By Kenneth Turan, Joseph Papp
Free for All is an impossible to resist behind-the-scenes examine one in all America’s such a lot liked and demanding cultural institutions.
Under the encouraged management of founder Joseph Papp, the general public Theater and the recent York Shakespeare competition introduced progressive performances to the general public for many years. This compulsively readable historical past of these years—much of it instructed in Papp’s personal words—is interesting, starting from a dramatic early showdown with Robert Moses over preserving Shakespeare within the Park loose to the launching of such landmark productions as Hair and A refrain Line. To convey the tale to existence, movie critic Kenneth Turan interviewed a few a hundred and sixty luminaries—including George C. Scott, Meryl Streep, Mike Nichols, Kevin Kline, James Earl Jones, David Rabe, Jerry Stiller, Tommy Lee Jones, and Wallace Shawn—and masterfully weaves their voices right into a dizzyingly wealthy story of creativity, clash, and achievement.
From the alternate Paperback edition.
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Extra info for Free for All: Joe Papp, The Public, and the Greatest Theater Story Ever Told
Eball. See ABELL. Ebelin, Christopher [fl. 17321754], violinist. The Mr Ebelin who held a benefit concert at Hickford's Music Room on 6 March 1732 was probably Christopher Ebelin, one of the original subscribers to the Royal Society of Musicians on 28 August 1739. The Ebelin who was paid 8s. for playing tenor violin in the performance of the Messiah at the Foundling Hospital in May 1754 was very likely the same person. Eberardi, Teresa [fl. 17601762], singer. Teresa Eberardi (or, incorrectly, Eleardi) was first noticed in London documents when she was announced as one of the singers engaged by Signora Mattei for the King's Theatre in the Haymarket.
In 1799 Edwards's friend Boydell commissioned him to paint a scene from The Two Gentlemen of Verona. He painted a number of subjects from the bard's works for Boydell's Shakespeare Gallery, and he provided some portraits of actors for Lowndes's New English Theatre. In 1800 his mother died at the age of 93; she had apparently been in his care the previous 40 years. Edwards published A Treatise on Perspective in 1803 and spent his last years preparing Anecdotes of Painters who Have Resided or Been Born in ENGLAND; with Critical Remarks on Their Productions.
The earliest mention of an Edwards who may have been our subject was on 27 May 1786 at Covent Garden, when the benefit tickets of a Mr Edwards were accepted at the theatre. He was similarly cited there on 30 May 1787. By 15 June 1792 he was working for the Drury Lane company at the King's Theatre, where he served also in 179293. At the new Drury Lane on 6 June 1795 Edwards shared a benefit with 11 other boxkeepers, as he did on 13 June 1796, 16 June 1797, and 14 June 1798. The Edwards who shared a benefit at Drury Lane on 4 July 1799 was more likely John Edwards, another boxkeeper.