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Artigos de revistas sobre o tema "Broadway Bank (New York)"

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Publicado: 26 de julho de 2024

Última modificação: 27 de julho de 2024

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1

Loney, Glenn. "A Theatre of Pre-Depression: Economics and Apathy in New York". New Theatre Quarterly 8, n.º 32 (novembro de 1992): 313–20. http://dx.doi.org/10.1017/s0266464x00007090.

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In an article in NTQ22 (May 1990), Glenn Loney clarified, with special concern for a British readership, the many ‘Factors in the Broadway Equation’. In NTQ 30 (May 1992), he took a closer look at the productions of the 1990–91 season, with its glut of musicals, from the lavish to the just plain lousy, economic ‘single-person shows’ – and the sometimes more challenging products of the off-Broadway and not-for-profit sectors. Here, he continues to trace the long decline of the ‘fabulous invalid’ through the season of 1991–92 – a season overshadowed by the death of Joe Papp, the mourning for a great showman mixed with concern for the future of his Public Theatre enterprises. The paucity of productions on Broadway – where, while one show could lose its backers four million dollars overnight, Peter Pan took American audiences happily back to the traditions of English pantomime – continued to contrast with signs of life elsewhere, and new productions marked milestone-anniversaries for La Mama and the Manhattan Theatre Club. Glenn Loney, is a widely published theatre writer and teacher based in New York.

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Pereira, Renato Barreto. "A Gay New York City in Mart Crowley’s “The Boys in the Band”". East-West Cultural Passage 21, n.º 2 (1 de dezembro de 2021): 26–52. http://dx.doi.org/10.2478/ewcp-2021-0012.

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Abstract “The Boys in the Band,” a play by American playwright Mart Crowley (1935-2020), represents a milestone in the representation of urban gay men in theater. By exploring on stage the lives of a group of male gay friends in the late 1960s, Crowley challenged social and dramaturgical norms and conventions. As an integral part of the narrative, New York City, specifically Manhattan Island, makes itself present in the text through direct and indirect references, whether on the level of plot, character construction, or the setting of the play itself. As a paradigmatic play in a moment of special prominence of the Gay Movement in the United States, soon after its premiere in 1968 and before the release of its first film adaptation, “The Boys in the Band” came to be seen differently by critics and activists under the influence of a historical event that also occurred in Manhattan, the Stonewall Riots. This article explores the various instances in which the play, especially in its first Off-Broadway staging, represents not only a gay New York City, but also how this same place made possible the existence of this story and these characters.

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Yablon, Nick. "“A Curious Epitome of the Life of the City”: New York, Broadway, and the Evolution of the Longitudinal View". Journal of Urban History 44, n.º 5 (12 de setembro de 2016): 953–84. http://dx.doi.org/10.1177/0096144216654882.

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Discussions of urban representation have been hampered by a persistent contrast between the view from above and the view from street level, or between the urban planner’s panoptic gaze and the flâneur’s fleeting glance. This article challenges such contrasts by identifying a third way of representing a city, that of moving block-by-block along the length of its main thoroughfare. It traces the emergence of what it calls the “longitudinal view” back to antebellum New York, when tour guides and urban sketches promoted the “walk up Broadway” as a means to encompass the social and functional diversity of the expanding metropolis, and when visual genres such as the moving panorama and the pictorial directory offered a virtual simulation of that journey—one that echoed the perpendicular perspective of an omnibus passenger. It concludes by exploring the subsequent appropriation of the longitudinal view by artists, photographers, and filmmakers.

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Means Weekly, Edrie. "Shifting Gears in Multiple Styles: An Artist and Teacher of Singing’s Journey with the 2011 Revival of Follies". Journal of Singing 79, n.º 4 (22 de fevereiro de 2023): 497–501. http://dx.doi.org/10.53830/xyup5554.

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NATS member Edrie Means Weekly has been a pedagogue and performing artist of both opera and musical theatre for over 35 years. In this article, Edrie discusses the audition process at the Kennedy City and in New York City resulting in her being cast as a standby for five Broadway stars in the 2011 revival of Stephen Sondheim’s Follies starring Bernadette Peters. Four of the five roles have large solo songs including the iconic songs “Broadway Baby” and “I’m Still Here”. The four songs were each written in a different musical style ranging from classical to full out traditional belt. As a vocal pedagogue, she discusses the styles of each song and the Vocal Stylisms or effects she added for emotion and expression to enhance the style. Edrie also includes one of her own vocal exercises she developed for herself back in the late 1980s to create laryngeal flexibility as she performed professionally in opera and musical theatre. She includes a couple of stretches useful for singers and dancers which were provided by Follies Broadway choreographer Warren Carlyle. Edrie talks about track cards and being a swing and discusses her preparation to build stamina to sing and dance a seven-minute tap song. Edrie Means Weekly’s article provides advice for those preparing for singing multiple styles in one show.

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5

Robinson, Danielle. "“Oh, You Black Bottom!” Appropriation, Authenticity, and Opportunity in the Jazz Dance Teaching of 1920s New York". Dance Research Journal 38, n.º 1-2 (2006): 19–42. http://dx.doi.org/10.1017/s0149767700007312.

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Head tossed back wearing a mile-wide grin, ecstatic arms stretched to the sky, jutting knees counterbalancing a substantial backside—the Jazz Age had no symbol more potent than the moving black body (Figure 1). Nearly always an illustration, and in many cases a caricature, these images depicted anonymous black movers rather than recognizable individuals. Yet, looking beyond this superficial representation, it was actually visibly white dance professionals who primarily marketed jazz steps to the American public as teachers and choreographers. A quick glance through the pages of the nascentDance Magazineof the 1920s reveals numerous jass dance routines with names such as “High Yaller,” “Pickin’ Cotton,” “The Savannah Stomp,” and the “Hula-Charleston,” each represented by a specific white Broadway performer (Fig. 2). Standing just behind each dancer, however, is a dark dancing figure that remains nameless and faceless.

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Olsen, Christopher. "Off-Off-Broadway Explosion: How Provocative Playwrights of the 1960s Ignited a New American Theater. By David A. Crespy. New York: Back Stage Books, 2003; pp. 192; 32 illus. $19.95 paper." Theatre Survey 46, n.º 2 (25 de outubro de 2005): 349–51. http://dx.doi.org/10.1017/s004055740539020x.

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David Crespy's account of Off-Off Broadway's roots in New York City is a welcome addition to a growing body of scholarship on this vibrant period in American theatre history. Many authors writing on this era have limited themselves to focusing on particular theatre groups, such as the Living Theatre, Café Cino, and the Open Theatre, or on the work of specific playwrights, such as Maria Irene Fornés, Sam Shepard, and Edward Albee. More historical accounts are needed to examine a cross section of theatre practitioners in the context of the political and artistic movements of the 1960s. Crespy has managed to do this to some degree, and has even convinced the elusive Edward Albee to write a foreword.

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7

Loney, Glenn. "Survival Strategies in New York Theatres". New Theatre Quarterly 11, n.º 41 (fevereiro de 1995): 79–90. http://dx.doi.org/10.1017/s0266464x00008915.

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IN THE SEASON of 1893–94, theatregoers in New York would hardly have realized that ‘Broadway’, as a theatre centre, had just come into being. In fact, 1900 would seem a more appropriate date, but business in the commercial theatre in recent seasons has been so hazardous that the League of American Theatres decided to jump-start the past season with a putative centenary salute, ‘Celebrate Broadway: 100 Years in Times Square’. It was a brave attempt and resulted at least in some interesting historical exhibits. Unfortunately, these only served to remind the viewers of Broadway's glory-days years ago.

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Fokina, Svitlana. "BROADWAY SEMIOSPHERE IN NOSTALGIC DISCOURSE OF VERA ZUBAREVA". Baltic Journal of Legal and Social Sciences, n.º 2 (4 de abril de 2022): 164–70. http://dx.doi.org/10.30525/2592-8813-2021-2-21.

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Lyric of Vera Zubarev is distinguished by attention to the semiosphere of a modern place of residence, for example, to the topography of New York, and at the same time to dialogue with the traditions of Russian literature. The choice of Broadway as an object of poetic reflection sets references to J. Brodsky at the subtext level. The text of the “Broadway” poem by Vera Zubarev correlates with the metamorphoses of the largest city of emigrants New York, this angle allows you to update the motives of the fate of the Roman exile poet Ovid and his kind of “heir” J. Brodsky. The Broadway plot exposes the trickster beginning and the spirit of transformations and metamorphosis in the poetic decision of Vera Zubarev. The city itself turns out to be theatrical stage during the metamorphoses that recreate the New York phantasmagoria. In the poem a poetic line is being implemented with installation on the experiment, combining the factors of the influence of the early Russian avant-garde and the legacy of I. Brodsky on the “Broadway text” by Vera Zubarev. The Broadway semiosphere is modified due to the manifestation of the author’s nostalgic discourse as an emigrant poet.

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Johnson, Paddy. "Finola Jones, Broadway Windows, New York, December - January 1996-7". Circa, n.º 79 (1997): 65. http://dx.doi.org/10.2307/25563118.

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10

Kauffmann, Stanley. "Broadway and the Necessity for ‘Bad Theatre’". New Theatre Quarterly 1, n.º 4 (novembro de 1985): 359–63. http://dx.doi.org/10.1017/s0266464x00001779.

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Is Broadway necessary? As the focus for new writing and major experimental work in the USA shifts ever further from the old theatre district around Times Square – first to off- and then to off-off-Broadway, more recently to the flourishing regional theatres – many critics have come to regard Broadway either as an economic anachronism, failing to perpetuate past glories, or simply as an irrelevance to ‘real’ theatre. Yet Stanley Kauffmann argues that a focal point for a nation's theatre is more than the sum of sometimes fraying parts, and works on the imagination in ways that cannot be evaluated by the fragmentary assessment of succeeding productions; and here he analyses the ‘organism’ that Broadway remains, and the function it performs. Stanley Kauffmann has been theatre critic for the New York Times, the New Republic, and the Saturday Review, while the most recent of his full-length works is Theater Criticisms (1984).

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11

Wellbrock, Gary, e Molly Ness. "Perspectives On Practice". Language Arts 95, n.º 3 (1 de janeiro de 2018): 190–97. http://dx.doi.org/10.58680/la201829456.

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12

Reddy, Srinivas K., Vanitha Swaminathan e Carol M. Motley. "Exploring the Determinants of Broadway Show Success". Journal of Marketing Research 35, n.º 3 (agosto de 1998): 370–83. http://dx.doi.org/10.1177/002224379803500307.

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This study investigates the determinants of success of an experiential good: Broadway shows. The authors focus on the sources and types of information used in the selection of an artistic event and discuss the impact of critics’ reviews on the length of a show's run and attendance. In addition, the authors empirically determine the influence of other variables, such as previews, newspaper advertising, ticket prices, show type, talent characteristics, and timing of opening. The results indicate that New York newspaper theater critics have a significant impact on the success of Broadway shows. It is also found that the newspaper critics have a differential impact, with the critic from the New York Times yielding nearly twice as much influence as critics from the Daily News or the New York Post. Theater critics, it appears, are not only predictors but influencers as well. Among the various show types, musicals appear to fare better than other categories of shows. Previews have a significant impact on the attendance, but not on the longevity, of Broadway shows. Advertising also has a significant impact on both longevity and attendance. However, the characteristics of the key talent do not have a consistently significant influence on show success. In addition, ticket prices do not have a significant relationship with either longevity or attendance. The results indicate that there is an overwhelming impact of information sources, particularly the influence of critics’ reviews, on the success of Broadway shows. The authors discuss the implications of these results for the theater industry.

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13

Savran, David. "Trafficking in Transnational Brands: The New “Broadway-Style” Musical". Theatre Survey 55, n.º 3 (18 de agosto de 2014): 318–42. http://dx.doi.org/10.1017/s0040557414000337.

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In a theatre world increasingly dominated by multinational corporations, in which brand-name companies make the rounds of international festivals and multilingual performances are bankrolled by consortia of state-supported theatres, the national identity of theatrical productions is becoming more and more difficult to decide. This identity crisis is especially pronounced in the case of the one theatre form that for generations has been associated with a single New York thoroughfare that for people around the world symbolizes singing and dancing, glamor and dazzle. The form to which Broadway is categorically linked, the Broadway musical, may have circumnavigated the globe countless times, but a national and municipal identity remains embedded in its name. In the twenty-first century, however, this jet-setting genre needs to be analyzed less from a national or international perspective than a transnational perspective that emphasizes interconnectedness and the cross-border fluidity of cultures and species of capital. Shows such asThe Lion KingandWickedmay have premiered in New York, but their continuing multibillion-dollar success in cities on six continents suggests that the traffic in the most popular form of theatre in the world can no longer be linked to one metropolis or one national tradition.

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14

Slesinger, Emily, Hubert du Pontavice, Brad Seibel, Vincent S. Saba, Josh Kohut e Grace K. Saba. "Climate-induced reduction in metabolically suitable habitat for U.S. northeast shelf marine species". PLOS Climate 3, n.º 4 (25 de abril de 2024): e0000357. http://dx.doi.org/10.1371/journal.pclm.0000357.

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The U.S. northeast shelf (USNES) has been experiencing rapid ocean warming, which is changing the thermal environment that marine species inhabit. To determine the effect of current and future ocean warming on the distribution of five important USNES fish species (Atlantic cod [Gadus morhua], black sea bass [Centropristis striata], cunner [Tautogolabrus adspersus], spiny dogfish [Squalus acanthias], summer flounder [Paralichthys dentatus]), we applied species-specific physiological parameters from laboratory studies to calculate the Metabolic Index (MI). The MI for each species was calculated across a historical (1972–2019) and contemporary (2010–2019) climatology for each season. Broadly, the oceanic conditions in the winter and spring seasons did not limit metabolically suitable habitat for all five species, while portions of the USNES in the summer and fall seasons were metabolically unsuitable for the cold water species (Atlantic cod, cunner, spiny dogfish). The warmer water species (black sea bass, summer flounder) experienced little metabolically suitable habitat loss, which was restricted to the most southern portion of the distribution. Under a doubling of atmospheric CO2, metabolically suitable habitat is projected to decrease substantially for Atlantic cod, restricting them to the Gulf of Maine. Cunner are projected to experience similar habitat loss as Atlantic cod, with some refugia in the New York Bight, and spiny dogfish may experience habitat loss in the Southern Shelf and portions of Georges Bank. In contrast, black sea bass and summer flounder are projected to experience minimal habitat loss restricted to the southern inshore portion of the USNES. The utility of using MI for co-occurring fish species in the USNES differed, likely driven by species-specific physiology and whether the southern edge of a population occurred within the USNES.

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15

Hamm, Charles. "The Firebrand of New York: Kurt Weill and his ‘Broadway Operetta’". Music and Letters 85, n.º 2 (1 de maio de 2004): 239–54. http://dx.doi.org/10.1093/ml/85.2.239.

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Davies, Lyell, e Kay Takeda. "Helen O'Leary, New Work, Michael Gold Gallery, Broadway, New York, October-December 1998". Circa, n.º 87 (1999): 58. http://dx.doi.org/10.2307/25563381.

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17

Varhola, Kim. "If it happened, he was there". Studies in Musical Theatre 17, n.º 3 (1 de dezembro de 2023): 209–15. http://dx.doi.org/10.1386/smt_00132_1.

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The Asian American Broadway musical continues to be a limited category in which many of its most commercially successful titles have histories mired in stereotype, mockery and erasure. Stephen Sondheim and John Weidman’s Pacific Overtures, however, stands apart from most other Broadway musicals written about the Asian and Asian American experience. The positioning of an Asian narrative in a serious and legitimate manner, the effort to incorporate Japanese aesthetic authenticity and the resolve to cast all Asian American talent were central to the creation of Pacific Overtures and were historical firsts for the Broadway stage. Stamped with Sondheim’s incomparable quality seal, Pacific Overtures initiated a new and necessary step towards Asian American Broadway inclusivity. But the show’s original Broadway run in 1976 was unsuccessful, both critically and commercially, and closed after 193 regular performances. In 2004, a highly anticipated Broadway revival gave the New York theatre world a chance to revisit Pacific Overtures. The revival production also offered a company of Asian American actors, whose community had historically been sidelined on Broadway, the opportunity to deliver a high-profile show about the Asian experience that resisted clichéd gestures of Asian-ness. In this article, I share my personal recollections of my time with Pacific Overtures as a cast member of the 2004 Broadway revival and reflect upon the production as it pertains to a grander collective memory of the Asian American Broadway experience. Cautiously optimistic about the critical and commercial outcome of this new production, our 2004 Pacific Overtures cast took great comfort in an ever-present Sondheim, whose constant proximity and participation during the run of the show served as a reminder that even this lesser-known Sondheim piece is still a Sondheim masterpiece.

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18

RAO, NANCY YUNHWA. "Racial essences and historical invisibility: Chinese opera in New York, 1930". Cambridge Opera Journal 12, n.º 2 (julho de 2000): 135–62. http://dx.doi.org/10.1017/s095458670000135x.

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Describing the performances of two Chinese opera groups – the visiting famous opera singer Mai Lan-fang and his troupe on Broadway and the local San Sai Gai troupe in Chinatown – and their reception by non-Chinese Americans, this essay tracks various formations and effects of Chinese images in 1930s New York that were deeply imprinted in popular imagination. The regrettable invisibility of Chinese opera in American music history is a result of such a pre-constructed concept of Chineseness.

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19

Gelles, Barrie. "Beyond Broadway: The Pleasure and Promise of Musical Theatre Across America, Stacy Wolf (2020)". Studies in Musical Theatre 16, n.º 1 (1 de abril de 2022): 85–87. http://dx.doi.org/10.1386/smt_00088_5.

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Turner, Ed.D., Elizabeth. "Challenges of Female Producers on Broadway". Musical Theatre Educators Alliance Journal 5, n.º 2024 (1 de janeiro de 2024): 100–115. http://dx.doi.org/10.62392/zttk1750.

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This narrative study shares female Broadway producers' first-hand accounts of the challenges they face in the industry. All participants have served either as a lead producer or co-producer on Broadway in the past twenty years. Aspiring producers interested in learning more about specifically producing in New York City or current producers wanting to include more diversity and inclusion in their work would benefit from reading the findings. All genders will also gain insight into female producers' perspectives. This research may also be helpful to other theatre professionals in the areas of directing, acting, composing, and scenic design. People in other industries, including film, T.V., and radio, may benefit from reading this study. Keywords: Broadway, producer, equality, diversity, challenges, women

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Dunn, Joe P. "Media Review". Teaching History: A Journal of Methods 12, n.º 2 (4 de maio de 1987): 26–27. http://dx.doi.org/10.33043/th.12.2.26-27.

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The Traditional World of Islam. Six films, each 30 minutes. Film study guide. Available in 16mm film. Order from Institutional Cinema, 915 Broadway, New York, NY 10074. $600 per unit. Review by Joe P. Dunn of Converse College.

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WHITLEY, EDWARD. "Whitman's Occasional Nationalism: "A Broadway Pageant" and the Space of Public Poetry". Nineteenth-Century Literature 60, n.º 4 (1 de março de 2006): 451–80. http://dx.doi.org/10.1525/ncl.2006.60.4.451.

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Despite the attention given to New York City as a source of the poetic imagery and democratic energy in Walt Whitman's poetry, the space of mid-century New York has never fully been explicated as a site of convergence for Whitman's conflicting allegiances to a local working-class urban subculture, the global community, and the United States itself. The reason for this critical lacuna stems in part from a tendency to focus on Whitman's private lyrics rather than on the type of poetry that is necessarily connected with a specific geographic space-namely, public occasional verse. In "A Broadway Pageant" (1860), the only occasional poem that Whitman wrote after publishing the first edition of Leaves of Grass in 1855 and before the outbreak of the Civil War, New York City is presented as a site where city workers and international merchants converge during a moment of national celebration. Originally published in the New York Times to commemorate a parade held for the Meiji Japanese ambassadors who had come to Manhattan in 1860 to ratify a trade agreement with the United States,"A Broadway Pageant" demonstrates how the requirements of occasional poetry allow Whitman to articulate the local and global framework within which his otherwise nationalist poetics operates.

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Gale, Lorena. "A Servant in Mecca: One Playwright’s Experience of New York". Canadian Theatre Review 125 (janeiro de 2006): 47–55. http://dx.doi.org/10.3138/ctr.125.008.

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I am sitting in a bar on Seventh Avenue in Chelsea. I am being interviewed by a writer for Time magazine. It is the middle of the day and I am drinking wine. He has coffee. I am being interviewed because I have written a play about slavery in Montreal that is about to open in New York and Detroit and I have the dubious honour of being not only the most produced Canadian playwright in the United States that month but one of the first black Canadian playwrights to be commercially produced off-Broadway. The interview is not going well, nor are the rehearsals for the New York run.

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Chappell, Sally A. Kitt. "A Reconsideration of the Equitable Building in New York". Journal of the Society of Architectural Historians 49, n.º 1 (1 de março de 1990): 90–95. http://dx.doi.org/10.2307/990500.

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Conventional opinion has held that the Equitable Building (1912-1915) at 120 South Broadway in New York was the embodiment of all that was wrong with skyscrapers, and that it was thus a major cause of the 1916 zoning ordinance which restricted the height, size, and arrangement of buildings in the city. A closer look at the evidence reveals that a blueprint for the zoning regulation was complete in 1913 when the Equitable had just been begun. In the clash of conflicting ideologies surrounding the zoning movement, the Equitable was more a convenient symbol, a handy scapegoat in the heat of contemporary rhetoric, than a principal cause of the new ordinance. The earlier misjudgment has obscured the building's place in two other areas in the history of architecture: elevator engineering, and the adaptation of management techniques to building construction.

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Bates, Benjamin R. "The New York Yankees and the conservative use of space". Ethnologies 24, n.º 1 (23 de maio de 2003): 201–24. http://dx.doi.org/10.7202/006537ar.

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Abstract New York City’s “Canyon of Heroes”, the stretch of Broadway between Wall Street and City Hall, is often used as a space for celebrating sports, military, or political achievements through a parade. This essay offers an analysis of one iteration of a parade — the New York Yankees 1998 victory parade — and its (re)presentation by NBC. Drawing on Michel de Certeau’s concept of la perruque, the essay argues that a negotiation of multiple readings of this space (macro, micro, and in-between views) allow us to understand how several threads of symbols are woven together to create a politically and economically conservative fabric of spatial representation. The essay offers implications of the conservative use of space for the theorization of spatial theory and critical intervention.

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Won, Jongwon, Jong Yoon Lee e Jong Woo Jun. "Influences of SNS (Social Network Service) Uses and Musical Consumption on City Branding: A Focus on Broadway, New York and the West End, London". Sustainability 12, n.º 9 (9 de maio de 2020): 3856. http://dx.doi.org/10.3390/su12093856.

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This study explored the role the musical industry plays in creating city brand images. The results showed that younger consumers were found to have more favorable visit intentions in New York and London due to their image as musical cities. Instagram users wanted to visit New York, but Twitter users had negative visit intentions in New York. Sensation-seeking orientation toward musicals influenced visit intention in New York. Broadway familiarity was linked to visit intention. In London, only sensation-seeking orientation influenced visit intention. Uses of SNS did not influence London visit intention and West End familiarity was not related to London visit intention. These results could provide academic and managerial implications for city branding.

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Spector, Susan. "Preparation for an Audition: Uta Hagen's Broadway Debut". Theatre Survey 30, n.º 1-2 (maio de 1989): 111–26. http://dx.doi.org/10.1017/s0040557400000818.

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In 1938, at the age of eighteen, Uta Hagen made her debut on Broadway as Nina in The Sea Gull with the Lunts—a fairy tale story come true. A young girl from the provinces—in this case, Madison, Wisconsin—comes to New York to be an actress, and within two months, with the most illustrious American actors of her time, she is playing the role of a young girl from the provinces who wants to be an actress.

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Wilson, Christopher P. "Broadway Nights: John Reed and the City". Prospects 13 (outubro de 1988): 273–94. http://dx.doi.org/10.1017/s0361233300005305.

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Not so very long after John Butler Yeats prophesied that “fiddles” would be “tuning up” throughout American intellectual life in the years before World War I, the private musings of John Reed strike another, less hopeful set of notes. The lament emerges in an unpublished tale Reed wrote in 1913 entitled “Success,” about a poet named Alan Meredith, age twenty-two, who, like Reed, has just come from the country to New York to answer his vocation. “The whirling star of Literature revolves in the Big City,” Reed explains. “By force of gravitation the minor bards sooner or later fall within its orbit, and nine out of ten emit no sparks from that time forth.” Alan's project is an epic poem tentatively entitled New York, A Poem in Twelve Cantos-but he gets nowhere beyond his title. “You see,” Reed writes, “he was making the same mistake as you and I, when we heard the voice [of the city] for the first time and tried to translate it without knowing the language.” Reed elaborates:A poet writes about the things nearest to his heart-the things he does not actually know. As soon as he gains scientific knowledge of anything, the glamour is gone, and it is not mere stuff for the imagination. The bard of green fields and blossoms and running brooks is always a city man, and he who sings the Lobster Palaces and White Lights lives in Greenwich, Conn. Never do the stars seem so beautiful as to him who looks up between brownstone houses on a breathless night; all the magic of the city lies in the glow of lights on the sky seen thirty miles away.

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Wilson, Christopher P. "Broadway Nights: John Reed and the City". Prospects 13 (outubro de 1988): 273–94. http://dx.doi.org/10.1017/s036123330000675x.

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Not so very long after John Butler Yeats prophesied that “fiddles” would be “tuning up” throughout American intellectual life in the years before World War I, the private musings of John Reed strike another, less hopeful set of notes. The lament emerges in an unpublished tale Reed wrote in 1913 entitled “Success,” about a poet named Alan Meredith, age twenty-two, who, like Reed, has just come from the country to New York to answer his vocation. “The whirling star of Literature revolves in the Big City,” Reed explains. “By force of gravitation the minor bards sooner or later fall within its orbit, and nine out of ten emit no sparks from that time forth.” Alan's project is an epic poem tentatively entitled New York, A Poem in Twelve Cantos-but he gets nowhere beyond his title. “You see,” Reed writes, “he was making the same mistake as you and I, when we heard the voice [of the city] for the first time and tried to translate it without knowing the language.” Reed elaborates:A poet writes about the things nearest to his heart-the things he does not actually know. As soon as he gains scientific knowledge of anything, the glamour is gone, and it is not mere stuff for the imagination. The bard of green fields and blossoms and running brooks is always a city man, and he who sings the Lobster Palaces and White Lights lives in Greenwich, Conn. Never do the stars seem so beautiful as to him who looks up between brownstone houses on a breathless night; all the magic of the city lies in the glow of lights on the sky seen thirty miles away.

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DeRose, David. "THEATER IN NEW York: Slouching Towards Broadway: Shepard's A Lie of the Mind". Theater 17, n.º 2 (1986): 69–74. http://dx.doi.org/10.1215/01610775-17-2-69.

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Carp, Benjamin L. "The Night the Yankees Burned Broadway: The New York City Fire of 1776". Early American Studies: An Interdisciplinary Journal 4, n.º 2 (2006): 471–511. http://dx.doi.org/10.1353/eam.2006.0011.

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Carlyon, David. "From Broadway Tabernacle to the Gettysburg Battlefield: Did Edwin Forrest Influence Abraham Lincoln?" Theatre Survey 56, n.º 1 (29 de dezembro de 2014): 71–94. http://dx.doi.org/10.1017/s004055741400057x.

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“Threescore years and two have now elapsed since our fathers ventured on the grand experiment of freedom.” So said the renowned actor Edwin Forrest in a Fourth of July address at New York City's Broadway Tabernacle in 1838. The similarity to the start of the Gettysburg Address in 1863 is striking: “Four score and seven years ago our fathers brought forth on this continent, a new nation, conceived in Liberty.”

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Hall, Robert A. "165 Broadway – A crucial node in American Structural Linguistics". Historiographia Linguistica 18, n.º 1 (1 de janeiro de 1991): 153–66. http://dx.doi.org/10.1075/hl.18.1.05hal.

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Summary During the Second World War, the United States Armed Forces Institute (USAFI) provided language teaching manuals and dictionaries for military and civilian use. From 1 July 1943 through 30 June 1945, this work was concentrated at an office which was located at 165 Broadway, New York City, and which was headed by a group of young, vigorous, and well trained linguists. The author provides a list of the personnel of this group and describes their activities and their relations with other developments in linguistics at that time and thereafter. Emphasis is placed on the crucial rôle of the ‘165 Broadway’ group in the application of structural linguistic analysis to the teaching of foreign languages in the United States in following decades.

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Shafer, Yvonne. "The New York Times Book of Broadway. Edited by Ben Brantley. New York: St. Martin's Press, 2001; pp. 268. $35 hardcover." Theatre Survey 43, n.º 02 (novembro de 2002): 286–87. http://dx.doi.org/10.1017/s004055740233014x.

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Kraus, Joe. "Broadway Boogie Woogie: Damon Runyon and the Making of New York City Culture (review)". MFS Modern Fiction Studies 50, n.º 3 (2004): 752–53. http://dx.doi.org/10.1353/mfs.2004.0072.

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Barros Costa, Hugo. "Nueva York: relatos gráficos". EGA. Revista de expresión gráfica arquitectónica 21, n.º 28 (29 de setembro de 2016): 258. http://dx.doi.org/10.4995/ega.2016.6300.

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<p>En el curso 2015/16 realicé una estancia, como profesor visitante, en la Escuela Parsons The New School, en Nueva York. Esta se centró en la investigación, la comunicación y la representación del Espacio Urbano y Paisaje. Pretendí registrar mi vivencia y relación emotiva con determinados espacios de esta ciudad, siendo que los barrios periféricos se proponían como alternativa a Manhattan. Intentar “ver”, a través del dibujo, esta excitante urbe, desde Long Island Beach al Bronx, fue una experiencia tan intensa como visualmente enriquecedora. Contemplar y posteriormente (o simultáneamente) expresar gráficamente el dinamismo, la atmósfera, las luces y las formas que sentí bajo las vigas metálicas de ciertas líneas de tren en Broadway, en el corazón de Brooklyn, fue tan desafiante como intenso y emocionante. De los cerca de 300 dibujos producidos, se seleccionó una pequeña muestra, que ilustra los diferentes temas, soportes, escalas y técnicas manipulados.</p>

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Guzek, Katie. "A Revolutionary Idea: Planning an Epic Hamil-Con". Children and Libraries 16, n.º 1 (15 de março de 2018): 33. http://dx.doi.org/10.5860/cal.16.1.33.

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If you’ve lived under a rock for the past year or two, you probably haven’t heard the catchy, rappy tunes from Lin-Manuel Miranda’s Broadway blockbuster Hamilton. But you didn’t have to live in New York to catch Revolutionary fever—it seems those infectious tunes about Alexander Hamilton and his contemporaries were everywhere—and no age was immune. Even though the lyrics had some sass, even elementary school kids were learning their history in a novel way and singing along.Why not capitalize on that success at a library? That was exactly what several of us librarians at Brown County Library—all the way in Northeastern Wisconsin, far from the throngs of Broadway—thought. So in late 2016 we began planning what we hoped would be our epic Hamil-Con.

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Burghardt, Linda F. "Crossing Broadway: Washington Heights and the Promise of New York City. By Robert W. Snyder." Oral History Review 43, n.º 1 (1 de abril de 2016): 208–10. http://dx.doi.org/10.1093/ohr/ohw028.

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De Souza Valle Neto, Júlio. "LUDWIG, Ken. How to teach your children Shakespeare. New York: Broadway Books, 2013. 350 p." FronteiraZ. Revista do Programa de Estudos Pós-Graduados em Literatura e Crítica Literária, n.º 23 (10 de dezembro de 2019): 223–28. http://dx.doi.org/10.23925/1983-4373.2019i23p223-228.

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Dearstyne, Bruce W. "Crossing Broadway: Washington Heights and the Promise of New York City by Robert W. Snyder". New York History 98, n.º 1 (2017): 156–59. http://dx.doi.org/10.1353/nyh.2017.0044.

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Breon, Robin. "‘Show Boat’: The Past Revisits the Present". Canadian Theatre Review 79-80 (junho de 1994): 70–79. http://dx.doi.org/10.3138/ctr.79-80.010.

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This October a major revival of the Jerome Kern/Oscar Hammerstein II musical, Show Boat, will open on Broadway. Based on Edna Ferber’s 1926 romantic novel about life on the Mississippi, the production is directed by Harold Prince and produced by Live Entertainment of Canada Inc.’s Garth Drabinsky. Show Boat will join LivEnt’s Tony Award-winning Kiss of the Spiderwoman which closed recently in London but is still playing in New York.

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Thompson, Cheryl. "The Show Did Go On". Canadian Theatre Review 187 (1 de julho de 2021): 91–93. http://dx.doi.org/10.3138/ctr.187.027.

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Using examples from Toronto’s newspapers, this article examines the impact of the 1918–19 Spanish flu pandemic on the city's theatre and the changes that followed in the twenties. Like during the COVID-19 pandemic, in 1918 health boards across Ontario ordered all theatres to close. However, after two weeks, theatres opened, and productions from New York City’s Broadway, such as the musical comedy Ask Dad, appeared at the Royal Alexandra Theatre, to rave reviews. Toronto’s stages became more diverse following the Spanish flu, with productions such as Shuffle Along, the first all-Black musical on Broadway, which hit the city’s stages in 1923, and one of the first locally cast shows, Amateur Minstrel Frolics, which appeared in 1924 at the Winter Garden Theatre. This article explores how and why the theatre changed after the last pandemic and what issues, such as those related to race and gender, lingered on.

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Spector, Susan. "Telling the Story of Albee's Who's Afraid of Virginia Woolf?: Theatre History and Mythmaking". Theatre Survey 31, n.º 2 (novembro de 1990): 177–99. http://dx.doi.org/10.1017/s0040557400009340.

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Who's Afraid of Virginia Woolf? opened on Broadway on 13 October 1962. The author, producers, director and two leading actors won Tony Awards for that season; the play won the New York Drama Critics' Award, and two members of the Pulitzer Committee resigned when that group refused to give Virginia Woolf its top honor. This production of the play captured the vigor and emotional daring of off-Broadway, brought it uptown, and made it pay, running for 644 performances on Broadway. Early in 1964, when Uta Hagen and Arthur Hill repeated their roles in London for twelve weeks, Who's Afraid of Virginia Woolf? became the first post-war American production to achieve a critical success in the West End. The story of this landmark production has been told piecemeal by writers in the popular press, by theatre historians, and in sharply differing accounts by its director, Alan Schneider. Collation of published testimony about the production with unpublished materials such as correspondence, diaries, and interviews with principals reveals the complex artistic process that led to the success of this play. The different versions of the story reveal the risks of storytelling and some of the challenges storytellers present to theatre historians.

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Asare, Masi. "The Black Broadway voice: calls and responses". Studies in Musical Theatre 14, n.º 3 (1 de dezembro de 2020): 343–59. http://dx.doi.org/10.1386/smt_00047_7.

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Black musical theatre artists in New York City share and theorize their experiences with industry expectations around racialized vocal performance. Musical director John Bronson, actor/singer Jamal James, composer/music director Dionne McClain-Freeney, composer/writer Khiyon Hursey, actor/singer Rheaume Crenshaw, actor/singer/voice teacher Elijah Caldwell, and actor/singer Zonya Love Johnson comprise the group. The artists grapple with the conundrum of sounding ‘Black enough’, how the demand for uniform Black vocalization confounds historical accuracy in period shows, and the fantasy of the generic, idealized ‘Black Broadway voice’. The group details unspoken, misguided industry assumptions that Black singers do not produce multiple kinds of belt sounds, do not use the vocal mix sound, and sing only in a heavy (power) sound virtuosically ornamented with riffs that evokes for (white) listeners a misleadingly monolithic idea of ‘the Black church’. As these artists point out, ‘We do not all go to the same church’; in fact, the ability to fluidly move between more classical (legit) and gospel vocal sounds may actually arise from a singer’s training in the church choir. Collectively these artists have worked on multiple Broadway and off-Broadway shows from The Color Purple to Hamilton and A Strange Loop, major tours and regional productions of shows such as Hair, Ain’t Misbehavin’, and Waitress, and hold songwriting credits from the prestigious BMI musical theatre writing workshop to Netflix. This conversation took place in October 2019.

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Loney, Glenn. "Entertaining Mr. Loney: an Early Interview with Joe Orton". New Theatre Quarterly 4, n.º 16 (novembro de 1988): 300–305. http://dx.doi.org/10.1017/s0266464x00002864.

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It is now twenty-one years since Joe Orton's death, though his relatively slender theatrical output has retained its freshness and power. After the modest West End success achieved by his first play to reach the stage. Entertaining Mr. Sloane, the New York production proved a failure, and the interview given by Orton to Glenn Loney in New York in October 1965, a few days before the Broadway opening, therefore went unpublished at the time. We print it now, as an intriguing sidelight on the attitudes and opinions of the playwright. It is placed in context by the widely-published theatre critic and teacher Glenn Loney, who also describes the brief, mainly epistolatory friendship with Orton that sprang from this first meeting.

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ROBERTCROSS, G. "Revenue management: Hard-core tactics for market domination by Robert G. Cross. Broadway Books, 1540 Broadway, New York, NY 10036, 1997. 276 pp. Hardcover, $27.50". Cornell Hotel and Restaurant Administration Quarterly 38, n.º 2 (abril de 1997): 17. http://dx.doi.org/10.1016/s0010-8804(97)81470-x.

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Mason, Jeffrey D. "American Theatre in the Culture of the Cold War: Producing and Contesting Containment, 1947–1962. By Bruce A. McConachie. Studies in Theatre History & Culture. Iowa City: University of Iowa Press, 2003; pp. xiv + 347; 15 illus. $49.95 cloth." Theatre Survey 46, n.º 2 (25 de outubro de 2005): 341–43. http://dx.doi.org/10.1017/s0040557405360200.

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From 1947 to 1962, Broadway audiences enjoyed major works by Tennessee Williams and Arthur Miller as well as plays ranging from A Thousand Clowns to Who's Afraid of Virginia Woolf? and a string of durable musical comedies offering light and dark visions of the urban streets (Guys and Dolls and West Side Story), inspirational fables (The Music Man and The Sound of Music), and war in legend and in recent memory (Camelot and South Pacific). Meanwhile, Judith Malina and Julian Beck founded the Living Theatre, José Quintero and Theodore Mann established the Circle in the Square, Joe Papp offered his first free Shakespeare productions in New York City parks, and Joe Cino and Ellen Stewart led the development of Off-Off Broadway. This heterogeneous theatre scene comprised diverse and even competing representations of a complex but interconnected culture, and Bruce A. McConachie has undertaken the task of elucidating the workings of such art not in isolation but as cultural and social production.

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Mok, Christine. "East West Players and After: Acting and Activism". Theatre Survey 57, n.º 2 (13 de abril de 2016): 253–63. http://dx.doi.org/10.1017/s0040557416000107.

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“Where are all the Asian actors in mainstream New York theatre?” What began as a plaintive status update on Facebook launched a full-scale investigation by Asian American actors that culminated in a report titled “Ethnic Representation on New York City Stages” and the formation in the fall of 2011 of an advocacy group, the Asian American Performers Action Coalition (AAPAC). AAPAC's findings were disheartening. In the preceding five years, Asian Americans had received only 3 percent of all available roles in not-for-profit theatre and only 1.5 percent of all available roles on Broadway. The percentage of roles filled by African American and Latino actors, in contrast, had increased since 2009. According to the report, “Asian Americans were the only minority group to see their numbers go down from levels set five years ago.” The data AAPAC compiled were both surprising in their concreteness and unsurprising in their bleakness. The Facebook query sparked an active digital conversation that touched a collective sense of discord just below the surface for many Asian American theatre artists, especially actors. Ralph Peña, artistic director of Ma-Yi Theatre Company, invited key Facebook commenters to hold a more formal conversation about access, embodiment, and Asian American representation. This group, many of whom were artists in midcareer, trained at top conservatories, and fostered in New York City's vibrant Asian American theatre community, became the Steering Committee of AAPAC. The members of the Steering Committee channeled their frustration and anger into archive fever by researching and documenting ethnic representation on Broadway and in sixteen of the largest not-for-profit theatres in New York City over a five-year period. In front of an audience of three hundred, members of AAPAC presented their findings at a roundtable at Fordham University on 13 February 2012 that included prominent artistic directors, agents, directors, casting directors, and producers and was moderated by David Henry Hwang. With the report in hand, AAPAC members roused the New York theatre community with a series of town hall–style meetings and urged theatrical production gatekeepers to do, if not better, then, something.

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Elliott, Charles W. "Revenue ManagementRevenue Management By CrossRobert G., New York: Broadway Books, 1997. 276 pages, hard cover, $27.50". Academy of Management Perspectives 11, n.º 2 (maio de 1997): 87–89. http://dx.doi.org/10.5465/ame.1997.9707132131.

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Purnell, B. "The African Burial Ground National Monument. 290 Broadway, 1st Floor, New York, N.Y. http://www.nps.gov/afbg/". Journal of American History 97, n.º 3 (1 de dezembro de 2010): 736–40. http://dx.doi.org/10.1093/jahist/97.3.736.

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