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Biography of George Cohan
George Michael Cohan was a great American playwright, composer, producer, and actor. He was famous for his fast-paced style as a song-dance man and for his lively musicals, which set the trend on Broadway in the 1920s. Cohan was a dedicated man who spent 56 of his 64 years on the stage. During his lifetime, he wrote 40 plays, collaborated with others on another 40 plays, and shared production of still another 150 plays. He made over a 1000 appearances as an actor. Some of the more than 500 songs that he wrote were major national hits. Born in Providence, Rhode Island on the 4th of July, George Michael was named after George Washington. It seems George Michael Cohan was destine to be a patriotic leader from the beginning. His parents were circuit-traveling vaudevillians, Jeremiah and Helen Cohan, who had three children. The first died in infancy, George was the second child and Josephine followed him two years later. The life of all vaudevillians in those days was to have the family 'lived out of a trunk', traveling from town to town, staying in shabby boarding houses. Often the children would sleep in the theater dressing room while the parents were on stage. George had only a mild taste of public school education, as well as just a few lessons on the violin. The theater became his school, - and he was an apt pupil. He appeared in one of his parent's stage sketches as a 'prop' while still an infant. When he was nine years old, he became a member of the act, with his sister Josephine joining him just one year later. Now, the act was officially known as 'The Four Cohans'. George would do sentimental recitations, and often perform a "buck and wing dance." By age ...
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...pects to Broadway. He asked his nurse to accompany him on a taxi ride from Union Square up to Times Square, stopping briefly at the Hollywood Theater, to watch some scenes from 'Yankee Doodle Dandy'. Cohan was taking one last look at all the places he had worked and starred. He was never to see Broadway again. George M. Cohan died on Nov. 5, 1942. President Roosevelt wired, "A beloved figure is lost to our national life."
Bibliography:
End Notes
1 Buckner, Robert. Yankee Doodle Dandy. University of Wisconsin Pr: ISBN
Published 1981
2 McCabe, John. George Michael Cohan: The Man Who Owned Broadway.
Smithsonian Institution Copyright 1990
3 "Cohan, George M." Encarta 2000, Microsoft Corp. Copyright 1992.
4 Internet, Encyclopedia Entry. February 27, 2000
http://infoplease.lycos.com/ce5/CE011761.html
...oyd. She started acting again to tell the story of her spying. She died on stage because of a heart attack. She died at age 56.
Merman’s first big Broadway musical was in George and Ira Gershwin’s Girl Crazy (1930). She made a noticeable vocal performance, the musical produced songs like, “I Got Rhythm,” in which she belted a C note for sixteen bars, something that audience members had never seen before (Kenrick). Merman’s performance was described mainly a singing performance where her lines were kept to a minimum and she let her voice do all the talking...
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The death of Robert Johnson was tragic and the myths that surround him will last forever. In August 1938, Johnson played the last show of his life. The jealous husband of a woman that he began an affair with while in Greenwood, Mississippi poisoned Johnson. During the show the husband poisoned Johnson's whiskey. Johnson died on August 13th, 1938, three days after he was poisoned.
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James Joseph Brown was born on (May 3 1933- December 25 2006) in Barnwell California. Him and his family lived in extreme poverty when he was a child. They later moved to Augusta when he turned four or five. When they got there, they decided to live with their aunt. Eventually, James’s mother left the family and moved to New York. He would spend a great amount of time alone, and it was hard for him to stay in school. He managed to stay in school until sixth grade. When he was still young, he would sing in talent shows. His first appearance was at Augusta’s Lenox Theater in 1944, and won by singing the ballad, “So Long’’. Sometimes, he would go to camps and perform different dances to entertain troops. During this period, he learned how to play different instruments such as the piano,guitar,and the harmonica. Later, he became inspired to be an entertainer after hearing Tympany Five,Caldonia,and Louis Jordan.
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From 1879 until 1884 the variety team of Edward Harrigan and Tony Hart produced and performed in musical farces set on the streets of New York. The main focus of the shows was on lower class immigrant life, depicting real-life problems as interracial tensions, political corruption and gang violence. Harrigan and Hart are best known as the creators of musical comedy. They made these problems into harmless humor. “Harrigan and Hart’s shows had scores in the style of contemporary popular music with simple melodies and lyrics, lots of sentiment and a wry sense of street-smart humor (musicals 101.com).
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Throughout the late nineteen twenties and early nineteen thirties a significant development in the world of theater began. This movement was called The Workers' Theatre and it was partially shaped by the agitprop theatre of communist Russia. Agitprop theatre contained brief bits and were performed on transportable entities of theater. Agitprop Theater performers frequently performed songs which strained to enrage listeners to resist entrepreneurship and acknowledge the ways of communism. They wanted their audience to consent to the notion that the working-class would arise. The Russian Communist agitprop theatre correspondingly utilized presentations, presentational performing, lack of plot, and montages to promote their philosophies. Ultimately, The Worker’s Theatre weakened in significance during the mid-nineteen thirties and one of the developments assisting the deterioration of the Workers' Theatre Movement through use of various approaches and dramaturgical tools originated by The Worker’s Theatre was the establishment of the Federal Theatre Project. As soon as the government acquired the role of positioning individuals to produce theatre, the government had the capability to incorporate the advance. The Federal Theatre Project tried to give jobless theater personal work because trendy radio shows and films with sound had nearly substituted vaudeville as America's preferred practices of performing, and many of even the best vaudevillians lost their jobs. The Federal Theatre Project also attempted to perform theatre which was pertinent within society and politics, was local, and had an affordable price range. A majority of The Federal Theatre Project’s well known work was produced in New York City. The New York Branch containe...