A theatrical producer is the person ultimately responsible for overseeing all aspects of mounting a theatre production. The independent producer will usually be the originator and finder of the script and starts the whole process. The producer finds the director, and then begins the primary goal which is to balance and coordinate the business and financial aspects of mounting the show in the service of the creative realization of the playwright's (and the producer's) vision. This may or may not include casting, but often will include casting approval. The producer may be responsible for securing funds for the production, either through his or her own company or by taking on investors in the production via a limited partnership agreement, the producer becoming the General Partner with unlimited liability (and because of this will often bring on board other general partners). The producer will probably have optioned the play from the playwright which would include all rights including film and television rights if the production will enhance their value, and may have included the royalty agreement. Then comes the time to work with theatrical agents, negotiate with the unions, find other staff, secure the theatre and rehearsal hall, obtain liability and workers' compensation insurance, and post bonds with the unions.

Although the producer is responsible for hiring creative teams, this is generally done in consultation with the director and the playwright who like to have approval. The producer also hires the production team including the General Manager, Production Manager, House Manager, Stage Manager etc. at his or her own discretion. In many cases the producer is required to use front of house staff (such as the house manager, box office, ushers, etc.) and backstage personnel (stage hands, electrician, carpenter, etc.) supplied by the theatre owner.

The producer is responsible for creating and overseeing the budget. He or she sets ticket prices and performance dates and times and develops a marketing and advertising strategy for the production. The hiring of a Publicist and Marketing team is one of the most important responsibilities of the producer. These teams are generally in place before the show is cast.

The producer hires accountants and perhaps already has legal representation. This is important, because of the liability mentioned above. All bills including payroll need to be paid on time and taxes need to be paid. He or she develops all the budgeting. The theatre owner, providing box office services, will turn over the net result of ticket sales. If the results are not good and fall under a set minimum level, the show may have to close. Hopefully this will not happen, and perhaps the producer will make a handy 50% of the net profit, the other 50% going to the investors, and possibly arrange for more income from a tour, or a film which might put them on the other side of an option. Statistically, highly successful shows and therefore big profits are the exception. Independent commercial production is a high risk business.

Another kind of producer is the non-independent, who is better described as a line producer, a facilitator of other people's wishes. A repertory or repertoire or festival or non-profit or amateur organization will in most cases be using a Managing Director and the creative decisions will be on the shoulders of the Artistic Director. And in theatres where there is no Managing Director, Artistic Directors often take on the title Producing Artistic Director or Managing Artistic Director, to indicate their higher level of responsibility.

In the commercial world of Broadway and West End and touring, producers are expected to be active members of the team, and their names are put above the title of the show. But there are many "producers" who are in reality investors or perhaps the theatre owner, and claim no say in the running of the production. The "producer" credit is occasionally given to persons who perform special important services, such as finding a theatre or a star, but normally their credit would be as "associate producer".

The producer's role is to work very closely with the whole team and cast, making all the final decisions. The role of the producer ultimately is one of the most important ones in a team that is creating a show.

External links[link]

• Internet Broadway Database
• League of American Theatres and Producers
• Tony Award winners video library-interviews with winners

Joseph Papp (June 22, 1921 – October 31, 1991) was an American theatrical producer and director. Papp established The Public Theater in what had been the Astor Library Building in downtown New York (still located there as of 2011). "The Public," as it is known, has many small theatres within it. There, Papp created a year-round producing home to focus on new creations, both plays and musicals. Among numerous examples of these creations were the works of David Rabe, Ntozake Shange's "For Colored Girls Who Have Considered Suicide When the Rainbow Is Enuf", Charles Gordone's No Place to Be Somebody (the first off-Broadway play to win the Pulitzer Prize), and Papp's production of Michael Bennett's Pulitzer-Prize winning musical, "A Chorus Line." At Papp's death, The Public Theatre was renamed The Joseph Papp Public Theatre.

Early life[link]

Papp was born Joseph Papirofsky in Brooklyn, New York, the son of Yetta (née Miritch), a seamstress, and Samuel Papirofsky, a trunkmaker.^[1] His parents were Jewish immigrants from Russia. He was a high school student of Harlem Renaissance playwright Eulalie Spence. Papp founded the New York Shakespeare Festival in 1954 with the aim of making Shakespeare's works accessible to the public. In 1957, he was granted the use of Central Park for free productions of Shakespeare's plays. This legacy of Papp has continued (through 2010) at the open-air Delacorte Theatre every summer in Central Park.

Founder of the Public Theater[link]

Papp spent years of entrepreneurial zeal and dogged persistence promoting his idea of free Shakespeare in New York City. Papp's 1956 production of Taming of the Shrew, outdoors in the East River Amphitheatre on New York's Lower East Side, was pivotal for Papp, primarily because Brooks Atkinson, known as the dean of American theatre critics, went downtown to see it and endorsed Papp's vision in The New York Times. Actress Colleen Dewhurst, who played Kate the shrew, recalled the beginning of the shift in fortune (in an autobiography published posthumously as a collaboration with Tom Viola): "With Brooks Atkinson's blessing, our world changed overnight. Suddenly in our audience of neighbors in T-shirts and jeans appeared men in white shirts, jackets and ties, and ladies in summer dresses. Suddenly we were 'the play to see,' and everything changed. We were in a hit that would have a positive effect on my career, as well as Joe's, but I missed the shouting. I missed the feeling of not knowing what might happen next or how that play would that night move an audience unafraid of talking back."

By age 41, after Papp had established a permanent base for his free Summer Shakespeare performances in Central Park's Delacorte Theater, an open-air amphi-theatre, Papp looked for an all-year theater he could make his own. After looking at other locations, he fell in love with the location and the character of Lafayette Street’s Astor Library. Papp got it, in 1967, at a reported one dollar yearly rental from the City. It was the first building saved from demolition under the New York City landmarks preservation law. After massive renovations, Papp moved his staff to the newly named Public Theater, hoping to attract a newer, less conventional audience to new and innovative playwrights.

At the Public Theater, Papp's focus moved away from the Shakespearean classics and toward new work. Notable Public productions included Charles Gordone’s No Place to Be Somebody (the first off-Broadway show, and the first play by an African American, to win the Pulitzer Prize) and the plays of David Rabe, Tom Babe, and Jason Miller. Papp called his productions of Rabe's plays "the most important thing I did at the Public.^[2] Papp managed to produce plays that spoke to their own time. Just as Rabe's work reflected the concerns of its time (Vietnam and American imperialism), Papp's production in 1985 of Larry Kramer's play "The Normal Heart" dared to address, in its time, the prejudicial political system which was turning its back on the AIDS crisis and the gay community.

As festival designer Ming Cho Lee put it, “With the new playwrights, the whole direction of the theater changed. Joe changed direction and none of us realized for a while that he had changed direction. The Public Theater became more important than the Delacorte. The new playwrights became more interesting to Joe than Shakespeare."

Among the myriad plays and musicals Papp produced, Papp is perhaps best known for four productions which transferred to commercial Broadway runs: the original version of Galt MacDermot's Hair, a star-studded production of The Pirates of Penzance, self-proclaimed black feminist Ntozake Shange's "For Colored Girls who Have Considered Suicide when the Rainbow is Enuf" and the anomaly that was A Chorus Line.

A Chorus Line originated with a series of taped interviews of dancers' reminiscences, down at the Public, overseen by director/choreographer Michael Bennett. Papp had given Bennett the kind of entrepreneurial support for which he was known, trusting Bennett with the time and space to flesh out his dream. Previously, Papp had not kept his producer's hands on the rights to Hair and did not gain from its Broadway transfer. Not so with this one. After this ground-breaking musical (which theatricalized its performers' true-life stories) transferred to a highly lucrative Broadway run, the show's earnings became a continuous financial support for Papp's work. The show received 12 Tony Award nominations and won nine of them, in addition to the 1976 Pulitzer Prize for Drama. It ran for 6,137 performances, becoming the longest-running production in Broadway history up to that time. Its Tony Award for the Best Musical of the Year 1975 went to Papp, its producer. Its workshop system for developing musicals, which Bennett and Papp had pioneered, revolutionized the way Broadway musicals were created thereafter, and many of the precedents for workshops' aesthetics and contract agreements were set by Papp, Bennett and "A Chorus Line."

Outdoor performances at the Delacorte Theatre[link]

Papp's Delacorte Theatre brought some of the most exciting actors and actresses in America, some celebrated, some not, to outdoor Shakespeare and to New York audiences for free. Among the memorable performances (including some from before Papp had the Delacorte for his Shakespeare) were George C. Scott's Obie-award winning Richard III in 1958; Colleen Dewhurst's Kate, Lady Macbeth, Cleopatra (opposite George C. Scott's Mark Antony), and Gertrude; the Hamlet of Stacy Keach opposite Dewhurst's Gertrude with James Earl Jones' King Claudius, Barnard Hughes's Polonius and Sam Waterston's Laertes; Sam Waterston's Hamlet (opposite the Gertrude of Ruby Dee) with the Laertes of John Lithgow and Andrea Marcovicci's Ophelia; the Benedick and Beatrice of Sam Waterston and Kathleen Widdoes in Much Ado About Nothing with Barnard Hughes's Keystone Kops version of Dogberry; the early work of Meryl Streep as Isabella in Measure for Measure; Mary Beth Hurt as Randall Duk Kim's daughter in Pericles; James Earl Jones as King Lear (1973) with Rosalind Cash and Ellen Holly as his wicked daughters; Raul Julia as Edmund in Jones' 1973 King Lear, as Osric to Keach's Hamlet, and as Proteus (in a musical adaptation of Two Gentlemen of Verona which transferred to a Broadway run). Julia also played Othello with Frances Conroy as his Desdemona and Richard Dreyfuss as Iago. And, in 1968, one year before his breakthrough in The Subject was Roses, Martin Sheen played Romeo.

The New York Shakespeare Festival's Delacorte was not exclusively for Shakespeare. Papp would sometimes vary the summertime fare. In the summer of 1977 Gloria Foster was Clytmnestra in the towering Greek tragedy "Agamemnon" followed by Raul Julia as Macheath in Richard Foreman's production of Bertolt Brecht/Kurt Weill's The Threepenny Opera, which later transferred to Lincoln Center. Papp was also a Gilbert and Sullivan lover, and in 1980, to commemorate the centenary of The Pirates of Penzance, he mounted a new staging of the opera at The Delacorte Theatre in Central Park. The show was a sensation, and Papp transferred it to the Broadway stage, where it ran for over 800 performances. It won Tony Awards for Best Revival, Best Director (Wilford Leach), and Best Actor (Kevin Kline). Linda Ronstadt was nominated for Best Actress in a Musical.

Papp's aesthetic included an egalitarian, political vision. He was a pioneer in a commitment to non-traditional casting, using a variety of ethnicities and colors of actors in his new plays and Shakespeare productions. Likewise, partly out of his relationship with his gay son Tony, Papp aligned himself with gay and lesbian concerns in at least two specific instances. He fought anti-obscenity provisions that Congress briefly imposed on the National Endowment for the Arts during the Reagan Presidency, and he chose to produce The Normal Heart, which passionately decried institutionalized "homophobia" as well as Mayor Koch's response to the AIDS crisis.

A complete listing of Festival productions is available in Joe Papp: An American Life by Helen Epstein http://www.amazon.com/Joe-Papp-American-Helen-Epstein/dp/0306806762.

Fostering the Growth of New York Theatre[link]

In addition to founding the New York Shakespeare Festival, Papp played a key role in the fostering of theatre throughout New York, in particular, the development of numerous Off Broadway theatres throughout his years as head of the NYSF. Among the many theatres that Papp supported (often with funds from successful Broadway transfers, such as A Chorus Line) were Theatre for a New Audience, which presented several productions at the NYSF, and the Riverside Shakespeare Company, for whom Papp took a special interest, beginning with the sponsorship of the New York premiere of Brecht's The Life of Edward II of England in 1982, continuing with the financial underwriting of Riverside's New York Parks Tours of Free Shakespeare, including The Comedy of Errors in (1982), Merry Wives of Windsor in 1983, Romeo and Juliet in 1984, and Romeo and Juliet in 1985. In 1983, Papp dedicated newly renovated theatre of The Shakespeare Center with Helen Hayes.^[3]

Humanitarian Fund Created in Papp's Honor[link]

In 2000 the Joseph Papp Children's Humanitarian Fund was founded. The Fund serves as the humanitarian arm of international Jewish children's club Tzivos Hashem's, activities in the Ukraine.

Joseph Papp died of prostate cancer, aged 70. His fourth wife, Gail Merrifield Papp, his full partner in the Public Theater, survived him. His son Tony did not, dying of complications related to AIDS only months before. On April 23, 1992, the Public Theater was renamed The Joseph Papp Public Theater. His biography Joe Papp: An American Life was written by journalist Helen Epstein and published in 1994. He is buried in the Baron Hirsch Cemetery on Staten Island.^[4]

See also[link]

• Edward Cornell

References[link]

External links[link]

• Joe Papp Public Theatre: www.publictheater.org
• Joseph Papp at the Internet Broadway Database

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (June 2010)

Richard St John Harris (1 October 1930 – 25 October 2002) was an Irish actor, singer-songwriter, theatrical producer, film director and writer.

He appeared on stage and in many films, and is perhaps best known for his roles as King Arthur in Camelot (1967), as Oliver Cromwell in Cromwell (1970) and as Albus Dumbledore in the first two films in the Harry Potter series, his final works. He played a British aristocrat and prisoner in A Man Called Horse (1970), Emperor Marcus Aurelius in Gladiator (2000), Saint John in Apocalypse Revelation (2002), gunfighter English Bob in Clint Eastwood's Western film Unforgiven (1992), and Dom Frollo in the 1997 TV movie version of The Hunchback of Notre Dame. Harris had a top ten hit in the UK and the US with his 1968 recording of Jimmy Webb's song "MacArthur Park".

Early life and career[link]

Harris, the fifth of nine children, was born in Limerick city, Ireland (then known as the Irish Free State) into a middle-class, staunchly Roman Catholic family.^[1] His parents were Ivan John Harris (b. 1896, son of Richard Harris, b. 1854, son of James Harris of St. Michael's, Limerick) and Mildred Josephine Harty Harris (b. 1898, daughter of James Harty, St. John's, Limerick, who owned a flour mill.) Harris' siblings include Patrick Ivan (born 1929), Noel William Michael (born 1932), Diarmid (Dermot, born 1939), and William George Harris (born 1942).^[2][3] He was schooled by the Jesuits at Crescent College. A talented rugby player, he was on several Munster Junior and Senior Cup teams for Crescent, and played for Garryowen.^[4] Harris' athletic career was cut short when he caught tuberculosis in his teens. He remained an ardent fan of the Munster Rugby and Young Munster teams then until his death, and attending many of its matches, and there are numerous stories of japes at rugby matches with the actors and fellow rugby fans Peter O'Toole and Richard Burton.

After recovering from tuberculosis, Harris moved to England, wanting to become a director. He could not find any suitable training courses, and he enrolled in the London Academy of Music and Dramatic Art (LAMDA) to learn acting. He had failed an audition at the Royal Academy of Dramatic Art (RADA), and had been rejected by the Central School of Speech and Drama because they felt he was too old at 24.^[5] While still a student, Harris rented the tiny "off-West End" Irving Theatre, and there directed his own production of Clifford Odets's play Winter Journey (The Country Girl). This show was a critical success, but it was a financial failure, and Harris lost all his savings in this venture.

As a result, Harris ended up temporarily homeless, sleeping in a coal cellar for six weeks. Accounts of Harris' contemporaries from his hometown of Limerick, however, indicate that Harris may have exaggerated these stories somewhat and that he actually stayed with a few aunts, sleeping on their living room sofas.^{[citation needed]} After completing his studies at the Academy, Harris joined Joan Littlewood's Theatre Workshop. He began getting roles in West End theatre productions, starting with The Quare Fellow in 1956, a transfer from the Theatre Workshop. Harris spent nearly a decade in obscurity, learning his profession on stages throughout the UK.^{[citation needed]}

Career[link]

Harris made his film debut in 1958 in the film Alive and Kicking, and played the lead role in The Ginger Man in the West End in 1959. He hated filming The Wreck of the Mary Deare so much that he refused to return to Hollywood for several years, turning down the role of Commodus in The Fall of the Roman Empire. He had a memorable bit part in the movie The Guns of Navarone as a Royal Australian Air Force pilot who reports that blowing up the "bloody guns" of the island of Navarone is impossible by an air raid.

For his role in the film Mutiny on the Bounty, despite being virtually unknown to film audiences, Harris reportedly insisted on third billing, behind Trevor Howard and Marlon Brando.

Harris' first starring role was in the movie This Sporting Life in 1963, as a bitter young coal miner, Frank Machin, who becomes an acclaimed rugby league football player. For his role, Harris won Best Actor in 1963 at the Cannes Film Festival and an Academy Award nomination. Harris followed this with a leading role in the Italian film, Michelangelo Antonioni's Il deserto rosso (1964), and he also won notice for his role in Sam Peckinpah's Major Dundee (1965), as an Irish immigrant who became a Confederate cavalryman during the Civil War.

Harris next performed the role of King Arthur in the film adaptation of the musical play Camelot. Harris continued to appear on stage in this role for years, including a successful Broadway run in 1981–82. In 1966, Harris starred as Cain in John Huston's film The Bible: In the Beginning.

Harris recorded several albums of music, one of which, (A Tramp Shining), included the seven-minute hit song "MacArthur Park" (Harris insisted on singing the lyric as "MacArthur's Park").^[6] This song had been written by Jimmy Webb, and it reached #2 on the American Billboard Hot 100 chart. It also topped several music sales charts in Europe during the summer of 1968. "MacArthur Park" sold over one million copies, and was awarded a gold disc.^[7] A second album, with music mostly composed by Webb, The Yard Went on Forever, was published in 1969.

Some memorable movie performances followed this, among them a role as a reluctant police informant in the coal-mining tale The Molly Maguires (1970), starring with Sean Connery. Harris starred in the Man in the Wilderness in 1971, Juggernaut in 1974 (a British suspense movie about the hijacking of an ocean liner), in 1976 in The Cassandra Crossing, along with the actresses Sophia Loren and Ava Gardner, and in a B-movie, Orca, in 1977. Harris achieved a form of cult status for his role as the mercenary tactician Rafer Janders in the movie The Wild Geese (1978).

In 1973, Harris published a widely-acclaimed book of poetry, I, In The Membership Of My Days, which was later re-published as an audio recording of his reading his own poems. In 1989, Harris played the beggar king J.J. Peachum in Mack the Knife, the third screen adaptation of The Threepenny Opera.

By the end of the 1980s, Harris had gone for an extended time without a significant movie role. He was familiar with the stage plays of fellow Irishman John B. Keane, and had heard that one of them, The Field, was being adapted for film by director Jim Sheridan. Sheridan was working with actor Ray McAnally on the adaptation, intending to feature McAnally in the lead role of Bull McCabe. When McAnally died suddenly during initial preparations, Harris began a concerted campaign to be cast as McCabe.^{[citation needed]} The campaign succeeded, and the movie version of The Field was released in 1990. For his performance, Harris earned his second Academy Award nomination for Best Actor but lost to Jeremy Irons for Reversal of Fortune. In 1992, Harris had a supporting role in the film Patriot Games, as an Irish-American radical.

In November 1987, Harris began a brief tenure as a visiting professor at the University of Scranton, a Jesuit university in Scranton, Pennsylvania.^[8] Harris had previously visited Scranton in October 1986 to perform Camelot with his younger brother, Dermot Harris, who died of a heart attack that same year.^[8][9] He soon established friendships with members of the University's faculty, notably Scranton President J.A. Panuska.^[8][9] Harris agreed to return to the University of Scranton as a visiting professor in 1987 to raise funds for a scholarship for Irish students, which he established and named in honor of his brother.^[8][9] Harris was welcomed to the city with a limo escorted by five police motorcycles and proclamation from the mayor. He cast the actors for the University of Scranton's production of Julius Caesar in November.^[8] He then returned to the university in January and February 1988 for the production.^[10]

Later career[link]

Harris appeared in two films which won the Academy Award for Best Picture. First, as the gunfighter "English Bob" in the 1992 Western, Unforgiven; second, as the Roman Emperor Marcus Aurelius in Ridley Scott's Gladiator (2000). He also played a lead role alongside James Earl Jones in the 1995 Darrell Roodt film adaptation of Cry, the Beloved Country. In 1999, Harris starred in the film To Walk with Lions. After Gladiator, Harris gained further fame playing the supporting role of Albus Dumbledore in the first two of the Harry Potter films, and as Abbé Faria in Kevin Reynolds' 2002 film adaptation of The Count of Monte Cristo. The film Kaena: The Prophecy (released in 2003) was dedicated to him posthumously as he had voiced the character Opaz before his death.

Concerning his role as Dumbledore, Harris had stated that he did not intend to take the part at first, since he knew that his own health was in decline, but he relented and accepted it because his 10-year-old granddaughter threatened never to speak to him again if he did not take it.^[11] In an interview with the Toronto Star in 2001, Harris expressed his concern that his association with the Harry Potter movies would outshine the rest of his career. He explained by saying: "Because, you see, I don't just want to be remembered for being in those bloody films, and I'm afraid that's what's going to happen to me."^[12]

Personal life and death[link]

In 1957, he married Elizabeth Rees-Williams, the daughter of David Rees-Williams, 1st Baron Ogmore. Their three children are the actor Jared Harris who plays Lane Pryce on AMC's Mad Men and whom was once married to Emilia Fox, the actor Jamie Harris, and the director Damian Harris, once married to Annabel Brooks and now partner of Peta Wilson. Harris and Rees-Williams divorced in 1969, after which Elizabeth married Sir Rex Harrison. His maternal niece is actress Annabelle Wallis.

Harris's second marriage was to the American actress Ann Turkel, who was 16 years younger than he. This marriage also ended in a divorce.

Despite his divorces, Harris was a member of the Roman Catholic Knights of Malta, and was also dubbed a knight by the Queen of Denmark in 1985.

Harris often told stories about his haunted London home, The Tower House, which was sold later to the musician Jimmy Page of Led Zeppelin. According to Harris, the tower was haunted by an eight-year-old boy who had been buried in the tower. The boy often kept Harris awake at night until he one day built a nursery for the boy to play in, which calmed the disturbances to some extent.^[13]

Harris was a vocal supporter of the IRA from the early 1970s until they carried out the Harrods bombing in 1983, after which he disavowed them.^{[citation needed]}

Harris was a longtime alcoholic until he became a teetotaler in 1981, although he did resume drinking Guinness a decade later. He gave up drugs after almost dying from a cocaine overdose in 1978. A memorable incident concerning his massive alcohol consumption was an appearance on The Late Late Show where he recounted to host Gay Byrne how he had just polished off two bottles of fine wine in a restaurant and decided that he would then be going on the wagon: "And I looked at my watch and it was... Well isn't that spooky! It was the same time it is now: 11:20!"^{[citation needed]}

Harris is also attributed with an anecdote in which he was found lying drunk in a street in London. A passing policeman asked him what he was doing, and he replied that the world was spinning. The policeman inquired as to how lying in the street was going to help, and he said, "I'm waiting for my house to go by."^{[citation needed]} In a 1994 appearance on The Late Show with David Letterman, Harris said he had his driver's licence permanently suspended for knocking over a double-decker bus in Dublin, Ireland.^{[citation needed]}

Harris died of Hodgkin's lymphoma on 25 October 2002, aged 72, two and a half weeks before the American premiere of Harry Potter and the Chamber of Secrets. Harris was a lifelong friend of actor Peter O'Toole,^[14] and his family reportedly hoped that O'Toole would replace Harris as Dumbledore in Harry Potter and the Prisoner of Azkaban.^[14] There were, however, worries of insuring O'Toole for the six remaining films in the series, and he was ultimately replaced as Dumbledore by the Irish-born actor Sir Michael Gambon.

For years, whenever he was in London, Harris resided at the Savoy Hotel. According to the hotel archivist Susan Scott, as Harris was being taken from the hotel on a stretcher, shortly before his death, he warned the diners, "It was the food!"^[15]

Harris's remains were cremated, and his ashes were scattered in The Bahamas, where he had owned a home.

Memorials[link]

On 30 September 2006, Manuel Di Lucia, of Kilkee, County Clare, a long-time friend, organized a bronze life-size statue of Richard Harris, at the age of eighteen, playing racquetball. The sculptor was Seamus Connolly and the sculpture (unveiled by Russell Crowe) stands in Kilkee, Ireland.^[16]

Another life-size statue of Richard Harris, as King Arthur from his film, Camelot, has been erected in Bedford Row, in the center of his home town of Limerick. The sculptor of this statue was the Irish sculptor Jim Connolly, a graduate of the Limerick School of Art and Design.

At the 2009 BAFTAs, Mickey Rourke dedicated his Best Actor award to Harris, calling him a "good friend, and great actor."

Awards and nominations[link]

Academy Awards[link]

• 1963 – Nominated – Best Actor in a Leading Role – This Sporting Life
• 1990 – Nominated – Best Actor in a Leading Role – The Field

Golden Globes[link]

• 1968 – Won – Best Motion Picture Actor – Musical/Comedy – Camelot
• 1991 – Nominated – Best Performance by an Actor in a Motion Picture – Drama – The Field

Grammy Awards[link]

• – Won – Best Spoken Word Recording for Jonathan Livingston Seagull – 1973
• – Nominated – Album of the Year for A Tramp Shining – 1968
• – Nominated – Contemporary Pop Male Vocalist for MacArthur Park- 1968
• – Nominated – Best Spoken Word, Documentary or Drama Recording for The Prophet – 1975

Filmography[link]

Discography[link]

Albums[link]

• Camelot (Motion Picture Soundtrack) (1967)
• A Tramp Shining (1968)
• The Yard Went On Forever (1968)
• My Boy (1971)
• The Richard Harris Love Album (1972)
• Slides (1972)
• His Greatest Performances (1973)
• Jonathan Livingston Seagull (1973)
• The Prophet (1974)
• I, in the Membership of My Days (1974)
• Camelot (Original 1982 London Cast recording) (1982)
• Mack The Knife (Original Soundtrack) (1989)
• The Apocalypse (2004) the story of John the Apostle on Island named Patmos

Singles[link]

• "Here in My Heart (Theme from This Sporting Life)" (1963)
• "MacArthur Park" (1968)
• "Fill the World With Love" (1969)
• "Ballad of A Man Called Horse" (1970)
• "Morning of the Mourning for Another Kennedy" (1970)
• "Go to the Mirror" (1971)
• "My Boy" (1971)
• "Turning Back the Pages" (1972)
• "Half of Every Dream" (1972)
• "Trilogy (Love, Marriage, Children)" (1974)
• "The Last Castle (Theme from Echoes of a Summer)" (1976)
• "Lilliput (Theme from Gulliver's Travels)" (1977)

[edit] CD releases and compilations

• Camelot (Original 1982 London Cast Recording) (1988)
• Mack the Knife (Motion Picture Soundtrack) (1989)
• Tommy (studio recording) (1990)
• Camelot (Motion Picture Soundtrack) (1993)
• A Tramp Shining (1993)
• The Prophet (1995)
• The Webb Sessions 1968–1969 (1996)
• MacArthur Park (1997)
• Slides/My Boy (2 CD Set) (2005)
• My Boy (2006)
• Man of Words Man of Music The Anthology 1968-1974 (2 CD Set) (2008) * [1]

See also[link]

• List of people on stamps of Ireland

References[link]

Further reading[link]

• Michael Feeney Callan (2004-12-01). Richard Harris: Sex, Death & the Movies. Robson Books. ISBN 978-1-86105-766-2. http://books.google.com/?id=A-wxCwq4u4EC. 

External links[link]

• Richard Harris at the Internet Movie Database
• Richard Harris at the Internet Broadway Database
• Richard Harris discography at MusicBrainz
• Harris' Bar Limerick: A Bar in Limerick City Dedicated to Richard
• The Round Table, The Richard Harris Fansite
• Richard Harris file at Limerick City Library, Ireland

This biographical article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (November 2010)

Aditya Roy Kapur
Born	(1985-11-16) 16 November 1985 (age 26) Mumbai, India
Occupation	Actor, VJ
Years active	2009–present

Aditya Roy Kapur (born 16 November 1985) is an Indian film actor who currently features in Hindi films. Starting out as a VJ with Channel V, he made his film debut with a role in Vipul Shah's film London Dreams (2009), and later gained visibility for his roles in the 2010 films Action Replayy and Guzaarish.^[1]

Early life and education[link]

Born in Mumbai, Aditya did his schooling from G. D. Somani Memorial School, in Cuffe Parade, Mumbai and subsequently graduated from St. Xavier's College, Mumbai, University of Mumbai.^[1]

Career[link]

Kapur started his career as a VJ on music channel Channel V, where his comic timing and "unique style of hosting" made him a hit,^[2] and then made his debut as a Pakistani musician in the 2009 musical London Dreams by Vipul Shah, where he co-starred Ajay Devgan and Salman Khan as one of the two brothers, part of Ajay Devgan's band in the movie, along with another VJ, Rannvijay Singh.^[3]

Then starred in the Vipul Shah's next, a 2010 time-traveling comedy Action Replayy, playing Akshay Kumar and Aishwarya Rai's adult son who goes back in time to make their marriage a love marriage, his performance in the film caught a critic's eye.^[4] He acted again alongside Aishwarya Rai, in Guzaarish (2010) directed by Sanjay Leela Bhansali, where he played an apprentice magician to Hrithik Roshan's character. Next, he will be seen as the main lead in Gautham Menon's Hindi version of his forthcoming trilingual film, opposite Samantha Ruth Prabhu. The film is also simultaneously being shot with actors Jeeva and Nani and should be set for release during the Summer of 2012. The film has recently been titled Assi Nabey Poore Sau.^[1][5] Aditya has also been roped in for Ayan Mukerji's upcoming film with Ranbir Kapoor and Deepika Padukone, Yeh Jawani Hai Deewani. He has been cast opposite Kalki Koechlin.

Personal life[link]

Currently he lives in Mumbai.^[1] Aditya is not a trained actor, though he has taken dance lessons and also diction classes to improve his Hindi accent.^[1][5] According to him he "had no a burning ambition to become an actor," and was content being a VJ, until he was called to audition for London Dreams.^[1] During his school years, he wanted to be a cricketer but he quit cricket coaching classes after sixth standard.^[6]

His eldest brother Siddharth Roy Kapur is the CEO of UTV Motion Pictures.^[7] Another brother, Kunaal Roy Kapur, is a director and actor, having acted in TV series Just Mohabbat (1996) and Aamir Khan Productions’ Delhi Belly, and also directed films, including The President Is Coming (2009).^[8][9][10]

Filmography[link]

See also[link]

• List of Indian Actors

References[link]

External links[link]

• Aditya Roy Kapur at the Internet Movie Database
• Filmography at Bollywood Hungama

v t e Bollywood (Hindi cinema) Directors · Actors · Playback singers · Music Directors · Songs · Bibliography Hindi films A–Z—Highest-grossing Films by year: 1930s · 1940 · 1941 · 1942 · 1943 · 1944 · 1945 · 1946 · 1947 · 1948 · 1949 · 1950 · 1951 · 1952 · 1953 · 1954 · 1955 · 1956 · 1957 · 1958 · 1959 · 1960 · 1961 · 1962 · 1963 · 1964 · 1965 · 1966 · 1967 · 1968 · 1969 · 1970 · 1971 · 1972 · 1973 · 1974 · 1975 · 1976 · 1977 · 1978 · 1979 · 1980 · 1981 · 1982 · 1983 · 1984 · 1985 · 1986 · 1987 · 1988 · 1989 · 1990 · 1991 · 1992 · 1993 · 1994 · 1995 · 1996 · 1997 · 1998 · 1999 · 2000 · 2001 · 2002 · 2003 · 2004 · 2005 · 2006 · 2007 · 2008 · 2009 · 2010 · 2011 · 2012

Shraddha Kapoor
Shraddha Kapoor at Grazia magazine 3rd anniversary bash at The Taj Mahal Palace, Mumbai
Born	Mumbai, Maharashtra, India
Nationality	Indian
Occupation	Actor
Years active	2010–present

Shraddha Kapoor (Hindi: श्रद्धा कपूर) is an Indian film actress who appears in Bollywood films. In 2011, she was signed by Aditya Chopra for a three-film contract with Yash Raj Films she starred in Y-Films's venture Luv Ka The End.

Early life[link]

Shraddha Kapoor was born in Mumbai to actor Shakti Kapoor and Shivangi Kapoor. She is the niece of actress Padmini Kolhapure. Her older brother Siddhanth is a Disc Jockey and an assistant director.^[1]

She did her schooling at Jamnabai Narsee School in Juhu and then enrolled at Boston University, taking up theatre studies. She quit during her freshman year in order to pursue acting.^[2]

Career[link]

Shraddha Kapoor made her acting debut in 2010 with the film Teen Patti alongside Amitabh Bachchan, Madhavan, and Raima Sen.^[3] The film tanked at the box office, and her performance went partially unnoticed. For her role as college rockstar Aparna, she had workshops with Royston Abel, Ashley Lobo and Barry John.^[4] Shraddha described her character as "a studious girl and is also a guitarist in her college’s music band" and "a very intriguing person."^[5]

In 2011, she signed a three-movie contract with Yash Raj Films.^[6] She starred in Y-Films's venture, Luv Ka The End alongside newcomer Taaha Shah. Of her role, Shraddha remarked, "I play the character of Rhea Dialdas who is feminine, quirky but at the same time determined. When she learns that her boyfriend is cheating on her, initially she is heartbroken and shattered. But she gets over the rona-dhona and picks up the baseball bat to get even with him."^[7] Despite the film's poor performance at the box office, Shraddha received mostly positive reviews. Rachana of Glamsham Editorial wrote, "Shraddha Kapoor clearly steals the show and it's her performance which lights up the film. She is the star of the film."^[8]

She was ranked #3 in itimes' poll for the Hottest New Face-Female of 2010.^[9]

Filmography[link]

Awards and Nominations[link]

[edit] Stardust Awards

Winner

• 2012: Stardust Searchlight Award For Best Actress for Luv Ka The End^[10]

References[link]

External links[link]

• Shraddha Kapoor at the Internet Movie Database