Скачать книгу - Broadway Is My Beat, Vol. 1

Uhel hommikul umbes kell neli seisin Broadwayl Mindy restorani ees koos mehega, kelle nimi oli Regret ja kes oli saanud selle nime, sest oli voitja peale kihla vedanud, kui Whitney mara nimega Regret voitis Kentucky Derby. Ta ei suutnud seda kunagi unustada, ehk selleparast, et see oli ainus suurem kihlvedu, mille ta oli kunagi elus voitnud. Mis oli ta toeline nimi, ma ei saanudki kunagi teada, ja vahet pole, eriti Broadwayl, sest seal pole oige nimi eriti tahtis. Seeparast sobis Regret talle sama hasti kui iga teinegi. Ta oli paks poiss ja vaga jutukas, kuigi ta uldiselt ei raakinud millestki muust peale hobuste ja sellest, kuidas ta oli tattninu ninapidi vedanud, eelmisel paeval Belmontis voi kus iganes see voidusoit toimus. Jutt kogumikust „Parimad koeralood“.

Behind the scenes of New York City's Great White Way, virtuosos of stagecraft have built the scenery, costumes, lights, and other components of theatrical productions for more than a hundred years. But like a good magician who refuses to reveal secrets, they have left few clues about their work. Blue-Collar Broadway recovers the history of those people and the neighborhood in which their undersung labor occurred. Timothy R. White begins his history of the theater industry with the dispersed pre-Broadway era, when components such as costumes, lights, and scenery were built and stored nationwide. Subsequently, the majority of backstage operations and storage were consolidated in New York City during what is now known as the golden age of musical theater. Toward the latter half of the twentieth century, decentralization and deindustrialization brought the emergence of nationally distributed regional theaters and performing arts centers. The resulting collapse of New York's theater craft economy rocked the theater district, leaving abandoned buildings and criminal activity in place of studios and workshops. But new technologies ushered in a new age of tourism and business for the area. The Broadway we know today is a global destination and a glittering showroom for vetted products. Featuring case studies of iconic productions such as Oklahoma! (1943) and Evita (1979), and an exploration of the craftwork of radio, television, and film production around Times Square, Blue-Collar Broadway tells a rich story of the history of craft and industry in American theater nationwide. In addition, White examines the role of theater in urban deindustrialization and in the revival of downtowns throughout the Sunbelt.

Did you know that the idea behind the Radio City Music Hall Rockettes was first tried out in Toronto? That Canada produced the world's longest-running annual revue? Few people realize the Canadian influences that are at the heart of American and British culture. Author Mel Atkey's research for Broadway North included interviews with Norman and Elaine Campbell and Don Harron, creators of Anne of Green Gables-The Musical; Mavor Moore, founder of the Charlottetown Festival and of Spring Thaw; John Gray, author of Billy Bishop Goes to War; Ray Jessel and Marian Grudeff, Spring Thaw writers who had success on Broadway with Baker Street; Dolores Claman, composer of the Hockey Night In Canada theme, who also wrote the musicals Mr. Scrooge and Timber!!; and Galt MacDermot, the composer of Hair who started out writing songs for the McGill University revue My Fur Lady. Included is the phenomenal success of The Drowsy Chaperone. Atkey also draws on his own experience as a writer and composer of musicals, and tells the story of why a show that should have starred James Doohan (Star Trek's Scotty) didn't happen. Composer, lyricist and author, Mel Atkey is currently based in the U.K. Proud of his Canadian cultural roots, he has long been fascinated with the notion of a distinctive Canadian musical theatre.

Bart Hardin trails a mad butcher – a killer who hates the pretty girls of the Great White Way!<P> With this taut and chilling tale, David Alexander, author of «Murder Points a Finger,» introduces Bart Hardin, sardonic, Broadway-wise editor of «The Broadway Times,» a racing and sports newspaper . . . Hardin of the fancy vests, with the rococo apartment over a flea circus, with a handout for every stumblebum around the Garden, with an impact on dames and an affinity for violence.<P> Hardin is the newest light on Broadway, and in detective fiction. «Terror on Broadway» is the first in another of a great new mystery series.