Johannes in retroland

Archive for the ‘theater’ Category

Bron: magazineart.org/general/musicandtheater/theatre

( … ) Davis followed Florodora at the Lyric Theatre with a second Stuart/Hall musical The Silver Slipper. If its musical content seemed to be moulded rather closely on the Florodora score, it nevertheless fulfilled the ‘more of the same’ requirements opened by the extravagant success of the earlier show and The Silver Slipper had good runs in the West End and on Broadway, as well as being played in Hungarian in Budapest and in German in Berlin, where it played at the Neues Königliches Opernhaus in repertoire with no less pieces than Der Zigeunerbaron and Der Bettelstudent. ( … )

Bron: math.boisestate.edu

The largest apparent separation between Houdini and Thurston was their views on Spiritualism. Houdini spent tremendous amounts of time and energy exposing fraudulent mediums and spiritualists during the last years of his life. Thurston supported Spiritualism. While Houdini did believe in an afterlife, he felt that afterlife is so bizarre and unreachable that it has no relationship to our world and life. He saw the Spiritualist movement of his age to be a complete farce. Thurston, on the other hand, was friendly to the movement.

Bron: Houdini and Thurston

But perhaps one of Kellar’s least known advancements in magic, would be his modification to the levitation illusion, as was later purchased by Blackstone from the Kellar estate. Blackstone successfully used the illusion for many years.

Bron: magicandillusion.com

rainfall.com/posters/Theatrical

Born in Nashville, Tennessee, on June 7, probably in 1870 (some sources give 1868 or 1876), Alice Nielsen grew up in Warrensburg and then Kansas City, Missouri. She sang in a church choir and received some voice instruction from a local teacher. About 1886 she had the opportunity to sing in a touring juvenile production of The Mikado. Her marriage to Benjamin Nentwig in 1889 was short-lived. In 1892 she and three other singers formed the Chicago Church Choir Company, and, after an unsuccessful tour through Missouri, she joined the Burton Stanley traveling opera company. In Oakland, California, she appeared as Yum-Yum in the Stanley production of The Mikado in 1893. The next year, after a period at the Wigwam, a San Francisco music hall, she joined the Tivoli Opera Company, with which she made her grand operatic debut in Lucia di Lammermoor.

Bron: britannica.com