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Posts from the Billy Rose Theatre Division

Finale, Part I: Curtain Calls

The Great American Revue is coming to the end of its run at the Vincent Astor Gallery, LPA. Don't worry —  all of the artifacts will be returned to the Billy Rose Theatre Division, Jerome Robbins Dance Division, or Music Division, and the 

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Welcome to the Theatre, to the Magic, to the Fun!

OK quick, what Broadway show are these words from, and who sings them? You can probably figure out from a Google search that the show is Applause, the 1970 musical version of the movie All About Eve, with music by Charles Strouse and lyrics (including the above) by Lee Adams. And a visit to YouTube will give you a taste of Lauren Bacall huskily embodying diva Margo Channing in a Tony Awards clip. But suppose you want more — suppose you want to read the complete Applause 

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Audience Participation on the Ziegfeld Roof

At the turn of the last century, as part of their effort to establish Times Square as the new entertainment center, Oscar and William Hammerstein installed a roof garden cabaret on top of their 42nd St. corner theater. Made possible by the invention of elevators and cooled air, roof gardens caught on as a temperate weather late night activity. William Hammerstein’s programming featured vaudeville stars and their imitators. You can see the logo for their Paradise Roof Garden on the Vaudeville Nation site — a young woman sipping an iced drink surrounded by Japanese lanterns. 

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The 9 Lives of Catwoman

Judging from the teasers, Batman: The Dark Knight Rises promises to be another must-see summer movie, not least for the anticipation of Anne Hathaway's being cast as Catwoman. Anne has some impressive spandex to fill, however, against such feline luminaries as Julie Newmar, Eartha Kitt, and and Michelle Pfeiffer, each with her own brand of Gotham catitude. Check out our treasury of vintage images of Catwomen from NYPL's Billy Rose Theatre Division and then take a sec and scratch your

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Andre Charlot's Revue of 1924

Impresario Andre Charlot brought London stars and songwriters to Broadway in January 1924. That show forms a neat connection between Noel Coward and the American revue scene, so we developed a small exhibition about it for LPA's 3rd floor reading room.

The Revue, produced in New York by The Selwyns, was a compilation of new material with audience favorites from past London shows. Both Noël Coward and Ivor Novello songs were featured, as well as works by 

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At the Ball, That's All: J. Leubrie Hill

The exhibition, The Great American Revue, focuses on Broadway revue series, 1907–1938. But, they were not the only shows on Broadway. During those three decades, dozens of musical comedies by African American songwriters, featuring African American casts were presented successfully in Broadway theaters. They were musical comedies, not revues. They were written for (and, frequently by) the African American character comedians and had complicated plots 

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That Bacchanale Rag

"That Bacchanal Rag"

Layers on layers of references that could not fit into a caption:

The Passing Show of 1912 established the topical nature of Broadway revues. The authors, George Bronson-Howard and Harold Atteridge, combined references to contemporary politics, New York's cultural life, and both Broadway personalities and their fictional characters (in this case, producer/playwright David Belasco and Peter Grimm, a character that he wrote for David Warfield. Ned Wayburn, who 

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The Lost Musicals: Joel Grey’s Star Vehicles, Part Two: The Grand Tour

I think I know why Joel Grey's 1975 star vehicle Goodtime Charley flopped, but I'm less clear about The Grand Tour. The story is powerful and charming. The star performance, was by all accounts one of the most special anyone had ever seen. And Herman's score is terrific — maybe not fully up to his standard of Hello, Dolly,

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Naughty Marietta: A Production History

A Guest Blog By Project Co-Director, Professor William Everett

In 1910 impresario Oscar Hammerstein sold his interests in his Manhattan Opera Company to his chief rival, the Metropolitan Opera, and agreed not to produce any opera in New York City for a decade. Instead, he turned his attention toward the related genre of operetta and commissioned the noted composer-conductor Victor Herbert to write a new work that would feature two of his Manhattan Opera Company stars, Emma Trentini and Orville Harrold. Hammerstein wanted a highly operatic operetta, and Herbert more than 

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African American Composers and Conductors: Ford T. Dabney

The exhibition, The Great American Revue, focuses on Broadway revue series, 1907–1938. But they were not the only shows on Broadway. During those three decades, dozens of musical comedies by African American songwriters, featuring African American casts were presented successfully in Broadway theaters. They were musical comedies, not revues. They were written for (and, frequently by) the African American character comedians and had complicated plots setting 

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King of Jazz? Paul Whiteman and Hollywood's Rave Revues

Join us on Tuesday afternoon for a screening of King of Jazz (Universal, 1930) at LPA. Hollywood's Rave Revues is a film series programmed by John Calhoun in conjunction with the exhibition The Great American Revue, across the lobby in the Vincent Astor 

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Musical of the Month: A History of The Pink Lady

A guest blog by project co-director, Professor William Everett

The Women of the Pink Lady Touring Company (MWEZ8969)The Pink Lady (1911) is one of those delightful gems from a century ago with a title that suggests something eminently enjoyable. This is indeed the case for the English-language musical version of the French farce Le Satyre by Georges Berr and Marcel Guillemaud. The Pink Lady's creative team included several significant names of the era, as did the original cast. The music and plot were closely intertwined, with musical numbers advancing the storyline and 

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The Lost Musicals: Joel Grey's Star Vehicles, Part One: "Goodtime Charley"

I recently processed the papers of one of the musical theater's greatest stars, Joel Grey. His Tony and Oscar winning performances as the bizarre, androgynous master of ceremonies of a nightclub in Hitler's Berlin in Kander and Ebb's Cabaret (1966) and its 1972 film adaptation made him a star; and Grey has had a long, successful career, highlighted by hits like

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A Room with a ?: Noël Coward Parodies

The topical revues of 1907 – 1938 satirized performance, society and politics. Everything happening in and around New York was fair game. So, it should not be surprising that Noël Coward came in for his share of parodies. Since LPA's current exhibition in the Donald & Mary Oenslager Gallery is Star Quality: The World of Noël Coward and our neighbors, Film Society of Lincoln Center, will dedicate next weekend to

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Color and The Great American Revue

Design by Robert Ten Eyck Stevenson for the Greenwich Village Follies

This blog channel is inspired by the current exhibition at the Library for the Performing Arts, The Great American Revue: How Florenz Ziegfeld, George White and their Rivals Remade Broadway, which is on view through July 27, 2012. The material on display is drawn from the collections of LPA’s Research Divisions.

“Color,” our key image, is one of a 

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The Importance of Earthworms: Darwin’s Last Manuscript

Charles Darwin died 130 years ago today, leaving an intellectual legacy which has profoundly influenced the general course of Western thought. He is best known for his work On the Origin of Species (1859) and The Descent of Man (1871), both of which 

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Frank McHugh: A Beloved Character Actor Who Played an Important Role in World War II

Unless you’re a classic film buff, you’ve probably never heard of Frank McHugh, and most of the hundred odd movies he appeared in during the 1930s, 1940s and 1950s have fallen into obscurity. Born into a theatrical family, McHugh (1898-1981) grew up touring in a Vaudeville act with his brother and sister. He honed his acting skills in the 1920s, performing in regional/stock productions and on the Broadway stage. He landed in Hollywood in 1930, along with the rash of New York theatre actors talking pictures created a demand for.

McHugh quickly became 

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When They Trod the Boards: "Star Trek" Edition

STAR TREK. The Musical! OK, not really, but even Mr. Spock would find fascinating what we dug up in the Library's Billy Rose Theatre Division about the original Star Trek actors before they went stellar. Who knew that Nichelle Nichols sizzled in the local cabaret scene before taking up her earpiece on the starship Enterprise? Or that George Takei was an activist (OK, not surprising), or that William Shatner, of Shatner's World; We Just Live in 

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The Lost Musicals: "Skyscraper"

The successful casting of non-singing stars (or at least stars not known for singing) such as Rosalind Russell in Wonderful Town, Rex Harrison in My Fair Lady, and Richard Burton in Camelot inspired a trend in 1950s and 60s musicals. In his book

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The Lost Musicals, Hollywood Edition: Comden and Green’s "Wonderland"

Wonderland isn’t technically lost — it was never made, but I found a rare script for this would-be film musical in the Betty Comden Papers. Betty Comden and Adolph Green were the two halves of the longest-running writing partnership in Broadway history. They met in 1933 at New York University and first worked together in the late 30s, writing sketches for the comedy group the Revuers, in which both also performed. They continued writing lyrics and scripts together until Green’s death in 2002. They are known for their lyrics to great Broadway shows like

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