Viewing page 10 of 17
It looks like you're using a mobile device. We recommend using a physical keyboard for transcription entry.
[[start page]] [[advertisement]] [[image-black and white photograph of a man with hands on his hips watching a train leave]] A BAD WATCH CAN KILL A GOOD DAY. If your watch didn't lie, you'd be on that 8:02. By 9:00 you'd be in the client's office. By 10:00 he'd sign the contract. And by 12:15 your boss would give you a nice, fat raise. But unfortunately, you don't have an Accutron® watch, guaranteed to tell the truth to within a minute a month.* So unfortunately, you're not on that 8:02. BULOVA ACCUTRON® The faithful tuning fork watch. [[image-black and white photograph of two watches]] Left to right: #25527. 14K solid gold. $275. #24807. 10K gold filled. $175. Other styles at fine jewelry and department stores. From $100. *Timekeeping will be adjusted to this tolerance, if necessary, if returned to Accutron dealer from whom purchased within one year from date of purchase. ©Bulova Watch CO., Inc. [[/advertisement]] [[end page]] [[start page]] hand and mate on steamboats playing the Mississippi, Illinois and Monongahela Rivers. RICHARD ADLER (Producer, Composer-Lyricist) collaborated with Jerry Ross on both the words and music of the prize-winning Damn Yankees and John Murray Anderson's Almanac. They worked together from 1950 until 1955 and turned out numerous hits. Adler and Ross won the Tony, Donaldson, and Variety Critics Award for their score of The Pajama Game, and Damn Yankees. Following the untimely death of Ross in 1955, Adler wrote the critically acclaimed score and lyrics for Kwamina, the first musical to delve into the birth pains of the new Africa of the '60s. A native New Yorker, Mr. Adler is the son of concert pianist Clarence Adler and a graduate of the University of North Carolina. At Chapel Hill he studied playwriting under Paul Green and worked with the noted Carolina Playmakers. In World War II he served as a Naval officer in the South Pacific. During the Kennedy and Johnson Administration, he was producer-director of White House entertainments and fundraising galas, including Inaugural Galas and state dinner entertainments for visiting Heads of State. He was White House COnsultant in the Arts 1966-68 and is a Trustee for the John F. Kennedy Center for the Performing Arts. Jerry Ross (Composer-Lyricist) collaborated with Richard Adler on the scores of Damn Yankees, and John Murray Anderson's Almanac. Mr. Ross pursued his musical studies at New York University, then spent many seasons at summer resorts doing the songs for their productions. It was at one of these places that he met Eddie Fisher, who introduced him to his publisher and helped further him professionally. Mr. Ross died in 1955 after five years of brilliant success as a composer and lyricist. As a song-writing team, Adler and Ross were unique. In all combinations of the sort one partner writes the music, the other the lyrics. But in this instance both composed the music and both created the lyrics. BOB FOSSE (Choreographer) last season won critical acclaim for his direction and choreography for Pippin and for the TCV Special Liza With a 'Z'. He also directed and choreographed with screen versions of the Broadway hit musicals, Cabaret (for which he won an Oscar) and Sweet Charity. The original production of The Pajama Game was his initial Broadway hit as choreographer, and it won him the first fo his seven Tony Awards. In addition, he has devised the dances for Damn Yankees, Bells are Ringing, New Girl in Town, How to Succeed in Business Without Really Trying, Little Me, Redhead, and Sweet Charity, as well as directing the latter three. Mr. Fosse will appear in the soon-to-be-released film The Little Prince. He plays the role of a snake. Mr. Fosse says it was "type-casting". ZOYA LEPORSKA (Director of Musical Numbers) has choreographed more than 60 musical comedies both in this country, on Broadway and national tours, as well as overseas. She has danced on Broadway in The Pajama Game, Damn Yankees, New Girl in Town, The Sound of Music and as standby for Maria Karnilova in Bravo Giovanni. She was a featured soloist with Malta and Hari, the New York Center Opera, Ballet Theatre and the San Francisco Opera Ballet Company. As a performer her repertoire has ranged from the role of Mrs. Winemiller in the New York City Opera production of Summer and Smoke to that of Tessie Tura in Gypsy. Miss Leporska was born in Siberia and lived a time in Manchuria before her parents brought her to America. Among the stars for whom she has served as choreographer or production overseer are Don Ameche, Florence Henderson, Shirley [[advertisment]] The theatre gives you food for thought. But what about the rest of you? American Express has this thought for food: whether you dine before the curtain or after, you'll find satisfaction at one of these fine restaurants. And you can let the American Express Card think about the bill. Tom's Shangri-La--In the Executive Hotel on Madison Ave. near 37th St. 683-0996. Sophisticated atmosphere with the fragrance of an ancestral Chinese inn. Mandarin and Cantonese specialties. Jimmy's--33 W. 52nd St. 757-8484. Casual restaurant with swinging bar. Award winning cuisine with emphasis on prime meats and Italian specialties. Marsh's Steak Pub--112 Central Park So. 565-2470. Great steaks and chops specializing in "Pompano on the Park." P.J. Moriarity--1034 Third Ave. at 61st St. 838-2438. An Irish pub with tremendous food, drink and great service. Cheer's Steak House--120 W. 41st St. 244-8810. For beef aficionades and superior drinks, Cheer's is as good as its name. Hospitality champagne. La Coctte--147 E. 60th St. 832-8972. A bistro with elegance. Year round indoor garden. Spec: cote de veal smitane. Closed Sun. Barbetta--321 W. 46th St. 246-9171. Specializing in Northern Italian cuisine. Elegant 18th century palazzo decore, outdoor dining garden. L'Aiglon--13 E. 55th St. 758-7295. Serving fine French cuisine with an Italian touch. Try their veal chops L'Aiglon. Intimate French Napoleonic decor. 7 days. [[image-black and white photograph of an American Express card]] [[logo-AMERICAN EXPRESS®]] [[/advertisement]] [[end page]]
Please note that the language and terminology used in this collection reflects the context and culture of the time of its creation, and may include culturally sensitive information. As an historical document, its contents may be at odds with contemporary views and terminology. The information within this collection does not reflect the views of the Smithsonian Institution, but is available in its original form to facilitate research. For questions or comments regarding sensitive content, access, and use related to this collection, please contact email@example.com.