#sunrise at campobello

[cantsayidont]

No crunking, but lots of haterating and hollerating and even some situations:

BRUTE FORCE (1947): Aptly named prison drama about a group of convicts (including Burt Lancaster, Charles Bickford, and radio actor Howard Duff) in a battle of wills and wits with the sadistic guard captain Munsey (Hume Cronyn). Forcefully directed by Jules Dasssin and certainly vivid, but the few moments of levity the Richard Brooks screenplay provides — such as a droll flashback sequence where former conman Spencer (John Hoyt, who later played Dr. Phillip Boyce in the original STAR TREK pilot) affectionately recalls the slick dame (Anita Colby) who once robbed him with his own gun — serve mostly to demonstrate that there's not enough light moments, even for such a determinedly grim and downbeat story. Worse, since the main action takes place entirely within the prison, women (including Ella Raines, Ann Blyth, and future TV Batgirl Yvonne De Carlo as well as Anita Colby) appear only in brief flashbacks. The film's main attraction is its superb acting — and even Lancaster's brooding sex appeal is somewhat overshadowed by Hume Cronyn's towering performance as the magnificently detestable Munsey. CONTAINS LESBIANS? Nope. VERDICT: Compelling in fits and starts, and Cronyn's Munsey is one of the screen's great villains, but it's so oppressive that your attention may start to wander, especially if neither Lancaster nor Cronin is currently onscreen.

HOTEL COCAINE Season 1 (2024): Colorful but sloppy Chris Brancato crime drama, based (apparently very loosely) on the life of a real person, Cuban exile and CIA asset Roman Compte (played, weakly, by Danny Pino), who, as the general manager of Miami's Mutiny Hotel, presided over the heyday of coke-fueled late '70s South Florida hedonism. Brancato uses this as a backdrop for a disappointingly ordinary gangster story, giving Compte a fictional older brother, Nestor Cabal (Yul Vázquez), indistinguishable from Brancato's previous fictionalization of Cuban cop/gangster José Battle Sr. in GODFATHER OF HARLEM (where he was also played by Vázquez), and pitting the brothers against a renegade DEA agent (Michael Chiklis) and an invading Columbian cartel led by Gilberto Henao (Juan Pablo Raba). Despite the title, the Mutiny setting is surprisingly under-utilized; the main plot is cliché-ridden and often listless; and the action is broken up by periodic fits of weird comic relief involving nervous acid-freak hotel owner Burton Greenberg (Mark Feuerstein), including bizarre appearances by Hunter S. Thompson (John Ventimiglia) and Rick James (Larry Powell) in the first two episodes. Pino is barely adequate in the lead, and it sometimes seems like Brancato foolishly expects viewers to find Roman sympathetic, which he really never is, even compared to his antagonists. The only real reasons to bother with the show are its Latina characters, including Roman's spunky teenage daughter Valeria (Corina Bradley); his sympathetic girlfriend Marisol (Tania Watson); and in particular Gilberto's sexy and sadistic Mexican enforcer/girlfriend Yolanda (Mayra Hermosillo). Alas, Laura Gordon is awful as Roman's loyal right-hand woman Janice, while Michael Chiklis, who had made such a strong impression as the antiheroic Vic Mackey on THE SHIELD, is just laughable as DEA agent Zulio. CONTAINS LESBIANS: Not in any meaningful way. VERDICT: Never dull, but too arch to be credible and yet not over the top enough to rival De Palma's SCARFACE, and unlike the similar but better-realized GODFATHER OF HARLEM, it has no particular insights to offer about either its era or its setting.

SEX-POSITIVE (2024): Cute but very dumb sex comedy, directed by Peter Woodward (who also co-scripted with Marie Kirby) about a down-on-her-luck young woman (Katherine Ellis) who moves into a New Orleans commune and, after her initial shock has subsided, becomes part of its loose-knit polycule of ongoing sex parties. The story tries hard to live up to its title, with mixed results: It largely avoids the performative dread sex comedies often evince at the idea of same-gender sex, and it even takes a few flailing stabs at body positivity, but much of its humor is still founded on the idea that people having a lot of (semi-public, maybe mildly kinky) sex is inherently outrageous, which means that if you don't blush and giggle at the mere idea of a sex party, the movie is only occasionally funny. On the other hand, it's refreshing to see a modern sex comedy that doesn't shy away from nudity, allows the characters to actually have sex rather than just talking about it, and doesn't paint the characters' promiscuous lifestyle as a moral failing that has to eventually be recanted. CONTAINS LESBIANS: Yes, although the script leans a little too hard on the idea that anything other than complete sexual fluidity is somehow regressive. VERDICT: In a less prudish cultural climate, a low-wattage comedy like SEX-POSITIVE would barely rate a yawn, but in an era of rampant self-censorship and dreary bourgeois repression, its dopey, good-natured smuttiness is sort of endearing.

SUNRISE AT CAMPOBELLO (1960): Okay Dore Schary film adaptation (directed by Vincent Donehue) of Schary's Tony-winning play, starring Ralph Bellamy (reprising his award-winning stage role) as Franklin Delano Roosevelt, recently stricken with infantile paralysis and struggling to decide if he can still have a political future, with Greer Garson as Eleanor, Ann Shoemaker as Franklin's imperious mother Sara, and Hume Cronyn as his friend and political advisor Louis Howe. At first, both Bellamy and Garson seem like they're overplaying their roles, with a bigness more suited to stage than screen; Garson's performance never really stops feeling like caricature, but Bellamy eventually disappears into his part and becomes surprisingly convincing. Cronyn and Shoemaker are both excellent, and extensive use of location shooting (including scenes staged in the Roosevelts' actual homes) keeps the film from feeling objectionably stage-bound, but the narrative's emphasis on the heroism of overcoming chronic illness (a struggle FDR took great pains to conceal as much as possible) is awfully sticky at points, and if you're not American, you may wonder what all the fuss is about. CONTAINS LESBIANS: There have been arguments for years about Eleanor (in particular surrounding her relationship with reporter Lorena Hickok), but you'll find none of that here. VERDICT: As biopics go, it's pretty top-drawer, but if you're not a history buff or don't care about the Roosevelts, it probably won't hold your interest.

[lascenizas]

The Last Movie I Watched...

Sunrise at Campobello (1960, Dir.: Vincent J. Donehue)

[demifiendrsa]

EGOT winning american film, television, and broadway actor James Earl Jones has passed away on September 9, 2024 at the age of 93.

Jones made his film debut in Stanley Kubrick's Dr. Strangelove. He received a Golden Globe Award nomination for Claudine. Jones gained international fame for his voice role as Darth Vader in the Star Wars franchise, beginning with the original 1977 film. Jones' other notable roles include in Conan the Barbarian, Matewan, Coming to America, Field of Dreams, The Hunt for Red October, The Sandlot, and the voice of Mufasa in The Lion King. Jones reprised his roles in Star Wars media, The Lion King (2019) remake, and Coming 2 America.

Jones' television work includes playing Woodrow Paris in the series Paris between 1979 and 1980. He voiced various characters on the animated series The Simpsons in three separate seasons. He then was cast as Gabriel Bird, the lead role in the series Gabriel's Fire which aired from 1990 to 1991. For that role, he won the Primetime Emmy Award for Outstanding Lead Actor in a Drama Series and was nominated for his fourth Golden Globe Award, this time for Best Actor in a Television Series Drama. He played Bird again in the series Pros and Cons, which ran from 1991 to 1992; that earned him his fifth and final Golden Globe Award for Best Actor in a Television Series Drama. He then had small appearances in the series Law & Order, Picket Fences , Mad About You, Touched by an Angel, Frasier. His role in Picket Fences earned him another Primetime Emmy Award nomination, one for Outstanding Guest Actor in a Drama Series. His later television work includes small roles in Everwood, Two and a Half Men, House, and The Big Bang Theory.

Jones' theater work includes numerous Broadway plays, including Sunrise at Campobello (1958–1959), Danton's Death (1965), The Iceman Cometh (1973–1974), Of Mice and Men (1974–1975), Othello (1982), On Golden Pond (2005), Cat on a Hot Tin Roof (2008) and You Can't Take It with You (2014–2015). He was also in various off Broadway productions and Shakespeare stage adaptations such as The Merchant of Venice (1962), The Winter's Tale (1963), Othello (1964–1965), Coriolanus (1965), Hamlet (1972), and King Lear (1973). His roles in The Great White Hope (1969) and Fences (1987) earned him two Tony Awards, both for Best Leading Actor in a Play.

[justforbooks]

James Earl Jones

American actor hailed for his many classical roles whose voice became known to millions as that of Darth Vader in Star Wars

During the run of the 2011 revival of Alfred Uhry’s Driving Miss Daisy in London, with Vanessa Redgrave, the actor James Earl Jones, who has died aged 93, was presented with an honorary Oscar by Ben Kingsley, with a link from the Wyndham’s theatre to the awards ceremony in Hollywood.

Glenn Close in Los Angeles said that Jones represented the “essence of truly great acting” and Kingsley spoke of his imposing physical presence, his 1,000-kilowatt smile, his basso profundo voice and his great stillness. Jones’s voice was known to millions as that of Darth Vader in the original Star Wars film trilogy and Mufasa in the 1994 Disney animation The Lion King, as well as being the signature sound of US TV news (“This is CNN”) for many years.

His status as the leading black actor of his generation was established with the Tony award he won in 1969 for his performance as the boxer Jack Jefferson (a fictional version of Jack Johnson) in Howard Sackler’s The Great White Hope on Broadway, a role he repeated in Martin Ritt’s 1970 film, and which earned him an Oscar nomination.

On screen, Jones – as the fictional Douglass Dilman – played the first African-American president, in Joseph Sargent’s 1972 movie The Man, based on an Irving Wallace novel. His stage career was notable for encompassing great roles in the classical repertoire, such as King Lear, Othello, Hickey in Eugene O’Neill’s The Iceman Cometh and Big Daddy in Tennessee Williams’s Cat on a Hot Tin Roof.

He was born in Arkabutla, Mississippi, the son of Robert Earl Jones, a minor actor, boxer, butler and chauffeur, and his wife Ruth (nee Connolly), a teacher, and was proud of claiming African and Irish ancestry. His father left home soon after he was born, and he was raised on a farm in Jackson, Michigan, by his maternal grandparents, John and Maggie Connolly. He spoke with a stutter, a problem he dealt with at Brown’s school in Brethren, Michigan, by reading poetry aloud.

On graduating from the University of Michigan, he served as a US Army Ranger in the Korean war. He began working as an actor and stage manager at the Ramsdell theatre in Manistee, Michigan, where he played his first Othello in 1955, an indication perhaps of his early power and presence.

The family had moved from the deep south to Michigan to find work, and now Jones went to New York to join his father in the theatre and to study at the American Theatre Wing with Lee Strasberg. He made his Broadway debut at the Cort theatre in 1958 in Dory Schary’s Sunrise at Campobello, a play about Franklin D Roosevelt.

He was soon a cornerstone of Joseph Papp’s New York Shakespeare festival in Central Park, playing Caliban in The Tempest, Macduff in Macbeth and another Othello in the 1964 season. He also established a foothold in films, as Lt Lothar Zogg in Stanley Kubrick’s Dr Strangelove (1963), a cold war satire in which Peter Sellers shone with brilliance in three separate roles.

The Great White Hope came to the Alvin theatre in New York from the Arena Stage in Washington, where Jones first unleashed his shattering, shaven-headed performance – he was described as chuckling like thunder, beating his chest and rolling his eyes – in a production by Edwin Sherin that exposed racism in the fight game at the very time of Muhammad Ali’s suspension from the ring on the grounds of his refusal to sign up for military service in the Vietnam war.

Lorraine Hansberry’s Les Blancs (1970) was a response to Jean Genet’s The Blacks, in which Jones, who remained much more of an off-Broadway fixture than a Broadway star in this period, despite his eminence, played a westernised urban African man returning to his village for his father’s funeral. With Papp’s Public theatre, he featured in an all-black version of The Cherry Orchard in 1972, following with John Steinbeck’s Lennie in Of Mice and Men on Broadway and returning to Central Park as a stately King Lear in 1974.

When he played Paul Robeson on Broadway in the 1977-78 season, there was a kerfuffle over alleged misrepresentations in Robeson’s life, but Jones was supported in a letter to the newspapers signed by Edward Albee, Stephen Sondheim, Arthur Miller, Lillian Hellman and Richard Rodgers. He played his final Othello on Broadway in 1982, partnered by Christopher Plummer as Iago, and appeared in the same year in Master Harold and the Boys by Athol Fugard, a white South African playwright he often championed in New York.

In August Wilson’s Fences (1987), part of that writer’s cycle of the century “black experience” plays, he was described as an erupting volcano as a Pittsburgh garbage collector who had lost his dreams of a football career and was too old to play once the major leagues admitted black players. His character, Troy Maxson, is a classic of the modern repertoire, confined in a world of 1950s racism, and has since been played by Denzel Washington and Lenny Henry.

Jones’s film career was solid if not spectacular. Playing Sheikh Abdul, he joined a roll call of British comedy stars – Terry-Thomas, Irene Handl, Roy Kinnear, Spike Milligan and Peter Ustinov – in Marty Feldman’s The Last Remake of Beau Geste (1977), in stark contrast to his (at first uncredited) Malcolm X in Ali’s own biopic, The Greatest (1977), with a screenplay by Ring Lardner. He also appeared in Peter Masterson’s Convicts (1991), a civil war drama; Jon Amiel’s Sommersby (1993), with Richard Gere and Jodie Foster; and Darrell Roodt’s Cry, the Beloved Country (1995), scripted by Ronald Harwood, in which he played a black South African pastor in conflict with his white landowning neighbour in the 40s.

In all these performances, Jones quietly carried his nation’s history on his shoulders. On stage, this sense could irradiate a performance such as that in his partnership with Leslie Uggams in the 2005 Broadway revival at the Cort of Ernest Thompson’s elegiac On Golden Pond; he and Uggams reinvented the film performances of Henry Fonda and Katharine Hepburn as an old couple in a Maine summer house.

He brought his Broadway Big Daddy in Cat on a Hot Tin Roof to London in 2009, playing an electrifying scene with Adrian Lester as his broken sports star son, Brick, at the Novello theatre. The coarse, cancer-ridden big plantation owner was transformed into a rumbling, bear-like figure with a totally unexpected streak of benignity perhaps not entirely suited to the character. But that old voice still rolled through the stalls like a mellow mist, rich as molasses.

That benign streak paid off handsomely, though, in the London reprise of a deeply sentimental Broadway comedy (and Hollywood movie), Driving Miss Daisy, in which his partnership as a chauffeur to Redgrave (unlikely casting as a wealthy southern US Jewish widow, though she got the scantiness down to a tee) was a delightful two-step around the evolving issues of racial tension between 1948 and 1973.

So deep was this bond with Redgrave that he returned to London for a third time in 2013 to play Benedick to her Beatrice in Mark Rylance’s controversial Old Vic production of Much Ado About Nothing, the middle-aged banter of the romantically at-odds couple transformed into wistful, nostalgia for seniors.

His last appearance on Broadway was in a 2015 revival of DL Coburn’s The Gin Game, opposite Cicely Tyson. He was given a lifetime achievement Tony award in 2017, and the Cort theatre was renamed the James Earl Jones theatre in 2022.

Jones’s first marriage, to Julienne Marie (1968-72), ended in divorce. In 1982 he married Cecilia Hart with whom he had a son, Flynn. She died in 2016. He is survived by Flynn, also an actor, and a brother, Matthew.

🔔 James Earl Jones, actor, born 17 January 1931; died 9 September 2024

Daily inspiration. Discover more photos at Just for Books…?

[film-classics]

Greer Garson - The Duchess

Eileen Evelyn Greer Garson (born in Manor Park, Essex on September 29, 1904) was a British-American actress. Her air of controlled maturity and understated elegance lent to her being referred to as "The Duchess."

She graduated with a B.A. with honors in English in 1926 at King's College London and did postgraduate work and studied French theater at the University of Grenoble in 1927. Starting out later as an actress, her early professional appearances were on stage, starting at Birmingham Repertory Theatre.

Louis B. Mayer discovered Garson while in London looking for new talent. In 1937, Garson signed with MGM, where she became a major box-office star. Her portrayal of strong women brought her critical acclaim, earning Oscar nods in films such as Mrs. Miniver (1942) and  The Valley of Decision (1945).

She only made a few films after her contract expired, but continued to appear on television. In 1967, she retired at Forked Lightning Ranch in New Mexico and focused on philanthropic interests.

She lived her final years in a penthouse suite at the Texas Health Presbyterian Hospital in Dallas, where she died from heart failure at 91.

Legacy:

Is the fourth most-nominated woman for the Best Actress Oscar, with seven, including a record-tying five consecutive nominations (1941–1945)

Won the Academy Awards: Best Actress for Mrs. Miniver (1942)

Won the Golden Globe Best Actress for Sunrise at Campobello (1960)

Awarded Best Acting by the National Board Review for Pride and Prejudice (1940), Mrs. Miniver (1942), and Sunrise at Campobello (1960)

Listed by the Motion Picture Herald as one of America's top-10 box office draws from 1942 to 1946

Won Best Actress for Random Harvest (1941) from the 1944 Picturegoer Awards

Awarded Most Popular Female Star by Photoplay Awards in 1945 and 1946

Honored with the Neiman Marcus Fashion Award in 1961

Donated land and money to the Department of the Interior to protect ruins in 1966

Awarded the Golden Gavel by Toastmasters International

Honored as one of the Woman of the Year by the Los Angeles Times in 1968

Received an honorary degree from the Cleveland Institute of Music in 1973

Presented by the American-Scottish Foundation with the William Wallace Award in 1977

Granted an honorary doctorate in 1977 from Ulster University for her endowments of the Greer Garson Film Award and Gree Garson Theatre Award

Established the Greer Garson Theatre Center in 1985 and Greer Garson Communications Center and Studios in 1989 in Santa Fe

Awarded the Conservation Service Award by the Department of Interior in 1981

Set up the endowment for the E. E. Fogelson and Greer Garson Fogelson Distinguished Chair in Urology at the University of Texas Southwestern Medical School and the Greer Garson and E.E. Fogelson Distinguished Chair in Medical Research at the University of Texas Southwestern Medical Center in 1982

Funded the E. E. Fogelson Visitor Center at Pecos National Historical Park in 1987

Honored with an Award for Excellence and Achievement in the Arts by the Governor of New Mexico in 1987

Received the Golda Meir Fellowship Award of the Hebrew University of Jerusalem in 1988

Set up the Fogelson Forum at Texas Christian University in 1990

Received an honorary doctorate and the Medal of Distinction from SMU Meadow School of the Arts in 1991

Presented with the TACA Silver Cup Award in 1991

Has been the namesake for the Texas Health Presbyterian's annual fundraising event, the Greer Garson Gala, since 1992

Established the Greer Garson Theatre at the Southern Methodist University Meadow School of the Arts in 1992

Appointed by Queen Elizabeth II as Commander of the Order of the British Empire (CBE) in 1993

Set up the E.E. Fogelson and Greer Garson Fogelson Charitable Foundation in 1996, with numerous philanthropic interests in the arts, education, environment, and medicine

Donated personal memorabilia as part of the Greer Garson Collection in the SMU Bywaters archival collection

Honored as Turner Classic Movies Star of the Month for March 2013

Inducted in the Online Film and Television Association Hall of Fame in 2014

Has a star on the Hollywood Walk of Fame at 1651 Vine Street for motion picture

[dananickerson]

A quiet street on Campobello island. I was on the way back to where we were staying after getting some sunrise shots and this scene called out to me. An early summer morning, no people to be found, and no noise. Just a quiet country road.

[gatutor]

Greer Garson-Ralph Bellamy-Hume Cronyn-Jean Hagen "Amanecer en Campobello" (Sunrise at Campobello) 1960, de Vincent J. Donehue.

[bm2ab]

Arrivals & Departures .  17 January 1931 – 09 September 2024 . James Earl Jones

James Earl Jones was an American actor known for his film roles and for his work in theater. Jones has been described as "one of America's most distinguished and versatile" actors for his performances on stage and screen. He has also been called "one of the greatest actors in American history". He was one of the few performers to achieve the EGOT (Emmy, Grammy, Oscar, and Tony). Jones was inducted into the American Theater Hall of Fame in 1985, and honoured with the National Medal of Arts in 1992, the Kennedy Center Honor in 2002, the Screen Actors Guild Life Achievement Award in 2009, and the Honorary Academy Award in 2011.

Born in Arkabutla, Mississippi, in 1931, he had a stutter since childhood. Jones said that poetry and acting helped him overcome the challenges of his disability. A pre-med major in college, he served in the United States Army during the Korean War before pursuing a career in acting. His deep voice was praised as a "stirring basso profondo that has lent gravel and gravitas" to his projects. Jones made his Broadway debut in 1957 in Sunrise at Campobello (1957). He gained prominence for acting in numerous productions with Shakespeare in the Park including Othello, Hamlet, Coriolanus, and King Lear. Jones worked steadily in theater, winning the Tony Award for Best Actor in a Play for his role as a boxer in The Great White Hope (1968), which he reprised in the 1970 film adaptation, earning him Academy Award and Golden Globe nominations.

Jones won his second Tony Award for Best Actor in a Play for his role as a working class father in August Wilson's Fences (1987). He was a Tony award nominee for his roles as the husband in Ernest Thompson's On Golden Pond (2005) about an ageing couple, and as a former president in the Gore Vidal play The Best Man (2012). His other Broadway performances included Cat on a Hot Tin Roof (2008), Driving Miss Daisy (2010–2011), You Can't Take It with You (2014), and The Gin Game (2015–2016). He received a Special Tony Award for Lifetime Achievement in 2017.

Jones made his film debut in Stanley Kubrick's Dr. Strangelove (1964). He received a Golden Globe Award nomination for Claudine (1974). Jones gained international fame for his voice role as Darth Vader in the Star Wars franchise, beginning with the original 1977 film. Jones' other notable films include The Man (1972), Conan the Barbarian (1982), Matewan (1987), Coming to America (1988), Field of Dreams (1989), The Hunt for Red October (1990), Sneakers (1992), The Sandlot (1993), The Lion King (1994), and Cry, the Beloved Country (1995). On television, Jones received eight Primetime Emmy Awards nominations winning twice for his roles in thriller film Heat Wave (1990) and the crime series Gabriel's Fire (1991). He also acted in Roots (1977), Jesus of Nazareth (1977), Picket Fences (1994), Homicide: Life on the Street (1997), and Everwood (2004).

[hotnew-pt]

James Earl Jones, voz de Darth Vader, morre aos 93 anos - rts.ch #ÚltimasNotícias #Suiça

Hot News O ator norte-americano James Earl Jones, conhecido por emprestar a voz a Darth Vader e pela sua prolífica carreira no teatro e no cinema, morreu segunda-feira aos 93 anos, anunciaram os seus agentes. O ator estreou na Broadway em 1958 com a peça “Sunrise at Campobello” no Cort Theatre, rebatizado de James Earl Jones Theatre em 2022. Entre 1961 e 1964, atuou em Nova York em “The Blacks”,…

[lifes-commotion]

Happy heavenly Birthday Ralph Rexford Bellamy  (17 June 1904 – 29 November 1991)!  He was a star of stage, television, and film.  He had roles in  Sunrise at Campobello (stage and film), The Awful Truth, Lady on a Train, and His Girl Friday.

[clemsfilmdiary]

Sunrise at Campobello (1960, Vincent J. Donehue)

9/2/21

[nativenewyorkerposts]

“The only thing we have to fear is fear itself.” (Franklin Delano Roosevelt)  Obviously, a dangerous virus is something to fear: “The poison is spreading/The demon is free/People are running from what they can’t even see...” (”Face The Fire” by Dan Fogelberg)  However, FDR is right about the devastating effect of fear.  It can paralyze a person.  The movie “Sunrise at Campobello” portrays Franklin Delano Roosevelt’s struggle with the onset of paralysis.  These are the words of Eleanor Roosevelt: “Franklin’s illness... gave him strength and courage he had not had before.  He had to think out the fundamentals of living and learn the greatest of lessons - infinite patience and never ending persistence.”  (Photo taken on February 12, 2020)

[erstwhile-punk-guerito]

[strazcenter]

Presidents on Broadway

Presidents on Broadway #fromtheblog

As if the job they have didn’t draw enough attention, presidents of the United States have been in the spotlight on Broadway in both plays and musicals. And yes, more than a few of the actors-in-chief have broken into song or tripped the light fantastic on Broadway boards. There have been a few fictional presidents featured in New York theaters, such as Robert Ryan in Irving Berlin’s Mr.…

[goodblacknews]

James Earl Jones Honored with Renaming of Cort Theatre on Broadway to James Earl Jones Theatre

James Earl Jones Honored with Renaming of Cort Theatre on Broadway to James Earl Jones Theatre

The Shubert Organization, Inc., today announced that the 110-year-old Cort Theatre on 48th Street will become the James Earl Jones Theatre, in recognition of Mr. Jones’s lifetime of immense contributions to Broadway and the entire artistic community. Jones, who is 91, began his Broadway career in 1957, and in 1958 Mr. Jones played his first role at the Cort Theatre in Sunrise at Campobello. Over…

[dananickerson]

Herring Cove Beach sunrise on Campobello