I am fond of the 1943 movie, but it does have its problems. The opportunity to finally see the show at City Center's Encores! series last week, ostensibly as it was originally performed in 1940 on Broadway, filled me with anticipation. And trepidation.
Thirty-two months after taking the UFC by storm, Conor McGregor is the undisputed featherweight champion of the world. Needing just 13 seconds to knockout longtime champion Jose Aldo with a left to the chin, McGregor earned a Performance of the Night bonus at UFC 194.
The reference to the release from Arthur Freed's incomparable MGM unit is recorded here as preamble to the unhappy news that a woefully cheap travesty of the gloriously romantic film has now opened at the Neil Simon.
As both a ringmaster and a man, it is all at once awe-inspiring and humbling to look upon the enormity of a life such as Col. John Herriott's. A steep standard he has left, and it is well worth the ascent. In circus, we never say "goodbye," rather we say "see you down the road."
What brings people to the theater? I talk a lot about that each day with various producers and press agents. Of course, if anyone really knew an exact answer, many more shows would be successful. Instead we all try our best to guess.
Millions across the globe have been inspired by 96-year-old yoga master Tao Porchon-Lynch -- World War II French Resistance fighter, model, actress, film producer, wine connoisseur, competitive ballroom dancer and yoga master.
This film was to be titled Top Secret. The Hollywood trades compared the race to make the first atomic film to the U.S. vs. Germany race to make The Bomb. At the Truman Library, I discovered a 16-page outline by Rand from January 19, 1946.
News that Encores! here in New York is mounting a "new stage adaptation" of
The Band Wagon as a "Special Event" beginning Thursday filled my girls with wonder, and not a little moral outrage. "Why?" they cried! All I could think to reply was: Why not?
Just when I thought I could answer any trivia question on David O. Selznick's 1939 production of Gone with the Wind, comes a treasure of new material in Steve Wilson's book, The Making of Gone with the Wind.
In honor of its 75th anniversary, my co-author, William Stillman, of the new compendium The Wizard of Oz: The Official 75th Anniversary Companion, and I look back at some of the origins of what is arguably the best-loved motion picture of all time.
In a world where we are so quick to toss aside the "old" and the antiquated without even a brief recognition of preservation and gentrification, Kathleen Sorbello-Discenna is a living example that we can preserve our rich history.