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American vaudeville quizlet
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At a hundred and four years old, the State Theatre still stands as one of Bay City's most recognizable landmarks. Despite floods, fires, and a century's worth of history, the theater proudly remains and operates on Washington Street. Dozens of events are put on there each year. Orchestras, Vaudeville, various musical groups, and comedians are just a few of the thousands of acts that have been housed within its walls. The building inside has been remodeled various times over the last few decades, and each time parts of the past have been found. Though there's a haunting presence, the six hundred seat house is still full for most events. The theater may not be run by the same employees, and the jobs have changed, but the theater is still as loved by many as it was when it was first opened. The State Theatre of Bay City has one thrilling past from its century of being alive! Competition of other theaters was high in 1906 when The Bijou Theater, now known as The State Theatre, first opened on the “third floor of [the] Ridotto Building, located at the corner of Center and Madison Street in Bay City” (Greene). There was the “Alvarado, Lyric, Grotto, Temple, Roxy, Regent, Empire, and various Opera Houses, all located on [the theaters present day road], Washington Avenue, between the years 1870 and 1960” (LaLonde). On September 6, 1908 “the Bijou Theater was opened in a new building on Washington Avenue” where they joined the higher ranks of competition, and vaudeville was soon to be the main entertainment offered (LaLonde). “The building was owned by Worthy L. Churchill, and managed by Dan Pilmore” (Do you remember...?). In August of 1920 the Theater was renamed the Orpheum Theater, and in 1926 they began showing motion pictures (Green... ... middle of paper ... ... Kart, Jeff. “Dow Chemical gives land mark donations.” Bay City Times 12 July 2005: A2: Print. LaLonde, Pati. “Dazzling Display.” Bay City Times 12 Sep. 2008: A2: Print. LaLonde, Pati. “Lecture, concert will tell State Theater History.” Bay City Times 7 Oct. 2010: C1: Print. LaLonde, Pati. “Out with the old.” Bay City Times 15 Aug. 2008: A1: Print. LaLonde, Pati. “State Theater will offer one last look at its past.” Bay City Times 8 May 2008: A1. Print. Lee, Frank C. “State Theater receives $500,000 gift.” Bay City Times 28 Feb. 2002: A1: Print. Nowlin, Micheal K. “Curtain Closing?” Bay City Times 25 Dec. 1997: B2: Print. Stamiris, Sheila. “Downtown's theater is big success story.” Bay City Times 9 Apr. 1993: A3: Print. State Theater Ghost. Bay City, Michigan: n.p., 2003. Print. Turner, Mike. “State is labor of love.” Bay City Times 14 June 1992: C2: Print.
Concluding the Federal Theatre Project, it has accomplished the goal of introducing theatre to millions who had never seen theatre before. It employed thousands of people, initiated European epic theatre and Living Newspaper theatre techniques to the United States, and for this reason could be seen as a vast achievement.
Theatres and How We Had Fun." Little, Brown, and Company. (Boston, Toronto, London); 1991. P. 139, 144.
Motion pictures from Hollywood had taken Broadway’s place as the king of entertainment. The main reason behind this was that because it was culturally relevant and coming out with new flashy techniques such as Todd-AO and Cinerama.
Kenrick, John. Musical Theatre A History. New York: The Continuum International Publishing Group, 2008. Print.
Ross, Janice. “Judson Dance Theatre: Performative Traces.” TDR: The Drama Review 53, no. 2 (2009): 161-164
Popularity for live performances heightened exponentially during the late nineteenth century. The United States flourished with circuses, ballparks for sporting events, night clubs, world and state fairs, as well as theatrical road shows. Growing amusement parks, such as Coney Island, attracted customer attendance not just by supplying thrillingly-fun rides, but by also providing an array of the newly emerging vaudeville theatrical shows. Vaudeville was gaining much popularity because it strived to appeal to people of all socioeconomic classes and cultural background as well as offered low admission prices. It consisted of a diversity of individual performances which could range from comical skits, singing, acrobatic stunts to magic shows. “Variety theatre drew larger audiences than the ‘legitimate’ theater which presented classical performances” (Administrator). For this reason, vaudeville theatre was gaining much attraction because it was able to enthrall the population with a wide range of
Stempel, Larry. Showtime: A History of the Broadway Musical Theater. New York: W. W. Norton & Company, Inc., 2010.
Before the life on Broadway, before famous hit musicals such as the Sweeney Todd, Phantom, Chicago and Annie, that drove people into New York to see America’s professional theatre. The America’s professional theatre was spread throughout the country. In the mid- to late-19th century, actors and managers would put together a company and tours playing for weeks at a time in cities such as Chicago, San Francisco and they also performed in little towns along the way. But then came the Theatrical Syndicate, which was often referred to as “The Syndicate.” Which composed of six men that would change the United States theatre forever.
Goodwin, Susan and Becky Bradley . "1960-1969." American Cultural History. Lone Star College-Kingwood Library, 1999. Web. 7 Feb. 2011
From the late 1800’s up through the present date, musical theater has changed. Though customs and love for the theater will always be carried on, origins, trends, and styles will change throughout time.
The theater opened in october 1860. On january 20, 1896 the opera house was rebuilt after a raging fire destroyed the building on December 30, 1894. For many years people had performed at the city theater before one evening on halloween night, 1904 when there was an actress named Eva Gray. After a performance of “Goodbye, little girl, goodbye” Gray passed away backstage with her 4 year old daughter
Biliter’s willingness to act in the unorthodox role may not have catapulted him into the limelight as an actor, but it did solidify the trust between him and the founder of Mudlark Theater. Since his onstage debut, Biliter now finds himself working behind the scenes. Now, he is Mudlark’s artistic director, and provides an outlet for Evanston’s young thespians to explore their craft while being respected as genuine artists.
Mackay, Constance D'Arcy. The Little Theatre in the United States. New York: H. Holt, 1917. Print.
Brockett, Oscar G., and Oscar G. Brockett. The Essential Theatre. New York: Holt, Rinehart and Winston, 1976. Print.
My experience watching a live theatre performance on stage was a fascinating one, most especially since it was my first time. I attended a staged performance of “The History Boys” in a small theatre called “The Little Theatre of Alexandria” at 8:00 pm on Wednesday June 8, 2016 in Alexandria, Virginia. The overall production of the play was a resounding experience for me particularly the performance of the actors and the design of the scene made the play seem real.