American Theatres

If you are in the market for a top quality home popcorn popper, stop looking! The Little Bambino popcorn maker features a revolutionary removable serving tray that is the first of its kind. Once the corn has finished popping, simply remove the tray and enjoy fresh theater popcorn in the convenience of your home. The slide-out popcorn serving tray makes cleanup simple since it is dishwasher safe. This retro-styled countertop popper features a 2.5oz. stainless steel kettle and a warming light to keep the popcorn warm and fresh. It pops approximately 1 gallon of popcorn per batch, great for couples, popcorn family nights, movie time, you name it! Of course we offer our exclusive and perfectly sized 2.5oz. pre-portioned "Portion Packs" just for the Bambino so that you can enjoy our movie theater balanced blend in smaller Bambino-sized batches! Specifications: Includes the removable popcorn tray, measuring spoon, measuring cup, and instruction manual Measures approx. 9-3/4"L x 11"W x 18-3/4"H Weighs approx. 10 lbs. Minor assembly required Requires (1) 10-watt bulb, included Power Source: Plugs into household wall outlet ETL listed 30 day warranty on Kettle Great Northern Popcorn 90 Day Warranty on machine.

6-Quart Whirley Pop (Red) Stovetop Popcorn Popper Retail box dimensions: 17 x 8 x 10

Description:A fun addition to a kid's birthday party, scary-movie night with friends, and other social gatherings, this traditional hot-oil popcorn maker produces theater-style popcorn from the comfort of home. Use it to pop up to 8 cups of hot delicious popcorn at a time. The Sunbeam unit features a double-hung stainless-steel pivoting kettle with a hinged lid and a motorized stirring mechanism - which means less oil required, more thoroughly coated kernels, and less un-popped kernels at the end of the cycle. Reminiscent of old-fashioned theatre-style popcorn makers, but in a size that can fit on a countertop or table, the appliance also provides a simple on/off switch with an indicator light, see-through side panels for safe viewing, and a slide-out popcorn drawer for easily scooping popcorn into a serving bowl or individual bags (not included). Enjoy the popcorn plain or with salt and melted butter - or get creative by sprinkling it with brewer's yeast, parmesan cheese, or Italian seasoning.Features: Traditional hot-oil popcorn maker pops up to 8 cups of popcorn per batch Double-hung stainless-steel pivoting kettle with hinged lid; motorized stirring mechanism Simple on/off switch with indicator light; see-through side panels for safe viewing Slide-out popcorn drawer for easy access; measuring cup included Measures 11-4/5 by 10-1/2 by 19 inchesTechnical Information:

The American Ballet Theatre and Mikhail Baryshnikov present this timeless and colorful production of Tchaikovsky's ballet, with prima ballerina Gelsey Kirkland as the young girl whose Christmas Eve dream brings a toy soldier nutcracker to life as a handsome prince (Baryshnikov). 78 min. Standard; Soundtracks: English Dolby Digital 5.1, Dolby Digital stereo.

The American Ballet Theater version of the Tchaikovsky classic, a 1977 studio rendition directed by Tony Charmoli, has become a holiday perennial on PBS stations and home video. It's a favorite of parents who want to give their kids the gift of culture--and with good reason. There's a loose fairy tale plot to keep dance neophytes interested, and Boris Aronson's eye-candy production design is a series of lavish dioramas. From an imperial-era Russian Christmas party out of Tolstoy, a young girl named Clara (Gelsey Kirkland) is whisked in dreams to an imaginary world populated by the animated creations of the wizard toy maker Drosselmeier (Alexander Minz), who prances on his stick-thin limbs like a Dickens illustration come to life. The main attraction is, of course, Mikhail Baryshnikov, one of the greatest classical dancers of the century, at his absolute peak of athleticism and precision. An opening slow-motion montage diagrams his fabled smoothness of execution, elegant airborne trajectories that have a feather-light perfection. Music lovers who know only "The Nutcracker Suite" will relish the chance to hear this great score all the way through, conducted with lilt and vigor by Kenneth Schermerhorn. --David Chute

Evita was Andrew Lloyd Webber's last show with Tim Rice before he went on to projects with less interesting collaborators, so it's no surprise that it remains his most consistently involving and rewarding work. Loosely based on the life of Eva Peron, the charismatic wife of post-World War II Argentine president Juan Peron, Rice's compelling story of one woman's rise from poverty to power is complemented by Lloyd Webber's colorful music as propelled by vigorous Latin rhythms. The showstopper, of course, is "Don't Cry for Me, Argentina," but the score is full of gems, including "On This Night of a Thousand Stars," "Oh, What a Circus," and "Another Suitcase in Another Hall." Headlining the 1978 Broadway cast, Patti LuPone is fabulous in the title role, showcasing her big voice and brash egotism in the role she was born to play. Mandy Patinkin is Che, the Greek-chorus character commenting on and criticizing the Perons, and his tenor is sweet on the ballads and powerful on the driving numbers. LuPone and Patinkin made their names with Evita (and took home well-deserved Tonys), but it's the third principal, Bob Gunton, who elevates this cast to the stratosphere. As Peron--a role often filled by a nonsinger--Gunton inflects his strong voice with both menace and sensitivity. Forget the movie; this is the definitive version of this score, and an essential cast recording. --David Horiuchi

Tim Rice and Andrew Lloyd Webber's Evita, which began as a concept album in 1976 and had its first stage incarnation in London in 1978, finally came to the U.S. in 1979 with a production that opened in Los Angeles and moved to San Francisco for multi-week engagements before landing on Broadway on September 25 to begin a Tony-winning, 1,568-performance run. The London production had been represented by a one-disc highlights album, but this one became the second full-length treatment, running, like the concept album, 100 minutes. As such, the revisions made for the stage were more apparent, especially because there were more of them than there had been in London, sometimes to Americanize the language. ("The back of beyond" in "Eva and Magaldi" became "the sticks," while "Get stuffed!" in "Goodnight and Thank You" was now "Up yours!") "The Lady's Got Potential" had been deleted, and there was a new song, "The Art of the Possible," which, with its musical-chairs staging, was more effective in the theater than on record. And "Dangerous Jade" had been revised to become "Peron's Latest Flame." Many of the changes built up the role of Evita's critic, Che. As played by Mandy Patinkin, who achieved Broadway stardom in the role, Che now rivaled Evita as a musical presence, the actor's elastic tenor and bravura manner drawing more attention to him. But Patti Lu Pone also became a star here, fearlessly bringing out Evita's strident self-interest without attempting to gain the audience's sympathy. (You couldn't say that about London's Elaine Paige.) Lu Pone was at her best when Evita was at her worst, such as in the songs "A New Argentina" and "Rainbow High." The rest of the cast was unexceptional, though Bob Gunton's Juan Peron inspired curiosity as the only actor to use a Spanish accent. ~ William Ruhlmann Music and words written by Andrew Lloyd Webber and Tim Rice 2 CD Set. Broadway Cast Original cast includes: Patti LuPone, Bob Gunton, Mandy Patinkin.

Gillian Murphy's exquisite performance as Princess Odette highlights this striking adaptation of the enchanting Tchaikovsky ballet. Abducted by an evil sorcerer, Odette is transformed into a swan, and is cursed to remain so unless she is rescued by a young man's love. Kevin McKenzie's production with the American Ballet Theatre also stars Angel Corella, Marcelo Gomes and Isaac Stappas. 113 min. Widescreen (Enhanced); Soundtracks: English DTS 5.1, Dolby Digital 5.1, Dolby Digital stereo.

The American Ballet Theater version of the Tchaikovsky classic, a 1977 studio rendition directed by Tony Charmoli, has become a holiday perennial on PBS stations and home video. It's a favorite of parents who want to give their kids the gift of culture--and with good reason. There's a loose fairy tale plot to keep dance neophytes interested, and Boris Aronson's eye-candy production design is a series of lavish dioramas. From an imperial-era Russian Christmas party out of Tolstoy, a young girl named Clara (Gelsey Kirkland) is whisked in dreams to an imaginary world populated by the animated creations of the wizard toy maker Drosselmeier (Alexander Minz), who prances on his stick-thin limbs like a Dickens illustration come to life. The main attraction is, of course, Mikhail Baryshnikov, one of the greatest classical dancers of the century, at his absolute peak of athleticism and precision. An opening slow-motion montage diagrams his fabled smoothness of execution, elegant airborne trajectories that have a feather-light perfection. Music lovers who know only "The Nutcracker Suite" will relish the chance to hear this great score all the way through, conducted with lilt and vigor by Kenneth Schermerhorn. --David Chute

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Premium surge protection and noise filtering for high performance AV systems.Primary InformationPower Device Type :  Surge protector Voltage Required :  AC 120 V Load Rating :  Home theater system Surge Suppression :  Standard Circuit Protection :  Circuit breaker Power Device / Form Factor :  External Input Connector(s) :  1 x power NEMA 5-15 Output Connector(s) :  10 x power NEMA 5-15 Enclosure Color :  Silver Width :  19.6 Inch Depth :  2.1 Inch Height :  5.2 Inch Service & Support Type :  Limited lifetime warranty 3400 Joules; LED indicators UNSPSC CodeUNSPSC Code :  39121000 Product IDUPC:  731304233336Manufacturer Part:  C5

Museum quality Wall Sticker of a poster from the WPA Poster Collection of the Library of Congress. Emerald Honeybee offers only the BEST in quality. Our posters are printed by a Professional Graphics Company using a MIMAKI Eco-Solvent Printer and archival inks. Which means your poster is UV protected and will not fade over time. Professionally printed on beautiful canvas. Shipped rolled in a tube. Description of this poster is as follows: A Federal Theatre Project presentation 'American wing ' a pulsating New England drama by Talbot Jennings WPA Poster The Work Projects Administration (WPA) Poster Collection consists of 907 posters produced from 1936 to 1943 by various branches of the WPA. The posters were designed to publicize exhibits, community activities, theatrical productions, and health and educational programs in seventeen states and the District of Columbia, with the strongest representation from California, Illinois, New York, Ohio, and Pennsylvania. The results of one of the first U.S. Government programs to support the arts.

Museum quality Wall Sticker of a poster from the WPA Poster Collection of the Library of Congress. Emerald Honeybee offers only the BEST in quality. Our posters are printed by a Professional Graphics Company using a MIMAKI Eco-Solvent Printer and archival inks. Which means your poster is UV protected and will not fade over time. Professionally printed on beautiful canvas. Shipped rolled in a tube. Description of this poster is as follows: Federal Theatre Project presents 'Festival of American dance ' featuring 'An American exodus ' WPA Poster The Work Projects Administration (WPA) Poster Collection consists of 907 posters produced from 1936 to 1943 by various branches of the WPA. The posters were designed to publicize exhibits, community activities, theatrical productions, and health and educational programs in seventeen states and the District of Columbia, with the strongest representation from California, Illinois, New York, Ohio, and Pennsylvania. The results of one of the first U.S. Government programs to support the arts.

Studio: Pbs Release Date: 01/11/2011 Run time: 368 minutes

An addictive blend of suds and social commentary, ITV's Downton Abbey brings a microcosm of Edwardian society together under one roof. Lord Robert Crawley (Hugh Bonneville) and his family live a life of leisure, while a fleet of servants, including butler Carson (Jim Carter), attend to their every need, but two events conspire to shake things up: the sinking of the Titanic, which claims Crawley's heirs, and the return of his valet, Bates (Brendan Coyle). Since Crawley and Lady Cora (Elizabeth McGovern) have three daughters, his distant solicitor cousin, Matthew (Dan Stevens), becomes heir to the estate. With that, the scheming begins, since Thomas the footman (Rob James-Collier) views Bates as an interloper and Crawley's mother, Violet (Maggie Smith), feels the same way about Matthew's mother, Isobel (Penelope Wilton). In the tradition of the BBC's Upstairs Downstairs and Robert Altman's Gosford Park, for which writer-creator Julian Fellowes received an Academy Award, the royals, servants, and middle-class relations struggle to get along. Sniffs uptight maid Miss O'Brien (Siobhan Finneran), "Gentlemen don't work," but that doesn't stop Mary (Michelle Dockery) and Edith Crawley (Laura Carmichael) from competing for Matthew's affections. Though it takes awhile to warm up to the tightest-wound characters, most everyone reveals their more vulnerable side before the first season comes to an end, and a new small-screen classic is born. The entire sprawling cast is quite wonderful, particularly Bonneville, Carter, and James-Collier, who provide a fascinating study in contrasts (the latter is downright dastardly). Unlike the version that aired on PBS's Masterpiece Classic, this set offers seven parts rather than four. Extras include a featurette, in which cast and crew discuss the production, and an introduction to Hampshire's Highclere Castle, which doubles for Downton Abbey. The first season was a phenomenon in the United Kingdom, and Fellowes has promised a second season set during World War I. --Kathleen C. Fennessy

In the wake of Guy Ritchie's reimagining, the BBC puts its own stamp on Arthur Conan Doyle's sleuth--and sets him in a London filled with cell phones and laptops. In the pilot, director Paul McGuigan (a keen visual stylist) introduces Sherlock Holmes (Atonement's Benedict Cumberbatch) as a "high-functioning sociopath" and Dr. John Watson (The Office's Martin Freeman) as an army veteran with posttraumatic stress disorder. Through a mutual friend, the two become flatmates at 221B Baker Street (Una Stubbs plays their landlady). Holmes, who consults with Scotland Yard inspector Lestrade (Rupert Graves) on his trickier cases, drafts Watson to assist him. In "Study in Pink," four people commit suicide by poison. When Holmes sets out to establish a link, he falls right into the culprit's clutches. Other cases concern a smuggling operation ("The Blind Banker") and a mad bomber ("The Great Game"). Though he doesn't make a formal entrance until episode three, an infamous figure from Sherlock's future has a hand in each mystery, while the detective's brother, Mycroft (co-creator Mark Gatiss), first appears when he tries to hire Watson for a case of his own, an offer that gives the good doctor pause. Through his job at a medical office, Watson also meets Sarah (Zoe Telford), who becomes his girlfriend. Part of the fun of Jeremy Brett's Holmes (and Agatha Christie's Poirot) came from the period details, so this update takes a little getting used to--as does the occasional mumbled line--but Cumberbatch and Freeman share an enjoyable Odd Couple rapport, marked by flashes of deadpan wit, which compensates for the absence of deerstalker caps (Holmes favors scarves) and journals (Watson maintains a website). Extras include commentary on the finale, the original pilot, and a featurette, in which cocreator Steven Moffat (Doctor Who) notes that Cumberbatch was his only choice for the title role. --Kathleen C. Fennessy

Two-disc set includes the pilot, "A Study in Pink," "The Blind Banker," and "The Great Game." 7 2/3 hrs. total. Standard; Soundtrack: English Dolby Digital stereo; Subtitles: English; audio commentary; featurette. **4 episodes on 2 discs. 7 2/3 hrs.**

All 13 fourth-season episodes--including "Public Relations," "The Good News," "Waldorf Stories," "Chinese Wall," and "Blowing Smoke"--have been collected in a four-disc set. 10 hrs. total. Widescreen (Enhanced); Soundtrack: English Dolby Digital 5.1; Subtitles: English, Spanish; audio commentary; documentary; featurettes. **13 episodes on 4 discs. 10 hrs.**

Mad Men took a daring turn at the end of the third season by rebooting itself (the principals at Sterling Cooper left to form their own upstart agency in the face of a corporate takeover), and it pays off big time in season four. Set a year after that season finale, the brand-new agency Sterling Cooper Draper Pryce is struggling to make a name for itself and sign on new clients; Roger (John Slattery) finds himself at the beck and call of the firm's largest account, Lucky Strike; Pete (Vincent Kartheiser) faces impending fatherhood; Peggy (Elisabeth Moss) asserts herself in a position of power among her sexist fellow copywriters; Joan (Christina Hendricks) sees her husband off to Vietnam and finds herself in a compromising predicament. Then there's Don (Jon Hamm, doing his finest acting yet), who brazenly gambles the firm's success on his impulses, lives alone except for a string of one-night stands, and exchanges curt phone calls with his ex-wife, Betty (January Jones), over parenting the kids. Don's rock bottom midway through the season (which hits somewhere around his career high) collides with the shattering loss of a loved one, and his attempts to improve himself include forging a new romance with a confident, intelligent marketing researcher (Cara Buono). But the woman with whom he's most deeply linked--platonically--is Peggy, and the two of them have a terrific episode all to themselves entitled "The Suitcase." The season's 13 episodes are a perfect suite of politics (Joan vs. the male establishment, the rivalry between Ken and Pete); humor (the firm competes for a Honda account and trips over itself trying to read their Japanese clients); hope (Don and Betty's daughter Sally's cry for help finally falls on receptive ears); and growth (Pete, so weaselly in season one, has become the show's most matured cast member). Each one comes with full commentary by creator Matthew Weiner and various cast and crew members. Also included are documentaries on the historical landscape of the period Mad Men covers: divorce, the Ford Mustang, and the 1964 presidential campaign. All are informative enough, but for a show that's very serious and buttoned up, one can't help but feel a little disappointed there aren't more lighthearted behind-the-scenes extras that could have been included. But perhaps Weiner & Co. feel it's better to keep it all behind the curtain. --Ellen A. Kim