barely three years old, Herbert Beerbohm Tree was filmed as King John. In his highly entertaining history, Robert Hamilton Ball traces in detail the fate of Shakespeare on silent films from Tree’s first effort until the establishment of sound in 1929. The silent films brought Shakespeare to a wide public who had never had the chance to see his plays in the theatre. And Shakespeare gave the film makers an air of respectability that was badly needed by a medium with a reputation for frivolity. This work, first published in 1968, brings history to life with excerpts from scenarios, from reviews and from contemporary film journals, and with reproduction of stills and frames from the films themselves, including unusual shots of leading screen actors. This is a valuable source book for film experts, enhanced by full notes, bibliography and indexes; a fresh approach for Shakespeareans; and a vivid sketch of a world that has passed for all.
This third volume of The Papers of Will Rogers documents the evolution of Rogers's vaudeville career as well as the newlywed life of Will and Betty Blake Rogers and the birth of their children. During these years, the Rogerses moved to New York City, and after many years of performing with Buck McKee and horse Teddy, Rogers began a solo act in vaudeville as a talking, roping cowboy. He appeared on the same playbill with such performers as Fred Stone, Eddie Cantor, and Houdini, and his stage career expanded to include an appearance in the Broadway musical comedy "The Wall Street Girl." Volume Three ends with Rogers's successful transition from vaudeville to Broadway, on the brink of his breakthrough as a star of the Ziegfeld Follies.
 Mary Nolan (1905-1948), also known as Imogene "Bubbles" Wilson, was the subject of two infamous court cases--one with Frank Tinney and the other with Eddie Mannix--in the 1920s. Like many Ziegfeld Follies girls, she had the beginnings of a promising career, but by the 1930s it had been destroyed by adultery, drugs and physical abuse. This biography follows Nolan's life from the backwoods of Kentucky to her death in 1948. Included is a series of newspaper articles published in 1941 that were to be expanded into her memoir, which she was unable to complete before her death.
Improbably located in the heart of the Jewish ghetto on the Lower East side of Manhattan, the Neighborhood Playhouse and its brief yet influential tenure offers a fascinating story in the annals of theater history. From 1915 to 1927, this progressive theater, along with the better-known Provincetown Players and the Theatre Guild, inaugurated the Little Theater Movement in America. In John P. Harrington’s detailed account of the Neighborhood Playhouse’s remarkable history, readers learn not only about its notable productions but also about its gradual shift in mission and the tensions between art and social work. Harrington traces the playhouse’s long-lasting legacy: it fostered The Neighborhood School of Acting made famous by Sanford Meisner, now the Neighborhood Playhouse School of the Theatre, and it helped spawn the expansive network of community theaters that thrive throughout America today. Well-researched and detailed, this book provides a vital yet often overlooked piece of theater history and a lost key to understanding the growth of theater arts in New York City.
The Encyclopedia of Vaudeville provides a unique record of what was once America's preeminent form of popular entertainment from the late 1800s through the early 1930s. It includes entries not only on the entertainers themselves, but also on those who worked behind the scenes, the theatres, genres, and historical terms. Entries on individual vaudevillians include biographical information, samplings of routines and, often, commentary by the performers. Many former vaudevillians were interviewed for the book, including Milton Berle, Block and Sully, Kitty Doner, Fifi D'Orsay, Nick Lucas, Ken Murray, Fayard Nicholas, Olga Petrova, Rose Marie, Arthur Tracy, and Rudy Vallee. Where appropriate, entries also include bibliographies. The volume concludes with a guide to vaudeville resources and a general bibliography. Aside from its reference value, with its more than five hundred entries, The Encyclopedia of Vaudeville discusses the careers of the famous and the forgotten. Many of the vaudevillians here, including Jack Benny, George Burns and Gracie Allen, Jimmy Durante, W. C. Fields, Bert Lahr, and Mae West, are familiar names today, thanks to their continuing careers on screen. At the same time, and given equal coverage, are forgotten acts: legendary female impersonators Bert Savoy and Jay Brennan, the vulgar Eva Tanguay with her billing as “The I Don't Care Girl,” male impersonator Kitty Doner, and a host of “freak” acts.
Many Broadway stars appeared in Hollywood cinema from its earliest days. Some were 19th century stage idols who reprised famous roles on film as early as 1894. One was born as early as 1829. Another was cast in the performance during which Abraham Lincoln was assassinated. One took her stage name from her native state. Some modern-day stars also began their careers on Broadway before appearing in films. This book details the careers of 300 performers who went from stage to screen in all genres of film. A few made only a single movie, others hundreds. Each entry includes highlights of the performer's career, a list of stage appearances and a filmography.
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.
"Each player is discussed in a brief biography, followed by a complete list of every play and character they performed in New York. Also included are plays and musicals that were heading to New York but closed before opening. Cast replacements are indicated as well as Tony nominations and awards. Within Enter the Players, each actor comes alive as his or her career is revealed step-by-step, role-by-role. This book is an invaluable reference work and provides hours of fascinating browsing for anyone who loves theatre."--BOOK JACKET.
In the age of video, nearly every film ever made is available on video somewhere. The only problem is finding it. This guide lists, both title and producer, nearly 3000 animated films, the sources of their video copies, with the sources' telephone, fax numbers, postal address, and e-mail. Included are many hard-to-find films. This is the only source of information you will need to track it down. An added bonus is a listing of more than 200 films that have won major prizes at animation festivals and/or placed on animation polls.