#carlotta campion

[hitchell-mope]

Follies fancast.

Sally Durant. Maya Rudolph and Sofia Wylie.

Benjamin Stone. James Marsden and Milo Manheim.

Phyllis Rogers. Amy Adams and Sadie Sink

Buddy Plummer. James Monroe Igleheart and Chosen Jacobs.

Carlotta Campion. Queen Latifah.

Stella Deems. Helena Bonham Carter.

Heidi Schiller. Michelle Pfeiffer.

Hattie Walker. Katy Sagal.

Dimitri Weismann. Richard Gere.

[hollywoodandstagebeauties]

Johnnie Lucille Collier (April 12, 1923 – January 22, 2004), known professionally as Ann Miller.

She is best remembered for her work in the Classical Hollywood musical films of the 1940s and 1950s. Miller was known, especially later in her career, for her distinctive appearance, which reflected a studio-era ideal of glamour: massive black bouffant hair, heavy makeup with a splash of crimson lipstick, and fashions that emphasized her lithe figure and long dancer's legs. In 1941, she signed with Columbia Pictures, where, starting with Time Out for Rhythm, she starred in 11 B movie musicals from 1941 to 1945. In July 1945, with World War II still raging in the Pacific, she posed in a bathing suit as a Yank magazine pin-up girl. She ended her contract in 1946 with one "A" film, The Thrill of Brazil. The ad in Life magazine featured Miller's leg in a large, red, bow-tied stocking as the "T" in "Thrill". She finally hit her mark in Metro-Goldwyn-Mayer musicals such as Easter Parade (1948), On the Town (1949) and Kiss Me Kate (1953). Her film career effectively ended in 1956 as the studio system lost steam to television, but she remained active in the theater and on television. She starred on Broadway in the musical Mame in 1969, in which she wowed the audience in a tap number created just for her. She appeared in a special 1982 episode of The Love Boat, joined by fellow showbiz legends Ethel Merman, Carol Channing, Della Reese, Van Johnson and Cab Calloway in a storyline that cast them as older relatives of the show's regular characters. Her last stage performance was a 1998 production of Stephen Sondheim's Follies, in which she played hardboiled Carlotta Campion and received rave reviews for her rendition of the song "I'm Still Here". Ann Miller died, aged 80, from lung cancer. She is buried at Holy Cross Cemetery in Culver City, California, beside the remains of her infant daughter Mary.

Source: Facebook

Hollywood Page of Death

[lamilanomagazine]

Messina, ai campionati italiani paralimpici lo Sport è Vita onlus conquista lo scudetto a squadre di classe 1-5

Messina, ai campionati italiani paralimpici lo Sport è Vita onlus conquista lo scudetto a squadre di classe 1-5. Per il secondo anno consecutivo Lo Sport è Vita onlus di Davide Scazzieri, Carlotta Ragazzini, Giada Rossi e Silvana Chirieleison ha conquistato lo scudetto a squadre di classe 1-5. Al PalaRescifina, che ha ospitato la manifestazione iridata, in una riedizione della finale dello scorso anno a Rimini, ha prevalso per 3-0 sulla Fondazione Bentegodi di Federico Crosara e Alessandro Giardini. Nel primo singolare Ragazzini ha sempre inseguito e dal 6-9, con un break di 5-0, si è imposta nel primo parziale. Nel secondo Giardini è scattato sull’8-3, è stato rimontato (8-7) ed è salito a tre set-point, sfruttando il secondo. Alla ripresa del gioco Ragazzini è partita bene (3-0) e ha incrementato il margine (8-3), chiudendo agevolmente. La faentina ha insistito (6-3), ha perso quattro scambi consecutivi (6-7) e ha reagito incamerando gli ultimi quattro. Scazzieri ha preso subito il largo (5-1) e si è preso la prima frazione contro Crosara. Nella seconda l’imolese si è portato sul 5-2 e sul 9-3, è stato recuperato (9-6) e ha completato il suo compito. Nel terzo parziale c’è stato equilibrio fino al 5-5, poi Scazzieri ha sprintato verso il traguardo. Nel doppio Scazzieri e Rossi sono stati alle spalle di Crosara e Giardini fino al 6-7, poi hanno piazzato un filotto di 5-0. Nel secondo set dal 3-3 sono sempre stati avanti e non hanno mai rischiato i rientri degli avversari. Nel terzo sono passati dal 2-2 al 5-2 e al 7-3, sono stati riavvicinati (8-6) e dal 9-7 hanno messo a segno lo spunto decisivo. Il secondo titolo consecutivo ha una dedica molto sentita: “Il nostro pensiero – spiega il fondatore e atleta Scazzieri – va a tutti i corregionali che sono stati colpiti dall’alluvione. Personalmente ho molti amici che hanno perso le loro case e in questi giorni sono alloggiati all’interno delle palestre. Mi auguro che molto presto potremo riprendere gli allenamenti in quegli impianti, vorrà dire che la situazione sarà tornata alla normalità. La nostra struttura di Faenza è sott’acqua e questo scudetto è una bella notizia”. Il terzo gradino del podio è stato occupato, a pari merito, dal Tennistavolo Vicenza di Eleonora Menin e Valeria Zorzetto, che è stato battuto per 3-0 dallo Sport è Vita onlus e dalla Brunetti Castel Goffredo di Michela Brunelli ed Elia Bernardi, che è stata superata per 3-1 dalla Fondazione Bentegodi. Sul fronte individuale il titolo del singolare giovanile femminile è stato conquistato da Carlotta Ragazzini (Lo Sport è Vita onlus) che ha battuto in finale per 3-0 (11-0, 11-3, 11-2) Vittoria Anna Teresa Oliva (Tennistavolo Don Bosco Varazze). Nella gara esordienti femminile ha prevalso Maria Paola Tolu (Tennistavolo Sassari) per 3-0 (11-8, 11-5, 11-8) su Eleonora Menin (Tennistavolo Vizenza). Campione esordienti maschile si è laureato la testa di serie n. 1 Manuel Fortuzzi (Tennistavolo Vallecamonica), che ha superato in semifinale per 3-0 (11-5, 11-5, 11-2) il n. 4 Ivan Gaias (Tennistavolo Quartu) e in finale per 3-0 (11-3, 11-7, 11-9) il n. 2 Andrea Paolo Passerini (Nerviano Tennistavolo), che nel turno precedente aveva eliminato per 3-2 (4-11, 11-8, 11-7, 8-11, 12-10) il n. 3 Giovanni Pilia (Tennistavolo Quartu).... #notizie #news #breakingnews #cronaca #politica #eventi #sport #moda Read the full article

[tarditardi]

FILOTTRANO, CAPITALE DELLA CULTURA E DELL'ECONOMIA, DALL’8 AL 10/12

Dall'8 al 10 dicembre '22, il Comune marchigiano di Filottrano ospiterà la 1^ edizione del Premio VIRGO "Raimondo Vianello", presentato da Barbara D'Urso, e il Convegno Internazionale sull'Economia del Turismo.

Tre giorni di spettacoli, conferenze, sport, arte e musica per celebrare il Made in Italy. L'8 - 9 -10 dicembre, il comune di Filottrano (AN) aprirà le porte della città al jet set internazionale e ai massimi esponenti dell'economia mondiale, alla riscoperta degli antichi borghi. Una serie di iniziative socio-culturali, organizzate dal Fondo VIRGO e da Luca Paolorossi, con il patrocinio del Comune e della Regione Marche, accenderanno i riflettori su una delle zone di produzione tessile più proficue dell'intera Europa occidentale.

PROLOGO INAUGURALE CON L'ACCENSIONE DELLE LUCI NATALIZIE, ALLA PRESENZA DEL PROF. VITTORIO SGARBI, CON LO SHOW DELL'ALTA MODA E TANTE CELEBRITIES DELLO SHOW-BUSINESS.

La kermesse si aprirà giovedì 8 dicembre, con il concerto dell'Orchestra sinfonica per l'accensione delle luci natalizie sugli storici palazzi comunali che, per l'occasione, saranno presentati minuziosamente dal critico d'arte, professore Vittorio Sgarbi. La serata inaugurale accoglierà un'icona della musica italiana, della moda e della televisione italiana con uno spettacolo di intrattenimento e cena di gala, alla presenza della stampa e di numerose celebrities dello show-business.

CONVEGNO SULL'ECONOMIA:

"IL PALCOSCENICO DEI BORGHI E LO SPETTACOLO DEL MADE IN ITALY".

Venerdì 9 dicembre, alle ore 15:00, presso il Cinema Teatro "Torquis", si terrà il convegno dedicato all'economia: "Il palcoscenico dei borghi e lo spettacolo del Made in Italy – Arte, turismo e fascino incontrano i Fondi di investimento esteri". Interverranno numerosi giornalisti, personalità eminenti dell'imprenditoria di settore e rappresentanti delle istituzioni.

ONOVA A FILOTTRANO PER LA MOBILITA' SOSTENIBILE: UNA MANIFESTAZIONE CON UN CAMPIONISSIMO DI MOTOGP E CON MISS ITALIA 2018: CARLOTTA MAGGIORANA.

Venerdì 9 dicembre, andrà in scena anche una manifestazione eco-friendly per la mobilità sostenibile. Una parata simbolica di monopattini che attraverserà il centro della città in sostegno della green mobility. Ore 18:30, piazza Garibaldi: testimonial un famoso campione di MotoGP; presenta Miss Italia 2018, Carlotta Maggiorana.

1^ EDIZIONE DEL PREMIO VIRGO "RAIMONDO VIANELLO" CON LA CONDUTTRICE TV BARBARA D'URSO E TANTI OSPITI VIP.

Sabato 10 dicembre, alle ore 20:30, il comune marchigiano ospiterà la 1^ edizione del Premio Virgo "Raimondo Vianello", un grande spettacolo in memoria dell'amatissimo Maestro, condotto dalla regina dei salotti tv, Barbara D'Urso. Al premio parteciperanno numerosi personaggi dello show-business che, nel corso della loro carriera, hanno lavorato a stretto braccio con Vianello, per raccontare aneddoti e curiosità a riguardo.

LE DICHIARAZIONI DI UNO DEI PROMOTORI DELLA MANIFESTAZIONE, L'AVVOCATO LUIGI ANTONANGELI.

L'Avv. Luigi Antonangeli, luminare del diritto, per VIRGO:

"Virgo ha come obiettivo la costruzione di un portafoglio diversificato di partecipazioni in aziende italiane leader nel proprio settore di riferimento e dall'elevato potenziale di crescita. Filottrano ha un borgo con antiche radici ed è culladelle eccellenze italiane per la sartoria. Nelle Marche abbiamo investito nell'energia, nella mobilità elettrica, in ingegneria ambientale, nell'Alta Moda e nel recupero di immobili storici. Le Marche ci hanno offerto tante possibilità di investimento ed è nostro dovere ricambiare il territorio", queste le dichiarazioni dell'avvocato Luigi Antonangeli, per Virgo Fund, il Fondo che, insieme a Luca Paolorossi, ha organizzatola tre giorni di eventi a Filottrano. "Abbiamo deciso di proporre questa kermesse che unisce sport, arte, musica e cultura, attraverso la valorizzazione degli antichi borghi, senza nessun intento economico ma per onorare la città che con Luca Paolorossi ci ha ospitati".

LE DICHIARAZIONI DEL SINDACO DI FILOTTRANO, L'AVVOCATO LAURETTA GIULIONI.

L'Avv. Lauretta Giulioni, Sindaco di Filottrano:

"Scommettere sulle bellezze dei Borghi Medievali significa credere nelle potenzialità del nostro territorio. Grazie al Fondo Virgo perché ha saputo individuare, credere e investire nelle potenzialità e nelle bellezze della nostra bella Filottrano, collina marchigiana ricca di tipicità. Sono felice e onorata di accogliere nella nostra città nomi e volti noti e illustri, che presenzieranno nei tre giorni di eventi, in occasione dell'inizio delle festività natalizie e che porteranno Filottrano alla ribalta nazionale". 

[kittywildegrrl]

MAMA CAT AND THE TWO EXCITING INTERVIEWS

Happy Tax Day, Darlings! Told you I’d talk to you Monday.

Here is a photo of Amy Farah Howler, doing what HusbandCat says she does whenever MamaCat's not home: staring at the back of the couch and waiting for me to come home. ❤️

Here I sit, sipping afternoon coffee and wondering how bundled up I’m going to have to get to walk Amy Farah Howler. It’s frikkin 36 degrees Fahrenheit outside, in late April, when I am really good and ready for Springtime and planting, for tiny plants and baby animals. Meanwhile on NPR former secretary of state John Kerry is making me very sad indeed regarding the future of humankind due to climate change, while in Russia, a madman pretty much has us all by the – you know. It’s a weird time to be alive. Bloody terrifying. And I still have to walk the dog.

And yet, in the spirit of denial that has gotten humankind through even its most knowledgeable moments (so far), I want to talk about the future. About “Coming Out of the Dark” (you can skip to video in :05); about choosing to act as if moving forward with one’s life is really ok after all. You may recall, if you’re following along, that I have alluded to being stopped in my tracks by a rehearsal injury that followed my dog getting killed on a gig that followed being injured by another actor in the show before that. You may recall also that it was during this weird time of crumbling that I met and adopted the lovely and talented Amy Farah Howler, which was a very good thing for us both. You may or may not further recall that I was one of those people who had what the triage nurses were calling “some really nasty new flu” before the thing was named Covid-19 and widespread testing became available.

My physical therapy treatment and Worker’s Comp for the NYC dance injury ran out while we were all in lockdown, and such is the healthcare delivery system in this country that I could not access further care, and seem to have been left a wee bit entirely on my own by the system. So while we’ve probably all been depressed AF in general over the course of the past two or three years, those are the sidelights on what made my personal lockdown journey unique to me.

If there’s one thing I have learned, it’s that literally nobody I know has zero sidelights on what makes their lockdown journey unique to them. We absolutely, positively all have something to tell. Something put weight on us, or messed with our sleep patterns, or made our homes perhaps tidier, perhaps messier. Everybody has a story, it’s the one religious belief I can swear I hold to. Everybody. Has. A. Story.

So why am I telling you so much of mine?

Because, like Carlotta Campion, I’m Still Here. And look, so are you.

The other day I had a great coffee meeting with someone with whom I’ve wanted to do theatre for quite a while. Yes, of course, I’ll tell you more later. What was so cool was that, after just more or less bumping into each other around the theatre community environs for years, there was finally a chance to just talk. About a specific project, yes, and that part’s exciting indeed; what they’re working on aligns with what I’m on about and may lead to human laughter occurring.

But we also just yakked, in general, for a couple of hours, regarding all the topics.

Well, no, in strict fairness, I don’t think we discussed the merits of fish emulsion fertilizer for garden container pots, for example. But we could have. Personally, I am pro-fish-emulsion. But it was just the nicest, most normal coffee klatsch in literally a few years. That’s enough right there, cats and kittens. The fact that there is also very cool work to be done is just lagniappe.

But wait, there’s more! The next morning I had something I haven’t had in years: a legit broadcasting-job interview. Holy Toledo. Because it was an actual job interview, and because I believe in both professionalism regarding the interview process AND the superstitions regarding showbiz, that’s literally the whole extent of what I’m going to discuss about that. I just want to the world to know that I got an interview! And to be involved in a professional discussion of an industry I truly found fulfilling both personally and professionally, after years away and after the Pandemic Blues, was maybe the most hope-igniting thing I’ve experienced in a while. Which is great for me, right, but again, what’s the point?

The point is that because years in broadcasting formed in me a pattern of seeing issues and occurrences in terms of their impact(s) upon larger groups, I tend to think that if a social pattern is affecting me and mine, it may well be affecting “X” number of others as well. So I tend to look to see what I can see. Actors are taught to observe people, doncha know. As I continue to build my own little renaissance of audio goodness at this end, as I reach out to more people and increase the size of my world, the social pattern I’m experiencing in the microcosm is Re-invention. Re-Invention is the Word.

It’s the one thing I am finding common to all, across demographics, across the nation, across the social media platforms with which I participate. Not just older people like myself, who are re-inventing because we live in times where our previously planned retirements are simply not going to work out. Similarly, not just with older people who can afford to retire but are not willing to stop feeling relevant. I mean, young and old, various levels of education, various backgrounds and backstories. It appears to me to be a predictable side effect of the Great Resignation; it’s the Great Re-Invention!

I’m just spitballing here, but it looks like people are really over the previous models. True, it may just be the way the algorithms bounce, too. But I’m not just seeing it online, it’s in the F2F world too. So if you feel like it’s happening in your life as well, please, just know that I’m only going to support that sort of thing. Go get reinvented with yer bad self, baby, now is apparently the time! I think it’s good for us, in much the same way that spinach is, and madmen with nukes are not.

I know, I always bring it back to the downer: we cannot control what we cannot control. Glory to Ukraine. Glory to the Heroes.

Meow, darlings.

[thediaryofatheatrekid]

Casting Goals for Patti LuPone?

Oh god a lot... She’s amazing. Also so many of my Once Upon a December roles I have listed she could still do vocally and physically, but many need to be a younger woman.

Casting Goals:

Miss Hannigan in Annie

Violet Weston in August: Osage County

Fräulein Schneider in Cabaret

Matron “Mama” Morton in Chicago

Daisy Werthan in Driving Miss Daisy

Carlotta Campion in Follies

Dolly Levi in Hello, Dolly!

King Herod in Jesus Christ Superstar

Narrator in Joseph and the Amazing Technicolor Dreamcoat

Aurora in Kiss of the Spider Woman

Madame Thénardier in Les Miserables

Madame Armfeldt in A Little Night Music

Miss Trunchbull in Matilda

Marya Dmitriyevna in Natasha, Pierre and the Great Comet of 1812

Queen Aggravain in Once Upon a Mattress

Mother Superior in Sister Act

Madame Morrible in Wicked

Once Upon a December

Sally Bowles in Cabaret

Margaret White in Carrie (She can still do this role vocally and physically, but I think Margaret shouldn’t be older than 55)

Carla Haywood/Alaura Kingsley in City of Angels

Nora in A Doll’s House

Mazeppa in Gypsy

Velma Von Tussle in Hairspray

The Witch in Into the Woods

Lilli Vanessi/Katharine in Kiss Me, Kate

Lady M in M*cbeth

Mother Courage in Mouther Courage and Her Children

Harold Hill in The Music Man

Edwin Drood in The Mystery of Edwin Drood

Saraghina in Nine

Ado Annie in Oklahoma!

Princess Winifred in Once Upon a Mattress

Dot/Marie in Sunday in the Park with George

Katharine in The Taming of the Shrew

I’m Not That Girl:

Fruma-Sarah in Fiddler on the Roof (She’s not Jewish)

Carlotta Guidicelli in The Phantom of the Opera

[gracie-bird]

Letter from Princess Grace of Monaco to Miss Polly Bergen dated August 24, 1967.

Polly Bergen (born Nellie Paulina Burgin; July 14, 1930 – September 20, 2014) was an American actress, singer, television host, writer and entrepreneur.

She won an Emmy Award in 1958 for her performance as Helen Morgan in The Helen Morgan Story. For her stage work, she was nominated for the Tony Award for Best Featured Actress in a Musical for her performance as Carlotta Campion in Follies in 2001. Her film work included Cape Fear (1962) and The Caretakers (1963), for which she was nominated for the Golden Globe Award for Best Actress in a Motion Picture – Drama. She hosted her own weekly variety show for one season (The Polly Bergen Show), was a regular panelist on the TV game show To Tell The Truth and later in life had recurring roles in The Sopranos and Desperate Housewives. She wrote three books on beauty, fashion and charm.

In 1965, Bergen created the Polly Bergen Company cosmetics line also known as Oil of the Turtle. She also created lines of jewelry and shoe brands, and wrote three books on beauty.

[mariacallous]

Elaine Paige as Carlotta Campion in Follies

[wickedbettie]

Yvonne De Carlo (born Margaret Yvonne Middleton; September 1, 1922 – January 8, 2007) was a Canadian-American actress, dancer, and singer. A brunette with blue-grey eyes, she became an internationally famous Hollywood film star in the 1940s and 1950s, made several recordings, and later acted on television and stage.

Born in Vancouver, British Columbia, De Carlo was raised in the home of her Presbyterian maternal grandparents. Her mother enrolled her in a local dance school when she was three. By the early 1940s, she and her mother had moved to Los Angeles, where De Carlo participated in beauty contests and worked as a dancer in nightclubs.

She began working in motion pictures in 1941, in short subjects. She sang "The Lamp of Memory" in a three-minute Soundies musical, and worked briefly at Columbia Pictures. In 1942, she signed a three-year contract with Paramount Pictures, where she was given uncredited bit parts in important films and was intended to replace Dorothy Lamour. Her first lead was for independent producer E. B. Derr in the James Fenimore Cooper adventure Deerslayer (1943, ultimately released by Republic Pictures).

She obtained her breakthrough role in Salome, Where She Danced (1945), a Universal Pictures release produced by Walter Wanger, who described her as "the most beautiful girl in the world." The film's publicity and success turned her into a star, and she signed a five-year contract with Universal. From then on, Universal starred her in its lavish Technicolor productions, such as Frontier Gal (1945), Song of Scheherazade (1947), and Slave Girl (1947). Cameramen voted her "Queen of Technicolor" three years in a row.[4] Tired of being typecast as exotic women, she made her first serious dramatic performances in two film noirs, Brute Force (1947) and Criss Cross (1949).

The first American film star to visit Israel, De Carlo received further recognition as an actress for her work in the British comedies Hotel Sahara (1951) and The Captain's Paradise (1953). Her career reached its peak when eminent producer-director Cecil B. DeMille cast her as Moses' Midianite wife, Sephora, her most prominent role, in his biblical epic The Ten Commandments (1956),[5] which was immensely successful at the box office and remains an annual tradition on television. Her success continued with starring roles in Flame of the Islands (1956), Death of a Scoundrel (1956), Band of Angels (1957), and The Sword and the Cross (1958), in which she portrayed Mary Magdalene. She also accepted supporting roles in McLintock! (1963) and A Global Affair (1964).

She gained a new generation of fans as a star of the CBS sitcom The Munsters (1964–1966),[6] playing Herman Munster's glamorous vampire wife, Lily, a role she reprised in the feature film Munster, Go Home! (1966) and the television film The Munsters' Revenge (1981). In 1971, she played Carlotta Campion and introduced the popular song "I'm Still Here" in the Broadway production of the Stephen Sondheim musical Follies. Yvonne, her best-selling autobiography, was published in 1987. A stroke survivor, De Carlo died of heart failure in 2007. She was awarded two stars on the Hollywood Walk of Fame for her contributions to motion pictures and television.

[timeless-hollywood-classics]

Yvonne De Carlo (born Margaret Yvonne Middleton; September 1, 1922 – January 8, 2007) was a Canadian-American actress, dancer, and singer. A brunette with blue-grey eyes, she became an internationally famous Hollywood film star in the 1940s and 1950s, made several recordings, and later acted on television and stage.

Born in Vancouver, British Columbia, De Carlo was raised in the home of her Presbyterian maternal grandparents. Her mother enrolled her in a local dance school when she was three. By the early 1940s, she and her mother had moved to Los Angeles, where De Carlo participated in beauty contests and worked as a dancer in nightclubs.

She began working in motion pictures in 1941, in short subjects. She sang "The Lamp of Memory" in a three-minute Soundies musical, and worked briefly at Columbia Pictures. In 1942, she signed a three-year contract with Paramount Pictures, where she was given uncredited bit parts in important films and was intended to replace Dorothy Lamour. Her first lead was for independent producer E. B. Derr in the James Fenimore Cooper adventure Deerslayer (1943, ultimately released by Republic Pictures).

She obtained her breakthrough role in Salome, Where She Danced (1945), a Universal Pictures release produced by Walter Wanger, who described her as "the most beautiful girl in the world." The film's publicity and success turned her into a star, and she signed a five-year contract with Universal. From then on, Universal starred her in its lavish Technicolor productions, such as Frontier Gal (1945), Song of Scheherazade (1947), and Slave Girl (1947). Cameramen voted her "Queen of Technicolor" three years in a row.[4] Tired of being typecast as exotic women, she made her first serious dramatic performances in two film noirs, Brute Force (1947) and Criss Cross (1949).

The first American film star to visit Israel, De Carlo received further recognition as an actress for her work in the British comedies Hotel Sahara (1951) and The Captain's Paradise (1953). Her career reached its peak when eminent producer-director Cecil B. DeMille cast her as Moses' Midianite wife, Sephora, her most prominent role, in his biblical epic The Ten Commandments (1956),[5] which was immensely successful at the box office and remains an annual tradition on television. Her success continued with starring roles in Flame of the Islands (1956), Death of a Scoundrel (1956), Band of Angels (1957), and The Sword and the Cross (1958), in which she portrayed Mary Magdalene. She also accepted supporting roles in McLintock! (1963) and A Global Affair (1964).

She gained a new generation of fans as a star of the CBS sitcom The Munsters (1964–1966),[6] playing Herman Munster's glamorous vampire wife, Lily, a role she reprised in the feature film Munster, Go Home! (1966) and the television film The Munsters' Revenge (1981). In 1971, she played Carlotta Campion and introduced the popular song "I'm Still Here" in the Broadway production of the Stephen Sondheim musical Follies. Yvonne, her best-selling autobiography, was published in 1987. A stroke survivor, De Carlo died of heart failure in 2007. She was awarded two stars on the Hollywood Walk of Fame for her contributions to motion pictures and television.

[shawnvanbriesen]

More art from isolation: WIP: Yvonne De Carlo (born Margaret Yvonne Middleton; September 1, 1922 – January 8, 2007) was a Canadian-American actress, dancer, and singer. A brunette with blue-grey eyes, she became an internationally famous Hollywood film star in the 1940s and 1950s, made several recordings, and later acted on television and stage. Born in Vancouver, British Columbia, De Carlo was raised in the home of her Presbyterian maternal grandparents. Her mother enrolled her in a local dance school when she was three. By the early 1940s, she and her mother had moved to Los Angeles, where De Carlo participated in beauty contests and worked as a dancer in nightclubs.                            She gained a new generation of fans as a star of the CBS sitcom The Munsters (1964–1966), playing Herman Munster's glamorous vampire wife, Lily, a role she reprised in the feature film Munster, Go Home! (1966) and the television film The Munsters' Revenge (1981). In 1971, she played Carlotta Campion and introduced the popular song "I'm Still Here" in the Broadway production of the Stephen Sondheim musical Follies. Yvonne, her best-selling autobiography, was published in 1987. A stroke survivor, De Carlo died of heart failure in 2007. She was awarded two stars on the Hollywood Walk of Fame for her contributions to motion pictures and television. #classicmovies #classichollywood #movies #oldhollywood #movie #television #yvonnedecarlo #hollywood #classicfilm #vintage #oldmovies #classicmovie #film #classicfilms #smovies #classic #classiccinema #classicmoviestars #films #vintagehollywood #classicactress #horror #themunsters #cinephile #actress #retro #classichollywoodfilmstars #classichollywoodactress #shawnvanbriesen (at Brentwood, Los Angeles) https://www.instagram.com/p/B-KLISjgPLF/?igshid=mt853qlbe7dl

[oh-never-leave-me-out-blog]

Gifting Status opens again on September 10th. Open for General Trades/Wants Only

Updated Bootleg List

READ RULES BEFORE CONTACTING ME

SEND A MESSAGE TO MY MAIN BLOG @notfallingbehindorrunninglate OR EMAIL LISTED ON WEBSITE

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Updated: September 2, 2018

A Gentlemen’s Guide to Love and Murder

January 4, 2018 - Audio

James Odom (Dysquith Family), Blake Price (Monty Navarro), Colleen Mclaughlin (Sibella Hallward), Erin Mcintyre (Phoebe D'Ysquith)

Be More Chill

August 2, 2018 (Off Broadway) - Audio

Will Roland (Jeremy Heere), George Salazar (Michael Mell), Stephanie Hsu (Christine Canigula), Jason Tam (The SQUIP), Katlyn Carlson (Chloe Valentine), Lauren Marcus (Brooke Lohst), Gerard Canonico (Rich Goranski), Tiffany Mann (Jenna Rolan), Britton Smith (Jake Dillinger), Jason "SweetTooth" Williams (Mr. Heere/Mr. Reyes/Scary Stock Boy)

August 15, 2018 — Video

Will Roland (Jeremy), George Salazar (Michael), Gerard  Canonico (Rich), Jason Tam (The Squip), Stephanie Hsu (Christine),  Katlyn Carlson (Chloe), Tiffany Mann (Jenna), Lauren Marcus (Brooke),  Jason Sweetooth Williams (Mr. Reyes/Jeremy's Dad)

Your typical phone recording; filmed vertically with no zooms, severe  washout, obstructions on both sides, and heads are always visible at the  bottom. No drops at all though, and captures the show in its entirety

Les Mis

January 5, 2006 - Audio

Randal Keith (Valjean), Robert Hunt (Javert), Joan Almedilla (Fantine), David McDonald (Thenardier), Jennifer Butt (Mme Thenardier), Melissa Lyons (Eponine), Victor Wallace (Enjolras), Adam Jacobs (Marius), Sierra Boggess (u/s Cosette), Rachel Schier (Young Cosette), Austyn Myers (Gavroche)

Only known recording of Sierra Boggess as Cosette, Sierra’s first performance as Cosette

September 17, 2010 - Video

Christopher Jacobsen (Valjean u/s), Earl Carpenter (Javert), Madalena Alberto (Fantine), Ashley Artus (Thénardier), Lynne Wilmot (Mme. Thénardier), Rosalind James (Éponine), Katie Hall (Cosette), Gareth Gates (Marius), Jon Robyns (Enjolras), David Lawerence (Bishop/Lesgles), Gemma O'Duffy (u/s Factory Girl 5), Peter Manchester (u/s Courfeyrac), Adam Linstead (Grantaire), Jamie Muscato (Prouvaire), Owain Williams (Feuilly), Rhidian Marc (Joly), David Covey (Combeferre), Luke Kempner (Montparnasse/Farmer)

June 6, 2011 - Audio

Alfie Boe (Valjean), Norm Lewis (Javert), Rebecca Seale (Fantine), Gareth Gates (Marius), Lucie Jones (Cosette), Samantha Barks (Eponine), Killian Donnelly (Enjolras), Martin Ball (Thénardier), Katy Secombe (Mme Thénardier)

August 6, 2014 - Audio

Nehal Joshi (Valjean), Edward Watts (Javert), Allison Blackwell (Fantine), Christia Mantzke (Madame Thénardier), Steven Michael Walters (Thénardier), Justin Keyes (Marius), Dorcas Leung (Cosette), Elizabeth Judd (Éponine), John Campione (Enjolras), Salma Salinas (Little Cosette), Libby Roy (Young Éponine), Mark Hancock (Gavroche)

July 23, 2015 - Audio

Kyle Jean-Baptiste (u/s Valjean), Earl Carpenter (Javert), Erika Henningsen (Fantine), Gavin Lee (Thenardier), Rachel Izen (Mme. Thenardier), Chris McCarrell (Marius), Samantha Hill (Cosette), Brennyn Lark (Eponine), Wallace Smith (Enjolras)

October 20, 2017 (National Tour) - Audio

Nick Cartell (Jean Valjean), Josh Davis (Inspector Javert), Melissa Mitchell (Fantine), Matt Shingledecker (Enjolras), Phoenix Best (Eponine), Joshua Grosso (Marius), Jillian Butler (Cosette), J Anthony Crane (Thénardier), Allison Guinn (Madame Thénardier)

Mean Girls

April 24, 2018 (Broadway) - Video

Erika Henningsen, Taylor Louderman, Ashley Park, Kate Rockwell, Kerry Butler, Grey Hanson, Cheech Manohar, Kyle Selig, Barrett Wilbert Weed, Rick Younger, Stephanie Lynn Bissonnette, Collins Conley, Ben Cook, DeMarius R. Copes, Kevin Csolak, Devon Hadsell, Curtis Holland, Myles McHale, Nikhil Saboo, Jonalyn Saxer, Brendon Stimson, Riza Takahashi, Kamille Upshaw, Zurin Villanueva, Gianna Yanelli

Moulin Rouge

July 24, 2018 - Audio

Aaron Tveit (Christian), Karen Olivo (Satine), Danny Burstein (Harold Zidler), Sahr Ngaujah (Toulouse-Lautrec), Tam Mutu (Duke of Monroth), Ricky Rojas (Santiago), Robyn Hurder (Nini), Kyle Brown (Ensemble)

The Phantom of the Opera

June 24, 2008 - Audio

Ramin Karimloo (The Phantom), Katie Hall (u/s Christine), Alex Rathgeber (Raoul), Sam Hiller (Monsieur Andre), David Lawrence (u/s Firmin), Wendy Ferguson (Carlotta), Heather Jackson (Carlotta), Benjamin Lake (Piangi), Lindsey Wise (Meg)

READ RULES BEFORE CONTACTING ME

[angelofulldance]

CAMPIONATO REGIONALE Fids Lazio FULL DANCE Italia capitanate dalla MAESTRA Arianna Rossi Danze COREOGRAFICHE • Campione Regionale ASSOLO LATIN Atleta Ivana Giannino • Vice Campione Regionale ASSOLO LATIN Atleta Lucarini Alessia DUO LATIN •Vice Campioni Regionali le Atlete Giorgia Cicchetti e Erica Santini •Medaglia di BRONZO per le Atlete Miracolo Carlotta e Camilla & Petronzi Chiara - Lucarini Alessia •SEMIFINALE per la nostra Piccola ALESSIA PINCI Congratulazioni a tutti da #fulldanceitalia (presso FULL DANCE Italia) https://www.instagram.com/p/CWlAQ0ENIQ9/?utm_medium=tumblr

[lecoffretdimages-blog]

LA LEÇON DE PIANO Date de sortie 19 mai 1993 (2h 01min) De Jane Campion Avec Holly Hunter, Harvey Keitel, Sam Neill plus Genres Drame, Romance Nationalités Néo-Zélandais, Australien, Français SYNOPSIS ET DÉTAILS Ada, mère d’une fillette de neuf ans, s’apprête à partager la vie d’un inconnu, au fin fond du bush néo-zélandais. Son nouveau mari accepte de transporter toutes ses possessions, à l’exception de la plus précieuse : un piano, qui échoue chez un voisin illettré. Ne pouvant se résigner à cette perte, Ada accepte le marché que lui propose ce dernier : regagner le piano, touche par touche en se soumettant à ses fantaisies... Titre original  The Piano Distributeur Carlotta Films Récompenses 10 prix et 23 nominations ACTEURS ET ACTRICES Holly Hunter Rôle : Ada McGrath Harvey Keitel Rôle : Baines Sam Neill Rôle : Stewart Anna Paquin Rôle : Flora Casting complet et équipe technique SECRETS DE TOURNAGE Lemon / Campion : deuxième L'actrice Genevieve Lemon, qu'on retrouve dans La Leçon de Piano dans le rôle de Nessie, avait déjà joué sous la direction de Jane Campion. Elle avait en effet tenu le rôle-titre de Sweetie, un des tous premiers longs métrages de la réalisatrice néo-zélandaise. Les deux femmes se retrouveront six ans plus tard, en 1999, à l'occasion du tournage de la comédie dramatique Holy Smoke, avec Kate Winslet. Anna Paquin interdite de visionnage La Leçon de piano s'est vu agrémenter d'un "R", ne permettant pas aux mineurs non-accompagnés de voir le film. Cette restriction interdisait Anna Paquin, alors âgée de 11 ans, de voir le film. Professionnelle du piano L'héroïne de La Leçon de piano, la comédienne Holly Hunter, a pratiquement assuré elle-même toutes les séquences musicales dans lesquelles on voit son personnage jouer au piano.

[underdogreviews]

FOLLIES, NATIONAL THEATRE, ★★★★★

The National Theatre presents spellbinding revival of James Goldman and Stephen Sondheim’s ‘Follies’, directed by Dominic Cooke. The phrase ‘follies’ derives from producer Florenz Ziegfields’ glamorous revues on Broadway during the early 20th century in which beautiful, young American women were invited to perform in glitzy and skimpy costumes. The legendary Ziegfield is directly present in Goldman’s piece, within the character of old-time producer Dimitri Weismann(Gary Raymond). Now 1971, the Weismann Theatre in New York City is being demolished to make room for office buildings, however one final drama is to be played out before the dilapidated theatre becomes yet another faded memory of the golden times. A stream of beautiful women saunter down the stairs as the original follies reunite for an evening of song, stories and unexpected (or perhaps not) revelations. ​Ever-present proud ghosts of the past dress in exquisitely detailed costumes designed, sourced and crafted on-site by a large and highly talented costume team. The young characters watch their futures play out intently as they ponder the path they chose to walk and the opportunities that may have been missed. Through Sondheim’s conversational music, the story focuses on old friends Sally(Imelda Staunton) and Phyllis (Janie Dee) and their husbands Buddy (Peter Forbes) and Ben (Philip Quast) as they revel in the glory days of dancing at Tony’s and courting one another, yet things turn bitter as a tortured and somewhat deluded Sally announces her long-term love for Ben. Each of the principal actors provide stellar performances in their roles as the drama culminates to a stand-off that would please the gods and erupts into the surreal chaos of ‘Buddy’s Folly’, which is quite literally a choreographed panic attack. Sally’s Folly is a much more tender affair, in which Staunton delivers a hypnotic rendition of ‘Losing My Mind’. Additional stand out performances come from Tracie Bennett as Carlotta Campion. Bennett is just a queen, I don’t really have much more to say on that. Zizi Strallen performs gloriously as a Young Phyllis and Jordan Shaw shines in the ensemble. It is particularly interesting watching this piece with the naivety of a ‘young folly’, as I find myself questioning ‘Why can’t they just do what they want; run away, divorce, marry? Why does age matter?’, but as I watch the older tear-stained couples leave the Olivier Theatre clutching one another I understand that there are some moments within this piece that I just couldn’t possibly comprehend yet. Spectacular in every sense, you must get tickets for this musical. Alas, if you can't make it to the performance, Follies will be broadcast by NT Live to cinemas in the UK and internationally on Thursday 16 November. - Faye Butler

[if-only-angels-could-prevail]

On the soon-to-be demolished stage of the Weismann Theatre, a reunion is being held to honor the Weismann's "Follies" shows past, and the beautiful chorus girls who performed there every year between the two world wars. The once resplendent theatre is now little but planks and scaffolding (”Arrival”). As the ghosts of the young showgirls slowly drift through the theatre, a majordomo enters with his entourage of waiters and waitresses. They pass through the spectral showgirls without seeing them.

Sally Durant Plummer, "blond, petite, sweet-faced" and at 49 "still remarkably like the girl she was thirty years ago", a former Weismann girl is the first guest to arrive; her ghostly youthful counterpart moves towards her. Phyllis Rogers Stone, a stylish and elegant woman, also arrives with her husband Ben, a renowned philanthropist and politician. As their younger counterparts approach them, Phyllis comments to Ben about their past. He feigns disinterest; there is an underlying tension in their relationship. As more guests arrive, Sally’s husband, Buddy, enters. He is a salesman, in his early 50s, appealing and lively, whose smiles cover inner disappointment.

Finally, Weismann enters to greet his guests. Roscoe, the old master of ceremonies, introduces the former showgirls ("The Way Old Friends Do"). Former Weismann performers at the reunion include Max and Stella Deems, who lost their radio jobs and became store owners in Miami; Solange La Fitte, a coquette, who is vibrant and flirtatious even at 66; Hattie Walker, who has outlived five younger husbands; Vincent and Vanessa, former dancers who now own an Arthur Murray franchise; Heidi Schiller, for whom Franz Lehár once wrote a waltz (or was it Oscar Straus? Facts never interest her; what matters is the song!); and Carlotta Campion, a film star who has embraced life and benefited from every experience.

As the guests reminisce, the stories of Ben, Phyllis, Buddy and Sally unfold. Phyllis and Sally were roommates while in the Follies, and Ben and Buddy were best friends at school in New York. When Sally sees Ben, her former lover, she greets him self-consciously ("Mamma Mia"). Buddy and Phyllis join their spouses and the foursome reminisces about the old days of their courtship and the theatre, their memories vividly coming to life in the apparitions of their young counterparts ("Our Last Summer"). Each of the four is shaken at the realization of how life has changed them. Elsewhere, Willy Wheeler (portly, in his sixties) cartwheels for a photographer. Emily and Theodore Whitman, ex-vaudevillians in their seventies, perform an old routine ("Me And Bobby And Bobby’s Brother"). Solange proves she is still fashionable at what she claims is 66 ("Dancing Queen"), and Hattie Walker performs her old showstopping number ("Does Your Mother Know").

Buddy warns Phyllis that Sally is still in love with Ben, and she is shaken by how the past threatens to repeat itself. Sally is awed by Ben’s apparently glamorous life, but Ben wonders if he made the right choices and considers how things might have been ("Another Town, Another Train"). Sally tells Ben how her days have been spent with Buddy, trying to convince him (and herself) ("Super Trouper"). But it is clear that Sally is still in love with Ben – even though their affair ended badly when Ben decided to marry Phyllis. She shakes loose from the memory and begins to dance with Ben, who is touched by the memory of the Sally he once cast aside.

Phyllis interrupts this tender moment and has a biting encounter with Sally. Before she has a chance to really let loose, they are both called on to participate in another performance – Stella Deems and the ex-chorines line up to perform an old number ("Gimme! Gimme! Gimme! (A Man After Midnight)"), as they are mirrored by their younger selves. Afterward, Phyllis and Ben angrily discuss their lives and relationship, which has become numb and emotionless. Sally is bitter and has never been happy with Buddy, although he has always adored her. She accuses him of having affairs while he is on the road, and he admits he has a steady girlfriend, Margie, in another town, but always returns home. Carlotta amuses a throng of admirers with a tale of how her dramatic solo was cut from the Follies because the audience found it humorous, transforming it as she sings it into a toast to her own hard-won survival ("I Wonder (Departure)").

Ben confides to Sally that his life is empty. She yearns for him to hold her, but young Sally slips between them and the three move together ("Crazy World"). Ben, caught in the passion of memories, kisses Sally as Buddy watches from the shadows. Sally thinks this is a sign that the two will finally get married, and Ben is about to protest until Sally interrupts him with a kiss and runs off to gather her things, thinking that the two will leave together. Buddy leaves the shadows furious, and fantasizes about the girl he should have married, Margie, who loves him and makes him feel like "a somebody", but bitterly concludes he does not love her back ("Knowing Me, Knowing You"). He tells Sally that he's done, but she is lost in a fantasy world, and tells him that Ben has asked her to marry him. Buddy tells her she must be either crazy or drunk, but he's already supported Sally through rehab clinics and mental hospitals and cannot take any more. Ben drunkenly propositions Carlotta, with whom he once had a fling, but she has a young lover and coolly turns him down. Heidi Schiller, joined by her younger counterpart, performs "When All Is Said And Done", her aged voice a stark contrast to the sparkling coloratura of her younger self. Phyllis kisses a waiter and confesses to him that she had always wanted a son. She then tells Ben that their marriage can't continue the way it has been. Ben replies by saying that he wants a divorce, and Phyllis assumes the request is due to his love for Sally. Ben denies this, but still wants Phyllis out. Angry and hurt, Phyllis considers whether to grant his request ("The Winner Takes It All").

Phyllis begins wondering at her younger self, who worked so hard to become the socialite that Ben needed. Ben yells at his younger self for not appreciating all the work that Phyllis did. Both Buddys enter to confront the Bens about how they stole Sally. Sally and her younger self enter and Ben firmly tells Sally that he never loved her. All the voices begin speaking and yelling at each other. Suddenly, at the peak of madness and confusion, the couples are engulfed by their follies, which transform the rundown theatre into a fantastical "Lovelight", an extravaganza even more grand and opulent than the gaudiest Weismann confection: "the place where lovers are always young and beautiful, and everyone lives only for love". Sally, Phyllis, Ben and Buddy show their "real and emotional lives" in "a sort of group nervous breakdown."

What follows is a series of musical numbers performed by the principal characters, each exploring their biggest desires. The two younger couples sing in counterpoint of their hopes for the future ("I Have A Dream"). Buddy then appears, dressed in "plaid baggy pants, garish jacket and a shiny derby hat", and performs a high-energy vaudeville routine depicting how he is caught between his love for Sally and Margie's love for him ("As Good As New"). Sally appears next, dressed as a torch singer, singing of her passion for Ben from the past- and her obsession with him now ("SOS"). In a jazzy dance number, accompanied by a squadron of chorus boys, Phyllis reflects on the two sides of her personality, one naive and passionate and the other jaded and sophisticated and her desire to combine them ("Nina, Pretty Ballerina"). Resplendent in top hat and tails, Ben begins to offer his devil-may-care philosophy ("Dance (While The Music Still Goes On)"), but stumbles and anxiously calls to the conductor for the lyrics, as he frantically tries to keep going. Ben becomes frenzied, while the dancing ensemble continues as if nothing was wrong. Amidst a deafening discord, Ben screams at all the figures from his past and collapses as he cries out for Phyllis.

"Lovelight" has dissolved back into the reality of the crumbling and half-demolished theatre; dawn is approaching. Ben admits to Phyllis his admiration for her, and Phyllis shushes him and helps Ben regain his dignity before they leave. After exiting, Buddy escorts the emotionally devastated Sally back to their hotel with the promise to work things out later. Their ghostly younger selves appear, watching them go. The younger Ben and Buddy softly call to their "girls upstairs", and the Follies end.