Repertory Theatre

The Reprise Repertory Theater was a core group of Sinatra pals (Dean Martin, Sammy Davis Jr., The Hi-Lo's, Bing Crosby, and Rosemary Clooney) suppeimented with an array of other stars, some notable (Keely Smith, Debbie Reynolds) and some not (Johnny Prophet, Clark Dennis) who all came together to re-record complete scores to some of Broadway's biggest hit musicals of the time. More of a Rat Pack vanity project than anything, these separate albums, now collected into a single box set, are a time capsule of these performers in their prime, and although not considered definitive performances of these songs, are nevertheless great pop artifacts. Arrangers: Bill Loose (1) Warren Barker and Gene Puerting (2, 4) Nathan van Cleave (3, 5, 12) Jerry Fielding (6) Nelson Riddle (7, 9) George Rhodes (8) Ralph Smale (9) Skip Martin (11) Marty Paich (12) 1. Overture 2. This Time of the Year - The Hi-Lo's 3. How Are Things in Glocca Morra? - Rosemary Clooney 4. If This Isn't Love - The Hi-Lo's 5. Look to the Rainbow - Rosemary Clooney 6. Something Sort of Grandish - Bing Crosby 7. Old Devil Moon - Frank Sinatra 8. Necessity - Sammy Davis, Jr. 9. When I'm Not Near the Girl I Love - Frank Sinatra 10. When the Idle Poor Become the Idle Rich Lou Monte & The Mary Kaye Trio 11. Begat - The McGuire Sisters 12. How Are Things in Glocca Morra? (Reprise) - Clark Dennis 13. That Great Come-And-Get It Day - Sammy Davis, Jr.

By the time he'd turned his own Reprise Records label into a going concern in 1963, Frank Sinatra could happily stub out his cigarette on Tradition, then douse the ashes with the slurry of his double bourbon on the rocks. It's not that Sinatra didn't respect the Broadway musical; indeed, he'd done quite well by its ballads over the course of his storied career. But that haughty Tradition--well, she was just another dame who had to go. So Sinatra swiftly showed her the door. Teaming up with musical director Morris Stoloff, a Murderer's Row of the top arrangers in the business (Riddle, May, Martin, Paich, Fielding, Van Cleave, et al.), and a motley assortment of his Rat Pack buddies and label mates, Frank and company turned the core of post-war Broadway (Finian's Rainbow, Kiss Me, Kate, South Pacific, and Guys and Dolls) into the recorded equivalent of Culture Night at the Sands. And if the lively, swingin' results had contemporary Broadway critics spitting their hot toddies through their proper, powdered noses, so much the better. There are moments here--Sinatra, Dean Martin, and honorary Rat Bing Crosby tearing up Guys and Dolls' "Fugue for Tinhorns"; Frank, Dino, and Sammy Davis Jr. turning "We Open in Venice" from Kiss Me, Kate into a virtual Vegas free-for-all--where you can almost hear the ice tinkling in their tumblers. And yet it works, even in its weirdest, most perverse moments. What kind of demented genius teams Debbie Reynolds with Allan Sherman (on Kate's "Sue Me") or has the foursquare McGuire Sisters harmonize the naughty "The Begat" from Finian's Rainbow? Happily, the same one who turned Dinah Shore and Rosemary Clooney loose on sublime versions of, respectively, South Pacific's "I'm Gonna Wash that Man Right Outta My Hair" and "How Are Things in Glocca Morra?" This is Frank Sinatra's take on Broadway--alive, kicking, and in your face, Jack; be advised not to wait for an apology. --Jerry McCulley

A classic of the American Theatre - Arthur Miller's tense, ingeniously multi-layered drama of principle and paranoia.The place is Salem, Massachusetts in 1692, an enclave of rigid piety huddled on the edge of a wilderness. Its inhabitants believe unquestioningly in their own sanctity. But in Arthur Miller's edgy masterpiece, that very belief will have poisonous consequences when a vengeful teenager accuses a rival of witchcraft and then when those accusations multiply to consume the entire village.First produced in 1953, at a time when America was convulsed by a new epidemic of witch hunting, The Crucible brilliantly explores the threshold between individual guilt and mass hysteria, personal spite and collective evil. It is a play that is not only relentlessly suspenseful and vastly moving, but that compels listeners to gather their hearts and consciences in ways that only the greatest theater ever can. A full-cast performance by The Repertory Theatre of Lincoln Center featuring Robert Foxworth, Pamela Payton-Wright, Stuart Pankin, and Jerome Dempsey and cast. Arthur Miller was born in New York City in 1915. His first theatrical success occurred in 1947 with All My Sons, which earned him the Drama Critic's Circle Award. In 1949, Death of a Salesman was given the Pulitzer Prize and the Drama Critic's Circle Award. The Crucible won a Tony Award four years later. His other plays included A View from the Bridge, The Price, After the Fall, Incident at Vichy, The American Clock, Danger Memory, The Ride Down Mt. Morgan, and Broken Glass.

This text is part of a series of selected Shakepeare texts designed for student use. The introduction provides criticsim, covering themes, characters and dramatic structure, and helpful notes are provided at the right level on every page, facing the text.

John Dover Wilson's New Shakespeare, published between 1921 and 1966, became the classic Cambridge edition of Shakespeare's plays and poems until the 1980s. The series, long since out-of-print, is now reissued. Each work contains a lengthy and lively introduction, main text, and substantial notes and glossary.

Created in 1594, the theater company in which Shakespeare acted and which staged all his plays became the King's Men in 1603 and ran for forty-eight years up to closure in 1642. Andrew Gurr studies the company's activities, explores its social role and examines its repertoire of plays. This comprehensive illustrated history will be an indispensable guide for anyone wanting to know more about the conditions under which Shakespeare and his successors worked.

This is the first complete history of the theatre company in which Shakespeare acted and which staged all his plays. Created in 1594, the company became the King's Men in 1603 and ran for forty-eight years up to the closure of 1642. Andrew Gurr provides a study of the company's activities, explores its social role in its time and examines its repertoire of plays. This comprehensive illustrated history will be an indispensable guide for anyone who wants to know more about the conditions under which Shakespeare and his successors worked.