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Posts from the Billy Rose Theatre Division

Ruth Chatterton: A Screen Career in Photographs (In Defense of the Fan Collection)

Ruth Chatterton, 1921This post is about a fascinating, talented and beautiful movie star of the 1930s named Ruth Chatterton. However, it's also about a dedicated fan who preserved her legacy. Yes, this is the type of collection many archivists dread: the much-maligned fan collection.

Perhaps I better explain this for any laymen reading. If the library had Ruth Chatterton's Papers, that would mean that the stage and film actress, novelist and aviatrix (!) maintained her own photographs, scripts, correspondence, programs, clippings, etc. and gave them to us (or her 

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Musical of the Month: Oh, Boy!

A guest post By Laura Frankos Oh, Boy!: Kern, Bolton, Wodehouse and the Princess Theatre Musicals The Genesis of the Series

Image ID: th-56990In 1913, the Shuberts added another theatre to their empire at 104 West 39th Street, on the edge of the theatre district. Architect William Albert Swaney, who had built the Winter Garden for the brothers, designed an intimate 299-seat house, with an understated Georgian exterior of red brick and limestone and five stories of office space for rental income. The theatre, dubbed the Princess, spent its first seasons as "the Theatre of 

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Wait for Me, World: The Kander, Ebb and Wasserman Musical that Never Was

Dale WassermanMost archivists will tell you that the best part of our job is the feeling of possibility. Every time you open a box and start digging through it, you might find that something amazing — you might be making an intellectual discovery. This can be especially exciting when you’re dealing with a subject that you thought you pretty much had down cold. Professionally, I live for these moments and I had one while processing the Dale Wasserman Papers.

After his tremendous success writing the book for 

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An Introduction to the Dorothy Loudon Papers

Dorothy Loudon would have made a fine archivist.

As it happens, Ms. Loudon chose another line of work. An acclaimed nightclub singer, television performer, and theater actress, Loudon's most famous role was that of Miss Hannigan in the original 1977 production of Annie. The Tony Award she won for that performance opened the door for leading roles in a series of Broadway 

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The Act I Finale

The Great American Revue is coming to the end of its run at the Vincent Astor Gallery, LPA. It employed Library for the Performing Arts treasures to represent the 15 revue series on Broadway, from the first Follies in 1907 — to the Pins & Needles series in 1939. The blog channel will continue and for the next few weeks, will focus on some of the treasures that we had to edit out of the exhibition.

For plotless revues 

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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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