#charley rogers

[gatutor]

Mae Busch-Oliver Hardy-Charlie Hall "Tit for tat" 1935, de Charley Rogers.

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Babes in Toyland (March of the Wooden Soldiers) (1934) Charley Rogers and Gus Meins

December 17th 2023

[movie-titlecards]

Air Raid Wardens (1943)

My rating: 6/10

Actually one of the more enjoyable Laurel & Hardy movies I've seen, with some solid bits, though the way all the slapstick occurs in almost complete silence, only interrupted by the sound of shuffling feet, is kind of eerie.

[loving-jack-kelly]

the caption on this photo is sending me

franklin shepard is here he's one of us

[gallifreyanhotfive]

The Master losing his mind with jealousy over anyone else getting to possess the Doctor. Those insides belong to HIM

(The fact that he’s never even managed to do it all the way either. Tragic)

The War Master once successfully wormed his way into the Eighth Doctor’s body! The Delgado Master and the Third Doctor also had a brief body swap.

But of course, these events weren't permanent. It was just enough to give the Master a taste of what it's like to he inside the Doctor, to own those insides. Just enough for him to fully believe that that is his territory.

So how dare anyone else encroach on that? How dare someone else take what is his? How dare others take possession of the Doctor’s body?

As soon as he finds out about each instance, it doesn't matter who was in the Doctor’s body - be it someone like Charley or Peri or a being more terrifying like the Mara, the Fendahl, or Zagreus.

He's going to kill them.

[badmovieihave]

Bad movie I have Superbad 2007

[papermoonloveslucy]

CURTAIN UP!

Lucy On Stage ~ Act 4

Lucille Ball’s dream was to be on Broadway. She achieved that goal in 1960, but along the way she found herself on various other stages.  Here’s a look at Lucille Ball, stage actress. 

In school, Lucille’s mother Dede encouraged her daughter to be active in the drama club. Lucille performed and directed with the group, staging a production of Charley’s Aunt by Brandon Thomas, which opened on Broadway in 1893.  In the above photo, Lucille Ball is seated in the front row, second from the left. Her teacher was named Lillian Appleby. Lucille later honored her by naming a character on “I Love Lucy” after her. 

The Celoron, New York, grammar school Lucille attended (above) has long since been razed. But a formative moment in Lucille Ball’s life occurred on this site when her stepfather, Ed Peterson, brought her to see a performance by the renowned monologist Julius Tannen in the school auditorium. As Lucy remembered, “I don’t think a stage career ever occurred to me until that night.”  Lucille left school before graduating, going to New York City to attend drama school. The experiment was short-lived and Lucille returned home. 

In 1929, 18-year-old Lucille Ball was cast in a production of Within the Law by Bayard Veillier  – her first stage performance outside of school. Lucille played the supporting role of Agatha at Jamestown’s Shea Theatre. In 1991, the theater was formally renamed The Lucille Ball Little Theatre in a ceremony with Ball’s family in attendance.

Back in Manhattan, Lucille was cast (but quickly fired) from the chorus of two road shows of Broadway productions. Rio Rita was a New York hit produced by Flo Ziegfeld. 

In a 1963 epsiode of “The Lucy Show” Lucy Carmichael says that Thelma Green (Carole Cook) once appeared in the third road company of Rio Rita. The writers used Ball’s real-life history but attributed it to Thelma. 

She was also in the road company of The Stepping Stones, a musical fantasy about Raggedy Ann and Andy starring Fred and Dorothy Stone. Again, Lucille was quickly let go. 

In Hollywood, Lucille Ball was coached by Lela Rogers, Ginger’s mother, on the RKO lot. At the RKO Little Theatre (later the Desilu Workshop Playhouse) Lucille appeared in several plays. In 1936 she was in Fly Away Home, a play that had appeared on Broadway the year before starring Montgomery Clift and Sheldon Leonard. Agents, Managers, and members of the public could attend for twenty five cents.

Also in 1936, she appeared in Breakfast With Vanora by Fred Ballard, which received good notices in the press. Lucille played the leading role and Barbara Pepper was in the ensemble. Above, Lela instructs John Shelton how to hold a gun while Lucy looks on.  

In 1937, Lucille took a break from Hollywood to make (what she hoped) would be her Broadway debut in Hey Diddle Diddle, a play by Bartlett Cormack starring Conway Tearle. The play premiered at McCarter Theatre in Princeton, New Jersey, with a destination of the Vanderbilt Theatre on Broadway. In its second out-of-town stop in Washington DC, Tearle become gravely ill. That, combined with the fact that producers felt the script needed revisions, caused the production to be halted.  Lucille returned to Hollywood. In 1953, Tearle’s name was mentioned on “I Love Lucy.” He had died in 1938. 

In mid-1947, now married and a successful film star, Lucille Ball again began to think about her stage aspirations and left Hollywood for the boards. She toured in a tour of Dream Girl, a fantasy play by Elmer Rice that had played Broadway in 1945. 

The play’s fantasy sequences seemed tailor-made for Ball’s style and comic wit. In a way, Georgina was a prelude to the “Lucy” character on TV, who is dreaming her way out of her suburban life - and sometimes succeeding.

The play co-starred Scott McKay as the imaginative writer. McKay played the role of Wilbur in the 1958 pilot for TV’s “Mr. Ed” but was replaced on the series by Alan Young.

"I have seen other productions of this play, but the only actress whose performance really delighted me was Lucille Ball. She lacked… tender wistfulness, but her vivid personality and expert timing kept the play bright and alive." ~ Edgar Rice, Playwright

The tour was produced by Herbert Kenwirth who later directed 14 episodes of “Here’s Lucy.”  It featured Barbara Morrison, Alan Hewitt, and Hayden Rorke, who would all later appear on Lucy sitcoms. 

In January 1948, Lucille got the opportunity to recreate the role in Los Angeles, but fell ill with a virus shortly after it opened and the show closed prematurely. It wasn’t long before Lucille was back in front of a live audience, but this time on radio, as the star of the sitcom “My Favorite Husband,” which led to her meteoric success on “I Love Lucy.”  

After the series came to an end in early 1960, Lucille again revived hopes of acting on Broadway. Wildcat, a new musical about by Richard Nash with songs by Cy Coleman was looking for a star. Nash had envisioned the main character of as a woman in her late 20s, and was forced to rewrite the role when 49 yearl-old Lucille Ball expressed interest not only in playing it but financing the project as well. Lucille personally chose her co-stars Keith Andes as her love interest and Pauls Stewart as her sister. Future sitcom star Valerie Harper was in the chorus (above right). 

Lucille played Wildcat ‘Wildy’ Jackson, who dreams of striking oil in 1912 Centavo City, California. The score included what would become her signature tune: “Hey, Look Me Over”.  

The Philadelphia tryout opened on October 29, 1960 to a glowing review from Variety, but local critics were less enthusiastic. The scheduled Broadway opening had to be postponed when trucks hauling the sets and costumes to New York were stranded on the New Jersey Turnpike by a major blizzard. After two previews, the show opened on December 16 at the Alvin Theatre (now the Neil Simon).

Ball quickly realized audiences had come expecting to see her Lucy Ricardo persona and began ad-libbing to bring her characterization closer to that of the zany housewife she had portrayed on television. But the rigors of singing and dancing in a Broadway musical eight times a week caught up with Ball. She got illl and demands for refunds ran high, the producers planned to close the show for a week to allow her to recover. The closure came sooner than planned when Ball, suffering from a virus and chronic fatigue, departed for Florida. She returned two weeks later, but collapsed on stage. It was decided the show would close for nine weeks at the end of May and reopen once its star had fully recovered but when the musicians' union insisted on members of the orchestra being paid during the shutdowns. Not even Lucille’s deep pockets could afford the cost, and the show closed permanently on June 3, 1961.  

Lucille returned to Hollywood, her dream realized, even if it was short-lived. Thereafter, she would incorporate her love for theatre into her television and film performances, starring in many ‘mini-musicals’ on “The Lucy Show” and “Here’s Lucy” and - in 1974 - tackling the full-scale Broadway musical Mame on film. 

CURTAIN DOWN on ACT 4

[citizenscreen]

Hal Roach presents Laurel and Hardy in GOING BYE-BYE!, comedy short directed by Charley Rogers and released 90 years ago today. #OnThisDay

[broadwaydivastournament]

Broadway Divas: Obscure Sondheim

To highlight how vast and varied Sondheim's roles and shows are, these five Divas have a singular Sondheim credit to their repertoire that are a little more obscure than most. So obscure that my dream of finding pictures to dazzle you all with was quickly shattered.

Bebe Neuwirth as Cinderella's Stepsister, Florinda, in a reading of Into the Woods for a 1994 movie that never came to fruition. This reading took place at director Penny Marshall's house and had a truly breathtaking cast: Robin Williams (The Baker), Goldie Hawn (The Baker's Wife), Steve Martin (The Wolf), Danny DeVito (The Giant), Carrie Fisher (Lucinda), and fucking CHER as The Witch. Bebe Neuwirth and Carrie Fisher as catty sisters tormenting Cinderella and getting their eyes pecked out. And then Cher trying to feed them to Danny DeVito. We were robbed of a masterpiece.

Judith Light as Joanne in a Reprise! presentation of Company at UCLA's Freud Playhouse. Though not known for her singing abilities, Judith was nevertheless part of an all-star cast for this two-week run in 2004. The only review I could find was...not favorable. It's been twenty years, and I, for one, think Judith Light deserves her chance at redemption.

Linda Emond as Mary in Merrily We Roll Along, 1988. The Seattle-based ACT company produced Sondheim's biggest flop musical through the month of May in 1988. Linda, then in her late twenties, played the female lead in a rare musical role for her. And I do have a picture thanks to ACT's fantastic archival system.

Pictured: Linda Emond (Mary) center, surrounded by Joseph Dellger (Franklin Shepherd) and Joseph McNally (Charley). And no, I cannot tell which man is which...

4. Susan Blackwell as The Giant in a 2019 one-night-only staged concert of Into the Woods. If you thought the recent Broadway revival was bare-bones, it had nothing on this staged concert at the Town Hall in NYC. There is one singular photo that includes Susan, and without knowing she was meant to be there, you'd never be able to identify her.

Pictured (L to R):

5. Paula Leggett Chase as Stella Deems in Follies, a one-night-only special event in Tangier, Morocco featuring a transcontinental cast of Divas. Since 2013 (excluding pandemic years), Rob Ashford has staged fundraising productions of shows such as A Little Night Music, The Crucible, and Jacques Brel is Alive and Well and Living in Paris. Confusingly, though Paula sang Stella Deems' song "Who's That Woman," she was credited in the program as Emily Whitman (presumably they just combined the roles for this production and gave them to the dancer in the cast?)

Pictured (L to R): The late Haydn Gwynn (Phyllis Rogers Stone, my beloved), Marisa Berenson (Solange LaFitte), Harolyn Blackwell (Heidi Schiller), Jenna Russel (Sally Durant Plummer), Paula Leggett Chase (Emily Whitman), Harriet Harris (Hattie Walker).

[tully-tittles]

Just dropping some misc hcs for you guys 🤤🤤

A new brain: Roger’s family are immigrants from Spain and he’s fluent in Spanish and English, and he calls Gordon gordito and he just thinks it’s some weird way of saying his name 😰

Uhh I think I said this before, but Gordon has visual and auditory hallucinations whenever he’s stressed, and it’s usually of Bungee who he see as a cartoon frog when he’s hallucinating him, and at these moments he’s usually to mentally overwhelmed to question why a cartoon frog is talking to him 🤑🤑

Merrily we roll along: Charley used to have a passive hobby in photography, and he, for a short period of time, stayed at Franks place just for a few weeks and he accidentally left a photo book there, and Frank still has it and looks at it OFTEN

Also I fw Charley x Frank 🤑🤑

Falsettos: At school, Jason is VERY vague about his parents relationship so many rumors started spreading around, and the one that stuck was that he had 6 polyamorous parents

Anyways here’s me literally using William Finn to practice Spanish (spent like 4 hours today studying Spanish grammar 🤑🤑) I’ve hit a new low

[jgroffdaily]

Excerpts from the article (which appeared online as cast and crew were traveling to their first rehearsal today):

On a chilly day in early February, Jonathan Groff, Daniel Radcliffe, and Lindsay Mendez are huddled on a couch in a photo studio in Queens. Not three weeks after Merrily We Roll Along ended its off-Broadway run at the New York Theatre Workshop, gathering again for a photo shoot has made all of the actors cry. (An amused publicist thinks it was the sight of their old costumes, by Soutra Gilmour, that set everyone off.) “It’s just really settling in that we’re taking this to Broadway,” offers Mendez, a Tony winner for Jack O’Brien’s 2018 revival of Carousel. “It’s a big dream for us to get to shepherd this piece, which means so much to so many people, and yet has never gotten its proper due.”

“To hear the overture on Broadway…?” Groff adds. “I’m gonna die.”

In the Broadway production, which begins previews this September at the Hudson Theatre, Groff stars as Frank, ​in turns slickly handsome, roiled with conflict, and sparky as a golden retriever; Radcliffe as an endearingly neurotic Charley; and Mendez as Mary, whose wide smile conceals great depths of longing (namely, for Frank).

For Groff, doing Merrily felt fated. “I had just reached this point in my life where I was really looking back and reflecting on relationships that I suddenly realized were almost two decades old,” he explains. He later learned that Radcliffe and Mendez had done their own “first big New York shows” (revivals of Equus and Grease, respectively) at around the same time. This was no small thing, as they approached a story as concerned with the vicissitudes of a career in the performing arts as anything else.

“The people that start young and then stay in it well into adulthood tend to love it,” Radcliffe says. “They tend to be doing it because there is something in their bones that makes them want to do this. And I think we all have that.” Adds Mendez, “There’s an unspoken-ness between us. There’s a lot of trust, and a lot of teamwork.” (When I ask Friedman about her stars’ touching natural chemistry, she tells me that in Merrily, Sondheim has “written love songs. He’s written about losing love, wanting love, missing love, despair, all the things, but it’s all around love.” So, in the year that she spent building her New York cast, “I looked for loving people.”)

For all intents and purposes, the Broadway revival is the same show that ran at the New York Theatre Workshop. Not only do both productions share the same actors—including Katie Rose Clarke as Frank’s estranged first wife, Beth; Hamilton alumna Krystal Joy Brown as his glamorous second wife, Gussie; and Reg Rogers as Joe, the producer behind the first hit show that Frank and Charley write together—but the same creative and production team, too. “We had a big break between the New York Theatre Workshop and going to Broadway, and every single person has come with it. They all took other jobs in order to be able to do this job,” Friedman says. “It just cast a spell over us all.”

As they move into the Hudson—which Friedman selected for its intimate-feeling scale (of Broadway’s 41 active theaters, it’s one of only nine that seats under 1,000 people)—she is keen to protect that enchantment. “I am absolutely determined not to do anything different,” Friedman says. “The piece is the piece; it speaks for itself. And as long as we keep the integrity of that and the joy and the warmth and the love and the storytelling—it should sing.” This has more or less been her line from the beginning. “One of the things that Maria has said from day one is, ‘I have not changed a lyric of this show or a word of the script. I am doing this show as written,’ ” Groff says. “It’s not like she’s doing a take on Merrily. She really believes in the piece itself without adding any sort of flashy concept.”

Then as now, her deepest regret is that Sondheim is not alive to see the production, but she knows that he would have delighted in Merrily’s return to Broadway. Her only hope is that after all these years, audiences are ready to receive it. “It’s a profound piece,” Friedman says. “If it gets you, it stays with you and makes you ask questions. And if it doesn’t get you, it’s got some great tunes.”

PIANO MAN

Groff wears a Gucci jacket. Pants from The Row. Grooming, Amy Komorowski.

In this story: hair, Ilker Akyol; makeup, Francelle Daly for Love+Craft+Beauty. Produced by The Canvas Agency. Set Design: Viki Rutsch.

[gatutor]

Thelma Todd-Harry Langdon-Nancy Drexel "The shrimp" 1930, de Charley Rogers.

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The Fixer Uppers (1935) Charley Rogers

February 11th 2024

[sgiandubh]

Sunday sounds: a spring madrigal

After roughly one week of dull, late autumn morosity, it would seem spring is back in town. Almost May and almost summer - the right time to hit the road to the seaside, a very different one from the Greek experience. More rustic and certainly less glamorous - although the beach is not only and not exactly what I set my mind to hit, this summer, as you will see in due time 😉. And if Steinbeck traveled with his poodle, Charley, well - I might as well travel with my boisterous lab, right?

Anyways, here is one fine Monteverdi madrigal for all of you who prepare to have a nice cuppa and enjoy this spring, sunny Sunday. Here it is absolutely glorious - and we are lazily cooking (yes, cooking!), Shipper Mom and I:

PS: nobody does Monteverdi as Nigel Rogers and Ian Partridge. Nobody else in the entire world.

[cherrysfanfics-ily]

↬ What and Who I Write for ↫

☆ Grease: The Rise of the Pink Ladies

♡ Jane Facciano

♡ Oliva Valdovinos

♡ Nancy Nakagawa

♡ Cynthia Zdunowski

♡ Richie Valdovinos

♡ Shy Guy

♡ Potato

♡ Gil

♡ Susan

♡ Dot

♡ Rosemary

♡ Wally

♡ Hazel

♡ Buddy Aldridge

♡ Frenchy Facciano

☆ Grease

♡ Frenchy Facciano

♡ Betty Rizzo

♡ Sandy Olsson

♡ Marty Maraschino

♡ Jan

♡ Kenickie Murdoch

♡ Danny Zuko

♡ Sonny

♡ Doody

♡ Roger

♡ Leo Balmudo

☆ Grease 2

♡ Paulette Rebchuck

♡ Frenchy Facciano

♡ Micheal Carrington

♡ Goose McKenzie

♡ Stephanie Zinone

♡ Johnny Nogerelli

♡ Louis DiMucci

♡ Sharon Cooper

♡ Rhonda Ritter

☆ Criminal Minds

♡ Spencer Reid

♡ Aaron Hotchner

♡ Emily Prentiss

♡ Derek Morgan

♡ Jennifer Jareau

♡ Elle Greenway

♡ Penelope Garcia

☆ Twilight

♡ Jasper Hale

♡ Alice Cullen

♡ Rosalie Hale

♡ Emmett Cullen

♡ Edward Cullen

♡ Carlisle Cullen

♡ Esme Cullen

♡ Bella Swan

♡ Sam Uley

♡ Paul Lahote

♡ Leah Clearwater

♡ Seth Clearwater

♡ Jacob Black

♡ Alec Volturi

♡ Cauis Volturi

☆ Miss Peregrines Home for Peculiar Children

♡ Enoch O’ Connnor

♡ Emma Bloom

♡ Jacob Portman 

♡ Millard Nullings

♡ Bronwyn

♡ Victor

♡ Horace

♡ Olive

♡ Hugh

♡ Fiona

☆ Glee

♡ Rachel Berry

♡ Finn Hudson

♡ Kurt Hummel

♡ Artie Abrams

♡ Santana Lopez

♡ Tina Cohen-Chang

♡ Mercedes Jones

♡ Brittany S. Pierce

♡ Noah Puckerman 

♡ Sam Evans

♡ Blaine Anderson

♡ Mike Chang

♡ Quinn Fabray

♡ Jesse St. James

♡ Sebastian Smythe

☆ Pitch Perfect

♡ Donald Walsh

♡ Jesse Swanson

♡ Beca Mitchell

♡ Aubrey Posen

♡ Chloe Beale

♡ Stacie Conrad

♡ Cynthia Rose Adams

♡ Unicycle

☆ Pitch Perfect 2

♡ Jesse Swanson

♡ Beca Mitchell

♡ Aubrey Posen

♡ Chloe Beale

♡ Stacie Conrad

♡ Cynthia Rose Adams

♡ Emily Junk

♡ Flo

♡ Pietrar 

♡ Kommissar

☆ Pitch Perfect 3

♡ Beca Mitchell

♡ Aubrey Posen

♡ Chloe Beale

♡ Stacie Conrad

♡ Cynthia Rose Adams

♡ Emily Junk

♡ Flo

♡ Calamity

♡ Serenity

♡ Charity

♡ Veracity

♡ Chicago

☆ Ride the Cyclone

♡ Mischa

♡ Noel

♡ Ricky

♡ Constance

♡ Jane Doe

♡ Ocean

☆ Mamma Mia

♡ Sophie Sheridan

♡ Sky

♡ Donna Sheridan

♡ Sam Carmicheal

♡ Harry Bright

♡ Bill Austin

♡ Pepper

☆ School Spirits

♡ Maddie Nears

♡ Simon Elroy

♡ Wally Clark

♡ Xavier Baxter

♡ Rhonda

♡ Charley

♡ Dawn

☆ Nerdy Prudes Must Die

♡ Stephanie Lauter

♡ Peter Spankoffski

♡ Richie Lipschitz

♡ Ruth Fleming

♡ Grace Chasity

♡ Max Jagerman

♡ Lords in Black

☆ Movie! Five Nights at Freddy's

♡ Micheal Schmidt

♡ Vanessa Afton

♡ Platonic! Abby Schmidt

☆ Fruits Basket

♡ Tohru Honda

♡ Yuki Sohma

♡ Kyo Sohma

♡ Hatsuharu Sohma

♡ Momiji Sohma

♡ Shigure Sohma

♡ Hatori Sohma

☆ My Babysitters a Vampire

♡ Ethan Morgan

♡ Benny

♡ Rory

♡ Sarah

♡ Erica

♡ Jesse

☆ Starlight Express

♡ Greaseball

♡ Dinah

♡ Rusty

♡ Pearl

♡ Electra (May add Wrench and all later)

♡ Tassita

♡ Hydra

♡ Freights (Timber, Porter, Slick)

↬Will most likely add more fandoms later↫

[shefanispeculator]

Last winter, Blake Shelton, Jason Aldean, Little Big Town and Luke Bryan paid tribute to country group Alabama during a taping of CMT Giants. An air date and full lineup for the broadcast has just been announced.

Nearly a dozen performers are slated for a two-hour TV special airing Aug. 15 at 8PM ET.

CMT Giants has been celebrating the best in country music since 2006.

Vince Gill, Charley Pride, Kenny Rogers and Alan Jackson are a few artists who've been featured.

CMT Giants: Alabama was filmed at Belmont University's Fisher Center for the Performing Arts in Nashville.

@ourpickwickclub