A New York Times photographer, a premiere beader of stage costumes and a drycleaning business that’s been removing opening night sweat stains since the days of George M. Cohan will receive this year’s Tony Awards’ Honors for Excellence in the Theatre.
The awards’ Administration Committee announced the recipients today: Culture photographer Sara Krulwich, beader Bessie Nelson and the Ernest Winzer Cleaners. The Honors recognize extraordinary achievement outside the established Tony Award categories.
“This year’s group of Tony Honors for Excellence in the Theatre award recipients perfectly exemplify the scope of work in our industry,” said Heather Hitchens, President & CEO of the American Theatre Wing, and Charlotte St. Martin, President of The Broadway League. “Each one has left such a mark on the Broadway community in such different ways, and we’re proud to be able to honor their contributions.”
Krulwich has been with the Times since 1979, and...
The awards’ Administration Committee announced the recipients today: Culture photographer Sara Krulwich, beader Bessie Nelson and the Ernest Winzer Cleaners. The Honors recognize extraordinary achievement outside the established Tony Award categories.
“This year’s group of Tony Honors for Excellence in the Theatre award recipients perfectly exemplify the scope of work in our industry,” said Heather Hitchens, President & CEO of the American Theatre Wing, and Charlotte St. Martin, President of The Broadway League. “Each one has left such a mark on the Broadway community in such different ways, and we’re proud to be able to honor their contributions.”
Krulwich has been with the Times since 1979, and...
- 4/25/2018
- by Greg Evans
- Deadline Film + TV
Theatre East and Yale Alumni Association of New York will present Elizabeth Parrish with the Laurette Taylor Award tonight, May 28th at Ramscale Studio South, 463 West Street, in the West Village Highline district, NYC. The benefit starts at 7pm with an exclusive cocktail reception, followed by dinner at 8pm. The award will be presented to Ms. Parrish by Kate Mulgrew Orange is the New Black. The ceremony will include tributes by alumna Meryl Streep and the Stella Adler Studio's Artistic Director, Tom Oppenheim.
- 5/28/2015
- by BWW News Desk
- BroadwayWorld.com
Theatre East and Yale Alumni Association of New York will present Elizabeth Parrish with the Laurette Taylor Award on Thursday, May 28th at Ramscale Studio South, 463 West Street, in the West Village Highline district, NYC. The benefit starts at 7pm with an exclusive cocktail reception, followed by dinner at 8pm. The award will be presented to Ms. Parrish by Kate Mulgrew Orange is the New Black. The ceremony will include tributes by alumna Meryl Streep and the Stella Adler Studio's Artistic Director, Tom Oppenheim.
- 5/20/2015
- by BWW News Desk
- BroadwayWorld.com
Teresa Wright and Matt Damon in 'The Rainmaker' Teresa Wright: From Marlon Brando to Matt Damon (See preceding post: "Teresa Wright vs. Samuel Goldwyn: Nasty Falling Out.") "I'd rather have luck than brains!" Teresa Wright was quoted as saying in the early 1950s. That's understandable, considering her post-Samuel Goldwyn choice of movie roles, some of which may have seemed promising on paper.[1] Wright was Marlon Brando's first Hollywood leading lady, but that didn't help her to bounce back following the very public spat with her former boss. After all, The Men was released before Elia Kazan's film version of A Streetcar Named Desire turned Brando into a major international star. Chances are that good film offers were scarce. After Wright's brief 1950 comeback, for the third time in less than a decade she would be gone from the big screen for more than a year.
- 3/11/2015
- by Andre Soares
- Alt Film Guide
Episode 40 of 52: In which Katharine Hepburn takes to TV to show that Laurette Taylor can eat her heart out.
Apparently Kate adapted to TV quickly. Mere months after her first two part television interview on The Dick Cavett Show, Katharine Hepburn returned to the small screen, this time to act. Director Anthony Harvey (last teamed with Kate directing The Lion in Winter) did away with the more fantastical elements of the play in order to get a more "natural" feel, relying on strong acting rather than stagecraft. Nonetheless, The Glass Menagerie remains a touching work of nostalgia and regret that comments in unexpected ways on its legendary lead actress’s life.
When The Glass Menagerie premiered in 1944, Laurette Taylor’s performance as Southern matriarch Amanda Wingfield effectively revolutionized American theatrical acting. In her second foray into Williams’ world, Katharine Hepburn steps out of Taylor’s long shadow. Hepburn's Amanda is not a dreamer,...
Apparently Kate adapted to TV quickly. Mere months after her first two part television interview on The Dick Cavett Show, Katharine Hepburn returned to the small screen, this time to act. Director Anthony Harvey (last teamed with Kate directing The Lion in Winter) did away with the more fantastical elements of the play in order to get a more "natural" feel, relying on strong acting rather than stagecraft. Nonetheless, The Glass Menagerie remains a touching work of nostalgia and regret that comments in unexpected ways on its legendary lead actress’s life.
When The Glass Menagerie premiered in 1944, Laurette Taylor’s performance as Southern matriarch Amanda Wingfield effectively revolutionized American theatrical acting. In her second foray into Williams’ world, Katharine Hepburn steps out of Taylor’s long shadow. Hepburn's Amanda is not a dreamer,...
- 10/1/2014
- by Anne Marie
- FilmExperience
Brian J. Smith reaped his first Tony bid for playing Jim O'Connor, the 'Gentleman Caller,' in the recent rialto revival of Tennessee Williams' classic "The Glass Menagerie." During our recent webcam chat, he explained his theory as to why this staging broke the Tonys curse that had befallen five previous productions. -Break- Dish all the top Tony races in our red-hot forums Because the original 1946 staging starring Laurette Taylor was so legendary, "that production haunted people for a couple of generations of theatergoers and theater makers. We have gotten to a point historically where we can see the play, for better or worse, without having the ghost of that original production in the back of our minds." Smith credits Tony-winning director John Tiffany ("Once") for going back to the original text and stage directions for guidance in creating this acclaimed production that reaped seven Tony nomi...
- 6/3/2014
- Gold Derby
Broadway's Cort Theatre 138 West 48th Street, just celebrated its 100th Anniversary yesterday, December 20th. The theatre, which opened on December 20, 1912 with a Peg O'My Heart starring Laurette Taylor, is currently home to the Broadway Premiere of Grace, which will end its limited engagement on January 6, 2013. It will next be home to the World Premiere production of Truman Capote's Breakfast at Tiffany's, a new play written by Richard Greenberg, which starts performances on Monday, March 4 and opens on Wednesday, March 20. The Cort Theatre is owned and operated by The Shubert Organization.Check out photos from the celebration below...
- 12/21/2012
- by Jennifer Broski
- BroadwayWorld.com
Broadway's Cort Theatre 138 West 48th Street, will celebrate its 100th Anniversary tomorrow Thursday, December 20th. The theatre, which opened on December 20, 1912 with a Peg O'My Heart starring Laurette Taylor, is currently home to the Broadway Premiere of Grace, which will end its limited engagement on January 6, 2013. It will next be home to the World Premiere production of Truman Capote's Breakfast at Tiffany's, a new play written by Richard Greenberg, which starts performances on Monday, March 4 and opens on Wednesday, March 20. The Cort Theatre is owned and operated by The Shubert Organization.
- 12/19/2012
- by BWW News Desk
- BroadwayWorld.com
If I had known nothing about The Glass Menagerie -- Tennessee Williams's great New York Drama Critics Circle prize-winning 1945 work -- before being exposed to Gordon Edelstein's current Roundabout Theatre production, I'm shocked to report I would have decided before the first act ended that what I was witnessing was an exercise in tediously self-indulgent nostalgia. Indeed, if I were coming to The Glass Menagerie cold -- if I were unaware of its having put the dramatist on the literary map as World War II was drawing to a close, if I were totally uniformed about Laurette Taylor's indelible (though sadly never filmed) performance as the addled and tyrannical Amanda Wingfield -- I'd have concluded that the presentation of a flibbertigibbet mother relentlessly berating her physically impaired daughter and incipiently alcoholic son wasn't the stuff of unforgettable...
- 3/29/2010
- by David Finkle
- Huffington Post
Opened Friday, June 11 (New York)
NEW YORK -- While less than artfully composed, Rick McKay's homegrown documentary about the glory days of the American theater represents an invaluable oral history. Composed mainly of talking-head interviews and a smattering of fascinating archival footage of long-ago productions, "Broadway: The Golden Age" is made notable by its sheer existence, since this is a subject that has not exactly been overexposed on the big screen. Now playing in several theaters in New York, where business should be brisk, the film will eventually be a must-own video item for theater buffs.
McKay became enamored of the theater when very young, albeit from a secondhand perspective, and moved to New York in 1981, when he was in his early 20s. Despite seeing such revelatory shows as "Amadeus" and "A Chorus Line", he quickly realized that the modern-day theater, filled with spectacles and British imports, was a far cry from the Broadway he had fantasized about.
This golden period, roughly from the 1930s-60s, is the subject of the film, which includes close-up interviews with dozens of theater figures -- mainly performers but also playwrights, composers and producers. These include a veritable who's who of Broadway, including Stephen Sondheim, Hal Prince, Kim Hunter, Tommy Tune, Angela Lansbury, Carol Burnett, Patricia Neal, Barbara Cook, Arthur Laurents, Shirley MacLaine and many, many others.
These oral reminiscences are alternately fascinating and cliche-ridden, entertaining and redundant, but there are many priceless anecdotes, and the passion of the interviewees for their subject is contagious. The filmmaker has organized the accounts in nonchronological and sometimes haphazard fashion.
Some of the segments, such as when the stars describe their early, poverty-ridden years as the best of their lives, etc., have the overly familiar feel of elderly relatives talking about the good old days. But such chapters as the one devoted to the legendary actress Laurette Taylor or Lansbury's pursuit of the lead role in "Mame" are fascinating.
Even more amazing is the rare footage of vintage shows, including the original productions of "Cat on a Hot Tin Roof", "Bus Stop", "Mame" and others. Also on display are excerpts from the only audio recording of Brando and Jessica Tandy in the Broadway "A Streetcar Named Desire" and Taylor's 1938 screen test for David O. Selznick, the only time she ever spoke on film.
BROADWAY: THE GOLDEN AGE
Dada Films
Second Act Prods.
Credits:
Director-writer-editor: Rick McKay
Producers: Rick McKay, Albert M. Tapper
Executive producer: Georgia Frontiere
No MPAA rating
Running time -- 111 minutes...
NEW YORK -- While less than artfully composed, Rick McKay's homegrown documentary about the glory days of the American theater represents an invaluable oral history. Composed mainly of talking-head interviews and a smattering of fascinating archival footage of long-ago productions, "Broadway: The Golden Age" is made notable by its sheer existence, since this is a subject that has not exactly been overexposed on the big screen. Now playing in several theaters in New York, where business should be brisk, the film will eventually be a must-own video item for theater buffs.
McKay became enamored of the theater when very young, albeit from a secondhand perspective, and moved to New York in 1981, when he was in his early 20s. Despite seeing such revelatory shows as "Amadeus" and "A Chorus Line", he quickly realized that the modern-day theater, filled with spectacles and British imports, was a far cry from the Broadway he had fantasized about.
This golden period, roughly from the 1930s-60s, is the subject of the film, which includes close-up interviews with dozens of theater figures -- mainly performers but also playwrights, composers and producers. These include a veritable who's who of Broadway, including Stephen Sondheim, Hal Prince, Kim Hunter, Tommy Tune, Angela Lansbury, Carol Burnett, Patricia Neal, Barbara Cook, Arthur Laurents, Shirley MacLaine and many, many others.
These oral reminiscences are alternately fascinating and cliche-ridden, entertaining and redundant, but there are many priceless anecdotes, and the passion of the interviewees for their subject is contagious. The filmmaker has organized the accounts in nonchronological and sometimes haphazard fashion.
Some of the segments, such as when the stars describe their early, poverty-ridden years as the best of their lives, etc., have the overly familiar feel of elderly relatives talking about the good old days. But such chapters as the one devoted to the legendary actress Laurette Taylor or Lansbury's pursuit of the lead role in "Mame" are fascinating.
Even more amazing is the rare footage of vintage shows, including the original productions of "Cat on a Hot Tin Roof", "Bus Stop", "Mame" and others. Also on display are excerpts from the only audio recording of Brando and Jessica Tandy in the Broadway "A Streetcar Named Desire" and Taylor's 1938 screen test for David O. Selznick, the only time she ever spoke on film.
BROADWAY: THE GOLDEN AGE
Dada Films
Second Act Prods.
Credits:
Director-writer-editor: Rick McKay
Producers: Rick McKay, Albert M. Tapper
Executive producer: Georgia Frontiere
No MPAA rating
Running time -- 111 minutes...
Opened Friday, June 11 (New York)
NEW YORK -- While less than artfully composed, Rick McKay's homegrown documentary about the glory days of the American theater represents an invaluable oral history. Composed mainly of talking-head interviews and a smattering of fascinating archival footage of long-ago productions, "Broadway: The Golden Age" is made notable by its sheer existence, since this is a subject that has not exactly been overexposed on the big screen. Now playing in several theaters in New York, where business should be brisk, the film will eventually be a must-own video item for theater buffs.
McKay became enamored of the theater when very young, albeit from a secondhand perspective, and moved to New York in 1981, when he was in his early 20s. Despite seeing such revelatory shows as "Amadeus" and "A Chorus Line", he quickly realized that the modern-day theater, filled with spectacles and British imports, was a far cry from the Broadway he had fantasized about.
This golden period, roughly from the 1930s-60s, is the subject of the film, which includes close-up interviews with dozens of theater figures -- mainly performers but also playwrights, composers and producers. These include a veritable who's who of Broadway, including Stephen Sondheim, Hal Prince, Kim Hunter, Tommy Tune, Angela Lansbury, Carol Burnett, Patricia Neal, Barbara Cook, Arthur Laurents, Shirley MacLaine and many, many others.
These oral reminiscences are alternately fascinating and cliche-ridden, entertaining and redundant, but there are many priceless anecdotes, and the passion of the interviewees for their subject is contagious. The filmmaker has organized the accounts in nonchronological and sometimes haphazard fashion.
Some of the segments, such as when the stars describe their early, poverty-ridden years as the best of their lives, etc., have the overly familiar feel of elderly relatives talking about the good old days. But such chapters as the one devoted to the legendary actress Laurette Taylor or Lansbury's pursuit of the lead role in "Mame" are fascinating.
Even more amazing is the rare footage of vintage shows, including the original productions of "Cat on a Hot Tin Roof", "Bus Stop", "Mame" and others. Also on display are excerpts from the only audio recording of Brando and Jessica Tandy in the Broadway "A Streetcar Named Desire" and Taylor's 1938 screen test for David O. Selznick, the only time she ever spoke on film.
BROADWAY: THE GOLDEN AGE
Dada Films
Second Act Prods.
Credits:
Director-writer-editor: Rick McKay
Producers: Rick McKay, Albert M. Tapper
Executive producer: Georgia Frontiere
No MPAA rating
Running time -- 111 minutes...
NEW YORK -- While less than artfully composed, Rick McKay's homegrown documentary about the glory days of the American theater represents an invaluable oral history. Composed mainly of talking-head interviews and a smattering of fascinating archival footage of long-ago productions, "Broadway: The Golden Age" is made notable by its sheer existence, since this is a subject that has not exactly been overexposed on the big screen. Now playing in several theaters in New York, where business should be brisk, the film will eventually be a must-own video item for theater buffs.
McKay became enamored of the theater when very young, albeit from a secondhand perspective, and moved to New York in 1981, when he was in his early 20s. Despite seeing such revelatory shows as "Amadeus" and "A Chorus Line", he quickly realized that the modern-day theater, filled with spectacles and British imports, was a far cry from the Broadway he had fantasized about.
This golden period, roughly from the 1930s-60s, is the subject of the film, which includes close-up interviews with dozens of theater figures -- mainly performers but also playwrights, composers and producers. These include a veritable who's who of Broadway, including Stephen Sondheim, Hal Prince, Kim Hunter, Tommy Tune, Angela Lansbury, Carol Burnett, Patricia Neal, Barbara Cook, Arthur Laurents, Shirley MacLaine and many, many others.
These oral reminiscences are alternately fascinating and cliche-ridden, entertaining and redundant, but there are many priceless anecdotes, and the passion of the interviewees for their subject is contagious. The filmmaker has organized the accounts in nonchronological and sometimes haphazard fashion.
Some of the segments, such as when the stars describe their early, poverty-ridden years as the best of their lives, etc., have the overly familiar feel of elderly relatives talking about the good old days. But such chapters as the one devoted to the legendary actress Laurette Taylor or Lansbury's pursuit of the lead role in "Mame" are fascinating.
Even more amazing is the rare footage of vintage shows, including the original productions of "Cat on a Hot Tin Roof", "Bus Stop", "Mame" and others. Also on display are excerpts from the only audio recording of Brando and Jessica Tandy in the Broadway "A Streetcar Named Desire" and Taylor's 1938 screen test for David O. Selznick, the only time she ever spoke on film.
BROADWAY: THE GOLDEN AGE
Dada Films
Second Act Prods.
Credits:
Director-writer-editor: Rick McKay
Producers: Rick McKay, Albert M. Tapper
Executive producer: Georgia Frontiere
No MPAA rating
Running time -- 111 minutes...
- 6/14/2004
- The Hollywood Reporter - Movie News
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