Vintage Maio Ballet Big Eyed Girl Ballerina Pink Print And Easter Bonnet Blue Print - 1960's - New Release

Vintage Maio Ballet Big Eyed Girl Ballerina Pink Print and Easter Bonnet Blue Print - 1960'sVintage Big Eyes Litho Print Mid Century 1960'S Pink Ballerina & Easter Bonnet Blue By MaioDetails: Print of painting by artist Maio 18 1/2" x 10" each. Printed on textured thick cardstock In very good condition Both have Brown Metal Frames with Gold trim. Printed across bottom: A.A.K. Co. NYC Published for Art Treasures, Inc Litho in USAPlease view all photos carefully as they are part of this item's description, and please ask any questions about this item that may not be mentioned in the description about its function, appearance, and condition.

Ol’ man River, that ol’ man River. He must know somethin’, But don’t say nothin’. He just keeps rollin’, He keeps on rollin’ along. I’ve heard it hundreds of times, to the point, one would think, of redundancy. Yet listening to Robinson, whose voice is deep and wide like the song’s subject, I experienced chills once again. Adapted by Hollywood (three times, with such stars as Helen Morgan, Ava Gardner and Paul Robeson, whose “Ol’ Man River” is iconic), for radio (by Cecil B. DeMille, Orson Welles and umpteen others), as well as for television and, again and again, for the stage, “Show Boat” still speaks.

“It’s an amalgam of styles: opera, operetta, vaudeville, jazz,” explains Francesca Zambello, director of this latest production, which previously has been staged at Houston Grand Opera, Lyric Opera of Chicago and Washington (D.C.) National Opera, “That’s our music, Then there’s the story side of the show, which I think is equally important, It’s about American history, You couldn’t get a show more about American history than this, It’s set between the Civil War and the 1920s, It spans huge issues of race and class, and vintage maio ballet big eyed girl ballerina pink print and easter bonnet blue print - 1960's among its main characters are a single mother (Magnolia) and a gambling addict (Ravenal, sung by baritone Michael Todd Simpson) who’s deserted her..

“It’s got it all,” she continues. “And it’s amazing to think that they wrote it when they did. It was shocking. People didn’t know what it was. It was so big — it was over four hours long in its original version. And to have a show with a mixed cast — audiences didn’t know what to make of it. They were shocked by the racial panoply onstage.”. Based on the eponymous 1926 novel by Edna Ferber, the Pulitzer Prize winner and social crusader, Broadway’s “Show Boat” is an epic, three hours long in this latest version, streamlined by Zambello. Much of it takes place aboard the Cotton Blossom, the floating theater — or “show boat” — that’s owned by Cap ‘n Andy Hawks (played by actor/comedian Bill Irwin), the theatrical troupe leader whose daughter is Magnolia (soprano Heidi Stober).

Magnolia’s vintage maio ballet big eyed girl ballerina pink print and easter bonnet blue print - 1960's journey — through marriage, motherhood, demoralizing poverty (in Chicago), her husband’s desertion and her resolute fashioning of a career in cabarets and theater, with a young daughter in tow — is the show’s through-line, A subplot follows Julie La Verne (soprano Patricia Racette), Magnolia’s best friend, whose secret is that she is of mixed race and “passing” for white, When this is revealed — by her singing “Can’t Help Lovin’ Dat Man,” a jazz tune that only black folks are supposed to know — Julie and husband Steve, who is white, must leave the troupe, because they are in violation of miscegenation laws..

Robinson, who previously has sung the role of Joe in Chicago, Houston and Washington, D.C., predicts that San Francisco audiences “are just going to be on sensory overload. I mean, literally, the show is a visual spectacle. And the show is a musical buffet of just hit tune after hit tune. There must be seven tunes from this show that I didn’t even know I knew: ‘Can’t Help Lovin’ Dat Man,’ ‘Bill,’ ‘Why Do I Love You?’ And the list goes on. These are tunes that you know just by listening to the radio while driving on the highway with your dad.”.

Calling himself “a German and Italian repertory guy” (he also sings in the summer season’s “Madama Butterfly”), Robinson has become a “Show Boat” fan, though he initially had misgivings: “You think about the stereotypical perception of what a black guy represented back then, singing spirituals or work songs, and it wasn’t something I really wanted to portray.”, The black characters in “Show Boat” work in menial jobs: Joe on the docks, his wife Queenie vintage maio ballet big eyed girl ballerina pink print and easter bonnet blue print - 1960's (soprano Angela Renée Simpson) as cook on the Cotton Blossom, But inasmuch as the story opens about 20 years after the end of slavery, this would be a realistic depiction of African-Americans’ societal status at the time, Robinson points out, When the show ends, during the 1920s, blacks appear on stage in their Sunday best; director Zambello portrays the emergence of a black middle class..

It can be argued that with its unvarnished depictions of segregation, its use of black vernacular — and its use of the N-word, toned down here, as in most productions — “Show Boat” is an American mirror of the Italian operatic style known as “verismo,” which translates as “realism” or “true.”. Robinson says, “I enjoy putting that in front, so people can never forget the ridiculous indignities” of the era and of the decades since. He also notes that Joe and Queenie are astute and “cerebral” observers who “have the respect of everyone on this boat. There’s intimacy in this production. We touch. We hug each other. These are things you can’t do on the streets in the 1880s. This was forward thinking” by Kern and Hammerstein. “This show went against everything that was normal.”.

Bill Irwin calls “Show Boat” an “investigation of a lot of things in American history and American culture.” He describes it as “kind of Huck Finn-ish,” with an “innocence” in its racial attitudes — an underlying sense that “none of this (racism) makes any sense.” Stober, the soprano, nods in agreement, saying it “has so many layers, and it’s not naive, (Author Edna) Ferber saw this curve of change” in society’s attitudes, “and now we’ve had all these other curves that we’ve lived through since, and that we are vintage maio ballet big eyed girl ballerina pink print and easter bonnet blue print - 1960's still embarking on right now.”..

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