#kaye playhouse

[papermoonloveslucy]

RIP GLYNIS JOHNS

1923-2024

Johns is probably best remembered for playing Winifred Banks in Disney's Mary Poppins (1964). Although it was a mainstream hit for Judy Collins, Johns introduced the song "Send in the Clowns" in the Broadway musical A Little Night Music (1974) for which she won a Tony Award.

On August 5, 1963, CBS' "Vacation Playhouse" aired an episode titled "Hide and Seek," which was the pilot for "Glynis", a sitcom starring Johns and Keith Andes, who played the male lead in Lucille Ball's 1960 Broadway musical Wildcat and would go on to appear on "The Lucy Show." The series' working title was "The Glynis Johns Show", but eventually it was shortened to the star's first name. The series was produced by Desilu and created and executive produced by Jess Oppenheimer, one of the original creators of "I Love Lucy". A month later "Glynis" earned a spot on CBS' fall schedule, but only lasted 13 episodes.

Johns was nominated for an Oscar in 1961 for The Sundowners. She worked with a lot of the same stars as Lucille Ball, although the two never acted together. She was in The Court Jester (1955) with Danny Kaye, Papa's Delicate Condition (1963) with Jackie Gleason, and Mary Poppins (1964) with Dick Van Dyke. Like so many of Ball's colleagues, she played a villain on "Batman": Penelope Peasoup in 1967.

She was 'born in a trunk' to theatrical parents touring in South Africa, but raised in Wales. She was 100 years old. From four marriages she had one child whom she outlived by 15 years.

[kwebtv]

TV Guide - September 14 - 20, 1963

Fall Freview  1963 - 1964 Shows

ABC

100 Grand  (September 15 – September 29, 1963)

Arrest and Trial (September 15, 1963 – September 6, 1964)

Breaking Point (September 16, 1963 – April 27, 1964)

Burke's Law (September 20, 1963 – January 12, 1966)

Channing (September 18, 1963 – April 8, 1964)

Destry (February 14 – May 8, 1964)

The Edie Adams Show (September 26, 1963 – March 19, 1964)

The Farmer's Daughter (September 20, 1963 – April 22, 1966)

The Fight of the Week  (October 8, 1960 – September 11, 1964)

The Fugitive (September 17, 1963 – August 29, 1967)

The Greatest Show on Earth (September 17, 1963 – April 28, 1964)

The Hollywood Palace (January 4, 1964 – February 7, 1970)

The Jerry Lewis Show (September 21, 1963 – December 21, 1963)

The Jimmy Dean Show ( September 19, 1963 – April 1, 1966)

Laughs For Sale (October 20, 1963 - December   1963)

The Outer Limits (September 16, 1963 – January 16, 1965)

The Patty Duke Show ( September 18, 1963 – April 27, 1966)

Saga of Western Man (October 16, 1963 - May 8, 1969)

The Sid Caesar Show (October 3, 1963 - March 26, 1964)

The Travels of Jaimie McPheeters (September 29, 1963 – March 15, 1964)

General Hospital (April 1, 1963 –  Present) 

CBS 

Chronicle (October 2, 1963 - February 12, 1964)

The Danny Kaye Show (September 25, 1963 – June 28, 1967)

East Side/West Side (September 23, 1963 – April 27, 1964)

Glynis (September 25 – December 18, 1963)

The Great Adventure (September 27, 1963 – May 1, 1964)

The Judy Garland Show (September 29, 1963 – March 29, 1964)

Made in America (April 5, 1964 - 

My Favorite Martian  (September 29, 1963 – May 1, 1966)

The New Phil Silvers Show (September 28, 1963 – April 25, 1964)

Petticoat Junction (September 24, 1963 – April 4, 1970)

Slattery's People (September 21, 1964 – November 26, 1965)

Summer Playhouse (1964 - 1967)

Tell It to the Camera (January 11, 1962 - May 31, 1962)  ?

NBC

Bob Hope Presents the Chrysler Theatre (October 4, 1963 – May 17, 1967)

Chrysler Presents a Bob Hope Special *

Espionage (October 2, 1963 - May 20, 1964)

Grindl ( September 15, 1963 – May 3, 1964)

Harry's Girls (September 13, 1963 – January 3, 1964)

Hollywood and the Stars (September 30, 1963 - May 18, 1964)

Kraft Suspense Theatre (October 10, 1963 – July 1, 1965)

Let's Make a Deal (December 30, 1963 -

Mr. Novak (September 24, 1963 – April 27, 1965)

NBC Monday Night at the Movies (February 4, 1963 - April 13, 1964)

On Parade (Summer 1964)

The Richard Boone Show (September 24, 1963 – March 31, 1964)

Temple Houston (September 19, 1963 – April 2, 1964)

That Was the Week That Was (November 10, 1963 to May 4, 1965)

You Don't Say! (1963 - 1979)

The Lieutenant  (September 14, 1963 – April 18, 1964)

The Doctors (April 1, 1963 – December 31, 1982)

1963-1964 TV Schedule

[sondheims-hat]

April 15, 1998: The Paper Mill Playhouse production of Follies has its first preview. The cast included Donna McKechnie, Phyllis Newman, Kaye Ballard, Lilianne Montevecchi, Ann Miller, Dee Hoty, Eddie Bracken, Tony Roberts, and Laurence Guittard.

[nakedcomedy]

#NewYork #Brooklyn TONIGHT!!!!! ROOMIES MAKES IT'S BROOKLYN DEBUT!!!

EX roomies Dylan Adler (Late Late Show) & Sam Morrson (JFL) lived together for 2 years in harmony in Brooklyn, until Dylan betrayed Sam by moving to LA. After years of spreading heinous rumors behind each other’s back on their respective coasts, these two confirmed bachelors reunite to put on the most unhinged, fundamentally evil showcase of comedic talent in all of NEW YORK. Produced by Naked Comedy!

ONE NIGHT ONLY!!

8:45pm doors

9pm show starts!

Featuring:

Marie Faustin (Comedy Central, VICELAND)

Jeff Hiller (HBO, Soho Playhouse)

Charlene Kaye (KAYE, Good Morning America)

Sabrina Wu (Joy Ride, Abbott Elementary)

Honey Pluton (Doll Invasion, Vulture)

Hosted by

Dylan Adler (The Late Late Show)

& Sam Morrison (Sugar Daddy Off Broadway)

21+ at Brooklyn Art Haus

20-26 Marcy Ave.

Brooklyn, NY 11211

Get tickets now!

[annieandro]

Executive Producer: Cassie Kitchen

Story Editor: Doug Tennapel

Line Producer:Joshua Slice

Production Coordinators: Craig McCracken, Noah Z Jones

Production Assistants: Butch Hartman, Eric Coleman

Script Coordinator: Jose Chavez

Executive Assistant: Maddie Manges Character Designer: Lankybox

Layout Designers: Speekygeeky, Riffcoms Prop Designers: Eric Robles, Colors 358

Background Painter: Nikki Karlsson

Color Key Stylist: Dre Higbee

Final Checker: Nickcheezy Clean-up Artist: Carl Jung, Henry Miller, Sir Francis Bacon

Storyboard Revisions: John Erwin, Nancy Priddy, Michael Bell

Starring: Annieandro: Cassie Kitchen

Maisy: Gracie Jones

Little Miss Cassie: Phoebe Fortney

Zapper: Tom Kenny

Tetro: Doug Lawrence

Prowler: Bill Hader

Pouncer: Wizardzwiz

Predator: Gooseworx

Mailman Pelswick: Rob Paulsen

Umberta: Jocelyn Clark

Tyler: Darrell Stern

Chatters: Tara Strong

Jumper: Allan Trautman

Giggle: Leslie Carrara Rudolph

Bumper-oo: Kevin Clash

Nizzie: Stacy Gordon

Lotta: Grey Desleslie

Crossbone: David Kaye

Nimble: Kevin MacDonald

Zap-Zap: Frank Oz

Cozy: Lizzie Freeman

Puddles: Michael Kovach

Buckthorn: Robert Tinkler

Tutu: Sonya Leite

Katie: Cindi Milo

Pavo: David Hornsby

Aquila: Christian Jacobs

Ursa Major: Lara Jill Miller

Orion: Ariel Winter

Hercules: Wayne Knight

Flutterbutter: Amanda Hufford

Eden: Gary Yudman

Aquarius: Paul Wensley

Pisces: Jo Vannicola

Aries: Nika Futterman

Taurus: Steve Little

Gemini: Lucas Slice

Cancer: Hynden Walch

Leo: Dee Bradley Baker

Virgo: Ellie Ellwand

Libra: Billy West

Scorpio: Fred Stoller

Sagittarius: Cree Summer

Capricorn: Sean Chiplock

Casting By: Ryan's World Casting Coordinator: EventubeHD Casting Assistant: Allison Gatewood Supervising Recording Engineer: AJ Lyles Recording Engineer: Trainlover16

Production Dialogue Supervisor: Devinurdog Dialogue Editor: Tweeterman287

Picture Editor: Zee's Branch Assistant Editor: Dimon CamiPost Production Supervisor: Kan and Aki's Channel Big Scanning Department: Mr.George, Genevieve's Playhouse

Additional Post Production Services: Craig Mario Fan, Nostalgia Cat Picture Editior: My Friends Assistant Editor: My Family Post Production Supervisor: My Classmates Bg Scanning Department: Arlene Klasky, Tom Yohe Additional Post Production Services: Gabor Csupo, AJRaider Post Production Services: Teri Weiss Telecine Colorist: Rico Hill

Animation Production Services: Public Broadcasting Service Special Thanks To: Steve Burns, The Wiggles, The Return Of Cakey, The Beatles, and The Sesame Street Rock and Roll Request Show, and The Children's Hospitals From All 50 States

Production Executive: Aubrey Cox Executive In Charge Of Production: Joe Biden

CTW Provides Partial Funding For Annieandro Pinkpaws Through Its Self-Support Activities.

[citylifeorg]

Dances Patrelle presents Francis Patrelle’s "The Yorkville Nutcracker"

Dances Patrelle presents The Yorkville Nutcracker from December 14-17, 2023 at The Kaye Playhouse at Hunter College, E. 68th Street between Park and Lexington Avenues, NYC. Performances: Friday at 7pm, Saturday at 2pm and 7pm, and Sunday at 12pm and 5pm. Tickets are $80 (extended family, group, student and senior discounts available) and are on sale…

[playbillz]

“H.M.S. Pinafore” (New York Gilbert & Sullivan Players) @ The Kaye Playhouse - New York City - 12.30.2022

[quynhpiano]

(via https://www.youtube.com/watch?v=bEmZ51I9er8)

Please check out my video from the International Keyboard Institute and Festival with the Jaegermeisters Orchestra at the Kaye Playhouse.

Quynh Nguyen, pianist

[darrencrissarmy]

mssarahhollis| with friends and friends of friends with friends | #tbt | • #friends #walnuthill #michigan #throwbackthursday #kingcharlesiii #greenroom #LATheatre #pasadena #pasadenaplayhouse

[papermoonloveslucy]

LUCY & THE SWANS

BALL, CAPOTE & PALEY

The new FX series "Feud: Capote vs. The Swans" depicts a world that Lucille Ball knew all too well - wealth, fame and celebrity. Although she does not inhabit the New York Society of Babe Paley, Slim Keith, Ann Woodward, C.Z. Guest, Gloria Guinness and others, she and her Desilu empire lie just outside of it - her influence on the era keenly felt.

Episode 1 of the teleplay ("Pilot") begins in 1958, and takes us to the executive boardroom of CBS in New York. There, Bill Paley (Treat Williams) holds forth, a photo of Lucy and Desi prominently hovering over his shoulder.

In this room, the Paley and the CBS brass made programming moves played out on a schedule board. The Monday 9pm time slot is occupied by "I Love Lucy", with a small photo of Lucy and Desi (the same one that hung on the wall) tucked into the title card - as if they needed reminding of who they were! The only slight faux pas is that "I Love Lucy" (as a half hour series) did not run in 1958. Its final episode aired in May 1957. It then became an hour-long celebrity-driven musical comedy hour under the banner of "The Westinghouse Desilu Playhouse." Paley and CBS probably wanted Lucy and Desi for a 7th season, but Desi had other plans. He wouldn't kill the Ricardos (metaphorically) but relegate them to specials, interspersed with Desilu productions of new drama and comedy. It is possible that the action of "Feud" in this scene lies somewhere in that murky period between Desi's plans, and Paley's wishes for a seventh season of the half-hour format.

In actuality, during 1958, the 9pm Monday time slot was occupied by "The Danny Thomas Show" (filmed at Desilu) and "The Ann Sothern Show" (produced by Desilu). Monday also featured the Desilu Western "The Texan," making the only half hour of CBS's Monday primetime NOT created by Lucy and Desi "Father Knows Best."

Episode 6 ("Hats, Gloves, and Effete Homosexuals") set in 1978 includes a luncheon conversation at La Cote that mentions Lucille Ball and Lucie Arnaz. Truman's new boyfriend Rick (Vito Schnabel) is a handyman who once fixed Ball's air conditioner in Palm Springs.

Truman has promised to bring Rick to see They're Playing our Song on Broadway starring Lucie Arnaz. Rick says that he met little Lucie while she was swimming laps.

BILL & BABE PALEY

The power and influence of William S. Paley cannot be underestimated. He literally built CBS (the Columbia Broadcasting System) from a small radio station to a multi-media conglomerate, serving as Chairman for much of its existence. He shepherded CBS from radio to television, and was responsible for giving the green light to Lucille Ball making the transition from "My Favorite Husband" to "I Love Lucy," bringing her real-life husband along for the ride. Without Paley and Lucy, CBS would not have gotten a foothold in an industry dominated by the National Broadcasting Corporation (NBC).

Paley's second wife was socialite Barbara Cushing Mortimer, who he married the year before he met Lucille Ball. Mortimer is best known as Babe Paley, and she was Truman Capote's favorite of the Swans. In "Lucy's Barbershop Quartet" (1963), the group needs to find a replacement singer for the group and Viv suggests the unseen character of Barbara Cushing, who is a soloist in their church choir. Although Lucy, Viv, Thelma, and Dorothy were definitely not swans (more like Danfield Ducks) the writers were tipping their hat to the big boss's wife.

A few years later, in "Lucy Meets Danny Kaye" (1964), Kaye telephones Bill Paley to see if he has any spare tickets for his show to give fan Lucy. The best he can do is tickets to "The Jackie Gleason Show." Paley does not appear, nor do we hear his voice.

In real life, Paley and Ball were both in the first group of inductees to the Television Academy Hall of Fame in 1984. Ball and Paley sat at the same table together at the ceremony.

In 1976, he joined those paying tribute to Lucy on "Lucy and CBS: The First 25 Years." Paley and his wife Babe had homes in Manhasset Long Island, and Squam New Hampshire, respectively known as Kiluna Farm South, and Kiluna Farm North, where they entertained a myriad of celebrities, Lucille Ball among them.

TRUMAN CAPOTE

On screen Lucille Ball had little to no interaction with writer Truman Capote. But in her personal life, Ball was guest at at least one of his lavish parties. Gary and Lucy's photo album included a photo of the Mortons at a December 13, 1975 party hosted by Capote, Allan Carr, and John O'Shea in Lincoln Heights, a wealthy neighborhood of Los Angeles. The 'mug shot' was part of a party game where guests were 'arrested' and forced to pay bail in order to get released. The money was usually donated to the host's favorite charity.

In July 1978, Capote joined Lucille Ball at Westbury Music Fair to see Lucie Arnaz perform in "Annie Get Your Gun".

Capote's one foray into acting was in Neil Simon's Murder By Death (1976), a camp comedy send-up of Agatha Christie-style murder mysteries where Capote played the eccentric host, Lionel Twain. The film featured a few stars with close connections to Lucille Ball.

Peter Sellars (Sidney Wang) starred in Will The Real Mr. Sellars...?, an oddball film from 1969 with a very brief cameo by Lucille Ball courtesy of hidden camera footage.

Elsa Lanchester (Jessica Marbles) famously guest-starred on "I Love Lucy" as a woman who may - or may not be - a hatchet murderess. In 1973, she appeared on "Here's Lucy" as kooky bank robber Mumsie Westcott.

Although screen writer Neil Simon never wrote for Lucille Ball, or even appeared on the same screen with her, they did share credits on two television shows. He was a staff writer on “The Garry Moore Show,” which Lucy appeared on in 1960. Simon and Ball were both featured on “Bob Hope’s World of Comedy” (1976), but were not onstage at the same time.  It was Lucie Arnaz who worked closest with Simon. She starred on Broadway in They’re Playing Our Song (for which Simon wrote the libretto) in 1978. She then took over the role of Bela in Simon's Pulitzer Prize-winning Broadway play Lost in Yonkers in 1992.

MISC. SWANS

Vivian Vance doing an in-character commercial for Swan dish soap on "The Lucy Show." Swan was made by Lever Brothers, and was discontinued in 1974.

SWAN SONGS

LUCY: "Would you begrudge an expectant swan her song?" RICKY: "You seem to forget that this particular swan has no talent." ~ Lucy's Show Biz Swan Song (1952)

LUCY: “It’s time for that swan to hit the come-back trail.” FRED: “That swan’s got a little ham in it.”  ~ The Indian Show (1953)

[classicfilmfan64]

Yes, his autograph is part of my character Actor autograph collection. I found this extensive biography online.

Lionel Jay Stander (January 11, 1908 – November 30, 1994) was an American actor in films, radio, theater, and television.

Lionel Stander was born in The Bronx, New York, to Russian-Jewish immigrants, the first of three children.

According to newspaper interviews with Stander, as a teenager, he appeared in the silent film MEN OF STEEL (1926), perhaps as an extra, since he is not listed in the credits.

During his one year at the University of North Carolina at Chapel Hill, he appeared in the student productions The Muse of the Unpublished Writer, and The Muse and the Movies: A Comedy of Greenwich Village.

Stander's acting career began in 1928, as Cop and First Fairy in Him by E. E. Cummings, at the Provincetown Playhouse. He claimed that he got the roles because one of them required shooting craps, which he did well, and a friend in the company volunteered him. He appeared in a series of short-lived plays through the early 1930s, including The House Beautiful, which Dorothy Parker famously derided as "the play lousy".

In 1932, Stander landed his first credited film role in the Warner-Vitaphone short feature IN THE DOUGH (1932), with Fatty Arbuckle and Shemp Howard. He made several other shorts, the last being THE OLD GREY MAYOR (1935) with Bob Hope in 1935. That same year, he was cast in a feature, Ben Hecht's THE SCOUNDREL (1935), with Noël Coward. He moved to Hollywood and signed a contract with Columbia Pictures. Stander was in a string of films over the next three years, appearing most notably in Frank Capra's MR. DEEDS GOES TO TOWN (1936) with Gary Cooper, MEET NERO WOLFE (1936) playing Archie Goodwin, THE LEAGUE OF FRIGHTENED MEN (1937), and A STAR IS BORN (1937) with Janet Gaynor and Fredric March.

Stander's distinctive rumbling voice, tough-guy demeanor, and talent with accents made him a popular radio actor. In the 1930s and 1940s, he was on The Eddie Cantor Show, Bing Crosby's KMH show, the Lux Radio Theater production of A Star Is Born, The Fred Allen Show, the Mayor of the Town series with Lionel Barrymore and Agnes Moorehead, Kraft Music Hall on NBC, Stage Door Canteen on CBS, the Lincoln Highway Radio Show on NBC, and The Jack Paar Show, among others.

In 1941, he starred in a short-lived radio show called The Life of Riley on CBS, no relation to the radio, film, and television character later made famous by William Bendix. Stander played the role of Spider Schultz in both Harold Lloyd's film THE MILKY WAY (1936) and its remake ten years later, THE KID FROM BROOKLYN (1946), starring Danny Kaye. He was a regular on Danny Kaye's zany comedy-variety radio show on CBS (1946–1947), playing himself as "just the elevator operator" amidst the antics of Kaye, future Our Miss Brooks star Eve Arden, and bandleader Harry James.

Also during the 1940s, he played several characters on The Woody Woodpecker and Andy Panda animated theatrical shorts, produced by Walter Lantz. For Woody Woodpecker, he provided the voice of Buzz Buzzard, but was blacklisted from the Lantz studio in 1951 and was replaced by Dal McKennon.

Strongly liberal and pro-labor, Stander espoused a variety of social and political causes and was a founding member of the Screen Actors Guild. At a SAG meeting held during a 1937 studio technicians' strike, he told the assemblage of 2000 members: "With the eyes of the whole world on this meeting, will it not give the Guild a black eye if its members continue to cross picket lines?" (The NYT reported: "Cheers mingled with boos greeted the question.") Stander also supported the Conference of Studio Unions in its fight against the Mob-influenced International Alliance of Theatrical Stage Employees (IATSE). Also in 1937, Ivan F. Cox, a deposed officer of the San Francisco longshoremen's union, sued Stander and a host of others, including union leader Harry Bridges, actors Fredric March, Franchot Tone, Mary Astor, James Cagney, Jean Muir, and director William Dieterle. The charge, according to Time magazine, was "conspiring to propagate Communism on the Pacific Coast, causing Mr. Cox to lose his job".

In 1938, Columbia Pictures head Harry Cohn allegedly called Stander "a Red son of a bitch" and threatened a US$100,000 fine against any studio that renewed his contract. Despite critical acclaim for his performances, Stander's film work dropped off drastically. After appearing in 15 films in 1935 and 1936, he was in only six in 1937 and 1938. This was followed by just six films from 1939 through 1943, none made by major studios, the most notable being GUADALCANAL DIARY (1943).

Stander was among the first group of Hollywood actors to be subpoenaed before the House Un-American Activities Committee (HUAC) in 1940 for supposed Communist activities. At a grand jury hearing in Los Angeles in August 1940—the transcript of which was shortly released to the press—John R. Leech, the self-described former "chief functionary" of the Communist Party in Los Angeles, named Stander as a CP member, along with more than 15 other Hollywood notables, including Franchot Tone, Humphrey Bogart, James Cagney, Clifford Odets, and Budd Schulberg. Stander subsequently forced himself into the grand jury hearing, and the district attorney cleared him of the allegations.

Stander appeared in no films between 1944 and 1945. Then, with HUAC's attention focused elsewhere due to World War II, he played in a number of mostly second-rate pictures from independent studios through the late 1940s. These include Ben Hecht's SPECTER OF THE ROSE (1946); the Preston Sturges comedy THE SIN OF HAROLD DIDDLEBOCK (1947) with Harold Lloyd; and TROUBLE MAKERS (1948) with The Bowery Boys. One classic emerged from this period of his career, the Preston Sturges comedy UNFAITHFULLY YOURS (1948) with Rex Harrison.

In 1947, HUAC turned its attention once again to Hollywood. That October, Howard Rushmore, who had belonged to the CPUSA in the 1930s and written film reviews for the Daily Worker, testified that writer John Howard Lawson, whom he named as a Communist, had "referred to Lionel Stander as a perfect example of how a Communist should not act in Hollywood." Stander was again blacklisted from films, though he played on TV, radio, and in the theater.

In March 1951, actor Larry Parks, after pleading with HUAC investigators not to force him to "crawl through the mud" as an informer, named several people as Communists in a "closed-door session", which made the newspapers two days later. He testified that he knew Stander, but did not recall attending any CP meetings with him.

At a HUAC hearing in April 1951, actor Marc Lawrence named Stander as a member of his Hollywood Communist "cell", along with screenwriter Lester Cole and screenwriter Gordon Kahn. Lawrence testified that Stander "was the guy who introduced me to the party line", and that Stander said that by joining the CP, he would "get to know the dames more" — which Lawrence, who did not enjoy film-star looks, thought a good idea. Upon hearing of this, Stander shot off a telegram to HUAC chair John S. Wood, calling Lawrence's testimony that he was a Communist "ridiculous" and asked to appear before the Committee, so he could swear to that under oath. The telegram concluded: "I respectfully request an opportunity to appear before you at your earliest possible convenience. Be assured of my cooperation." Two days later, Stander sued Lawrence for $500,000 for slander. Lawrence left the country ("fled", according to Stander) for Europe.

After that, Stander was blacklisted from TV and radio. He continued to act in theater roles and played Ludlow Lowell in the 1952-53 revival of Pal Joey on Broadway and on tour.

Two years passed before Stander was issued the requested subpoena. Finally, in May 1953, he testified at a HUAC hearing in New York, where he made front-page headlines nationwide by being uproariously uncooperative, memorialized in the Eric Bentley play, Are You Now or Have You Ever Been. The New York Times headline was "Stander Lectures House Red Inquiry." In a dig at bandleader Artie Shaw, who had tearfully claimed in a Committee hearing that he had been "duped" by the Communist Party, Stander testified,

"I am not a dupe, or a dope, or a moe, or a schmoe...I was absolutely conscious of what I was doing, and I am not ashamed of anything I said in public or private."

An excerpt from that statement was engraved in stone for "The First Amendment Blacklist Memorial" by Jenny Holzer at the University of Southern California.

Other notable statements during Stander's 1953 HUAC testimony:

- "[Testifying before HUAC] is like the Spanish Inquisition. You may not be burned, but you can't help coming away from a little singed."

- "I don't know about the overthrow of the government. This committee has been investigating 15 years so far, and hasn't found one act of violence."

- "I know of a group of fanatics who are desperately trying to undermine the Constitution of the United States by depriving artists and others of life, liberty, and the Pursuit of Happiness without due process of law ... I can tell names and cite instances and I am one of the first victims of it. And if you are interested in that and also a group of ex-fascists and America-Firsters and anti-Semites, people who hate everybody including Negroes, minority groups and most likely themselves ... and these people are engaged in a conspiracy outside all the legal processes to undermine the very fundamental American concepts upon which our entire system of democracy exists."

- "...I don't want to be responsible for a whole stable of informers, stool pigeons, and psychopaths and ex-political heretics, who come in here beating their breast and say, 'I am awfully sorry; I didn't know what I was doing. Please--I want absolution; get me back into pictures.'"

- "My estimation of this committee is that this committee arrogates judicial and punitive powers which it does not possess."

Stander was blacklisted from the late 1940s until 1965; perhaps the longest period.

After that, Stander's acting career went into a free fall. He worked as a stockbroker on Wall Street, a journeyman stage actor, a corporate spokesman—even a New Orleans Mardi Gras king. He didn't return to Broadway until 1961 (and then only briefly in a flop) and to film in 1963, in the low-budget THE MOVING FINGER (although he did provide, uncredited, the voice-over narration for the 1961 noir thriller BLAST OF SILENCE.)

Life improved for Stander when he moved to London in 1964 to act in Bertolt Brecht's Saint Joan of the Stockyards, directed by Tony Richardson, for whom he'd acted on Broadway, along with Christopher Plummer, in a 1963 production of Brecht's The Resistible Rise of Arturo Ui. In 1965, he was featured in the film PROMISE HER ANYTHING. That same year Richardson cast him in the black comedy about the funeral industry, THE LOVED ONE, based on the novel by Evelyn Waugh, with an all-star cast including Jonathan Winters, Robert Morse, Liberace, Rod Steiger, Paul Williams, and many others. In 1966, Roman Polanski cast Stander in his only starring role, as the thug Dickie in CUL-DE-SAC, opposite Françoise Dorléac and Donald Pleasence.

Stander stayed in Europe and eventually settled in Rome, where he appeared in many spaghetti Westerns, most notably playing a bartender named Max in Sergio Leone's ONCE UPON A TIME IN THE WEST. He played the role of the villainous mob boss in Fernando Di Leo's 1972 poliziottescho thriller CALIBER 9. In Rome he connected with Robert Wagner, who cast him in an episode of It Takes a Thief that was shot there. Stander's few English-language films in the 1970s include THE GANG THAT COULDN'T SHOOT STRAIGHT (1971) with Robert De Niro and Jerry Orbach, Martin Scorsese's NEW YORK, NEW YORK (1977), which also starred De Niro and Liza Minnelli, and Steven Spielberg's 1941 (1979).

Stander played a supporting role in the TV film Revenge Is My Destiny with Chris Robinson. He played a lounge comic modeled after the real-life Las Vegas comic Joe E. Lewis, who used to begin his act by announcing "Post Time" as he sipped his ever-present drink.

After 15 years abroad, Stander moved back to the U.S. for the role he is now most famous for: Max, the loyal butler, cook, and chauffeur to the wealthy, amateur detectives played by Robert Wagner and Stefanie Powers on the 1979–1984 television series Hart to Hart (and a subsequent series of Hart to Hart made-for-television films). In 1983, Stander won a Golden Globe Award for Best Supporting Actor – Series, Miniseries or Television Film.

In 1986, he became the voice of Kup in THE TRANSFORMERS: THE MOVIE. In 1991 he was a guest star in the television series Dream On, playing Uncle Pat in the episode "Toby or Not Toby". His final theatrical film role was as a dying hospital patient in THE LAST GOOD TIME (1994), with Armin Mueller-Stahl and Olivia d'Abo, directed by Bob Balaban.

Stander was married six times, the first time in 1932 and the last in 1972. All but the last marriage ended in divorce. He fathered six daughters (one wife had no children, one had twins).

Stander died of lung cancer in Los Angeles, California, in 1994 at age 86. He was buried in Glendale's Forest Lawn Memorial Park Cemetery.

[sondheims-hat]

May 31, 1998: Follies closes at the Papermill Playhouse. The cast included Donna McKechnie, Phyllis Newman, Anne Miller, Kaye Ballard, Lilianne Montevecchi, Tony Roberts, Dee Hoty, Eddie Bracken, and Laurence Guittard.

[martincidmagazine]

#newyork #ballet #events

[dauxier]

RUN! (Don't walk) to Kaye Playhouse to see Pirates of Penzance! Opening tomorrow, and only running 5 PERFORMANCES Dec 27-30! Use code PIRATEKING20 at nygasp.org for 20% orchestra seats #NYGASP #NYC #happyholidays #piratesofpenzance #KayePlayhouse (at KAYE PLAYHOUSE at HUNTER COLLEGE) https://www.instagram.com/p/Br2y_sHhY4r/?utm_source=ig_tumblr_share&igshid=174cf9vq5v6xr

[tamarabeck]

A Gilbert & Sullivan Classic Done to a Turn

A Gilbert & Sullivan Classic Done to a Turn

Review by Mari S. Gold The maidens of Penzance Pirates of Penzance, or The Slave of Duty, at Hunter College’s Kaye Playhouse April 8-10, 2022, was, in its original incarnation, the fifth collaboration between Sir Arthur Sullivan who wrote the music and W. S. Gilbert who contributed the libretto. This production by the New York Gilbert & Sullivan Players (NYGASP) is a richly rewarding…