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Subways Are for Sleeping / Only Johnny Knows / Colloquy 2: A Dissertation on Love
Subways Are for Sleeping is a musical with a book and lyrics by Betty Comden and Adolph Green and music by Jule Styne. The original Broadway production played in 1961-62.
The musical was inspired by an article about subway homelessness in the March 1956 issue of Harper's and a subsequent 1957 book based on it, both by Edmund G. Love, who slept on subway trains throughout the 1950s and encountered many unique individuals. With the profits from his book, Love then embarked on a bizarre hobby: over the course of several years, he ate dinner at every restaurant listed in the Manhattan yellow pages directory, visiting them in alphabetical order.
After two previews, the Broadway production, directed and choreographed by Michael Kidd, opened on December 27, 1961 at the St. James Theatre, where ...
published: 31 Dec 2012
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Dragnet: Big Cab / Big Slip / Big Try / Big Little Mother
Dragnet is a radio and television crime drama about the cases of a dedicated Los Angeles police detective, Sergeant Joe Friday, and his partners. The show takes its name from an actual police term, a "dragnet", meaning a system of coordinated measures for apprehending criminals or suspects.
Scripts tackled a number of topics, ranging from the thrilling (murders, missing persons and armed robbery) to the mundane (check fraud and shoplifting), yet "Dragnet" made them all interesting due to fast-moving plots and behind-the-scenes realism. In "The Garbage Chute" (December 15, 1949), they even had a locked room mystery.
Though rather tame by modern standards, Dragnet—especially on the radio—handled controversial subjects such as sex crimes and drug addiction with unprecedented and even startl...
published: 15 Nov 2012
1:29:15
Subways Are for Sleeping / Only Johnny Knows / Colloquy 2: A Dissertation on Love
Subways Are for Sleeping is a musical with a book and lyrics by Betty Comden and Adolph Green and music by Jule Styne. The original Broadway production played i...
Subways Are for Sleeping is a musical with a book and lyrics by Betty Comden and Adolph Green and music by Jule Styne. The original Broadway production played in 1961-62.
The musical was inspired by an article about subway homelessness in the March 1956 issue of Harper's and a subsequent 1957 book based on it, both by Edmund G. Love, who slept on subway trains throughout the 1950s and encountered many unique individuals. With the profits from his book, Love then embarked on a bizarre hobby: over the course of several years, he ate dinner at every restaurant listed in the Manhattan yellow pages directory, visiting them in alphabetical order.
After two previews, the Broadway production, directed and choreographed by Michael Kidd, opened on December 27, 1961 at the St. James Theatre, where it ran for 205 performances. The cast included Orson Bean, Sydney Chaplin, Carol Lawrence, Gordon Connell, Grayson Hall, and Green's wife Phyllis Newman (whose costume, consisting solely of a towel, was probably Freddy Wittop's easiest design in his distinguished career), with newcomers Michael Bennett and Valerie Harper in the chorus.
Subways Are for Sleeping opened to mostly negative reviews. The show already was hampered by a lack of publicity, since the New York City Transit Authority refused to post advertisements on the city's buses and in subway trains and stations for fear they would be perceived as officially sanctioning the right of vagrants to use these facilities as overnight accommodations. Producer David Merrick and press agent Harvey Sabinson decided to invite individuals with the same names as prominent theatre critics (such as Walter Kerr, Richard Watts, Jr. and Howard Taubman) to see the show and afterwards used their favorable comments in print ads. Thanks to photographs of the seven "critics" accompanying their blurbs (the well-known real Richard Watts was not African American), the ad was discovered to be a deception by a copy editor. It was pulled from most newspapers, but not before running in an early edition of the New York Herald Tribune. However, the clever publicity stunt allowed the musical to continue to run and it eventually turned a small profit.
Newman won the Tony Award for Best Featured Actress in a Musical, and nominations went to Bean for Best Featured Actor and Kidd's choreography.
http://en.wikipedia.org/wiki/Subways_Are_For_Sleeping
https://wn.com/Subways_Are_For_Sleeping_Only_Johnny_Knows_Colloquy_2_A_Dissertation_On_Love
Subways Are for Sleeping is a musical with a book and lyrics by Betty Comden and Adolph Green and music by Jule Styne. The original Broadway production played in 1961-62.
The musical was inspired by an article about subway homelessness in the March 1956 issue of Harper's and a subsequent 1957 book based on it, both by Edmund G. Love, who slept on subway trains throughout the 1950s and encountered many unique individuals. With the profits from his book, Love then embarked on a bizarre hobby: over the course of several years, he ate dinner at every restaurant listed in the Manhattan yellow pages directory, visiting them in alphabetical order.
After two previews, the Broadway production, directed and choreographed by Michael Kidd, opened on December 27, 1961 at the St. James Theatre, where it ran for 205 performances. The cast included Orson Bean, Sydney Chaplin, Carol Lawrence, Gordon Connell, Grayson Hall, and Green's wife Phyllis Newman (whose costume, consisting solely of a towel, was probably Freddy Wittop's easiest design in his distinguished career), with newcomers Michael Bennett and Valerie Harper in the chorus.
Subways Are for Sleeping opened to mostly negative reviews. The show already was hampered by a lack of publicity, since the New York City Transit Authority refused to post advertisements on the city's buses and in subway trains and stations for fear they would be perceived as officially sanctioning the right of vagrants to use these facilities as overnight accommodations. Producer David Merrick and press agent Harvey Sabinson decided to invite individuals with the same names as prominent theatre critics (such as Walter Kerr, Richard Watts, Jr. and Howard Taubman) to see the show and afterwards used their favorable comments in print ads. Thanks to photographs of the seven "critics" accompanying their blurbs (the well-known real Richard Watts was not African American), the ad was discovered to be a deception by a copy editor. It was pulled from most newspapers, but not before running in an early edition of the New York Herald Tribune. However, the clever publicity stunt allowed the musical to continue to run and it eventually turned a small profit.
Newman won the Tony Award for Best Featured Actress in a Musical, and nominations went to Bean for Best Featured Actor and Kidd's choreography.
http://en.wikipedia.org/wiki/Subways_Are_For_Sleeping
- published: 31 Dec 2012
- views: 780294
1:51:41
Dragnet: Big Cab / Big Slip / Big Try / Big Little Mother
Dragnet is a radio and television crime drama about the cases of a dedicated Los Angeles police detective, Sergeant Joe Friday, and his partners. The show takes...
Dragnet is a radio and television crime drama about the cases of a dedicated Los Angeles police detective, Sergeant Joe Friday, and his partners. The show takes its name from an actual police term, a "dragnet", meaning a system of coordinated measures for apprehending criminals or suspects.
Scripts tackled a number of topics, ranging from the thrilling (murders, missing persons and armed robbery) to the mundane (check fraud and shoplifting), yet "Dragnet" made them all interesting due to fast-moving plots and behind-the-scenes realism. In "The Garbage Chute" (December 15, 1949), they even had a locked room mystery.
Though rather tame by modern standards, Dragnet—especially on the radio—handled controversial subjects such as sex crimes and drug addiction with unprecedented and even startling realism. In one such example, Dragnet broke one of the unspoken (and still rarely broached) taboos of popular entertainment in the episode ".22 Rifle for Christmas" which aired December 22, 1949 and was repeated at Christmastime for the next three years. The episode followed the search for two young boys, Stanley Johnstone and Stevie Morheim, only to discover Stevie had been accidentally killed while playing with a rifle that belonged to Stanley—who'd be receiving it as a Christmas present but opened the box early; Stanley finally told Friday that Stevie was running while holding the rifle when he tripped and fell, causing the gun to discharge, fatally wounding Morheim. NBC received thousands of complaint letters, including a formal protest by the National Rifle Association. Webb forwarded many of the letters to police chief Parker who promised "ten more shows illustrating the folly of giving rifles to children". (Dunning, 211)
Another episode dealt with high school girls who, rather than finding Hollywood stardom, fall in with fraudulent talent scouts and end up in pornography and prostitution. Both this episode and ".22 Rifle for Christmas" were adapted for television, with very few script changes, when Dragnet moved to that medium. Another episode, "The Big Trio" (July 3, 1952), detailed three cases in one episode, including reckless and dangerous (in this case, fatal) driving by unlicensed juveniles. With regard to drugs, Webb's strident anti-drug statements, continued into the TV run, would be derided as camp by later audiences; yet his character also showed genuine concern and sympathy for addicts as victims, especially in the case of juveniles.
The tone was usually serious, but there were moments of comic relief: Romero was something of a hypochondriac and often seemed henpecked; Frank Smith continually complained about his brother-in-law Armand; though Friday dated, he usually dodged women who tried to set him up with marriage-minded dates.
Due in part to Webb's fondness for radio drama, Dragnet persisted on radio until 1957 (the last two seasons were repeats) as one of the last old time radio shows to give way to television's increasing popularity. In fact, the TV show would prove to be effectively a visual version of the radio show, as the style was virtually the same [including the scripts, as the majority of them were adapted from radio]. The TV show could be listened to without watching it, with no loss of understanding of the storyline.
http://en.wikipedia.org/wiki/Dragnet_%28series%29
https://wn.com/Dragnet_Big_Cab_Big_Slip_Big_Try_Big_Little_Mother
Dragnet is a radio and television crime drama about the cases of a dedicated Los Angeles police detective, Sergeant Joe Friday, and his partners. The show takes its name from an actual police term, a "dragnet", meaning a system of coordinated measures for apprehending criminals or suspects.
Scripts tackled a number of topics, ranging from the thrilling (murders, missing persons and armed robbery) to the mundane (check fraud and shoplifting), yet "Dragnet" made them all interesting due to fast-moving plots and behind-the-scenes realism. In "The Garbage Chute" (December 15, 1949), they even had a locked room mystery.
Though rather tame by modern standards, Dragnet—especially on the radio—handled controversial subjects such as sex crimes and drug addiction with unprecedented and even startling realism. In one such example, Dragnet broke one of the unspoken (and still rarely broached) taboos of popular entertainment in the episode ".22 Rifle for Christmas" which aired December 22, 1949 and was repeated at Christmastime for the next three years. The episode followed the search for two young boys, Stanley Johnstone and Stevie Morheim, only to discover Stevie had been accidentally killed while playing with a rifle that belonged to Stanley—who'd be receiving it as a Christmas present but opened the box early; Stanley finally told Friday that Stevie was running while holding the rifle when he tripped and fell, causing the gun to discharge, fatally wounding Morheim. NBC received thousands of complaint letters, including a formal protest by the National Rifle Association. Webb forwarded many of the letters to police chief Parker who promised "ten more shows illustrating the folly of giving rifles to children". (Dunning, 211)
Another episode dealt with high school girls who, rather than finding Hollywood stardom, fall in with fraudulent talent scouts and end up in pornography and prostitution. Both this episode and ".22 Rifle for Christmas" were adapted for television, with very few script changes, when Dragnet moved to that medium. Another episode, "The Big Trio" (July 3, 1952), detailed three cases in one episode, including reckless and dangerous (in this case, fatal) driving by unlicensed juveniles. With regard to drugs, Webb's strident anti-drug statements, continued into the TV run, would be derided as camp by later audiences; yet his character also showed genuine concern and sympathy for addicts as victims, especially in the case of juveniles.
The tone was usually serious, but there were moments of comic relief: Romero was something of a hypochondriac and often seemed henpecked; Frank Smith continually complained about his brother-in-law Armand; though Friday dated, he usually dodged women who tried to set him up with marriage-minded dates.
Due in part to Webb's fondness for radio drama, Dragnet persisted on radio until 1957 (the last two seasons were repeats) as one of the last old time radio shows to give way to television's increasing popularity. In fact, the TV show would prove to be effectively a visual version of the radio show, as the style was virtually the same [including the scripts, as the majority of them were adapted from radio]. The TV show could be listened to without watching it, with no loss of understanding of the storyline.
http://en.wikipedia.org/wiki/Dragnet_%28series%29
- published: 15 Nov 2012
- views: 173876