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ducktracy · 5 years

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155. picador porky (1937)

release date: february 27th, 1937

series: looney tunes

director: tex avery

starring: joe dougherty (porky), mel blanc (drunks), billy bletcher (bull)

while mel blanc provided porky’s shrieks in porky the wrestler, this is often considered his first role in a warner bros cartoon, or at least a role of substantial size. porky has also been considerably slimmer down. other directors such as ub iwerks and bob clampett would follow suit, with frank tashlin being the lone fat porky straggler. this is where i think looney tunes really start to shift in tone and truly become recognizably looney. porky gets refined, mel blanc puts his foot in the door... great things lie ahead! (and an interesting note—i’m using the porky pig 101 rip for quality, but the title card music is actually ripped from porky’s tire trouble. this is the beginning of many, many, MANY reuses... so get ready.) here, porky assumes the role of a toreador, hoping to win the cash prize with ease as his buddies promise to dress up as a bull and provide an even fight. however, when his buddies get into the bottle, porky finds himself fighting a REAL bull instead, and a cash prize seems none too likely.

the cartoon opens with an expositional foreword:

slumbering peacefully ‘neath the warm caresses of the noonday sun, lies the sleepy little village of la rosita. it presents a scene of serene quietude and beauty as its inhabitants enjoy their mid-day siesta preceding the annual bull-fight. the solitude is broken only by the occasional strains of a soft guitar.

tex does a wonderful job of painting the perfect setting that almost anyone can imagine (even if he does spell preceding as preceeding). and so, of course, it’s only right that the scene after the foreword completely defies every word. gunshots, shouting, people running amuck, a flurry of activity. this setup would be borrowed at the beginning of bob clampett’s naughty neighbors (which, funnily enough, also has the porky’s tire trouble music tacked onto it).

however, tex was right on the soft strains of the guitar: a mariachi band gets together to play “la cucaracha”. a variety of visual gags accompany the music, whether it be men head-butting each other, a man drying himself off with a towel, or a kid poking his head out of a pot carried by his mother, interjecting “swing it, mama, swing it!”, a man shaking a cocktail, you name it. there’s animation reused from a friz cartoon of a girl dancing with a cloth—i believe it may be from billboard frolics.

enter porky and his two mysteriously unnamed buddies, both sliding into view from opposite sides as they all approach the gate to the town. porky and co are nonplussed by the fervent celebration—we get a rolling pan of the action. gunshots, dancing, confetti, the works. a poster tacked up to a tree captures the audience’s attention:

TO-DAY

BULL FIGHT

1000 PESOS

TO THE

WINNER!

the camera then trucks out to reveal porky and his entourage staring at the poster. i was listening to mark kausler’s commentary on porky’s romance (which is coming up very soon, hooray! next porky cartoon!) and he mentioned how the camerawork could be a bit jittery and choppy on zoom outs such as these. the same applies here, the zoom out is a little jittery, but it’s a niche complaint. something i never would have thought to notice! porky signals for his buddies to bend down low, and he whispers an inaudible plan in their attentive ears.

fade out and in to a costume shop, where porky and co hurry inside. a few seconds later and out marches porky in a matador costume, a makeshift bull outfit marching behind, tail pompously raised in the air. topping the gag off, as if it wasn’t obvious, mel blanc provides his first coherent line of dialogue in a warner bros cartoon as the two buddies unmask themselves, reassuring the audience “it’s us!”

elsewhere, the stadium packs full to bursting with eager spectators, waiting to see the bullfight in action. some of the animation of the spectators streaming into the stadium would be reused as an overlay in porky & daffy. elsewhere, porky and his “bull” tiptoe into the back entrance, where they encounter the actual bull for the fight, pent up in a cage that reads “1st event”. the real bull mistakes the fake bull for a female, hearts pouring out as billy bletcher provides an “mmmmm-mmmm!” from the bull.

porky wheels the bull cage out of the way, fetching an empty cage for his buddies to hide out in until the fight. porky tends to his business, leaving his buddies alone, when a pesky bee flies into the cage. clever visuals of the guy in the bottom half trying to smack the bee, his hand clearly sticking out of the tail. the bee lands on the bull’s “butt”, to which the hand promptly smacks. though he hit himself in the process, the guy has successfully taken care of the bee, flicking it offscreen.

meanwhile, a bottle of alcohol catches the attention of the front half. carl stalling debuts his favorite drunken motif of “how dry i am” as the bull head opens up, buddy #1 taking a hearty gulp of the liquor. mel blanc works his magic as #1 wheezes and coughs, sputtering “hey, this is fine stuff!” buddy #2 pokes his head out of the butt and helps himself. wonderful animation as the alcohol settles in, #2 spinning and contorting the bull costume from the impact. he gives his seal of approval by slurring incomprehensibly.

the next scene has some wonderful animation paired with mel blanc’s hiccups. drunk #2 begins to hiccup, sinking back into the bull costume. what starts as a string of hiccups morphs into an uncontrollably frenzy, the bull’s back half rocketing up and down and flailing all over the place as the hiccups render drunk #2 (and #1) useless. eventually, the force of the hiccups is so strong that #2 lodges the entire bull outfit out of the cage, the cage now empty.

in the arena, a trumpeter blares out the beginning fanfare, and a number of miscellaneous doors—wooden, steel, even a safe—slide out of view, one by one, revealing the bullfighter’s entrance. this gag, paired with the same music, would be reused in porky in wackyland and later the remake, dough for the do-do. the gag would be reused to a similar degree in another one of tex’s shorts, northwest hounded police over at MGM. while the gag is funny as it is, even more amusing is that the doors open to reveal absolutely nothing. a beat, and then tiny little porky jumps out of a hidden door to the (our) right of the grand entrance, posing triumphantly. porky shakes his hands in the glory, eating up the applause.

back behind the scenes, a guard notices the bull is missing. he wheels away the cage, and spots the ACTUAL bull, wheeling the real bull back in its rightful place. another door gag as an assistant opens a heavyset door, pulling a string that reveals the door to be a curtain. the bull is riled up, snorting wildly. without any further hesitation, it zooms straight into the arena, spinning porky around in a whirlwind in the process.

porky, believing the bull is still his scamming buddies, whistles in awe and speaks out of the side of his mouth, “take it easy, boys! that was a little close!” with that, virgil ross animates a scene of porky doing magic tricks (i had thought this was bob clampett animation, seeing as he had such an affinity with magic, but the movements, shiny eyelids, and dimensional snout give it away as virgil), the bull running straight into porky‘s telltale cape. the animation is as wondrous as the magic trick to the spectators. porky turns the cloth inside and out��no bull. eventually, he shakes the cloth, and his bull plops out onto the ground. porky strikes a jubilant pose, with an angry bull glaring him down.

suddenly, porky whistles. “hey, caddy!” a man appears with a golf club bag full of toilet plungers. you know, the essentials. porky begins to attach the toilet plungers on the bull, one by one. the bull, enraged, shakes all of the plungers off except for one, that sticks to his butt. determined to get it off, the bull fights with himself, and in the midst of the struggle, the plunger gets stuck on his nose. he struggles to pull it off, but manages to do so, drastically elongating his snout in the process and giving a hilarious, squeaky whimper. the payoff is amusing with the visual, but this is definitely an instance where tex’s gags seemed to be randomly placed in with no merit. why was porky sticking the plungers on the bull in the first place? nevertheless, the bull, now more furious than ever, prepares to attack.

chuck jones is responsible for animating this GLORIOUS next scene. it’s one of my favorite scenes he’s ever animated. of the three specialties, two of them are included—closeups and drunks. dogs is his third, but i guess you could count these guys as dogs. regardless, porky’s hammered buddies suddenly burst into the arena, the bull costume ripped in half (and the owners of each half are switched). drunk #2 accompanies the vocal talents of drunk #1 singing la cucaracha. mel blanc’s vocals are absolutely HYSTERICAL. the hiccups, the slurring, the random YIPPEE! even better is watching drunk #1 get up in drunk #2’s face, completely expressionless (except for a drunken smile), the cow head occasionally concealing his head as it falls down and he props it back up. chuck’s movements are smooth, rubbery, and utterly hilarious. this is a great scene and the first time mel blanc truly shines for all to see.

elsewhere, porky’s still waving his little flag around, but pauses to admire the drunken music. suddenly, a revelation. he recognizes his drunks. he stares at the drunks, and then at the bull, prying open the furious bull’s mouth. sure enough, no pals of his are lodged down the bull’s throat. they’re over yonder singing a hammered rendition of la cucaracha.

mel provides porky’s “WOO!” of terror as he scrambles away. nice bit of a 4th wall break that unfortunately doesn’t realize maximum speed potential as porky runs across the borders of the screen, running up the sides and upside down, the bull hot on his tail. meanwhile, the time keeper (as his plaque labels in his stand) blows on a party streamer, a hammer popping out of the end and slamming on a bell.

porky and the bull freeze in their tracks, porky petrified with terror, so much so that two assistants have to physically pick him up from the ground and carry him off. the bull snaps in frustration and gives porky a promising glare of vengeance.

transition to a non-petrified porky gargling with some liquid and spitting it into a funnel with the guidance of his assistants. the bull goes through the same routine, and when the assistant points to the funnel, the bull grabs it and talks into it instead. “hello, mama! hello, papa! it’s great, fine. wish you were here!” even better is the bull’s contented smile at the end of the “call”. a genius gag that is enhanced by the deep vocals of billy bletcher.

the time keeper blows on his party streamer/hammer, and the hammer stops to whack the keeper in the head instead of the bell, a loud bell chime reverberating regardless. the chase resumes. bob clampett animates the next scene of porky sliding into the safe zone—i love porky’s giant satisfied, ecstatic grins as the bull waits patiently outside, humming (a scene clampett would incorporate in his own porky’s last stand, a mega-favorite of mine). in tex avery fashion, the bull defies all logic by lifting the painted lines off of the ground and towering over a terrified porky, who zooms out of sight.

porky’s drunken buddies notice the plight, and are at least sober enough to take action. #1 whispers in #2’s ear, and we see the fully formed bull (really a cow) costume hide behind a wooden barrier. an arm reaches out and grabs a baseball bat and a plank, calling “moooohoooooo!” (instead of “yoohoo!”) in a seductive catcall. the bull takes the bait, lumbering over to the barrier, where the drunks await with their weapons. even better than the typography zooming out of the scene as the fight ensues is mel blanc YELLING the onomatopoeia out loud, batman style. “bang! bam! bop! wham!” the action freezes. then more violence. finally, a victorious rendition of “the lady in red” as the costumed bull marches proudly out of the barrier, unscathed.

the disguise approaches porky, the head giving a befuddled porky a wink. then, the “bull” flops over on its back, tail straight up, a white flag of surrender waving triumphantly in the wind as porky is showered with applause, beaming and raising his sword.

just as porky’s about to collect his earnings, the REAL bull shakes himself to his senses. porky grabs the money bag from the judges, bowing as he twirls his hat victoriously in the air. the fake bull suddenly panics, zooming off screen. porky turns around to see a very angry, real, slightly bruised bull snorting heavily at him. porky shrugs it off, celebrating some more, until he realizes that That’s The Real Deal. mel blanc provides porky’s panicked HOOHOO!s as porky zooms out of the arena. a clever pause, and porky zips back to the bull, offering his money bag, and rocketing out of sight once more. iris out as the bull grumbles “well, imagine that!”—another catchphrase used from a previous tex cartoon, porky the rain-maker.

as i said before, this is the cartoon that really starts that looney feel to me. half of it is mel blanc’s prominence, the other half being porky’s slight redesign—he’d be even skinnier in tex’s next porky, porky’s duck hunt. this is a great cartoon for its time. tex’s gags are amusing—that setup with the whole “sleepy village which is actually a village in chaos” is just sublime. some gags made more sense than others. while the joke was supposed to be the visual of the bull’s elongated snout, porky covering the bull in toilet plungers felt too incongruous and didn’t really fit in. funny, but kinda just floating there. porky’s duck hunt suffers the same fate with the gag of daffy swallowing an electric eel—very funny, but has nothing to do with any of the adjacent scenes. regardless, you need to see this one. mel’s drunken rendition of la cucaracha is certainly the highlight, but there are a lot of fun gags elsewhere. very high energy, very fun, very feel good. give it a go!

link!

#lt #picador porky #reviews #looney tunes #long post #avery #alcohol tw

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ronaldxjen82 · 7 years

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Calls for widespread vitamin D supplementation are hasty on the heart of current evidence". In another report involving vitamin D and brain health, researchers led by Paul Knekt and colleagues at the National Institute for Health and Welfare in Helsinki, Finland, found that plebeians with higher serum levels of vitamin D appear to have a lop off risk of developing Parkinson's disease. Their gunshot was published in the July issue of the Archives of Neurology. For the study, Knekt and his span collected data on almost 3200 Finnish men and women aged 50 to 79 who did not have Parkinson's plague when the study began. Over 29 years of follow-up, 50 people developed Parkinson's disease. The researchers suited that people with the highest levels of vitamin D had a 67 percent discredit risk of developing Parkinson's disease compared with those with the lowest levels of vitamin D. 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Over an typical of 9,6 years of follow-up, 465 of these individuals developed dementia, and 365 of these were diagnosed with Alzheimer's disease, the researchers reported. Devore's pair found that those who consumed the most vitamin E (one-third of the participants) were 25 percent less apposite to develop dementia, compared with the third who consumed the least. "The wit is a site of high metabolic activity, which makes it vulnerable to oxidative damage, and boring accumulation of such damage over a lifetime may contribute to the development of dementia," Devore and colleagues wrote. "In particular, when beta-amyloid (a feature of pathologic Alzheimer's disease) accumulates in the brain, an fervent response is likely evoked that produces nitric oxide radicals and downstream neurodegenerative effects. Vitamin E is a vigorous fat-soluble antioxidant that may help to inhibit the pathogenesis of dementia," the authors added. 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cynthiajayusa · 7 years

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Broadway Across Palm Beach

The Raymond F KRAVIS CENTER FOR THE PERFORMING ARTS Announces Kravis On Broadway’s 10th Anniversary Season Featuring Seven Blockbuster Hits in 2017/2018 Including Multiple Tony Award® Winners & Kravis Center Debuts. They are: Rodgers & Hammerstein’s THE KING AND I (November 7-12, 2017); THE BOOK OF MORMON (November 21-26, 2017); FINDING NEVERLAND (January 2-7, 2018); CABARET (February 6-11, 2018); THE ILLUSIONISTS Live From Broadway (March 6-11, 2018); THE BODYGUARD (April 10-15, 2018); SOMETHING ROTTEN! (May 1-6, 2018), and Coming to the 2018/2019 Kravis On Broadway Season Disney’s THE LION KING.

(Photo: The Book of Mormon / Joan Marcus)

Lee Bell, the Kravis Center’s Senior Director of Programming said: “2017/2018 marks the Tenth Anniversary of Kravis On Broadway, and this spectacular season features seven not-to-missed shows including six making their Kravis On Broadway debut and the return of the Tony Award® winning Best Musical, THE BOOK OF MORMON, which sold out during its first Kravis Center run in December 2014.”

The 2017/2018 Kravis On Broadway series includes:

Rodgers & Hammerstein’s THE KING AND I

November 7-12, 2017

Two worlds collide in the Lincoln Center Theater production of this “breathtaking and exquisite” (The New York Times) musical, directed by Bartlett Sher. One of Rodgers & Hammerstein’s finest works, THE KING AND I boasts a score that features such beloved classics as “Getting To Know You,” “I Whistle a Happy Tune,” “Hello Young Lovers,” “Shall We Dance” and “Something Wonderful.” Set in 1860’s Bangkok, the musical tells the story of the unconventional and tempestuous relationship that develops between the King of Siam and Anna Leonowens, a British schoolteacher whom the modernist King, in an imperialistic world, brings to Siam to teach his many wives and children. Winner of the 2015 Tony Award® for Best Musical Revival, THE KING AND I is “too beautiful to miss” (New York Magazine).

THE BOOK OF MORMON

November 21-26, 2017

The New York Times calls it “the best musical of the century.” The Washington Post says, “It is the kind of evening that restores your faith in musicals.” And Entertainment Weekly says, “Grade A: the funniest musical of all time.” Jimmy Fallon of The Tonight Show calls it “Genius. Brilliant. Phenomenal.” It’s THE BOOK OF MORMON, the nine-time Tony Award®-winning Best Musical. This outrageous musical comedy follows the misadventures of a mismatched pair of missionaries, sent halfway across the world to spread the Good Word. Now with standing room only productions in London, on Broadway, and across North America, THE BOOK OF MORMON has truly become an international sensation. Contains Explicit Language.

FINDING NEVERLAND

January 2-7, 2018

The winner of Broadway.com’s Audience Choice Award for Best Musical, this breathtaking smash “captures the kid-at-heart,” says TIME Magazine. Vogue cheers, “It’s a must-see you’ll remember for years to come!” Directed by visionary Tony®-winner Diane Paulus and based on the critically-acclaimed Academy Award® winning film, FINDING NEVERLAND tells the incredible story behind one of the world’s most beloved characters: Peter Pan. Playwright J.M. Barrie struggles to find inspiration until he meets four young brothers and their beautiful widowed mother. Spellbound by the boys’ enchanting make-believe adventures, he sets out to write a play that will astound London theatergoers. With a little bit of pixie dust and a lot of faith, Barrie takes this monumental leap, leaving his old world behind for Neverland, where nothing is impossible and the wonder of childhood lasts forever. The magic of Barrie’s classic tale springs spectacularly to life in this heartwarming theatrical event. FINDING NEVERLAND is “far and away the best musical of the year!” (NPR).

CABARET

February 6-11, 2018

Based on Roundabout Theatre Company’s Tony Award®-winning production, Sam Mendes (Skyfall, American Beauty) and Rob Marshall’s (Into the Woods and Chicago, the films), CABARET comes to the Kravis Center. Welcome to the infamous Kit Kat Klub, where the Emcee, Sally Bowles and a raucous ensemble take the stage nightly to tantalize the crowd – and to leave their troubles outside. But as life in pre-WWII Germany grows more and more uncertain, will the decadent allure of Berlin nightlife be enough to get them through their dangerous times? Come hear some of the most memorable songs in theatre history, including “Cabaret,” “Willkommen” and “Maybe This Time.” Leave your troubles outside – life is beautiful at CABARET, John Kander, Fred Ebb and Joe Masteroff’s Tony-winning musical about following your heart while the world loses its way.

THE ILLUSIONISTS: Live from Broadway

March 6-11, 2018

Hailed as “a high-tech magic extravaganza” by The New York Times, this mind blowing spectacular showcases the jaw dropping talents of five of the most incredible Illusionists on earth. THE ILLUSIONISTS – Live From Broadway has shattered box office records across the globe and dazzles audiences of all ages with a powerful mix of the most outrageous and astonishing acts ever to be seen on stage. This non-stop show is packed with thrilling and sophisticated magic of unprecedented proportions. Direct from Broadway, this is the world’s best-selling magic show.

THE BODYGUARD

April 10-15, 2018

Based on the smash hit film, the award-winning musical will star Grammy® Award-nominee and R&B superstar Deborah Cox. Former Secret Service agent turned bodyguard, Frank Farmer, is hired to protect superstar Rachel Marron from an unknown stalker. Each expects to be in charge; what they don’t expect is to fall in love. A breathtakingly romantic thriller, THE BODYGUARD features a host of irresistible classics including “Queen of the Night,” “So Emotional,” “One Moment in Time,” “Saving All My Love,” “Run to You,” “I Have Nothing,” “I Wanna Dance with Somebody” and one of the biggest selling songs of all time – “I Will Always Love You.” Based on Lawrence Kasdan’s Oscar-nominated Warner Bros. film and adapted by Academy Award- winner (Birdman) Alexander Dinelaris, THE BODYGUARD had its world premiere in London’s West End where it was nominated for four Laurence Olivier Awards including Best New Musical and won Best New Musical at the Whatsonstage Awards. The Southern Daily Echo raved, “It started with a gunshot and kept us on the edge of our seats from the outset. Exciting, thrilling, uplifting, moving – THE BODYGUARD is a truly exceptional show! … A five gold star-winning show. Miss it at your peril!”

SOMETHING ROTTEN!

May 1-6, 2018

Welcome to the ’90s — the 1590s — long before the dawn of premium tickets, star casting and reminders to turn off your cell phones. Brothers Nick and Nigel Bottom are desperate to write a hit play but are stuck in the shadow of that Renaissance rock star known as “The Bard”. When a local soothsayer foretells that the future of theatre involves singing, dancing and acting at the same time, Nick and Nigel set out to write the world’s very first MUSICAL! But amidst the scandalous excitement of Opening Night, the Bottom Brothers realize that reaching the top means being true to thine own self … and all that jazz. With its heart on its ruffled sleeve and sequins in its soul, SOMETHING ROTTEN! is an uproarious dose of pure Broadway fun and an irresistible ode to musicals — those dazzling creations that entertain us, inspire us, and remind us that everything’s better with an exclamation point! From the director of Aladdin and the co-director of The Book of Mormon, SOMETHING ROTTEN! is “Broadway’s big, fat hit!” (NY Post).

And Coming to the 2018/2019 Kravis On Broadway Season Disney’s THE LION KING

More than 90 million people around the world have experienced the phenomenon of Disney’s THE LION KING, and now you can, too, when the world’s best-loved musical comes to the Kravis Center for the first time. Winner of six Tony Awards®, including Best Musical, this landmark musical event brings together one of the most imaginative creative teams on Broadway. Tony Award®-winning director Julie Taymor brings to life a story filled with hope and adventure set against an amazing backdrop of stunning visuals. THE LION KING also features some of Broadway’s most recognizable music, crafted by Tony Award®-winning artists Elton John and Tim Rice. There is simply nothing else like Disney’s THE LION KING.

The best way to ensure being first in line to order tickets to Disney’s THE LION KING at the Kravis Center during the 2018/2019 season is to remain or become a subscriber to the Kravis On Broadway 2017/2018 season.

How to Get Tickets to Kravis On Broadway 2017/2018: Subscribers for the Kravis On Broadway series will receive their renewals in early March. Kravis Center donors will receive information on becoming a Kravis On Broadway subscriber for the 2017-2018 series mid May, and subscriptions will go on sale to the general public in June. For more information about becoming a donor, log on to kravis.org/membership, or call (561) 651-4320.

For information about purchasing a subscription to Kravis On Broadway 2017/2018, contact the Kravis Center box office at (561) 832-7469 or (800) 572-8471, or log on to www.Kravis.org/broadwayseason.

For group sales contact Teri Reid at (561) 651-4438 or [email protected] or Karen Farruggia at (561) 651-4304 or [email protected].

About the Raymond F. Kravis Center for the Performing Arts:

Celebrating 25 Seasons of Success, Thanks To The Community: This season, the Raymond F. Kravis Center for the Performing Arts celebrates a Quarter-Century on Stage. And while we celebrate our silver anniversary, we renew our commitment to the community to present the gold standard of excellence in the performing arts.

Today, the Kravis Center is a thriving cultural complex, serving as the gateway to downtown West Palm Beach. Thanks to so many who have and continue to support the Center; it has become one of the premier performing arts centers with a renowned national and international reputation.

The Kravis Center is a not-for-profit performing arts center whose mission is to enhance the quality of life in Palm Beach County by presenting a diverse schedule of national and international artists and companies of the highest quality; by offering comprehensive arts education programs; by providing a Palm Beach County home in which local and regional arts organizations can showcase their work; and by providing an economic catalyst and community leadership in West Palm Beach, supporting efforts to increase travel and tourism to Palm Beach County. The Kravis Center is located at 701 Okeechobee Blvd. in West Palm Beach, FL. For more information, please call 561-832-7469 or visit the official website at http://www.kravis.org/.

source https://hotspotsmagazine.com/2017/08/24/broadway-across-palm-beach/ from Hot Spots Magazine http://hotspotsmagazin.blogspot.com/2017/08/broadway-across-palm-beach.html

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demitgibbs · 7 years

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Broadway Across Palm Beach

(Photo: The Book of Mormon / Joan Marcus)

The 2017/2018 Kravis On Broadway series includes:

Rodgers & Hammerstein’s THE KING AND I

November 7-12, 2017

THE BOOK OF MORMON

November 21-26, 2017

FINDING NEVERLAND

January 2-7, 2018

CABARET

February 6-11, 2018

THE ILLUSIONISTS: Live from Broadway

March 6-11, 2018

THE BODYGUARD

April 10-15, 2018

SOMETHING ROTTEN!

May 1-6, 2018

And Coming to the 2018/2019 Kravis On Broadway Season Disney’s THE LION KING

For information about purchasing a subscription to Kravis On Broadway 2017/2018, contact the Kravis Center box office at (561) 832-7469 or (800) 572-8471, or log on to www.Kravis.org/broadwayseason.

For group sales contact Teri Reid at (561) 651-4438 or [email protected] or Karen Farruggia at (561) 651-4304 or [email protected].

About the Raymond F. Kravis Center for the Performing Arts:

from Hotspots! Magazine https://hotspotsmagazine.com/2017/08/24/broadway-across-palm-beach/ from Hot Spots Magazine https://hotspotsmagazine.tumblr.com/post/164562328695

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hotspotsmagazine · 7 years

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Broadway Across Palm Beach

(Photo: The Book of Mormon / Joan Marcus)

The 2017/2018 Kravis On Broadway series includes:

Rodgers & Hammerstein’s THE KING AND I

November 7-12, 2017

THE BOOK OF MORMON

November 21-26, 2017

FINDING NEVERLAND

January 2-7, 2018

CABARET

February 6-11, 2018

THE ILLUSIONISTS: Live from Broadway

March 6-11, 2018

THE BODYGUARD

April 10-15, 2018

SOMETHING ROTTEN!

May 1-6, 2018

And Coming to the 2018/2019 Kravis On Broadway Season Disney’s THE LION KING

For information about purchasing a subscription to Kravis On Broadway 2017/2018, contact the Kravis Center box office at (561) 832-7469 or (800) 572-8471, or log on to www.Kravis.org/broadwayseason.

For group sales contact Teri Reid at (561) 651-4438 or [email protected] or Karen Farruggia at (561) 651-4304 or [email protected].

About the Raymond F. Kravis Center for the Performing Arts:

from Hotspots! Magazine https://hotspotsmagazine.com/2017/08/24/broadway-across-palm-beach/

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