My first exposure to the theatrical stage was probably at The Capitol Theater in my hometown of Frankfort, the capital of Kentucky. The theater was being used to show movies; we called it, "The Picture Show." A color card from Dairy Queen entitled us to a full Saturday of matinees and we watched the movies over and over. This is where my family took us to see all the popular movies, and all the old ones that were new to us. It was an ominous auditorium with darkly lit little broken faces on the walls, a massive stained-glass chandelier that hung over our heads, and medieval Spanish castle pillars and doorways that flanked the proscenium. After seeing the animated movie musical Sleeping Beauty there, I was convinced that Walt Disney had designed the interior of our Frankfort Capitol Theater. That stage and auditorium stood as a reminder of a time that had passed. A time of old Kentucky.
Kentucky. Known today for its bluegrass, horse racing, and bourbon; it’s very name, embedded in Iroquois history, means Land of Tomorrow. The song birds are the sweetest, thoroughbreds fleetest, wrote James Mulligan, “The landscape is the grandest--And politics—the damnedest In Kentucky.” It’s a hard look that we must face at European settlers, frightened by differences in heritage, religion, and skin, unable to respect the beauty in other races. They did not understand the sexual orientation of God’s creation. “Those who cannot remember the past are condemned to repeat it," wrote George Santayana. We romanticize the old days maybe because they are behind us and can no longer harm us. And from the good that was there, we build a better tomorrow. Here are five historical dramas of Kentucky: The Botanic Garden Horace Holly arrives in Kentucky with dreams to create his own university which is deemed to be the Harvard of the West. The faculty he chooses includes an eccentric European botanist who believes that every great university must have its own botanical garden. Dreams collide within the struggles between religion, government, and ambition. A play about Constantine S. Rafinesque and Transylvania University in Lexington, Kentucky. Sabbath of the Soul Three weary travelers meet one evening at a railroad station awaiting arrival of the train carrying the one person most influential to them. Remembrances of this one exceptional life help them come to terms with their own mortality and purpose. A play about the life of Emily H. Tubman and Frankfort, Kentucky. Emma of Elmwood An architect, hired to demolish and replace a beloved house, is haunted into rebuilding his own life. A play about Emma P. Watts and Eastern Kentucky University of Richmond, Kentucky. The Dust of Summer A woman imprisoned by her domestic life discovers a runaway soldier seeking refuge from himself, both trapped between courage and duty. A play about Pleasant View Farm and The Battle of Richmond in Madison County, Kentucky. The Two Villages After years of engagement and unable to set a date for a wedding, a struggling painter is confronted by his fiancé as they journey to understand the obstacles that have plagued their relationship. Being true to one’s art comes with a price. A play about Kentucky’s own impressionistic painter Paul Sawyer of Frankfort, Kentucky.
Eric Williams: The Myth and the Man seeks to illuminate the political career of one of the Caribbean's most elusive figures, Eric Williams, the first prime minister of Trinidad and Tobago. Selwyn Ryan uses a wide array of primary sources, letters, interviews, material from the Public Records Office in the United Kingdom, the State Department Records in the United State of America and the Eric Williams Memorial Collection in Trinidad and Tobago, and demonstrates a strong mastery of secondary sources to provide a sophisticated political analysis of Williams' role in Trinidadian and Caribbean politics. The manuscript focuses on Williams' entry into politics and his tenure as prime minister from 1956 until his death in 1981. Ryan also provides an interesting analysis of Williams' seminal work Capitalism and Slavery and his role as a scholar. The book is a distillation of research and writings that have spanned four decades. Ryan brings a unique perspective to the work as both a scholar and one who has studied, criticized and been active in Trinidad politics as a member of three national constitutional reform committees.
Short subject films have a long history in American cinemas. These could be anywhere from 2 to 40 minutes long and were used as a "filler" in a picture show that would include a cartoon, a newsreel, possibly a serial and a short before launching into the feature film. Shorts could tackle any topic of interest: an unusual travelogue, a comedy, musical revues, sports, nature or popular vaudeville acts. With the advent of sound-on-film in the mid-to-late 1920s, makers of earlier silent short subjects began experimenting with the short films, using them as a testing ground for the use of sound in feature movies. After the Second World War, and the rising popularity of television, short subject films became far too expensive to produce and they had mostly disappeared from the screens by the late 1950s. This encyclopedia offers comprehensive listings of American short subject films from the 1920s through the 1950s.
Since 1973, TEXAS MONTHLY has chronicled life in contemporary Texas, reporting on vital issues such as politics, the environment, industry, and education. As a leisure guide, TEXAS MONTHLY continues to be the indispensable authority on the Texas scene, covering music, the arts, travel, restaurants, museums, and cultural events with its insightful recommendations.
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In this first-ever biography of Greer Garson, Michael Troyan sweeps away the many myths that even today veil her life. The true origins of her birth, her fairy-tale discovery in Hollywood, and her career struggles at Metro-Goldwyn-Mayer are revealed for the first time. Garson combined an everywoman quality with grace, charm, and refinement. She won the Academy Award in 1941 for her role in Mrs. Miniver, and for the next decade she reigned as the queen of MGM. Co-star Christopher Plummer remembered, "Here was a siren who had depth, strength, dignity, and humor who could inspire great trust, suggest deep intellect and whose misty languorous eyes melted your heart away!" Garson earned a total of seven Academy Award nominations for Best Actress, and fourteen of her films premiered at Radio City Music Hall, playing for a total of eighty-four weeks—a record never equaled by any other actress. She was a central figure in the golden age of the studios, working with legendary performers Clark Gable, Marlon Brando, Elizabeth Taylor, Errol Flynn, Joan Crawford, Robert Mitchum, Debbie Reynolds, and Walter Pidgeon. Garson's experiences offer a fascinating glimpse at the studio system in the years when stars were closely linked to a particular studio and moguls such as L.B. Mayer broke or made careers. With the benefit of exclusive access to studio production files, personal letters and diaries, and the cooperation of her family, Troyan explores the triumphs and tragedies of her personal life, a story more colorful than any role she played on screen.
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