Leigh returned to Broadway with a work even more ambitious than MAN OF LA MANCHA. CRY FOR US ALL [April 8, ... The show closed in Philadelphia, although the fates—and Mitch Leigh's money—would eventually prevail. But first, Leigh dusted ...
Author: Steven Suskin
Publisher: Oxford University Press
Show Tunes fully chronicles the shows, songs, and careers of the major composers of the American musical theatre, from Jerome Kern's earliest interpolations to the latest hits on Broadway. Legendary composers like Gershwin, Rodgers, Porter, Berlin, Bernstein, and Sondheim have been joined by more recent songwriters like Stephen Schwartz, Stephen Flaherty, Michael John LaChiusa, and Adam Guettel. This majestic reference book covers their work, their innovations, their successes, and their failures. Show Tunes is simply the most comprehensive volume of its kind ever produced, and this newly revised and updated edition discusses almost 1,000 shows and 9,000 show tunes. The book has been called "a concise skeleton key to the Broadway musical" (Variety) and "a ground-breaking reference work with a difference" (Show Music)-or, as the Washington Post observed, "It makes you sing and dance all over your memory." The eagerly anticipated Fourth Edition, updated through May, 2009, features the entire theatrical output of forty of Broadway's leading composers, in addition to a wide selection of work by other songwriters. The listings include essential production data and statistics, the most extensive information available on published and recorded songs, and lively commentary on the shows, songs, and diverse careers. Based on meticulous research, the book also uncovers dozens of lost musicals-including shows that either closed out of town or were never headed for Broadway-and catalogs hundreds of previously unknown songs, including a number of musical gems that have been misplaced, cut, or forgotten. Informative, insightful, and provocative, Show Tunes is an essential guide for anyone interested in the American musical.
Two Mitches and 0 Roy: Leigh, Miller, and Eaton The composer who, perhaps more than anyone else, helped broaden the emotionality of music used in advertising was Mitch Leigh (1928—), who formed Music Makers Inc. in 1957, ...
Author: Timothy D. Taylor
Publisher: University of Chicago Press
From the early days of radio through the rise of television after World War II to the present, music has been used more and more to sell goods and establish brand identities. And since the 1920s, songs originally written for commercials have become popular songs, and songs written for a popular audience have become irrevocably associated with specific brands and products. Today, musicians move flexibly between the music and advertising worlds, while the line between commercial messages and popular music has become increasingly blurred. Timothy D. Taylor tracks the use of music in American advertising for nearly a century, from variety shows like The Clicquot Club Eskimos to the rise of the jingle, the postwar upsurge in consumerism, and the more complete fusion of popular music and consumption in the 1980s and after. The Sounds of Capitalism is the first book to tell truly the history of music used in advertising in the United States and is an original contribution to this little-studied part of our cultural history.
Dismounting, Leigh led her horse over to where Mitch sat. He rose and dusted off his jeans. He looked okay. Maybe a bit scratched. But certainly not humiliated or remorseful. How in the hell did this happen? How had she let it happen?
Author: Jan Scarbrough
Publisher: Saddle Horse Press, LLC
Ben Dawson is a loner with a chip on his shoulder as big as the blue Montana skies he rides under every day. His widowed father’s marriage had been too quick, his stepbrother is a pain, and his stepmother turned his mother’s family ranch into a dude ranch. Ben has only returned to Six Buckles Guest Ranch to keep a promise to his late father, to watch over the ranch and his stepmother. He’s not there to get involved in a relationship, especially with a girl he knew back in high school. Leigh Weston just wants to do her job as an event planner at Six Buckles and stay far away from entanglements. No good has ever come from them. Her father cheated on her mother, just like her ex-husband cheated on her. Her reunion with Ben leads to more than she expected, but she’s not ready to risk her heart. She exacts a promise from him that their relationship will be strictly hands-off. But when she needs a fake date to an event, Ben looks like the perfect choice. He understands the boundaries she’s set, right? But even fake dates can ignite real romances. Are some promises worth breaking if it leads to a second chance at love?
Sarava involved two seminames, N. Richard Nash, who wrote the book and also made his debut as a lyricist, and Mitch Leigh, who composed the score. The show was billed as "the Mitch Leigh production," although Eugene V. Wolsk was listed ...
Author: Ken Mandelbaum
Publisher: St. Martin's Griffin
Category: Performing Arts
Not Since Carrie is Ken Mandelbaum's brilliant survey of Broadway's biggest flops. This highly readable and entertaining book highlights almost 200 musicals created between 1950 and 1990, framed around the notorious musical adaptation of Carrie, and examines the reasons for their failure. "Essential and hilarious," raves The New Yorker, and The New York Times calls the book "A must-read."
HALLOWEEN The book and lyrics are by Sidney Michaels, and there's a Mitch Leigh score; the show is about an old man (David Wayne) in a mental home who involves two fellow patients (Dick Shawn and Barbara Cook) in his fantasy of ...
New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea.
Home I phoned Mitch Leigh . He will join our meeting with Julian . He sounds supportive , said , " They'll never take us alive . " Wednesday , August 8 , 8:00 A.M .: Home Meetings , meetings , meetings . Talk , talk , talk .
Author: Frank Daniel Gilroy
Publisher: SIU Press
Category: Performing Arts
George Stevens was the first to know - months before Frank D. Gilroy had even an inkling. As they scouted locations for The Only Game in Town in 1968, Stevens repeatedly handed Gilroy his viewfinder to consider possible scenes. Asked to explain why he was so insistent on this procedure, Stevens answered with certainty, "You're going to direct some day". Gilroy recalled Stevens' words two years later when, unhappy with the limited role of screenwriter, he optioned Desperate Characters by Paula Fox, determined not only to adapt her novel for the screen but to direct the film. Fortunately for film buffs, film historians, film students, and prospective independent film producers, Gilroy is a compulsive diarist who wrote I Wake Up Screening! while he made four independent feature films - each accorded three stars in Leonard Maltin's TV Movies and Video Guide - for a total investment of two million dollars (for all four films!). These intimate logs of the making of Desperate Characters, Once in Paris, The Gig, and The Luckiest Man in the World show clearly that a film school that doesn't include in its curriculum discussions of negotiating with the Teamsters and of raising money by independent producers is leaving out vital parts of the film-making process. Because Gilroy wrote the scripts, raised the money, assembled the production team, directed, opened each of the four films, and even ventured into the murky world of distribution, I Wake Up Screening! is a vast repository of information about film making in general and independent film making in particular. It is not recommended for anyone who wishes to preserve a fairy-tale notion about feature film making. When Gilroy first consideredpublishing these logs, his wife encouraged him. "Do it", she said. "If it stops one person from following in your footsteps it will be worthwhile".
... The Abby and Mitch Leigh Foundation Gift, 2003 (2003.610a-rr) Page 43 (Bottom) The Metropolitan Museum of Art, Purchase, The Abby and Mitch Leigh Foundation Gift, 2003 (2003.610a-rr) Page 44 (Top) The Metropolitan Museum of Art, ...
Author: Harold Koda
Publisher: Metropolitan Museum of Art
Category: Costume design
This volume explores Poiret's radical modernity. Essays by renowned scholars describe the historical context of his work; its relation to the dominant artistic discourses of the early 20th century; his muse, Denise Poiret, and her influence on his work; and his role in the paradigmatic shift to a new ideal of feminine beauty.
The pioneer producer Mitch Leigh told Santo Loquasto, the Tony Award–winning set and costume designer, that he could not have the second half of his scenic design. Santo, speechless, soldiered on, and had to make do with one half of a ...
Author: Tovah Feldshuh
Publisher: Hachette UK
Category: Biography & Autobiography
This heartwarming and funny memoir from a beloved actress tells the story of a mother and daughter whose narrative reflects American cultural changes and the world's shifting expectations of women. From Golda to Ginsburg, Yentl to Mama Rose, Tallulah to the Queen of Mean, Tovah Feldshuh has always played powerful women who aren't afraid to sit at the table with the big boys and rule their world. But offstage, Tovah struggled to fulfill the one role she never auditioned for: Lily Feldshuh's only daughter. Growing up in Scarsdale, NY in the 1950s, Tovah—known then by her given name Terri Sue—lived a life of piano lessons, dance lessons, shopping trips, and white-gloved cultural trips into Manhattan. In awe of her mother's meticulous appearance and perfect manners, Tovah spent her childhood striving for Lily's approval, only to feel as though she always fell short. Lily's own dreams were beside the point; instead, she devoted herself to Tovah's father Sidney and her two children. Tovah watched Lily retreat into the roles of the perfect housewife and mother and swore to herself, I will never do this. When Tovah shot to stardom with the Broadway hit Yentl, winning five awards for her performance, she still did not garner her mother's approval. But, it was her success in another sphere that finally gained Lily's attention. After falling in love with a Harvard-educated lawyer and having children, Tovah found it was easier to understand her mother and the sacrifices she had made during the era of the women's movement, the sexual revolution, and the subsequent mandate for women to "have it all." Beloved as he had been by both women, Sidney's passing made room for the love that had failed to take root during his life. In her new independence, Lily became outspoken, witty, and profane. "Don't tell Daddy this," Lily whispered to Tovah, "but these are the best years of my life." She lived until 103. In this insightful, compelling, often hilarious and always illuminating memoir, Tovah shares the highs and lows of a remarkable career that has spanned five decades, and shares the lessons that she has learned, often the hard way, about how to live a life in the spotlight, strive for excellence, and still get along with your mother. Through their evolving relationship we see how expectations for women changed, with a daughter performing her heart out to gain her mother's approval and a mother becoming liberated from her confining roles of wife and mother to become her full self. A great gift for Mother's Day—or any day when women want a joyous and meaningful way to celebrate each other.