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lillytova · 4 months ago

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Lisa Giammarino: A Visionary in the Kingdom of Art and Mystery

Imagine stepping into a world where creativity knows no bounds, where each stroke of genius is an act of fearless rising. This is the kingdpm of Lisa Giammarino, a name that echos with cinematic allure and boundless imagination. From vogue classics like The Toxic Avenger series and Class of Nuke ’Em High to artistic ventures that transcend the screen, Lisa’s journey is one of intrigue, boldness, and inspiration.

A Fearless Leap Into the Unknown

Born in the heart of Baltimore, Maryland, Lisa’s story begins with a single daring decision. At just 18, she left behind the familiar to embrace the electric pulse of New York City. Here, girl immersed herself in the city’s vibrant artistic undercurrents, studying under the iconic Lee Strasberg. For Lisa Giammarino, these masterclasses were not merely lessons they were transformative experiences that etched the foundations of her craft.

But her hunger for growth did not stop there. The bright lights of Los Angeles beckoned, and Lisa answered, earning a coveted scholarship to the Beverly Hills Playhouse. There, under the guidance of industry luminaries, her raw talent evolved into a dynamic force of nature.

Stardom, With a Twist

Lisa’s star rose in the unlikeliest of places: the campy yet subversive world of Troma Entertainment. As Ms. Malfaire in The Toxic Avenger Part II and Part III, Lisa embodied a villainess whose wit and charm were as sharp as her towering hairstyles. Then came her unforgettable turn as Professor Holt in Class of Nuke ’Em High Part II and Part III, performances that fused satire and spectacle to cement her status as a cult icon.

It was not just acting it was a fearless embrace of the unconventional. Through these roles, Lisa Giammarino carved a niche where indie audacity met cultural commentary, earning a devoted following that persists to this day.

Beyond the Camera's Gaze

Acting was only the beginning of Lisa’s creative odyssey. She channeled her vision into NOWORDS Studio in Los Angeles, an experimental haven where poetry, avant garde films, and daring exhibitions collided. This was a space for boundary breaking, a crucible for artistic alchemy.

Her reach extended even further when she became the U.S. curator for "Xenographia" at the Venice Biennale, sharing her vision on an international stage. Collaborations with luminaries like Gordon Parks showcased her ability to transcend mediums, bringing innovation and soul to every project she touched.

The Pulse of New York’s Nightlife

For Lisa, art was not confined to galleries or studios it thrived in the bustling heartbeat of New York’s nightlife. As a host of impressive events at legendary venues like Danceteria as well as Limelight, she became a cultural magnet, drawing together the city’s creative elite and enstablishment. Her captivating presence graced the pages of the New York Post’s Page Six, a testament to her role as a connector between the avant garde and the glamorous.

A Legacy Without Limits

Lisa Giammarino’s story is one of audacity and endless reinvention. From indie film sets to global art stages, she reminds us that creativity thrives where limits dissolve. Her journey is not just a narrative it is an invitation to explore, to dare, and to dream.

Lisa’s fearless artistry continues to inspire, a beacon for anyone ready to embrace the extraordinary.

For more info: https://x.com/lisa_giammarino/status/1866093722414600699

Tag: Lisa Giammarino NJ

#lisagiammarinonj #fashion #lifestyle #simplicity #style #outfit

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ajoytobeheld · 1 year ago

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North American fall tour

August 24th, 2010

It is our great pleasure to announce that this coming October we will be returning to the United States for a run of shows along the East Coast and down a bit. They are as follows…

10/08/10 – Toronto, ON @ Wrongbar (All Ages) 10/09/10 – Laval, PQ @ Maison des Arts de Laval (All Ages) 10/10/10 – South Burlington, VT @ Higher Ground (All Ages) 10/12/10 – Philadelphia, PA @ Johnny Brenda’s (21+) 10/13/10 – New Haven, CT @ Toad’s Place (All Ages) 10/15/10 – Brooklyn, NY @ Music Hall of Williamsburg (16+) 10/16/10 – Brooklyn, NY @ Music Hall of Williamsburg (16+) 10/17/10 – Baltimore, MD @ Ram’s Head Live (All Ages) 10/18/10 – Carrboro, NC @ Cat’s Cradle (All Ages) 10/19/10 – Charlotte, NC @ Visulite Theatre (16+) 10/20/10 – Atlanta, GA @ Variety Playhouse (All Ages) 10/22/10 – Dallas, TX @ Granada Theatre (14+) 10/23/10 – Austin, TX @ La Zona Rosa (All Ages) 10/24/10 – Houston, TX @ Warehouse Live (All Ages) 10/25/10 – New Orleans, LA @ Republic (18+) 10/26/10 – St. Louis, MO @ Firebird (All Ages) 10/27/10 – Iowa City, IA @ The Blue Moose (All Ages)

I will update with news of age restrictions as soon as I am made aware of them all. As ever, we will endeavour to make as many shows All Ages as possible.

Apologies if we’re not playing somewhere that you want us to be playing.

Support to be announced soon.

PLUS as an initial offer, if you buy a ticket for any of the tour dates from GalleryAC.com you will receive a digital copy of our recent ‘All’s Well That Ends’ EP, FREE.

Here’s a video Ellen made of our last US tour. MAGIC:

#2010 #gareth!blog #lc!blog

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limoteethw · 2 years ago

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lenbryant · 2 years ago

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#LongPost - Awesome news! The Geffen Playhouse now has a new Artistic Director. Great choice!

(LATimes) Playwright and ‘Moonlight’ screenwriter Tarell Alvin McCraney to lead Geffen Playhouse By Charles McNulty, Jessica Gelt Sept. 12, 2023 Photo: Tarell Alvin McCraney photographed on the stage of the Geffen Playhouse.

Playwright and Oscar-winning screenwriter Tarell Alvin McCraney is the new artistic director of Geffen Playhouse, and is photographed on the stage of the theater. (Jay L. Clendenin / Los Angeles Times)

Playwright and Academy Award-winning screenwriter Tarell Alvin McCraney has been named artistic director of the Geffen Playhouse. The appointment, which is effective immediately, places one of the most accomplished dramatists of his generation at the helm of the city’s most prominent Westside theater.

McCraney is best known for the Oscar-winning film “Moonlight,” which was adapted from his drama “In Moonlight Black Boys Look Blue.” His hire represents the second major appointment of an artistic director of color in Los Angeles in recent months, following the announcement in April of Snehal Desai as the new leader of Center Theatre Group.

Filling the Geffen Playhouse’s top artistic job with a 42-year-old Black queer playwright is part of the epochal shift that has gained momentum in the American theater since the murder of George Floyd prompted a national reckoning on race. Theater companies have been taking a closer look at long-standing biases that have limited the range of their artistic programming and curtailed diversity in their executive ranks.

“There’s something happening right now where the folks who are leading the institutions are friends and colleagues, people I look up to,” McCraney said in an interview at the Geffen Playhouse, naming Desai and former Baltimore Center Stage artistic director Stephanie Ybarra, both of whom were his classmates at the Yale School of Drama. “It just felt selfish, sitting on the sidelines. I felt like you need to get in there to make a difference.”

McCraney has long made a difference in American theater, said friend and collaborator Oskar Eustis, artistic director of New York’s Public Theater. Eustis met McCraney after seeing his play “The Brothers Size” when McCraney was still a student at Yale School of Drama.

“It was just beautiful,” recalled Eustis. “We did something we’ve never done before or since. It was his thesis production, and we just picked up the entire production and brought it to the Public.”

“The Brothers Size” was part of autobiographically resonant trilogy “The Brother/Sister Plays,” co-produced by the McCarter Theatre and New York Public Theater in 2009, and marked McCraney’s entrance into the theater scene. Since then, said Eustis, McCraney has been a force of nature, making a name for himself not only as a playwright but as a screenwriter, actor, director and teacher.

His appointment comes at an inflection point for American theater, when organizations across the country are facing extreme financial, cultural and political headwinds, and leaders are struggling to find ways to build and maintain robust audiences and theatergoing communities.

A Black man dressed in black sits in front of red drapes. Playwright and Oscar-winning screenwriter Tarell Alvin McCraney is the new artistic director of Westwood’s Geffen Playhouse, where he was photographed on Sept. 1, 2023. (Jay L. Clendenin / Los Angeles Times) McCraney is fully cognizant of the multiple crises he will be asked to manage. The news of late has gone from bad to worse, with the temporary suspension of programming at the Mark Taper Forum, theater closures throughout the nation and widespread layoffs affecting even such premier venues as the Public Theater and Chicago’s Steppenwolf Theatre Company, where McCraney is an ensemble member.

The Geffen Playhouse hasn’t been impervious to the financial shocks that have battered the field — a combination of declining post-pandemic attendance, rising costs and the withdrawal of emergency government funding. But according to Gil Cates Jr., the Geffen’s executive director and chief executive, the theater has been able to weather the storm nonetheless. A consensus has arisen that the nonprofit theater business model is broken, but McCraney isn’t walking into an emergency situation — a rare luxury for a newly appointed artistic director.

“This is a very tough time,” Cates Jr. said in a conversation in the courtyard of the Geffen Playhouse, which was founded by his father, Gil Cates, in 1994. “I don’t take anything for granted. Looking around you see how you could get to a place with show cancellations and staff layoffs real quick. But we’re in a healthy place at the moment in large part because of the choices we made.”

The board of directors, Cates Jr. said, has encouraged an atmosphere of “healthy risk.” And that artistic investment has apparently paid off. The Geffen Stayhouse, the digital theater initiative that flourished during the COVID-19 pandemic, maintained a vital connection with existing audiences during the period of closure while expanding visibility for the Playhouse far beyond its usual radius.

Last season’s production of “The Inheritance,” the two-part Tony-winning gay epic drama by Matthew López, was one of the largest undertakings in Geffen Playhouse history — a sign that the theater was not allowing industry headwinds to deter its ambition. Audiences have appreciated the boldness. Cates Jr. said the Playhouse was already on the verge of meeting its subscription goal for the new fiscal year that began Sept. 1. He attributed this success to the investment in artistic programming made last season.

McCraney’s experience with Hollywood makes him uniquely poised to helm an L.A.-based institution, allowing him to tap into the riches of both the theater and the screen. “Moonlight” was directed by Barry Jenkins and earned Jenkins and McCraney an Oscar for Best Adapted Screenplay. While not strictly autobiographical, the film reflects aspects of the playwright’s own story.

Like Chiron in “Moonlight,” McCraney grew up in the rough and tumble of Miami’s Liberty City neighborhood, a queer Black youth struggling to survive with his dignity intact. His mother suffered from addiction and died from AIDS-related complications when McCraney was 22.

The arts were more than recreation to him as a young man — they were his salvation. He attended New World School of the Arts in Miami and found an early mentor in Teo Castellanos, who directed an improv troupe that McCraney joined as a teen. Castellanos later welcomed him into D-Projects, a contemporary dance and theater company that looks at social issues through the lens of intercultural performance. McCraney remains a member of the company.

A graduate of the Theater School at DePaul University and the Yale School of Drama, where he received his M.F.A. in playwriting, McCraney has made teaching an integral part of his artistic life. He stepped down as co-chair of Yale’s playwriting program but maintains his title of Eugene O’Neill Professor in the Practice of Playwriting at what is now called the David Geffen School of Drama at Yale University.

James Bundy, dean of the David Geffen School of Drama and artistic director of Yale Repertory Theatre, praised McCraney by email: “Tarell is a world-class artist and a most inspiring collaborator. Having known him as a student, a field leader, and colleague, I have long recognized him as an exemplar of everything that is both wonderful and promising about the American theater. Like so many great writers, he is a deep listener and brilliant speaker. He is also a courageous and compassionate visionary, who will change Los Angeles artists and audiences just as he has changed so many of us who have been fortunate enough to know him and his work well. Lucky L.A.!”

McCraney, whom Eustis described as “one of the most important, talented and ambitious theater makers of the last 50 years,” initially captivated the theater world with the free-form lyricism and raw courage of “The Brother/Sister Plays.” His play “Choir Boy,” the story of a gifted queer Black youth finding his voice in a bullying prep-school environment, was produced at the Geffen Playhouse in 2014.

His association with the Playhouse continued with the announcement in February 2020 that a residency would be established for Cast Iron Entertainment, a cohort of artists that includes McCraney, Emmy winner Sterling K. Brown (“This Is Us”), Glenn Davis (“Billions”), Brian Tyree Henry (“Atlanta”), Jon Michael Hill (“Widows”) and André Holland (“Moonlight”). Plans were waylaid by the pandemic, but McCraney is intent on fulfilling the promise of this Geffen Playhouse-Cast Iron Entertainment union.

Miami is still McCraney’s spiritual home. He is looking for a place to live in Los Angeles, a city he knows well from his work as a screenwriter, and is expected to be full-time at the Geffen Playhouse by Dec. 1.

The creator of the coming-of-age TV drama series “David Makes Man,” McCraney calls himself a theater artist first, but one who enjoys extending his imagination into film and television. He was attracted to the Geffen Playhouse in part because of the unique place it occupies in Los Angeles’ cultural landscape.

Gil Cates, who died in 2011, founded the Geffen Playhouse in the backyard of the entertainment industry. A Hollywood macher who long served as a producer of the Academy Awards broadcast, he wanted the theater to be a place where movie and television artists with stage backgrounds could work alongside dedicated theater professionals. And this mission has been carried forward by his successors.

McCraney hopes to make this nexus available to a new generation of artists who feel a deep affinity for the stage and would like to be able to commute regularly between mediums in their hometown. He wants Los Angeles-based talent working in film and television not to feel as if they have to fly to New York to do a play or musical.

Saddened by the talent drain in his own town, he reflected, “I wish someone had said, ‘Hey, Miami artists, come home and do this work.’ Folks born and raised in L.A. shouldn’t have to go elsewhere to be theater artists.”

McCraney’s application was both surprising and alluring. Directors and creative producers, more than playwrights, are the go-to candidates for these positions. The reason for this isn’t rooted in ability so much as sensibility. Artistic director is to a large extent a management job. Writers can manage as well as anyone, but directors have experience running the show.

“This is a moment to be bold, inventive, to take risks, to have vision — and Tarell has all of that,” Cates Jr. said. “And it’s not like he’s coming in just looking for an artistic director job. This was the only artistic director job he applied for. That intrigued me.”

Matt Shakman, the Geffen Playhouse’s last artistic director, who succeeded Randall Arney in the role, had a burgeoning film career that inevitably divided his attention. Being an artistic director is an all-consuming responsibility, even more so in these straitened times. Signs of strain were apparent at the Geffen Playhouse in 2021 when playwright Dominique Morisseau pulled her play “Paradise Blue” a week after its West Coast premiere, stating that the Geffen had failed to act after learning of a situation in which Black women artists were being verbally abused and diminished.”

“The more hands-on a person can be in this job, the better it is for the theater,” Cates Jr. acknowledged. “Tarell knows that this isn’t a part-time gig at the Geffen. He’s committed to being here, to being in Los Angeles. He’s in tune with what the Geffen Playhouse needs and what the American theater needs.”

This passion to serve the American theater as it moves uncertainly through this difficult post-pandemic period while striving to fulfill its democratic promise has clearly inspired McCraney to redirect his focus.

“Democracy exists not so that we all feel the same about something but so that we can feel differently about something but choose to live together anyway,” he said. “I always thought that the theater should do that.”

#geffen playhouse #artistic director #theater #theatre #stages #stage #legit #tarell alvin mccraney #moonlight #oscar winner #playwrights #playwright #refrigerator magnet

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icebabyrentals · 2 years ago

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disease · 4 years ago

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JOHN WATERS: “THIS FILTHY WORLD” NYC, 2006 | DISCUSSING EDITH MASSEY

#DVD RIP #video #john waters #this filthy world #edith massey #stand-up comedy #jeff garlin #queer #NYC #harry dejour playhouse #lol #dreamlanders #baltimore #trash culture #u #import

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twixnmix · 4 years ago

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Vintage Concert Posters

Civic Auditorium (Honolulu, HI) - February 20 - 22, 1958

The Old Armory (Franklin, VA) - February 1, 1964

Pacific Ballroom (San Diego, CA) - October 18, 1964

Exhibition Gardens (Vancouver, B.C.) - December 4, 1964

Memorial Auditorium (Chattanooga, TN) - June 21, 1965

Convention Center (Louisville, KY) - July 31, 1965

Civic Playhouse (Wichita, KS) - December 8, 1966

Civic Auditorium (Knoxville, TN) - October 28, 1967

Embassy Room (Baltimore, MD) - December 24, 1967

Civic Auditorium (Knoxville, TN) - September 27, 1968

#frankie lymon #otis redding #little richard #bobby bland #marvin gaye #motown #the four tops #james brown #ike & tina turner #solomon burke #the drifters #aretha franklin #1960s music #1960s #sixties #concert posters #rhythm and blues #R&B #soul music

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grudnick · 2 years ago

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The Residents by Skatole Grudnick Via Flickr: The Residents ! April 1 2023 at the Ottobar in Baltimore, Maryland. The Residents 2023 Tour Dates: 03/16 – Portland, OR @ Wonder Ballroom 03/17 – Seattle, WA @ Fremont Abbey Arts Center 03/18 – Vancouver, BC @ Hollywood Theatre 03/20 – Salt Lake City, UT @ Urban Lounge 03/21 – Denver, CO @ Bluebird Theater 03/23 – Minneapolis, MN @ The Cedar 03/24 – Chicago, IL @ Lincoln Hall 03/25 – Detroit, MI @ Museum of Contemporary Art Detroit 03/27 – South Burlington @ Higher Ground 03/28 – Cambridge, MA @ The Sinclair 03/30 – New York, NY @ (Le) Poisson Rouge 03/31 – Philadelphia, PA @ The Foundry at the Fillmore 04/01 – Baltimore, MD @ Ottobar 04/02 – Carrboro, NC @ Cat’s Cradle 04/03 – Atlanta, GA @ Variety Playhouse 04/05 – New Orleans, LA @ The Broadside 04/07 – Dallas, TX @ The Kessler 04/08 – Houston, TX @ The Heights Theater 04/09 – Austin, TX @ The Parish 04/12 – Tucson, AZ @ 191 Toole 04/15 – Santa Cruz, CA @ Rio Theatre 04/17 – San Francisco @ Great American Music Hall 04/18 – San Francisco @ Great American Music Hall 04/19 – San Francisco @ Great American Music Hall

#Flickr

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thedungeonstore · 3 months ago

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Tonight, we're at Baltimore Playhouse for their Immoral Behavior play party. Ask for a test drive of our violet wand, get a feel for our floggers, paddles n' whips, and check out our oracle cards and books. RSVP and get details at https://fetlife.com/events/1687378

#the dungeon store #bd/sm events #bd/sm community #bd/sm lifestyle #baltimore #baltimore playhouse

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outoftowninac · 3 years ago

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MISS BLUE EYES

1918

Miss Blue Eyes is a musical by Silvio Hein (music), Edward Poulton (lyrics), and George V. Hobart (book), based on Hobart’s 1917 non-musical farce What’s Your Husband Doing?

The action of the musical takes place within 24 hours. It was described as a musical “For wives and for husbands and for others”! So...everyone.

The comedy concerns a divorce lawyer without a divorce, a road-house without a scandal, and a jail without a culprit, its story having to do with two lawyers who, in their efforts to placate the jealous wife of the one and the fiancée of the other, suddenly find themselves in an unexpectedly complicated series of events fur which the divorce court is supposed to he the only remedy.

The musical had its world premiere at Nixon’s Apollo Theatre on the Boardwalk in Atlantic City on September 30, 1918.

Then one night to the Academy of Music (Lebanon PA) on October 4th.

One night at the Orpheum in Harrisburg PA, at which cast member Kenneth Christy was celebrated as the hometown boy made good.

In Baltimore, the musical, which had heretofore received mixed reviews, was the recipient of a harsher assessment.

“The music... is reminiscent, poorly written, and poorly sung, and even the personal charm of Eva Fallon, who is assisted by several other pulchritudinous, if histrionically un-gifted principles, fails to help matters.” ~ BALTIMORE SUN

Undaunted, the show performed on October 31st and November 1st at the Playhouse in Wilmington DE.

One day in Butler PA at the Majestic on November 16th...

A single performance at the Ceramic Theatre, East Liverpool OH on November 18th...

In Akron, Ohio for Thanksgiving, the ads oversold the production by using hyperbole and fibs. The “one solid year at the 39th Street Theatre New York City” actually refers to the original play, not this musical, which only fan 40 performances - far from a full year. But who in Akron was checking? It was especially telling that Hobart’s Miss Blue Eyes credit attribution was his hit play Experience, not the lesser-known What’s Your Husband Doing?

The tour continued through upstate New York and ended the year in Ontario, Canada.

In January 1918, the musical was back in the states, from Upstate New York, to Northern PA, seemingly circling the Big Apple with the hopes of a berth on Broadway.

It became increasingly apparent that pretty girls were needed to sell tickets, not a farce about two lawyers.

In March 1919, the production actually started quoting reviews of the original non-musical play instead of their own.

"I want to say that ‘What's Your Husband Doing�� Is really a most amusing farce. You may say that most farces are amusing. I don't agree with you; some of them are tragic. This play at the Thirty-ninth Street Theatre has scarcely a laugh-less moment. It has fun, situations, Intoxication and screaming lines. It is so novel and the humor so American.”

The tour continued into the South, ending 1919 in South Carolina - a goodly distance from Broadway. In March 1920, the tour closed in Bloomington IN, without ever playing Broadway. 18 months and thousands of miles after their

Atlantic City

premiere, Hobart’s Miss Blue Eyes closed her lids for good.

Coincidentally, at the very same time, the silent film adaptation of What’s Your Husband Doing? opened in Atlantic City at the Cort Theatre on the Boardwalk.

The Cort was originally known as the Bijou, opening in 1903. It was located between Ocean and Tennessee Avenues.

#Miss Blue Eyes #Atlantic City #Boardwalk #Nixon's Apollo Theatre #What's Your Husband Doing?#Musical #Broadway Musical #George V. Hobart #Sylvio Hein #1918

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lboogie1906 · 1 year ago

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Richard Ward (March 15, 1915 – July 1, 1979) was an actor on the stage, on television, and in films (1949-79). Known through his TV appearances late in life, both in sitcoms and police procedurals, he had an extensive film resume and a distinguished stage career, one of the highlights of the latter being his portrayal of Willy Loman in Death of a Salesman, staged in Baltimore’s Center Stage (the first African American production of Arthur Miller’s signature opus, produced with the playwright’s blessing). His favorite among his theatrical vehicles was Ceremonies in Dark Old Men.

He was born in Glenside, Pennsylvania. He worked as a New York City police detective for ten years before beginning his acting career. An Actors Studio alumnus, he made his television debut in 1950 on the Perry Como Show, appearing on dramatic anthology series such as Playhouse 90, Studio One, and Hallmark Hall of Fame, before becoming a familiar face on seventies sitcoms like Mary Hartman, Mary Hartman, All in the Family and The Jeffersons.

He made three guest appearances on Good Times as James’s dad Henry. On Sanford and Son, Fred asks a professional gambler to teach Lamont and his friends a lesson. In the pilot film for the cop show, Starsky & Hutch, he played Captain Dobey. He did appear as a different character in one episode in the final series, shortly before his death due to a heart attack. #africanhistory365 #africanexcellence

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46ten · 3 years ago

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Benjamin Latrobe and AH

In trying to track down the source for Benjamin Henry Latrobe, famed architect, calling Alexander Hamilton “an insatiable libertine” (Chernow, pg 363), I found that Latrobe wrote The Apology (likely in 1798 or 1799). It seems this play was a favor for the benefit of an English actress. It centered on one of AH’s indiscretions, according to one source. William Cobett, alias Peter Porcupine as publisher of The Porcupine Gazette, the Federalist journal constantly engaged in invective with William Duane’s Weekly Aurora (and both published in Philadelphia)* wrote the following:

“A Farce and a Fire”

“At Sans-culotte Richmond, the metropolis of Negro-land, alias the Ancient Dominion, alias Virginia, there was, some time ago, a farce acted for the benefit for a girl by the name of Willems, whose awkward gait and gawky voice formerly contributed to the ridicule of the people of Philadelphia.

The farce was called the Apology; it was intended to satirize me and Mr. Alexander Hamilton (I am always put in good company), and some other friends of the federal Government. The thing is said to be the most detestably dull that ever was mouthed by strollers. The author is one La Trobe, the son of an old seditious dissenter; and I am informed that he is now employed in the erecting of a Penitentiary House, of which he is very likely to be the first tenant.

In short, the farce was acted, and the very next night the playhouse was burnt down! I have not heard whether it was by lightning or not.

Latrobe notes: “The intelligence was conveyed, as I understood at Philadelphia, to Peter Porcupine by a letter from Richmond, written in order to counteract the effect of some letters of recommendation which I carried with me with a view to the design of an arsenal at Harper’s Ferry.” pgs 84-85, The Journal of Latrobe: Being the Notes and Sketches of an Architect, Naturalist, and Traveler in the United States from 1796 to 1820. *For an account of Duane’s and Cobbett’s long running feud, see here.

Among other appointments and accomplishments, Latrobe was one of the designers of the U.S. Capitol building, the Baltimore Basilica, and the White Horse porticos. To continue the AH connection, the mansion in the town Angelica that John and Angelica Church began in 1804, completed in 1810, subsequently owned by Philip Church (and currently privately owned) is thought to be based on designs by Latrobe. A picture of Villa Belvidere in Belmont, NY is below:

Latrobe died in 1820 in New Orleans of...drum roll please...yellow fever. The town of Latrobe, PA, was named for Benjamin Henry Latrobe’s son, by his best friend, Oliver Henry.

By the way, Chernow describing Latrobe as, “later the surveyor of public buildings in Washington,” when he’s widely regarded as one of the most important architects in American history is a head-scratcher. As is his failure to mention that Latrobe and Jefferson were good buddies (Jefferson gave Latrobe that Surveyor position).

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