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text: Presents BROADWAY: THE GOLDEN AGE BY THE LEGENDS WHO WERE THERE Director, Writer, Filmmaker, Editor, Producer Rick McKay Producer Albert M. Tapper Executive Producer Georgia Frontiere Aspect Ratio: 1.85:1 Sound: Dolby SR Running Time: 111 minutes Rating: Unrated Publicity Contacts Los Angeles New York Carol Marshall Rick McKay PMK/HBH Public Relations 1st Act Films/2nd Act Prods. 700 San Vicente Blvd., Suite G910 495 West End Ave., Suite 3K West Hollywood, CA 90069 NYC, NY 10024 Telephone: (310) 289-6200 -x206 Telephone: 212-721-7431 Fax: (310) 289-6677 Fax: 212-721-1990 firstname.lastname@example.com firstname.lastname@example.com Website: www.broadwaythemovie.com 1 PRODUCTION CREDITS Director, Writer, Filmmaker, Editor, Producer Rick McKay Producer Albert M. Tapper Executive Producer Georgia Frontiere Co-Producers Jamie deRoy Anne L. Bernstein Associate Producers Jack Coco Sandi Durell Jane Klain Richard Weigle Assistant Editors Jeremiah Black John Carhart III Jake Diamond Nicole London Allison Eve Zell Final Sound Mix: Tom Paul The Cottage, NY Final Online Editor: Steve Pequinot Glue Editing & Design Sound Effects Editor: Tom Paul The Cottage, NY Production Supervisor Nicole London Administrative Assistant Fran Sherwood 2 On-Line Editor Jake Diamond Archival Clearance: Target Audience Media, Inc. Music Clearances: Yolanda Ferraloro for Music Rightz Archival Researcher Morgan Sills Research Consultant Robert E. Milite Special Archival Research Jane Klain Legal Representation: John Breglio, Esq. Olivier Sultan, Esq. Paul, Weiss, Rifkind, Wharton & Garrison LLP Alan H. Bomser, Esq. Production Assistants Joel Coriat, Linda Pereira, J. Michael Grey, Leslie Strain Transcriber Leslie Strain Photos Exclusively by: PHOTOFEST Archival Resources Beech Grove Public Library, Las Vegas News Bureau Absolutely Archives Beech Grove Public Library Roy Bernstein, Esq. Kevin Bianchi Christopher Cohen C&C Visual, Ltd. Ethel Burns Estate Fox Television George Eastman House 3 Getty Images Leigh Harralson Historic Films Alexander W. Kogan, Jr. Las Vegas News Bureau Alan Jay Lerner Estate Daniel Mayer Selznick Robert Milite Collection The Museum of Television and Radio NBC News Archives Paramount Pictures Prelinger Archives Producers Library Services SabuCat Productions, Inc. Showcase Productions UCLA Film & TV Archive Fiscal Sponsor Film Video Arts, Inc., NY, NY Est. 1969 Music Credits "Before the Parade Passes By" from "Hello, Dolly" (Jerry Herman) Performed by Carol Channing Courtesy of Biff Liff for William Morris Agency "Lullaby of Broadway" (Al Dubin and Harry Warren) Performed by Doris Day Witmark M & Sons (ASCAP) c/o Warner Bros. Inc. c/o Warner Chappell Music, Inc.(ASCAP) Courtesy of Columbia Records, by Arrangement wtih Sony Music Licensing "New York, New York" from "On the Town" (Leonard Bernstein, Betty Comden and Adolph Green) Performed by Original Broadway Cast Warner Bros. Inc. c/o Warner/Chappell Music, Inc. (ASCAP) and the Leonard Bernstein Music Publishing Co. LLC. 4 c/o Universal Music Publishing Group (ASCAP) Courtesy of Columbia Records, by Arrangement with Sony Music Licensing "Soliloquy" from "Carousel" (Oscar Hammerstein ll & Richard Rodgers) Performed by John Raitt Williamson Music Co. (ASCAP) "Steam Heat" from "The Pajama Game" (Richard Adler & Jerry Ross) Performed by Carol Haney, Buzz Miller and Peter Gennaro The Songwriter Guild of America o/b/o J&J Ross Co. (ASCAP) and Lakshmi Puja Music Ltd. (ASCAP) "Finale (So, Kiss Me, Kate)" from "Kiss Me, Kate" (Cole Porter) Performed by Patricia Morison, Alfred Drake and the Original Broadway cast Chappell & Co., Inc. (ASCAP) c/o Warner/Chappell Music. Inc. "I Hate Men" from "Kiss Me, Kate" (Cole Porter) Performed by Patricia Morison Chappell & Co., Inc. (ASCAP) c/o Warner/Chappell Music. Inc. "If Ever I Should Leave You" from "Camelot" (Alan Jay Lerner & Frederick Loewe) Performed by Robert Goulet Chappell Camelot Account (ASCAP) c/o Warner Chappell Music, Inc. (ASCAP) "Whatever Lola Wants" from "Damn Yankees" (Richard Adler & Jerry Ross) Performed by Gwen Verdon & Bob Fosse The Songwriter Guild of America o/b/o J&J Ross Co. (ASCAP) and Lakshmi Puja Music Ltd. (ASCAP) Act 1 Prologue (Orchestra, the Jets, the Sharks)" 5 from "West Side Story" Original Cast Album (Leonard Bernstein) Performed by original Broadway cast Chappel & Co., Inc. (ASCAP) c/o Warner/Chappell Music, Inc. (ASCAP) and the Leonard Bernstein Publishing Co. LLC. c/o Universal Music Publishing Group (ASCAP) Courtesy of Sony Classical (SK 60724) by Arrangement with Sony Music Licensing "Tonight" from "West Side Story" (Leonard Bernstein & Stephen Sondheim) Performed by Carol Lawrence & Larry Kert Chappel & Co., Inc. (ASCAP) c/o Warner/Chappell Music, Inc. (ASCAP) and the Leonard Bernstein Publishing Co. LLC. c/o Universal Music Publishing Group (ASCAP) "Overture" from "Mame" (Jerry Herman) Jerryco Music Co./MPL Communications (ASCAP) Used courtesy of Biff Liff for William Morris Agency "Mame" (Jerry Herman) Peformed by Broadway cast Jerryco Music Co./MPL Communications (ASCAP) Used courtesy of Biff Liff for William Morris Agency "Give My Regards to Broadway" (George M. Cohan) Performed by Rick McKay and the Ian Finkel Orchestrette Public Domain "There's No Business Like Show Business" (Irving Berlin) Performed by Susannah McCorkle Irving Berlin Music Company (ASCAP) c/o Williamson Music Co. (ASCAP) Courtesy of Concord Jazz Record 6 BROADWAY: THE GOLDEN AGE By the Legends Who Were There Introduction Did the Golden Age of Broadway really exist? That is the question posed by writer-director-producer Rick McKay in the compelling new feature documentary Broadway: The Golden Age. Finding the answer became a magnificent obsession, and more of an adventure than McKay ever imagined. Arriving in New York in 1981, McKay — a native of Beech Grove, Indiana — was surprised to realize that the Broadway of his boyhood dreams had been replaced by rock operas and musicals imported from England. Rick yearned for a glorious year like1955 when he could have seen the original productions of Silk Stockings, Cat on a Hot Tin Roof, Bus Stop and Damn Yankees. Or 1957—with the openings of The Music Man and West Side Story. Or 1964, with Carol Channing in Hello,Dolly! and Zero Mostel in Fiddler on the Roof. Or 1966, when he could have seen Angela Lansbury as Mame, Gwen Verdon in Sweet Charity, and Ethel Merman in a revival of her 1946 hit Annie Get Your Gun. McKay fantasized what it would be like to sit at the feet of a legend and ask them what it had really been like. So, with no crew, no budget and one digital camera, the former actor-singer set out on a five-year journey that took him to four continents, interviewing over 100 theatrical performers, composers, and writers. The 111-minute film — produced, directed, written, filmed and edited by McKay — re-creates the excitement of this world that was, these magical four decades of Broadway history—the thirties through the sixties—through the eyes of the legends who were there, who saw it all, who soaked it all up, who lived it to the hilt. McKay spoke to Golden Era luminaries like Carousel's John Raitt (1945), West Side Story's Chita Rivera (1957), The Music Man's Barbara Cook (1957), Camelot's Robert Goulet (1960), Mame's Angela Lansbury (1966), Company's Elaine Stritch (1970), and dozens and dozens of other major players. Without special effects, the film manages to catapult viewers back in time, to the fascinating world of the Broadway theatre, to an age of glamour and excitement that has never before been documented. McKay wanted to know, when speaking to the actors, what drew each of them to a life in the theatre. What performance had the most influence on them as aspiring young actors? The answer may surprise you. For many it was an actress whose name is now rarely heard, but whose poignant performances remain vivid and pivotal in the minds of actors like Kaye Ballard, Charles 7 Durning, Martin Landau, Marian Seldes, June Havoc, Fred Ebb, Maureen Stapleton, Anne Jackson, Betsy von Furstenberg, Karl Malden, Gena Rowlands, Nanette Fabray and Patricia Neal. She was a theatre actress named Laurette Taylor and what struck everyone who saw her was the unprecedented naturalness of her acting—she didn't seem to be ―acting‖ at all. The performance most recall was Laurette Taylor's portrayal of Amanda Wingfield in the original 1945 mounting of Tennessee Williams' The Glass Menagerie. Fred Ebb saw that performance and returned six times; Patricia Neal said, "It was the greatest performance I've ever seen in my entire life." Amazingly, McKay was able to find the only known footage of a speaking LauretteTaylor—a 1938 screen test for Hollywood icon, David O. Selznick. Ironically, Taylor was so realistic, so natural in her audition that the powers-that- be didn't realize she was acting and never used her in a film. The Golden Age of Hollywood can still be experienced by walking into a local video store and renting a handful of motion pictures, but where-o-where are the shows of yesteryear? Some of them are thankfully in revival (Gypsy, Wonderful Town, Fiddler on the Roof, 42nd Street, Sweeney Todd), some—like Chicago and Guys and Dolls—are inspiring new films. But the original live performances are lost forever, living on only in vivid memories. They were seldom captured on film and, if they were, where would the footage be now? Well, McKay actually found some rare and never-before-seen archival footage from the original stage productions of Cat on a Hot Tin Roof, Bus Stop, Carousel, West Side Story, Camelot and Mame—as well as the only known audio recording of Marlon Brando and Jessica Tandy in the 1947 Broadway production of A Streetcar Named Desire. In Broadway: The Golden Age, we hear legendary theatre stories from the legends themselves. Shirley MacLaine recalls her star-making performance in The Pajama Game (1954) when she filled in for the injured Carol Haney. Lainie Kazan remembers the despair of being replaced out-of-town in Seesaw (1973) by a young Michele Lee. Robert Goulet remembers his intimidating audition for the role of Lancelot in Camelot (1960), how awed he was to see at the first rehearsal (his future co-star) Richard Burton there, and how Burton reacted to hearing him sing. Stephen Sondheim, Hal Prince and Chita Rivera all have stories about the groundbreaking musical West Side Story (1957). And, Angela Lansbury talks about nabbing the only role that she ever desperately wanted: Mame (1966) in Jerry Herman's Tony-winning musical. The actors recall a time when Manhattan rents ranged from $19 to $50, when cast members gathered after shows at Walgreen's Drugstore, and when theatre tickets could be purchased for little more than a dollar -- yet a starving actor, who couldn't afford to pay, resorted to ―second-acting.‖ Broadway: The Golden Age also evokes some touching personal memories, like the smell of an actress's perfume that wafted into the first few rows of the orchestra, or the bead of sweat 8 from an actor that flew onto the face of an awestruck young fan in the audience, or the feather that drifted into the audience and became a treasured memento. "Was there really a Golden Age?" McKay asks again at the documentary's end. "Without question," he answers, and Broadway: The Golden Age offers all the evidence you'll ever need. 9 QUOTABLE QUOTES from BROADWAY: THE GOLDEN AGE Actress Elizabeth Ashley: ―What does the theatre have to offer that movies and television don't? The theatre, above all else, is live.‖ Actress Eva Marie Saint: ―My mother took me to plays, and she'd always get the front row, and I remember for some reason this one particular play, the first one, the leading lady had this incredible perfume that really came across the stage to me, and there was just something about that. And to this day, when I'm on the stage, I think I wear a little more perfume than I ought to, so I hope I get somebody from that audience, some young person who says, ‗Oooh, there's something about this.'‖ Lyricist Fred Ebb: ―I saw [The Glass Menagerie] seven times, seven times. And Laurette Taylor turned around and pulled down her girdle, and I have never been that affected by a stage action in my whole life. It made me weep.‖ Actress Carol Burnett: ―Four of us bought a dress, a dress. Each one of us put in five dollars, so it was a 20-dollar dress at Bloomingdale's, which was expensive. Then, if you had an audition and you got first claim to it, you got to wear the dress, but then you were responsible for having it cleaned and put back in the closet for the next person.‖ Actress Betty Garrett: ―We didn't have an ironing board for two years, and ironing boards were about $3.95, and theatre tickets were $1.10 apiece, sitting way up in the balcony. But whenever we wanted to get an ironing board, my mother would say, ‗Should we get an ironing board or should we go to the theatre?' And I'd say, ‗Let's go to the theatre.'‖ Actress Donna McKechnie: ―The audiences in Boston, in Philly, in New Haven, they had to tell us what was good and what wasn't. That was the last piece of the puzzle . . . That's why they say the best songs were written out of town in these shows.‖ Composer/lyricist Jerry Herman: ―‗Before the Parade Passes By' was written under unbelievable pressure in a Detroit hotel room in the middle of a blizzard. And, I don't know if I would have written it with as much passion if I didn't have David Merrick breathing down my neck and threatening me.‖ Actress Elaine Stritch: ―You know, after a long run in a show, you kind of get, ‗Oh, my God, two [shows] today, you know, Wednesday.' I never got tired of watching Kim Stanley [in Bus Stop], never, never. She was wonderful.‖ Actor Jerry Orbach: ―When I was 17, 18, I played a little bit part in Trip to Bountiful with Kim Stanley and Lillian Gish. I watched Kim every night, watched 10 her every night. It was so startling some of the things that she did. Nobody had ever done before. I had never seen acting like that, just totally mind blowing.‖ Director Hal Prince about West Side Story: ―I've worked on a few shows in my life where I thought, ‗This rhythm, this sound, the way this is happening, this is unique and getting me in some visceral place where I'm so excited I could scream.'‖ Actress Angela Lansbury: ―I never did anything before it, and I've never done anything since that came close to Mame.‖ Composer/lyricist Stephen Sondheim: ―Going to the theatre is no longer just something you do. It's an event. For most people, you plan it, often a year in advance. You get tickets for whatever the big hit is, whatever is difficult to get tickets for — that's what you go to.‖ Director Hal Prince: ―The more you know, the less you know, and I would know.‖ Filmmaker Rick McKay: ―Did I find what I was looking for? Was it a Golden Age? Without question. Is it one now? That's not for me to say. There's some kid in Beech Grove, Indiana, or some small town, sitting in front of his computer, downloading songs over the internet from Hairspray or The Producers, and that's his movie to make in 20 years.‖ 11 Q&A WITH FILMMAKER RICK McKAY Your childhood obviously played a big role in your eventual decision to create this film. Tell me a bit about growing up in Indiana. I grew up in the small town of Beech Grove, Indiana with no live theatres or movie theatres. So, I spent most of my youth watching the beat up, old black & white tv set that was relegated to the basement of our house. If you ever saw the movie Frances with Jessica Lange and Kim Hunter, you will remember that the troubled Hollywood actress Frances Farmer had a lobotomy and was wound up, confused, on This is Your Life as the film came to a close. What they don't tell you is afterwards she ended up, for some odd reason, in Indiana hosting an afternoon television show called Frances Farmer Presents. I would race home from school as a kid to be in front of the TV by 3:30 to see what old movie she showed that day. Even ―slightly dazed‖ I knew she was as close as you could get in Indiana to that era I was seeing in those movies. I was particularly fascinated by the backstage musicals and dramas, like All About Eve with Bette Davis and Celeste Holm, Bandwagon with Nanette Fabray and Oscar Levant playing Betty Comden and Adolph Green, Jane Powell in Royal Weddin" or Judy Garland in Summer Stock. I loved the hard reality of the theatre, interpreted and glamorized by the magic of the studio system of MGM or 20 Century Fox. I couldn't wait to grow up and move to New York City. In the meantime, I joined Columbia Record Club and got every cast album I could. I spent most of my childhood in debt to that record club, my first experience with bad credit. In your film there's a segment about actors' first theatrical memories or experiences. Do you remember your first time in a legitimate theatre seeing a live show? The first live show I saw was Applause, which was the musical version of the film All About Eve. The film had Bette Davis and the musical coming to town had Lauren Bacall. I had already ordered the cast album and was shocked at first to hear Bacall's croak instead of an actual singing voice, but I didn't care. It was my first experience with a live sensation of charisma overpowering craft. I was already figuring out that in movie musicals you had to be perfect, or could be made perfect, while on stage you had to be electric. I was too young to be able to drive to the theatre, so I used the pretense of taking my mother for her early Christmas present to get her to drive me there. Those were the days when a kid with a newspaper route could make enough for two theatre tickets. On stage, Bacall was everything I expected and generated a tremendous energy and glamour. The show has not aged well, but it was very contemporary at the time and I never dreamed that it was, as Bea Arthur later told me, ―the last time we would see a show written for a female star to carry, like Dolly or Mame.‖ It had a kind of Broadway/rock sound, people 12 were in bell bottoms, and stuff. To me it was absolutely as current as television or film. What year did you decide to move to New York? I had severe wanderlust by the time I left Indiana and had gone to school for awhile in Boston, left to work as a nightclub singer in Japan and then stopped back in Indiana and found that there were community and repertory theatres that I started to work in. I got a scholarship in dance there and worked for a few years there before that hunger for New York City overcame me and I finally moved here in 1981. What was your reason for coming to New York at that time? Well, I was still in my early 20's and I knew that I had better get moving if I was going to get a chance to work in the business. I was still under the misguided impression that New York was a place full of old-fashioned musicals and sophisticated, intimate supper clubs. I had gone to NYC to see things like 42nd Street with Jerry Orbach, Tammy Grimes and Carole Cook or ―Sweeney Todd‖ with Angela Lansbury – and when you are in NYC for a week you see what you want to see. I didn't realize that the world was changing very quickly on Broadway. What was the first Broadway show you saw when you moved to New York? It was Amadeu‖ with Ian McKellan and Peter Firth, which completely blew me away. I saw Gemini just before it closed and of course, Chorus Line. I was studying dance at Alvin Ailey and taking singing lessons while I waited tables, so money was always tight. I remember that another singer/dancer/actor/waiter told me about ―second-acting‖ and the first show that I snuck in to at intermission was Merrily We Roll Along where I saw Hal Prince and Stephen Sondheim whispering quietly and taking notes in the half empty mezzanine. The show was in previews and I think I watched them more than the show – which was easy to understand since ―Merrily‖ took place in reverse chronological order and having snuck in at intermission, I had no idea what was going on. That first year I ―second-acted‖ shows like Lena Horne: The Lady and Her Music, Katherine Hepburn in The West Side Waltz and Tommy Tune and Wally Harper's Nine and A Day in Hollywood/A Night in the Ukraine. What year did you decide to make the documentary? It started on paper and planning in 1997 and I started shooting in 1998. In those interim years how much did you perform and how did your career change? I kept singing right up till the mid-nineties. By the time I got to NYC, Broadway was struggling and the ―British Invasion‖ had begun. The music had become a hybrid that was no longer considered ―popular music‖ anymore, with the exception of ―Memory‖ from Cats and a few other songs. I slowly realized that a John Raitt-type baritone was not going to work much, and summer stock was 13 already drying up, so I started to work as a solo act in clubs. I did well, eventually winning three ―Best Vocalist‖ awards in the early 90's, but there was no work really. Having trouble making a living in NYC, I worked as a headliner on cruise ships and made a very good living with a ten-piece band behind me, only having to do my show twice on every ten-day cruise. But, I realized one night as I was sitting at the midnight buffet with the magician, his assistant in fishnet stockings and their doves, a husband and wife dance team, an aging comic and a tired juggler that Vaudeville was not dead, it was simply lost at sea. I continued to go between NYC clubs and ships and began to write other people's nightclub acts as well. It was about this time that Wally Harper, who had been my musical director and friend, recommended me to the director Mike Nichols to film drag queens to help him make the film, Birdcage. I had no experience, but fast-talked my way into the job and was on a plane with a borrowed video camera 48 hours later. I soon realized that capturing people on camera and putting them at ease came easily to me and I made a 75-minute film for Mike Nichols to use to train Robin Williams and Nathan Lane. I wrote a story about my experience working for Mike Nichols and the article, ―Birds of a Feather,‖ won Best Journalist in San Francisco the next year. I then sold a monologue I had written called ―Raised on Judy, or What Chance Did a Boy Have?‖ about my mother raising me on Judy Garland records. It ended up in the book ―Rainbow: A Star-Studded Tribute to Judy Garland‖ along with essays by Michael Musto, Lorna Luft, Liza Minnelli and William Goldman. I realized that with those two stories I was reaching more people than I could in a nightclub in a year so I took a break from singing and sold stories to magazines. Jamie deRoy approached me to go with her to WNET, NYC's local PBS outlet, to pitch stories to the series ―City Arts.‖ We got the first story we pitched and began to produce segments for the show. I never went back to singing. We were nominated for Emmy Awards and I went on my own to work with EGG: THE ARTS SHOW on WNET, helped put together the openings for the Tony Awards broadcast, and produced for BIOGRAPHY on A&E before realizing it was time to combine my experience in theatre, performing, writing and producing and start shooting and editing this film in my small Manhattan apartment. Who was the first person that agreed to be in "Broadway: The Golden Age?" I asked friends like Barbara Cook and June Havoc if they would do it for me, and once they said yes, I began to write to people, using their names. I think Tom Bosley was the first message on my answering machine that said yes. When I heard that voice I knew that it was real and that I was off and running. I flew to Los Angeles on frequent flier miles and rented a friend's couch in West Hollywood for a week. I started faxing from my laptop, giving the illusion that I was a big production house, and inviting more and more people. Patricia 14 Morison, the original Kate in Kiss Me, Kate was the next to agree. I remember Gwen Verdon leaving me a message on my answering machine in NYC, agreeing to be part of the film. I came back the next week, moved from my one- room studio into a one-bedroom and Gwen was the first person I shot here in my apartment. It was her last interview. How did you go about getting all these different legends to agree to talk to you? What was your process? I learned quickly that going through agents didn't work. I had to find a way to get to them directly. I had called Stephen Sondheim but never gotten a response. But, when Barbara Cook did her first Sondheim show at Carnegie Hall, she had a party at her apartment where I saw Mr. Sondheim in a corner of the dining room surrounded by his impenetrable ―posse.‖ I knew that he was standing by one of the two doors that led into the kitchen, where the waiters were. So, I slipped in and quickly went through that door, hitting Mr. Sondheim in the bottom. As I apologized, I proceeded to introduce myself and invite him to be part of the film again. He promptly declined as we discussed the pros and cons of what I was doing. He said it was impossible to document an era that had never been captured and I returned that it was too late for me to quit now and that it would not be complete without him. He finally asked me to write him a letter explaining the film again and within a few days he wrote me back, accepting. He said he could give me ten minutes on film and in the end we ended up speaking for well over an hour. That led me to writing Angela Lansbury and telling her how Mr. Sondheim had talked about her in his interview. When Ms. Lansbury finally agreed to do the film, we had a great shoot. At the end, as I was breaking down the lights she said, ―If I had seen this at the movies or on TV and had not been included I would have been very sorry. I am ashamed to say that I think I turned this down once didn't I?‖ ―No, Ms. Lansbury,‖ I replied. ―You turned it down four times.‖ Bea Arthur thought I was crazy when I showed up at her home with no crew and shot and lit the interview myself. But, by the end of the interview she was evidently impressed enough to say, ―Who haven't you gotten that you want?‖ Without telling her that I had seen the invitation in her kitchen while I was getting a glass of water, I mentioned a few names that I knew that she was seeing the next week at an 80th birthday party for Nanette Fabray. ―Oh my God,‖ she said. ―Get me my address book and my reading glasses. I'm seeing all those people next week - let me give you some numbers!‖ It is hard to make clear what a help that was – as much to my morale as to my contact list. Agents often didn't even take my calls or would just blow me off when I eventually got through to them. Since not one of the stars in the film got paid, most agents treated me as 10% of a major waste of time for them. But, Deborah Kellman, who is Carol Burnett's longtime publicist, helped me. Carol had turned me down three times as well, but Deborah agreed to get a 15 letter to her in which I mentioned all the people in the film who talked about her. Carol was moved by the letter and agreed to do a ―a few minutes.‖ She ended up doing well over an hour as well and she took me back in time, making me feel like I was at her side in 1955. Jane Powell got me Jerry Herman and Robert Goulet, but, Kaye Ballard was the greatest champion. She literally did only give me 15 minutes, but a year later when I sent her 30 minutes of the film she jumped on board, opening her address book and calling people herself, Fred Ebb, Laine Kazan and anyone who would take her call. She even sponsored a sneak preview of the rough cut of the film at the Camelot Theatre in Palm Springs and got everyone from Carol Channing and Janis Paige to Robert Goulet and Charles Durning up on stage with us at the screening for a Q&A. It became like an uber ―Six Degrees of Carol Channing‖ to get everyone on board. But, I gotta' tell you, once they sat down, got talking and began to trust me, they all opened up and really let go. It became clear that although their work on stage hadn't gotten them the house in Bel Air or the pool, it had been the happiest, most satisfying time of their careers. They were – without exception – very proud of being part of that era. Who were you most excited to film? Stephen Sondheim was up there. As time went by and I had to sell my piano and anything that wasn't nailed down to keep making the film, I would think of him telling me how no one gave them a dime when he and Leonard Bernstein did backers' auditions for ―West Side Story‖ in rich people's apartments. Believe me, that helped me keep going. Shirley MacLaine was pretty great. Smart and funny – tough and direct - like a laser, she cut to the quick and was completely accessible. After the interview she said, ―Why didn't anyone tell me how important this was? We should have had more time.‖ Hal Prince was great. Alec Baldwin was deeply passionate and very smart, once he realized he was filming in my tiny apartment and that I wasn't going to kidnap him. He was the only younger generation that I didn't move to ―Broadway: The Next Generation‖ which will be on the DVD. I found him to be the closest parallel to the charisma of a Broadway star of days gone by that is working in this generation. And he is back on Broadway again now. Ben Gazzara, Julie Harris (who had a stroke just after and, although in good health, has not done an on camera interview since), and Karl Malden and Charles Nelson Reilly were deeply, deeply dedicated and inspiring. Elizabeth Ashley was pure fire and unbridled passion, never mincing words. Ann Miller was the epitome of the old star system and I will never forget her descending her circular staircase in her Beverly Hills home. She's gone now. So is Uta Hagen, who did her only interview after her stroke with me for this film – she was deeply passionate, actually reverent, and one of the last of the actors who dedicated a life to the stage. Marian Seldes and Cherry Jones are still here now 16 – and keeping the torch lit – and both wonderful interviews. Cherry will be on the DVD as well, with Amanda Plummer, Audra McDonald, Jason Alexander, Joanna Gleason, Betty Buckley, Cameron Mackintosh, Ann Reinking, Alan Cumming, George C. Wolfe and many others – all great as well. Was there anyone you tried to get that you didn't that you would have liked to be part of the film? Oh, sure. I was disappointed not to get Joanne Woodward and Paul Newman. I tried again and again and Elizabeth Ashley even wrote them a letter explaining how important the film was, but to no avail. Julie Andrews' agent turned it down three times, finally telling me that Ms. Andrews wanted to do a similar project herself. I told him that she better hurry up as time was running out. Bernadette Peters turned it down four times through her press person. Although she is much older than Alec Baldwin, I thought of her as a similar link between that era and today, since she was working on Broadway back in the 50's. I never got Liza Minnelli or Barbra Streisand, but I haven't given up. There is room on the DVD! Marlon Brando turned it down but then called me and helped me with contacts and told me stories for 90 minutes. That was more help than I can tell you and something I will never forget. If you had to describe the film to someone who hadn't seen it, how would you describe it? I guess I would say that it is a journey film or a time-travel film. It is a trip back in time to a completely different New York City; a different time in America when the world was simpler and passions may have run more deeply. Broadway was where more daring work was done than could be done in films and Hollywood came to Broadway looking for product and inspiration. The top songs came from Broadway and many songs in a new musical were hits on the radio before the show even opened. Young actors in NYC lived five in a room and were deeply passionate about learning their craft. One choice I did make along the way was to really try and make a personal film that recounted one man's journey to find this lost era. I consciously chose not to make a timeline-sensitive, chronological film with a disembodied, stentorian voice over connecting it all together in post production. I knew that PBS could do that very well for television - but I wanted to make a movie, and hopefully one that would inspire and remind people of an era that was scantily documented. I wanted it to play in theatres and be seen with an audience, the way live theatre is. I actively chose not to use the computer-generated effects that many use today to try and transform a ―documentary‖ into something more accessible. Instead I chose to get out of the way of these legends, let them tell their story, and become a fly on the wall, sitting in for the audience member. My original goal had been to sit at the knee of one of these legends and ask them ―what it had really been like,‖ the way one might with an older relative. I never dreamed that the film would have large portions dedicated to Laurette Taylor or Kim Stanley, or focus on a mostly forgotten Gretchen Wyler who waited in the wings for her big 17 break. I tried to let the film tell me what it would be as it became clear that the people who had inspired so many others had to be documented, or they would disappear from any consciousness before the next generation documented this same terrain. I knew that Ethel Merman and Mary Martin would not disappear without me. And I also made a conscious choice not to separate the musicals from the dramas – which is always done – as I found that it was really one community of passionate artists who co-existed. It made it virtually impossible to qualify for grants, but once I had gone out that far on a limb it was easier to keep going than to turn back. It meant a great deal to me when the critic Judith Crist said to her Tarrytown House Film Festival audience after an advance screening, ―I know intellectually that this film was shot all over the world and took five years, and I know that they are all talking to a camera. But, as I watch it you can not tell me that these 100 people are not all sitting in one room talking to me personally for two hours – and that's editing.‖ I think it meant so much to me because I worked very, very hard to make it appear that there was no work done, which I hope is the way the audience will see it. Does that make sense? Absolutely. Now, if you could go back and catch one show or one performance from that era of Broadway that you didn't get to see, do you know what it would be? You know, I asked everyone in the film almost the same question! I would say, ―if we could go downstairs and hail a cab, but instead of telling him an address, tell him the show and year you would take me back to . . .‖ And my answer is the same as almost all the people in the film: Merman in Gypsy, Laurette Taylor in The Glass Menagerie, and Marlon Brando, Kim Hunter, Karl Malden and Jessica Tandy in A Streetcar Named Desire. I would probably add Uta Hagen in Who's Afraid Virginia Woolfe or The Country Girl. Gwen in Damn Yankee‖ or just about anything she ever did. And I would love to walk into the St. James Theatre and see The Pajama Game – but I would have to see that one twice. Once to see John Raitt, Janis Paige and Carol Hainey - with Hal Prince in the wings stage managing and producing his first show – and then again to see the performance that Carol Hainey first missed when young Shirley MacLaine went on for her and became a star. I would probably say hello to Edie Adams, who was in the audience that day, too. Ha! Wouldn't that be nice if we could go back in time to see that?! But, then again, the fact that we can't is the reason I made this movie, I guess. Do you think an age like this could happen again? I am sure for some people in the theatre today this is a golden age, and I completely respect that. But, I think whether it is Hollywood movies, or Italian Opera, or Greek architecture or the Renaissance, each art form has one incredible golden age when it affects the world, and I don't think it is meant to go on indefinitely. This may be the golden age of digital filmmaking for all we know. But life is meant to change. If it didn't we would be going to the theatre tonight 18 and seeing a Gilbert and Sullivan operetta or a melodrama. We would never have heard of Rodgers and Hart or Hammerstein, or Tennessee Williams, or Stephen Sondheim or Eugene O'Neill or Irving Berlin or Arthur Miller. But, what I do know is that it is not supposed to be forgotten just because it didn't happen on a Hollywood sound stage in front of a movie camera. 19 LIST OF PARTICIPANTS The Legends Who Were There and Their Broadway Credits: Edie Adams : Wonderful Town, Li'l Abner Bea Arthur: Threepenny Opera, Plain and Fancy, Seventh Heaven, Nature's Way, Fiddler on the Roof, Mame, The Floating Light Bulb, Bea Arthur on Broadway. Elizabeth Ashley: Take Her, She's Mine; Barefoot in the Park; Ring Around the Bathtub; Cat on a Hot Tin Roof; The Skin of Our Teeth; Legend; Caesar and Cleopatra; Hide and Seek; Agnes of God; Garden District; Gore Vidal's The Best Man; Enchanted April. Alec Baldwin: Loot, Serious Money, Prelude to a Kiss, A Streetcar Named Desire, Twentieth Century. Kaye Ballard: The Golden Apple, Carnival, The Beast in Me, Molly, The Pirates of Penzance. Betsy Blair: Panama Hattie, The Beautiful Parade, The Glass Menagerie, Face of a Hero. Tom Bosley: Fiorello!, Nowhere to Go But Up, Natural Affection, A Murderer Among Us, Catch Me If You Can, The Education of H*Y*M*A*N K*A*P*L*A*N, Beauty and the Beast, Cabaret. Marlon Brando: Remember Mama, Truckline Café, Candida, A Flag Is Born, A Streetcar Named Desire. Carol Burnett: Once Upon a Mattress, Fade Out—Fade In, Moon Over Buffalo, Putting It Together, Hollywood Arms. Kitty Carlisle Hart: Champagne, Sec, White Horse Inn, Three Waltzes, Walk With Music, The Rape of Lucretia, Anniversary Waltz, On Your Toes. Carol Channing: Let's Face It!; Proof Through the Night; Lend an Ear; Gentlemen Prefer Blondes; Wonderful Town; The Vamp; Show Girl; Hello, Dolly!; Four on a Garden; Lorelei. Betty Comden (lyricist, librettist): On the Town; Billion Dollar Baby; Two on the Aisle; Wonderful Town; Peter Pan; Bells Are Ringing; Say, Darling; A Party with Betty Comden & Adolph Green; Do Re Mi: Subways Are for Sleeping; Fade Out—Fade In; Hallelujah, Baby!; Applause; Lorelei; On the Twentieth Century; 20 The Madwoman of Central Park West; A Doll's Life; Singin' in the Rain; Jerome Robbins' Broadway; The Will Rogers Follies. Barbara Cook: Flahooley, Plain and Fancy, Candide, Carousel, The Music Man, The Gay Life, She Loves Me, Any Wednesday, Something More!, Little Murders, The Grass Harp, Enemies, Barbara Cook: A Concert for the Theatre, Mostly Sondheim, Barbara Cook's Broadway. Carole Cook: Romantic Comedy, 42nd Street. Hume Cronyn: Hipper's Holiday, Boy Meets Girl, High Tor, There's Always a Breeze, Escape This Night, Off to Buffalo, Three Sisters, The Weak Link, Retreat to Pleasure, Mr. Big, The Survivors, Now I Lay Me Down to Sleep, Hilda Crane, The Little Blue Light, The Fourposter, The Honeys, A Day By the Sea, The Egghead, The Man in the Dog Suit, Triple Play, Big Fish Little Fish, Hamlet, The Physicists, Slow Dance on the Killing Ground, A Delicate Balance, All Promenade, Noël Coward in Two Keys, The Gin Game, Foxfire, The Petition. Arlene Dahl: Applause, Mr. Strauss Goes To Boston, Cyrano de Bergerac. Charles Durning: Poor Bitos, Drat! The Cat!, Pousse-Café, The Happy Time, Indians, That Championship Season, Boom Boom Room, The au Pair Man, Knock Knock, Cat on a Hot Tin Roof, Inherit the Wind, The Gin Game, Gore Vidal's The Best Man. Fred Ebb (lyricist): From A to Z; Flora, The Red Menace; Cabaret; The Happy Time; Zorba; 70, Girls, 70; Liza; Chicago; Shirley MacLaine; The Act; The American Dance Machine; The Madwoman of Central Park West; Woman of the Year; Zorba; The Rink; Kiss of the Spider Woman; Steel Pier; Minnelli on Minnelli. Nanette Fabray: Let's Face It!, By Jupiter, My Dear Public, Jackpot, Bloomer Girl, High Button Shoes, Love Life, Arms and the Girl, Make a Wish, Mr. President, No Hard Feelings. Cy Feuer (producer): Where's Charley?, Guys and Dolls, Can-Can, The Boy Friend, Silk Stockings, Whoop-Up, How to Succeed in Business Without Really Trying, Little Me, Skyscraper, Walking Happy, The Goodbye People, The Act. I Remember Mama (as director). Betty Garrett: Of V We Sing; Something for the Boys; Jackpot; Laffing Room Only; Call Me Mister; Bells Are Ringing; Beg, Borrow or Steal; Spoon River Anthology; A Girl Could Get Lucky; The Supporting Cast; Meet Me in St. Louis; Follies. 21 Ben Gazzara: End as a Man, Cat on a Hot Tin Roof, A Hatful of Rain, The Night Circus, Strange Interlude, Traveller Without Luggage, Hughie/Duet, Who's Afraid of Virginia Woolf?, Shimada. Robert Goulet: Camelot, The Happy Time, Moon Over Buffalo. Farley Granger: First Impressions, The Warm Peninsula, The Seagull, The Crucible, The Glass Menagerie, Deathtrap. Adolph Green (lyricist/librettist): On the Town; Billion Dollar Baby; Two on the Aisle; Wonderful Town; Peter Pan; Bells Are Ringing; Say, Darling; A Party with Betty Comden & Adolph Green; Do Re Mi; Subways Are for Sleeping; Fade Out—Fade In; Hallelujah, Baby!; Applause; Lorelei; On the Twentieth Century; The Madwoman of Central Park West; A Doll's Life; Singin' in the Rain; The Will Rogers Follies. Tammy Grimes: Look After Lulu, The Unsinkable Molly Brown, Rattle of a Simple Man, High Spirits, The Only Game in Town, Private Lives, A Musical Jubilee, California Suite, Tartuffe, Trick, 42nd Street, Orpheus Descending. Uta Hagen: The Seagull, The Happiest Days, Key Largo, Vickie, Othello, The Whole World Over, A Streetcar Named Desire, The Country Girl, Saint Joan, In Any Language, The Magic and The Loss, Island of Goats, Who's Afraid of Virginia Woolf?, The Cherry Orchard, Charlotte, You Never Can Tell. Julie Harris: It's a Gift; The Playboy of the Western World; Alice in Wonderland; Macbeth; Sundown Beach; The Young and Fair; Magnolia Alley; Montserrat; The Member of the Wedding; I Am a Camera; Mademoiselle Colombe; The Lark; The Country Wife; The Warm Peninsula; Little Moon of Alban; A Shot in the Dark; Marathon '33; Ready When You Are, C.B.!; Skyscraper; Forty Carats; And Miss Reardon Drinks a Little; Voices; The Last of Mrs. Lincoln; The au Pair Man; In Praise of Love; The Belle of Amherst; Break a Leg; Mixed Couples; Lucifer's Child; The Glass Menagerie; The Gin Game. Rosemary Harris: The Climate of Eden; Troilus and Cressida; Interlock; The Disenchanted; The Tumbler; You Can't Take It With You; The Lion in Winter; The School for Scandal; Right You Are If You Think You Are; We, Comrades Three; The Wild Duck; War and Peace; Old Times: The Merchant of Venice; A Streetcar Named Desire; The Royal Family; Heartbreak House; Pack of Lies; Hay Fever; Lost in Yonkers; An Inspector Calls; A Delicate Balance; Waiting in the Wings. June Havoc: Forbidden Melody, Pal Joey, Mexican Hayride, Sadie Thompson, The Ryan Girl, Dunnigan's Daughter; Affairs of State, The Warm Peninsula, Dinner at Eight, Habeas Corpus, Annie. As playwright and director: Marathon '33. 22 Jerry Herman (composer/lyricist): From A to Z; Milk and Honey; Hello, Dolly!; Ben Franklin in Paris; Mame; Dear World; Mack & Mabel; The Grand Tour; A Day in Hollywood/A Night in the Ukraine; Jerry's Girls; An Evening with Jerry Herman. Mimi Hines: Funny Girl, Grease!. Al Hirschfeld (artist): famed caricaturist for The New York Times and various other publications. At the Drop of a Hat (frontcloth design), Passionate Ladies (cover drawing), Jackie Mason's The World According to Me (artwork), Jackie Mason: Politically Incorrect (cover art). Celeste Holm: Gloriana, The Time of Your Life, Another Sun, The Return of the Vagabond, Eight O'Clock Tuesday, My Fair Ladies, Papa Is All, All the Comforts of Home, The Damask Cheek, Oklahoma!, Bloomer Girl, Affairs of State, The King and I, Anna Christie, His and Hers, Interlock, Third Best Sport, Invitation to a March, Mame, Candida, Habeas Corpus, The Utter Glory of Morrissey Hall, I Hate Hamlet. Sally Ann Howes: My Fair Lady, Kwamina, Brigadoon, What Makes Sammy Run?, James Joyce's The Dead. Kim Hunter: A Streetcar Named Desire, Darkness at Noon, The Chase, The Children's Hour, The Tender Trap, Write Me a Murder, Weekend, The Penny Wars, The Women, To Grandmother's House We Go, An Ideal Husband. Jeremy Irons: The Real Thing, A Little Night Music. Anne Jackson: Signature; King Henry VIII; What Every Woman Knows; John Gabriel Borkman; A Pound on Demand/Androcles and the Lion; Yellow Jack; The Last Dance; Summer and Smoke; Magnolia Alley; Love Me Long; The Lady from the Sea; Arms and the Man; Never Say Never; Oh, Men! Oh, Women!; Middle of the Night; Rhinoceros; Luv, The Exercise; Inquest; Promenade, All!; The Waltz of the Toreadors; Twice Around the Park; Café Crown, Lost in Yonkers; The Flowering Peach. Derek Jacobi: The Suicide, Much Ado About Nothing, Cyrano de Bergerac, Breaking the Code, Uncle Vanya. Lainie Kazan: The Happiest Girl in the World, Bravo Giovanni, Funny Girl, My Favorite Year, The Government Inspector. John Kenley: Separate Rooms, A Bell for Adano. Joan Kobin: nee Bartels: (singing teacher/actress) Carnival!, Call Me Mister, Firebrand of Florence, Ballet Ballads. 23 Miles Kreuger (dramaturge): Show Boat (historical advisor). Martin Landau: Middle of the Night, Actor's Studio West President Frank Langella: Yerma, A Cry of Players, Seascape, Dracula, Passione, Amadeus, Passion, Design for Living, Hurlyburly, Sherlock's Last Case, The Father, Present Laughter, Fortune's Fool, Match. Angela Lansbury: Hotel Paradiso, A Taste of Honey, Anyone Can Whistle, Mame, Dear World, Gypsy, The King and I, Sweeney Todd, A Little Family Business. Arthur Laurents: As playwright: Home of the Brave, The Bird Cage, The Time of the Cuckoo, A Clearing in the Woods. As book writer: West Side Story; Gypsy; Do I Hear a Waltz?; Hallelujah, Baby. As playwright and director: Invitation to a March. As director: I Can Get It for You Wholesale, La Cage aux Folles. As book writer and director: Anyone Can Whistle, The Madwoman of Central Park West, Nick & Nora. Carol Lawrence: Leonard Sillman's New Faces of 1952, Plain and Fancy, Shangri-La, Ziegfeld Follies of 1957, West Side Story, Saratoga, Subways Are for Sleeping, Night Life, I Do! I Do!, Kiss of the Spider Woman. Michele Lee: Vintage '60, How to Succeed in Business Without Really Trying, Bravo Giovanni, Seesaw, The Tale of the Allergist's Wife. Hal Linden: Bells Are Ringing, Something More!, On a Clear Day You Can See Forever, Illya Darling, The Education of H*Y*M*A*N K*A*P*L*A*N, Three Men on a Horse, The Rothschilds, The Sign in Sidney Brustein's Window, The Pajama Game, I'm Not Rappaport, The Sisters Rosensweig, Cabaret, The Gathering. Shirley MacLaine: Me and Juliet, The Pajama Game, Shirley MacLaine on Broadway. Karl Malden: Golden Boy, How to Get Tough About It, Missouri Legend, The Gentle People, Key Largo, Journey to Jerusalem, Flight to the West, Uncle Harry, The Sun Field, Counterattack, Sons and Soldiers, Winged Victory, The Assassin, Truckline Café, All My Sons, A Streetcar Named Desire, Peer Gynt, Desire Under the Elms, Tea and Sympathy, The Desperate Hours, The Egghead. Rick McKay: (see separate biography) Donna McKechine: How to Succeed in Business Without Really Trying, The Education of H*Y*M*A*N*K*A*P*L*A*N, Promises, Promises, Company, On the Town, A Chorus Line, State Fair. 24 Ann Miller: George White's Scandals of 1939, Mame, Sugar Babies. Liliane Montevecchi: La Plume de Ma Tante, Folies Bergère [1964], Nine, Grand Hotel. Patricia Morison: The Two Bouquets; Allah Be Praised!; Kiss Me, Kate; The King and I. Robert Morse: The Matchmaker; Say, Darling; Take Me Along; How to Succeed in Business Without Really Trying; Sugar; So Long, 174th Street; Tru. James Naughton: I Love My Wife, Whose Life Is It Anyway?, City of Angels, Four Baboons Adoring the Sun, Chicago, The Price, Our Town. Patricia Neal: Another Part of the Forest, The Children's Hour, A Roomful of Roses, The Miracle Worker. Phyllis Newman: Wish You Were Here, Bells Are Ringing, First Impressions, Moonbirds, Subways Are for Sleeping, The Apple Tree, On the Town, The Prisoner of Second Avenue, The Madwoman of Central Park West, Awake and Sing!, Broadway Bound. Nicholas Brothers (Harold and Fayard): Ziegfeld Follies of 1936, Babes in Arms, Sammy. Jerry Orbach: Threepenny Opera; Carnival!; Guys and Dolls; Annie Get Your Gun; The Natural Look; Promises, Promises; 6 Rms Riv Vu; Chicago; 42 nd Street. Janis Paige: Remains to Be Seen, The Pajama Game, Here's Love, Mame, Alone Together. Don Pippin (musical director): Ankles Aweigh (additional dance music), Irma la Douce (assistant conductor), Oliver!, 110 in the Shade, Foxy, Ben Franklin in Paris, Mame, Dear World, Applause, Seesaw, Mack & Mabel, A Chorus Line, A Broadway Musical, The Grand Tour, Woman of the Year, La Cage aux Folles, Jerry's Girls, Cabaret, Teddy & Alice, Catskills on Broadway (opening musical sequence arrangement), The Red Shoes, Dream. Jane Powell: Irene. Hal Prince: As producer and/or director: Tickets, Please!; Call Me Madam; Wonderful Town: The Pajama Game; Damn Yankees; New Girl in Town; West Side Story; Fiorello!; Tenderloin; A Call on Kuprin; Take Her, She's Mine; A Family Affair; A Funny Thing Happened On the Way to the Forum; She Loves 25 Me; Fiddler on the Roof; Poor Bitos; Baker Street; Flora, the Red Menace; It's a Bird…It's a Plane…It's Superman; Cabaret; Zorba; Company; Follies; The Great God Brown; Don Juan; A Little Night Music; The Visit; Chemin de Fer; Holiday; Candide; Love for Love; The Rules of the Game; The Member of the Wedding; Pacific Overtures; Side by Side by Sondheim; Some of My Best Friend; On the Twentieth Century; Sweeney Todd; Evita; Merrily We Roll Along; A Doll's Life; Play Memory; End of the World; Grind; Roza; The Phantom of the Opera; Kiss of the Spider Woman; Show Boat; Parade; Hollywood Arms. John Raitt: Carousel, Magdalena, Three Wishes for Jamie, Carnival in Flanders, The Pajama Game, A Joyful Noise, A Musical Jubilee. Rex Reed: theatre critic Elliott Reid: From A to Z, Two on the Aisle, The Live Wire, Two Blind Mice, Macbeth, The Shoemaker's Holiday, Julius Ceasar Charles Nelson Reilly: Bye, Bye Birdie; How to Succeed in Business Without Really Trying; Hello, Dolly!; Skyscraper; God's Favorite; Charlotte. As director: The Belle of Amherst, Paul Robeson, Break a Leg, The Nerd, The Gin Game. Diana Rigg: Abelard and Heloise, The Misanthrope, Medea. Chita Rivera: Can-Can; Seventh Heaven; Mr. Wonderful; Shinbone Alley; West Side Story; Bye, Bye Birdie; Bajour; Chicago; Bring Back Birdie; Merlin; The Rink; Jerry's Girls; Kiss of the Spider Woman; Nine. Tony Roberts: Something About a Soldier, Barefoot in the Park; The Last Analysis; Don't Drink the Water; How Now, Dow Jones; Promises, Promises; Play It Again, Sam; Sugar; Absurd Person Singular; They're Playing Our Song; Murder at the Howard Johnson's; Doubles; Arsenic and Old Lace; Jerome Robbins' Broadway; The Seagull; The Sisters Rosensweig; Victor/Victoria; Cabaret; The Tale of the Allergist's Wife. Mary Rodgers (composer): Once Upon a Mattress, From A to Z, Hot Spot, Working, The Madwoman of Central Park West. Gena Rowlands: Middle of the Night, The Seven Year Itch. Eva Marie Saint: The Trip to Bountiful, The Lincoln Mask, Mr. Roberts. Marian Seldes: Medea, Crime and Punishment, That Lady, The Tower Beyond Tragedy, The High Ground, Ondine, The Chalk Garden, The Wall, A Gift of Time, The Milk Train Doesn't Stop Here Anymore, Tiny Alice, A Delicate Balance, Before You Go, Father's Day, Next Time I'll Sing to You, Equus, The Merchant, 26 Deathtrap, Ivanov, Ring Round the Moon, 45 Seconds From Broadway, Dinner at Eight. Vincent Sherman: Volpone, Marco Millions, Elizabeth the Queen, Judgment Day, Paradise Lost, Bitter Stream. As director: Battle Hymn, It Can't Happen Here. Stephen Sondheim (composer/lyricist): Girls of Summer, West Side Story (lyrics), Gypsy (lyrics), Invitation to a March(incidental music), A Funny Thing Happened on the Way to the Forum, Anyone Can Whistle, Do I Hear a Waltz? (lyrics), Company, Follies, Twigs (incidental music), A Little Night Music, Pacific Overtures, Side by Side by Sondheim, Sweeney Todd, Merrily We Roll Along, Sunday in the Park with George, Into the Woods, Passion, Putting It Together, The Frogs. Maureen Stapleton: The Playboy of the Western World; Antony and Cleopatra; Detective Story; The Bird Cage; The Rose Tattoo; The Crucible; The Emperor's Clothes; All in One; Orpheus Descending; The Cold Wind and the Warm; Toys in the Attic; The Glass Menagerie; Plaza Suite; Norman, Is That You?; The Gingerbread Lady; The Country Girl; The Secret Affairs of Mildred Wild, The Gin Game, The Little Foxes Kim Stanley: The House of Bernarda Alba, The Chase, Picnic, The Traveling Lady, Bus Stop, A Clearing in the Woods, A Touch of the Poet, Cheri, A Far Country, Natural Affection, Three Sisters . Elaine Stritch: Loco; Angels in the Wings; Yes, M'Lord; Call Me Madam; Pal Joey; On Your Toes; Bus Stop; The Sin of Pat Muldoon; Goldilocks; Sail Away; Who's Afraid of Virginia Woolf?; Company; Love Letters; Show Boat; A Delicate Balance; Elaine Stritch at Liberty. Laurette Taylor: The Great John Ganton, The Ringmaster, Mrs. Dakon, Alias Jimmy Valenti, Seven Sisters, The Bird of Paradise, Peg O' My Heart, Just as Well, The Harp of Life, Out There, The Wooing of Eve, Happiness, Laurette Taylor in Scenes from Shakespeare, One Night in Rome, The National Anthem, Humoresque, Sweet Nell of Old Drury, Pierrot the Prodigal, Trelawny of the "Wells," In A Garden, The Furries, A Night of Barrie, Outward Bound, The Glass Menagerie. Tommy Tune: As performer: Baker Street; A Joyful Noise; How Now, Dow Jones; Seesaw (also associate choreographer); Tommy Tune Tonite! As director and/or choreographer: The Best Little Whorehouse In Texas, A Day in Hollywood/A Night in the Ukraine, Nine, My One and Only (also star), Stepping Out, Grand Hotel, The Will Rogers Follies, The Best Little Whorehouse Goes Public. As production supervisor: Grease! 27 Leslie Uggams: Hallelujah, Baby!; Her First Roman; Blues in the Night; Jerry's Girls; Anything Goes; King Hedley II; Thoroughly Modern Millie. Gwen Verdon: Alive and Kicking, Can-Can, Damn Yankees, New Girl in Town, Redhead, Sweet Charity, Children! Children!, Chicago, Sweet Charity revival (assistant to Bob Fosse), The Tenth Man (dance consultant), Fosse (artistic advisor). Betsy von Furstenberg: Second Threshold; Dear Barbarians; Oh, Men! Oh, Women!; The Chalk Garden; Child of Fortune; Nature's Way; Much Ado About Nothing; Mary, Mary; The Paisley Convertible; Avanti!; The Gingerbread Lady; Absurd Person Singular. Eli Wallach: Skydrift; King Henry VIII, What Every Woman Knows; A Pound on Demand/Androcles and the Lion; Yellow Jack; Alice in Wonderland; Antony and Cleopatra; Mister Roberts; The Rose Tattoo; Camino Real; The Teahouse of the August Moon; Mademoiselle Colombe; Major Barbara; The Cold Wind and the Warm; Rhinoceros; Luv; Staircase; Promenade, All!; The Waltz of the Toreadors; Saturday Sunday Monday; Twice Around the Park; Café Crown, The Price, The Flowering Peach. Fay Wray: Nikki, Mr. Big, Golden Wings, The Brown Danube. Gretchen Wyler: Guys and Dolls; Silk Stockings; Damn Yankees; Rumple; Bye, Bye Birdie; Sly Fox. 28 BIOGRAPHIES Rick McKay Rick McKay is an award-winning Producer/Director/Writer who lives in New York City. For five seasons he was a segment producer on WNET13's City Arts, the most honored locally produced show in television history, which won over 30 Emmy® awards. Rick also produced the first story commissioned for the critically successful national series Egg: The Arts Show, garnering another two Emmy® nominations as well as helping to create the opening segment of two recent national Tony Awards broadcasts. Rick won three of the industry's prestigious ―Telly‖ awards for his television work, has produced episodes for the immensely successful series ―Biography‖ on the A&E network, and has produced for HBO and United Artists. He is also the sole owner and proprietor of Second Act Productions. Along with ―Broadway: The Golden Age" the production company also produced ―Birds of a Feather,‖ a documentary of his adventures searching for drag queens for the legendary director Mike Nichols to help him make his hit film "Birdcage." Rick was honored at the Sundance Film Festival by PBS and inducted into the PBS Producers Academy, as one of their ―best and brightest documentary producer/directors‖ for his continuing independent film and television work. Rick also produced, directed and shot "Elaine Stritch: At Liberty" for Egg: The Arts Show. Much of this footage was also used to make the Pennebaker/HBO documentary of the same name, for which Elaine Stritch won the 2004 Emmy® award. Rick is also an award-winning print journalist with numerous magazine and newspaper articles to his credit. His story ―Birds of a Feather‖ won him San Francisco's Cable Car Award for ―Outstanding Journalist‖ for feature reporting. In addition to ―Broadway: The Next Generation,‖ McKay is also hard at work on ―Broadway: MORE of the Golden Age‖ - to include more legends, as well as the writers, producers, composers and directors of the era – also for 2005. His wealth of experience in film, television, live entertainment, and journalism has made Rick McKay one of the most prolific and well-rounded indie producer/director/writers working in the industry today. Albert M. Tapper, Producer Chairman of ACT II Companies Inc, a private investment company that acquires, operates and invests in matured companies and startup enterprises. Mr. Tapper has also made venture capital investments in financial institutions, medical and sports products, as well as investments in the music, theatre, television and film industries. 29 He is also a writer, composer and lyricist having written two off-Broadway musicals. He wrote his first musical while still in college. Since then he has written special material for regional productions and has produced two albums of his own songs Mr. Tapper composed the ballet The Seduction of Bethsheeba" whose premiere performance at Mechanics Hall was presented by the Central Massachusetts Symphony Orchestra. His second off-Broadway show, "ImPerfect Chemistry", for which Mr. Tapper wrote the story and composed the music opened at the Minetta Lane Theatre in August of 2000, as well as his new review and cast recording, ―From Where I Stand.‖ Mr. Tapper has also created and written two books on humor, which were published by Andrews McMeel and Company. The books are titled, "A Guy Goes Into a Bar" and "A Minister, a Priest And a Rabbi." He has written a non-musical play, "Conversations with Max" which is in development. He is currently at work on a new satirical musical review, "Rascals, Cads, and Scalliwags". Mr. Tapper is a member of the Dramatists' Guild of America and a member of ASCAP (American Society of Composers and Publishers). Georgia Frontiere, Executive Producer As owner of the Saint Louis Rams Football team, Georgia Frontiere is one of the National Football League's most respected executives. Her role with the team and organization notwithstanding, Georgia also has been a pillar in the St. Louis community. Her philanthropy was punctuated in 1997, when Georgia and Vice Chairman Stan Kroenke created the St. Louis Rams Foundation. The Foundation has donated more than $600,000 to charities in the St. Louis region, targeting a variety of groups whose emphasis is on youth, education, and the arts. Georgia is an accomplished soprano having recently joined Bill Hayes and Richard Fredricks for an ‖ Evening with Lerner and Lowe ― with the St. Louis Symphony. She has performed several concerts with the Beverly Hills Pops Orchestra, and was twice a featured soloist at the Easter Sunrise Services at the Hollywood Bowl. Her love for music and opera influenced her to become a member of the Golden Horseshoe of the New York Metropolitan Opera, and is a member of the Founders of The Los Angeles Music Center Opera board. She helped to launch the Sedona Cultural Park in Sedona, Az., where the performing Arts Pavilion was named in her honor. Her dedication to the advancement of youth is underscored by her commitment of $1 million to the Fulfillment Fund, an organization which sponsors more than 2,000 high school students who are selected for having college potential, but whose financial opportunities are limited. As a Board member of the St. Louis Symphony, Frontiere has helped build alliances between sports and cultural arts in St. Louis. The American Heart Association made Georgia one of the recipients of The Missourian Award in 2001; the award is presented to Missouri native sons or daughters who have made outstanding contributions in business, civic, or the arts. 30 Jamie deRoy, Co-Producer Jamie deRoy is an award winning producer, host and performer. Producing credits include The Compleat Works of Wllm Shkspr (Abridged), the documentary Broadway The Golden Age, CityArts , Jamie deRoy & friends variety shows, CDs and cable TV show. She has just released her fifth CD Animal Tracks from the Jamie deRoy & friends series. Two of her previous CDs, Jamie deRoy & friends: The Child in Me and 'Tis the Season have won the MAC Award for "Recording of the Year." Jamie is responsible for creating the MAC/ASCAP Songwriters Showcases. Anne L Bernstein, Co-Producer Anne L Bernstein is a New York based theater and film producer. She is on the board of director on The Acting Company, Musical Monday Theater Lab and MJT Productions. She is the American Representative of The Peter Wolff Theatre Trust (London). Among the over 20 shows she has been involved with are: Amateur Night at The Big Heart, Grace and Glorie, Marlene, Pirates of Penzance, As Bees in Honey Drown, June Moon, Hedda Gabler and Tea at Five. She has recently produced the documentary Broadway: The Golden Age and is associate producer of the film A Tale of Two Pizzas. Tom Paul, Sound Design and Mixing Broadway: The Golden Age, The Fog of War, Born into Brothels, The Man of the Year, God is Brazilian, Orefu, Paris, Bravo Profiles: Roger Ebert, Mr. Smith, Copacabana, Lisa Pickard if Famous, The Yards, Claire Dolan, Little Odessa, Eat Drink Man Woman, White Man's Burden, The Wedding Banquet, Laws of Gravity, Pushing Hands, Trust. Nicole London, Production Manager Nicole London has over seven years of producing experience in public affairs television. She has worked on the award-winning PBS program ―To the Contrary‖ and has worked in all capacities, ranging from archival research to sound engineer at New York City's Museum of Television and Radio. Ms. London is also an accomplished camera person and non-linear editor. 31

subset: commoncrawl


text:
Employment Guide
GED Classes – Dunkirk E2CCB (BOCES) Central Avenue Community Learning Center ~366-3631 Jamestown Gateway Center ~484-9811 JHS Technical Center ~ 483-4384 CNA/PCA Training Chautauqua County Home ~ 366-6400 Heritage Village (Gerry offered via JCC's website (www.sunyjcc.edu) that gives … View Doc
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Dear JCC Paramedic Student: Thousand Islands Emergency Rescue Service (TIERS), is proud to introduce an innovative scholarship opportunity program for a student who is enrolled in the Paramedic Program at Jefferson Community College. … Retrieve Document
Textbook Collection
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GED Classes – Dunkirk Adult Learning Center–366-9324 CNA/PCA Training Chautauqua County Home ~ 366-6400 Heritage Village (Gerry) ~ 985-4612 walk in Job Corp ~ (716) 595-4298 to JCC and Rebecca is working hard in a career position. Just … Visit Document
West Virginia University At Parkersburg 2012-2013 Catalog
Classes and serves an additional 3,000 persons annually in non-credit classes, Records Office or JCC office to complete necessary forms or accessing their OLSIS account. Certified Nursing Assistant. 57 57 Skills Set Certificate – Real Estate … View Document
Certified Nurse Assistant Basic As decisions to run classes are based on enrollment, reimbursments for cancelled registrations will be made as follows. Jewish Community Center (JCC): 2310 Oneida St., Utica Mohawk Glen Golf Course: 880 … View Full Source
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JCC does not assign clinical time. The course is approved Time: TTH (some Sat. classes also), 7p-10p Location: JCC, Main Campus, PSSC Building, EMS Hall Registration: $175 Daycare workers and CNA students and/or nursing or sonography students. The … Get Content Here
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JCC SOFTBALL CHAMPS…The Mermaids defeated Club 50 for the JCC Softball League crown. Pictured, left to right, are: front row; Chuck Frei, Dave CNA classes start mornings September 19th, evenings September 25th, CHHA, classes start evenings September 4th. NCLEX RN/PN REVIEW … Read Document
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Yamaha Recording Custom RC Cobalt Blue Lacquer Drum Drums Birch Shells
Wanted to Buy or Trade:
I play and collect vintage 80's-90's Yamaha Recording Custom RC 9000 pre- Y.E.S.S series Cobalt Blue Lacquer, solid birch shell drums with black shell interiors. I'm hoping this posting will connect me with other people who also own these and are ...
Nov 23 -
Houston - Musical instruments
'Cargo bike' (bakfiets) for sale:
Powder coated Stainless steel frame
20" Front wheel double walled alloy rim, stainless steel 48 spokes
24" Rear wheel double walled alloy rim, stainless steel 36 spokes
Shimano 7Speed ...
Oct 20 -
Houston - Everything else
Used Peerless Irrigation Hose Reel System, pto drive, pin hitch, not used in yrs/Selling AS IS/WHERE IS * LOCAL PICKUP * Probably need new hose & tires.Hose Approx 4"- PTO Drive & PIN Hitch-Tires 7.5-14 on 5 bolt rims LOOKING FOR OFFERS - NEED TO CLEAR OUT - Hose size is ...
Nov 16 -
Shreveport :
Timpson - Farm equipment
Key Features:
● Water cooled, four-stroke, and single cylinder is the best-performing engine in its class.
● Comfortable interior with steering wheel, left-side foot brake pedal and right-side foot accelerator pedal, center-mounted console shifter and parking brake lever, ...
Nov 11 -
Dallas :
Dallas - Toys & games
Heavy duty girl's Trek tricycle. Original retail $220. Used, but loads of life left! Lavender/pink color.
Frame Construction: TIG-welded
Frame Tubing Material: Steel
Fork Brand & Model:
Fork Material: Steel
Front Shock:
Rear Shock: Not ...
Oct 29 -
Austin :
Austin - Bicycles
BBQ Pit on Trailer $2700 ** brand new ** (made out of 3/8" thick pipe) - **brand new** - 6 1/2 ft cooking surface , slide out racks , 1/4" thick firebox , 3500 lb axle , bull dog hitch , new tires & rims, damper on smoke stack ,wood box, offset fire box with damper. I also ...
Oct 29 -
San Antonio :
Poteet - Everything else
Diamondback Girls' Lil Della Cruz 12" Bicycle - $60
Delivery: MPU
Cruise along in style in the Diamondback; Girls' Lil Della Cruz Bicycle in a girly pink design with flowers. Featuring 12" aluminum rims and a hi-ten Remington steel frame and fork, this solid bicycle can be ...
Oct 26 -
South Texas :
Kingsville - Bicycles
tractor turf tires and rims, Titan Multi Trac G/S 23X8.50-12
Titan Multi Trac G/S 13.6-16
Oct 21 -
Acadiana Region :
New Iberia - Farm equipment
15" rims, 4-100 Lug Pattern, I had them on a 98 Honda Civic and then on a 95 Honda DelSol, located in Washington La
This ad was posted with the eBay Classifieds mobile app.
Oct 14 -
Acadiana Region :
Washington - Everything else
REDUCED PRICE! New left-handed 5-string G chord banjo. Valued at $468
· Beautiful Mahogany Resonator
· 3 Ply Maple Rim
· Geared 5th Peg
· 24 Brackets
· Mahogany Neck
· Nickel Plated Arm Rest
Savannah SB 100 Left Hand Banjo (List $339.00)
Banjo Gig Bag (List $29.95)
Oct 10 -
Tyler :
Tyler - Musical instruments
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Sasha Vujacic – "THE MACHINE"
In honor of Sasha Vujacic going 1-6 last night. Plus you can't help but love this stuffRead More »
Foul or no foul?
Lakers 93 Spurs 91 - Brent Barry (23 pts) was fouled, but you won't hear that complaint coming out of the Spurs locker room. Down two with 2.1 seconds left, Barry took the inboundsRead More »
Greg Oden loves to party
Greg Oden shows up everywhere! TheBigLead has a photo of a guy that looks like the Trailblazers center at the Indy 500. Then again I barely noticed as my main focus was trying toRead More »
Kobe can jump over anything
First it was the moving Aston Martin and now it is a pool full of snakes. With the help of the Jackass Crew comes the new Hyperdunk video. My favorite part is when heRead More »
Celtics had no shot
Pistons 94 Celtics 75 - When you shoot 31% from the field, you rarely ever have a shot to win a game: let alone a Eastern Conference Finals game. So when the Celtics stayedRead More »
The road to the title now goes through Detroit
Pistons 103 Celtics 97 - If the Boston Celtics want to make it to the NBA Finals, they now know a win on the road is essential. The Detroit Pistons now have the homeRead More »
Kobe Bryant as Mr. Incredible
Lakers 89 Spurs 85 - With LA down 20 midway into the third quarter, Kobe Bryant turned into Mr. Incredible. A fictional character known for his strength and durability, Bryant channeled that character onRead More »
Danilo Gallinari? Really?
That's who Chad Ford says the Knicks are going to draft, after the blue and orange somehow managed to lose position in yesterday's NBA Draft Lottery. I would like to go on record asRead More »
Celtics don't need no rest
Celtics 88 Pistons 79 - Coming off a week of rest, many thought this was a perfect opportunity for Detroit to steal a game against the tired Celtics. Little did anyone expect Boston toRead More »
Gambling talk
Everyone knows about the much publicized $400k debt owed by Charles Barkley to the Wynn Resorts. But now Chuck talks about it on TNT's pregame show with Ernie Johnson. He admittedly has issues withRead More »


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- Cooking Time: 6 minutes, at least
- Servings:
- Preparation Time: 15-30 minutes, at least
- 3/4 c. cold water
- 2 1/4-ounce packets powdered gelatin
- 1/2 c. confectioners' sugar
- 1/2 c. cornstarch
- 1/2 c. corn syrup
- 1 1/2 c. granulated sugar
- 1/2 c. water
- 1/4 tsp. salt
- 2 vanilla beans (I used 2 tsp. vanilla extract)
- Combine 3/4 c. cold water and gelatin in a small bowl.
- Mix confections' sugar and cornstarch in a separate bowl.
- Sprinkle half of the cornstarch mixture in an 8-inch square pan.
- Cook corn syrup, granulated sugar, 1/2 c. water, and salt in a saucepan over medium-high heat until temp reach 235 degrees F on a candy thermometer, 6 to 8 minutes. Combine the syrup, gelatin mixture, and the seeds from the vanilla beans (or extract) in a large bowl. Beat with a mixer on medium-high until thick and fluffy, about 6 minutes (It took me close to 20 minutes).
- Scrape into the pan and spread evenly with a buttered spatula. Sprinkle with the remaining cornstarch mixture.
- Let dry overnight, then slice into squares.
NotesMakes a nice Christmas gift when paired with a jar of homemade cocoa mix.
Also, the marshmallows are great dipped in chocolate coating.
Presented by
Holiday Meal Planning
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Cupcake Recipes: Allison Robicelli Cupcake Chat
KITCHEN CAUCUS Liberal Helpings
Baby Food: Baby's First Solid FoodsSee More
Roasted Butternut Bisque with Spicy Pumpkin Seeds
Julia's Fudge Puddles (Modified from allrecipes.com)
Seven More SinsSee More


text:
November 27, 2014
Coach Pearl celebrates with fans Coach Bruce Pearl arrives at Auburn University Regional Airport in Auburn, AL on Tuesday, March 18, 2014. Zach Bland
AUBURN, Ala. (AP) – New Auburn coach Bruce Pearl wasted no time making an impression.
The former Tennessee coach sprung for pizza for several hundred students Tuesday a few hours after arriving in town, some of whom took selfies posing next to him. Then he told a couple thousand fans at Auburn Arena: "We're fixing to get Auburn into that position where we'll be going to the NCAA tournament."
The Tigers turned to Pearl Tuesday to revive a struggling basketball program that hasn't been to the NCAA tournament in more than a decade. Athletic director Jay Jacobs landed his top target with a 6-year deal worth $2.2 million annually less than a week after firing Tony Barbee.
Pearl remains under a show-cause penalty from the NCAA barring him from recruiting until Aug. 23.
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text:
Tom Brady's assault on the NFL record books continued on Sunday against Detroit.
During Sunday's win over the Detroit Lions, Patriots quarterback Tom Brady managed to hit a couple of additional milestones as he continues his assault on the NFL record books.
The veteran quarterback did a couple of things that should be a reminder of the fact each pass moves him closer to passing some pretty impressive names in league history, and against Detroit, he did a couple things in the second half that should be noted.
Facing a 3rd-and-9 in the 3rd quarter, Brady completed a 6-yard pass to Brandon LaFell, giving him 305-yards on the afternoon and it set up a 43-yard field goal by Stephen Gostkowksi. Â However, it was the 63rd time in his career he's gone over 300-yards passing, tying him with Dan Marino for 3rd most all-time.
Later in the fourth quarter with 9:49 to go in the game and facing a 3rd-and-7, Brady connected with Rob Gronkowski for a 10-yard pass which was his 7000th pass attempt, making him just the 6th player in NFL history to achieve that milestone.
Brady's now gone over three hundred yards passing four times this season, including against Buffalo, Chicago, Denver and the now the Lions.
Sunday also marked a significant day in Brady's history, as he made his NFL debut 14 years ago today against, oddly enough, the Lions.


text:
First post but been reading threads for a while and really appreciate the wealth of information a lot of you guys freely share with newcomers such as myself. I am going to shoot a low budget horror feature next year. I have complete control over the locations so I can light as I like and there are no exterior night shots. Anyways I was looking at different camera options and wanted to get tap the wealth of experience and expertise here. Right now I have a Canon T4 which I use for in a real estate company I own with my wife.
Forums: Professional Camcorders
5 Time-Saving Corners to Cut on the Set
Chuck Peters - October 11th, 2013
Time keeps on slipping away, and that can kill your productivity. Here are 5 corners you can cut to save time on the set and make your shoots go more smoothly.
Pick-a-Brick: Build Out an Open Source Camera
Chris Ace Gates - October 07th, 2013
Imagine a camera that you build like a collection of Lego bricks. One brick that features the lens mount and the camera sensor, then you add blocks as you need them. Enter the Axiom Open Module Concept camera from Aperatus.
GoPro Hero3+: A Small Package Gets Smaller but Offers More
Chris Ace Gates - October 01st, 2013
Where can YOU go with a tiny GoPro? When a teeny tiny POV camera gets smaller, just imagine the possibilities! GoPro Announces the release of the GoPro Hero3+
8 Tips on How to Use a Tripod
Chuck Peters - September 27th, 2013
Terrific tripoding is a careful combination of tool and technique. These 8 tips hit the highlights to cover both aspects, so you know what features you need in a tripod for video production, and how to use it to shoot stellar shots that are smooth and stable.
Nikon 1 AW1 Waterproof Shockproof Interchangeable Lens Camera Announced
Chris Ace Gates - September 23rd, 2013
Nikkon introduces the waterproof and shockproof digital interchangeable lens camera.
Five Tips for Getting Big results from Little Cameras
Jennifer O'Rourke - September 20th, 2013
Shooting great video is about more than what tools you use. In the hands of a creative camera operator, any camera, even a consumer point-and-shoot model, can be a powerful resource for capturing and creating compelling content.
10 Tips for the Video Producer on Location in Summer's Heat
Jennifer O'Rourke - July 05th, 2013
Getting your video muse as the seasons change can be a bit challenging for any video producer. Weather and the sun's direction might change how you'd shoot a scene and shooting on location in the summer sun is a lot more difficult than in the wintertime sun.
Forums: Consumer Camcorders
i got a GH3 but i am wondering did i make a mistake, should i have gotten the ag-ac90 insted
Opinions Please
Forums: Consumer Camcorders
I'm a beginning film maker and I'm looking to buy my first camera! I really need help so thank you all in advance!


text:
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text:
When you put on Dangerbird's Doctor Legs & The Medicine Ball, the weather starts to get warmer, frosty bottles of beer appear, and guys with B.O.
My generation mostly remembers the Bee Gees as leisure-suit liaisons who regretfully legitimized disco with the "Saturday Night Fever" soundtrack.
If you thought power ballads were dead and gone, think again.
Wavves is the one-man project of distortion architect Nathan Williams, or as I call him, No Age Jr.
For five decades, J.J.
Arguably the best band in metal today, Lamb of God brings a unified front to their material and their performances that's hard to beat.
Saxophonist Wayne Shorter has played the Montreux (Switzerland) Jazz Festival many times with many different musicians.
Like the mighty Os Mutantes before them who rocket-launched Brazilian pop into extraterrestrial territories, Coconot, a trio that includes Pablo Díaz-Reixa (aka El Guincho), introduces tropi
Twins, they are. Nels now enjoys crossover attention for Wilco, and that's probably the rationale for the simultaneous release stunt.
Alt-country is making me cynical. There may have been something unique and vibrant to start with, but we've ridden the cliché train too far to remember anything original.


text:
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Puxico Politics
Information about politics and local officials in Puxico.
Mayor - Doyle Mitchell
Street address: 281 E Owen Avenue,Puxico, MO 63960-9160
Phone: (573) 222-3162
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County Clerk and Elections Officer - Don White
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Representative - Jo Ann Emerson
Party: Republican
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Party: Republican
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Updated technology will save time and money
Updated technology will save time and money
Clerk's Office to take part in National Event
Pursuant to Administrative Order of NYS Chief Administrative Judge
The activities of the County Clerk's Registrar's Office are literally an open book, with easy access to all available public records. The Auto Bureau's two Main Offices, four Satellite Offices and three Mobile Auto Bureau sites offer a full range of services related to motor vehicles and licenses. At the County Clerk's Office, we look forward to continuing exemplary service to our customers while generating substantial revenues for County taxpayers. Through the internet, on the telephone or in person, we look forward to serving you!
Erie County Clerk


text:
Zordix keeping busy
The Moto Racing games are widely popular on mobile phones, having sold more than 1.5 million copies. Now an announcement from developers Zordix says two of its titles: Aqua Moto Racing 3D and Snow Moto Racing 3D are being spruced up for release on the 3DS eShop.
"The successful Moto Racing-brand with 13 million downloads and over 1.5 million sold so far, is an exceptionally good fit for the Nintendo 3DS. These games are action filled, will look great in 3D and via the circle pad enable a level of control that racing games of this caliber really deserve! As the Nintendo 3DS is steaming towards 20 million units sold, the market for good downloadable games is blindingly bright." - Zordix CEO, Matti Larson
3,021 news items
danfango said:
I'm not the biggest mobile gamer so I haven't heard of these to be honest. If they really are "good downloadable games" like it says, then welcome Zordix!
2 years ago
Yacht Club Games Interview
David D'Angelo gives us some chat on Shovel Knight
Reggie Fils-Aime Talks Nintendo Third Party Woes
Who needs Call of Duty when you have Mario and Zelda
11.5.2014 Nintendo Direct Showcases Upcoming Games
2015 shaping up to be a great year
Nintendo Introducing a Pre-Download Option for its Digital Releases
An exciting idea that brings a potential problem with it
Former Factor 5 President Reveals Cancelled Rogue Squadron Game for the Wii
The force wasn't strong with this one
3DS Homebrew Channel Back on Track After Slight Delay
Giving gamers a place to brew their own games
Pokemon: Omega Ruby/Alpha Sapphire Dual Pack Confirmed
Why choose, when you can have both
Wii U Owners Frustrated Over Low Stock for Bayonetta 2
This witch is proving elusive for gamers
Super Smash Bros. Overload
8 player smash, new game modes, stage builder, and the return of Mewtwo
Psyscrolr Prepares To Imbue The Wii U eShop With Psychic Platforming
Mind Bending
Anonymous said:
The Wii U is certainly unique - no question about that. Regarding third-party support, I'd make a distinction ... Reggie Fils-Aime Talks Nintendo Third Party Woes
Rob Jones said:
Nice one Matt, good interview. ... Yacht Club Games Interview
Zachary Wickwire said:
This was a good read. I am glad to hear that they have so much planned for Shovel Knight, it was easily one of the best ... Yacht Club Games Interview
sena_16 said:
how will you play this thing YA-HA! ... Eyeshield 21
Rob Jones said:
I've got the basic white Wii U, so my USB hard drive is a godsend. ... Nintendo Introducing a Pre-Download Option for its Digital Releases
Wii's World is not officially affiliated with Nintendo! (but they wish we were).


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All posts by Paul Kenyon
- February 20th, 2014
The simple way to mitigate over 90% of Critical Microsoft Vulnerabilities
Unconvinced about the importance of removing user admin rights? Read on for some compelling reasons why user privileges should be at the top of your security agenda in 2014.
- February 12th, 2014
Microsoft extends limited security support for Windows XP – but is this enough?
Microsoft has announced that it will continue to provide updates to its anti-malware signatures and engine for Windows XP users until July 14th, 2015. But what does this really mean?
The end of support for the operating system as a whole is April 8th, 2014, and this extended security service isn't enough to keep organizations secure.
- November 19th, 2013
Turning Concern into Action
Edward Snowden's data leakage at the NSA has certainly caused a ripple effect across the entire IT landscape, forcing organizations across all industries to take a closer look at their current security defenses. At the McAfee FOCUS conference in October this year, we conducted a survey to examine just how closely security professionals were rethinking their approaches to security as a result of the NSA incident. And just as important – if not more – was determining how many of those professionals were actually converting these attitudes to action.
- July 9th, 2013
How to deliver ultimate security whilst reducing costs
64% of IT security professionals believe malware incidents to be a significant reason for the increase in IT operating expenses (2013 State of The Endpoint, Ponemon)
Today's malware is increasingly sophisticated, taking advantage of normal user behaviour to gain a foothold within your organization. Web browsers, media plugins, Java exploits and removable media are amongst the most common vectors of introduction and each of these require an unknowing user at the keyboard to access the 'trojan' content.
However, in order to infect your corporate environment and take hold of your critical systems, malware requires access to an administrator account. Implementing least privilege means removing vulnerable admin accounts whilst assigning privileges to individual applications based on user need.
In 2012, IT professionals voted effective Privilege Management as the most valuable tool for reducing IT risk (2013 State of The Endpoint, Ponemon)
90% of Windows security vulnerabilities will be mitigated overnight when you remove admin rights from your organization. Further Gartner studies have concluded that the least risk Windows 7 desktop can be delivered only where traditional methods of endpoint protection are deployed across standard user accounts.
Optimizing security, increasing operational efficiency and simply demonstrating return on investment from your projects can become somewhat of a juggling act for IT professionals. Prioritizing a least privilege implementation project will allow you to 'tick the box' for each of these key deliverables.
- June 25th, 2013
How Least Privilege delivers ROI: More Insights from Gartner
How you could reduce the cost of downtime by 70%
"Organizations which have a one size fits all approach to PC lock-down will have a higher TCO than organizations that optimize their policies based on user needs" (Gartner)
Optimizing desktop and server security may seem to have little to do with your organization's profit and loss, share price and bottom line, but going beyond anti-virus protection can have a significant impact on user productivity and total cost of ownership.
Driving Employee Productivity with Least Privilege…
Anyone who has run Windows 7 or Windows 8 as a standard user will know that these PCs naturally perform more consistently and more reliably if compared to the same system running with administrative privileges.
At first glance, this scenario should lead to a more productive workforce; it would seem to follow that there'd be less down time experienced due the more reliable system provided, right? Wrong.