(b Forestville, NY, Jan 25, 1887; d Miami Beach, FL, Jan 31, 1995). American stage director, producer, playwright, and actor. During a 92-year career in the theater Abbott influenced the development of musical comedy and helped launch many important careers. He made his Broadway acting debut in 1913 and continued to act during the 1920s. He also began working as both a playwright and director. After his first hit, The Fall Guy, Abbott began to write and stage fast-paced melodramas. In 1932 he co-produced a farce called 20th Century; it was in this genre that he defined a fast-paced theatrical style that became known as the Abbott Touch. He was the leading director of musical comedies. Abbott also wrote the books for On your Toes (1936), The Boys from Syracuse (1938), and Pal Joey (1940), the scores of which were composed by Richard Rodgers and Lorenz Hart. In ...
Douglas B. Green
(b near Willcox, AZ, Dec 31, 1924; d Tucson, AZ, Dec 19, 1999). American singing cowboy, songwriter, actor, and radio and recording artist. Born on a remote ranch, Allen had a powerful voice of tremendous range, was a world-class yodeler, and a prolific songwriter. He had begun a performing career straight out of high school and, after a stint at WTTM in Trenton, NJ, was added to the National Barn Dance cast in 1945. A true westerner and a good horseman, he seemed a natural for the singing cowboy film genre, but it was a genre in decline, and his was the last singing series any studio launched. Allen’s first film for Republic was the fittingly titled Arizona Cowboy (1950), and his last of 19 movies was Phantom Stallion (1954).
Allen then turned to television, starring in Frontier Doctor (1958). He was able to keep up an active recording and touring career, supplemented by Disney Studios’ (and other studios’) frequent use of his avuncular and authoritative speaking voice as a narrator of documentaries, television features, and feature films such as ...
(b Chicago, June 5, 1947). American performance artist and composer. Although she played the violin from childhood, she received her formal training in the visual arts (Barnard College, BA 1969; Columbia University, MFA 1972). During the 1970s she became one of the most celebrated practitioners of performance art. Her work has incorporated graphics, lighting, sculpture, mime, slides, film, speech, music and many electronic devices, some of her own design. By 1976 her performances were featured prominently in museums and concert venues across Europe and North America.
The first phase of Anderson's career culminated in the seven-hour work, United States, I-IV, performed at the Brooklyn Academy of Music in 1983. Hailed as a landmark by postmodernist theorists, the work was regarded as thematizing the contradictions and tensions of late-capitalist society. Against a backdrop of stylish visuals, she played electronically enhanced violins, sang, mimed, controlled an elaborate bank of electronic devices and recited her own witty, yet disturbing poetry, that hovers between scathing social criticism and ironic self-parody. Much of her work comments on the alienation produced by contemporary culture, but at the same time self-consciously relies on the very technological mediation it appears to lament....
Hugh Davies and Susan McClary
(b Chicago, IL, June 5, 1947). American performance artist, composer, and instrument innovator. Although she played the violin from childhood, she received her formal training in the visual arts (Barnard College, BA 1969; Columbia University, MFA 1972). During the 1970s she became one of the most celebrated practitioners of performance art. Her work has incorporated graphics, lighting, sculpture, mime, slides, film, speech, music, and many electronic devices, some of her own design. By 1976 her performances were featured prominently in museums and concert venues across Europe and North America.
Anderson has achieved great visibility, in part because of her originality: coming to music from the visual arts, she was free to manipulate sounds as she liked. Her unexpected crossover into the popular domain brought her a degree of fame and influence usually unavailable to avant-garde artists.
Since the mid-1970s Anderson has developed several instruments for use in her performances and exhibitions. A typical programme for one of her live shows includes all or part of her large-scale music theatre work ...
Colin Timms and Anne MacNeil
(b Florence, Feb 9, 1576; d Reggio nell’Emilia, June 7, 1654). Italian actor, dramatist and poet. He was the son of Isabella and Francesco Andreini, famous commedia dell’arte players, and was educated at the University of Bologna. In 1594, taking the stage name ‘Lelio’, he joined the Compagnia dei Gelosi, the comic troupe to which his parents belonged, and in 1601 he married the actress and singer Virginia Ramponi (‘La Florinda’). By the time the Gelosi disbanded in 1604 he had already formed his own company, the Compagnia dei Fedeli, which served the Medici and Gonzaga families, with brief interruptions, until it disbanded, playing throughout northern and central Italy. In 1613 Maria de’ Medici invited the Fedeli to Paris. Their visit, which lasted from September 1613 to July 1614, was so successful that they performed there again from January 1621 to March 1622, probably December 1622 to March 1623...
(b Padua, 1562; d Lyons, June 10, 1604). Italian actor, dramatist and poet, mother of G.B. Andreini. After her marriage in the late 1570s to Francesco Andreini, they joined the renowned Compagnia dei Gelosi, assuming the roles of prima donna innamorata and Lelio innamorato. They were favoured performers at the courts of Tuscany, Ferrara, Mantua and France. Isabella led the Gelosi from the 1580s until her death (when it disbanded), negotiating patronage and accepting payments on its behalf. In 1589 she performed alongside her rival Vittoria Piisimi at the wedding celebrations in Florence for Ferdinando de' Medici and Christine of Lorraine; Pavoni described the enthusiasm of the audience for Isabella's performance of the comedy La pazzia d'Isabella, during which she sang canzonette alla francese. Her talents as an author were also widely praised and she was accepted into the Accademia degli Intenti of Pavia in 1601. Of her nearly 500 lyric poems (two books of which were published in Milan in ...
Tim Carter and Anne MacNeil
[‘La Florinda’ ]
(b Milan, Jan 1, 1583; d Bologna, 1629–30). Italian actor, singer and poet, first wife of G.B. Andreini. When they married in 1601, Virginia and her husband formed the Compagnia del Fedeli, in which she assumed the role of prima donna innamorata. Her stage name derived from her performance in Giovanni Battista’s tragedy La Florinda (1603, Florence). In spring 1608 she replaced Caterina Martinelli as the protagonist of Monteverdi’s Arianna and took part in his Ballo delle ingrate during the wedding celebrations for Prince Francesco Gonzaga and Margherita of Savoy; according to Antonio Costantini (1608), she learnt the part for Arianna in six days. She also sang the title role in G.C. Monteverdi’s opera Il rapimento di Proserpina during the festivities for the birth of the Infanta Margherita Gonzaga in 1611. Contemporary accounts suggest that her performance in Arianna was exceptionally powerful, and her talents as a singer were recalled with praise by Bonini in his ...
(b St. Louis, MO, Apr 4, 1928). American poet, novelist, playwright, actor, and educator. Angelou was educated at Stamps, AR, and the Labor School in San Francisco. Her early career focused on dance and drama. In 1959 she moved to New York, where she joined the Harlem Writers Guild. Exploring various kinds of oppression (economic, racial, and sexual), she has published more than ten books of poetry, six autobiographies, of which I Know Why the Caged Bird Sings (1969) is the best known, numerous plays, and librettos for musicals, as well as scripts for film and television. The reading of her commissioned poem “On the Pulse of Morning” at the inauguration of President William Jefferson Clinton (20 January 1993) brought her national recognition. Other texts by this celebrated African American poet have been set to music by Bolcom, Danielpour, Garner, Deon Nielson Price, and Judith Weir. Among her honors are two nominations for the Pulitzer Prize, three Grammy Awards (...
Frances R. Aparicio
[Muñiz, Marco Antonio]
(b New York City, Sept 16, 1968). American singer, songwriter, and actor of Puerto Rican ancestry. Named after the famous Mexican singer Marco Antonio Muñiz (b 1933), Marc Anthony has become one of the most famous and important Latino singer-songwriters in the United States. Because of the excellence of his voice and his commitment to his Latino and Caribbean roots, he has become the biggest selling salsa artist of all time, with over 10 million albums sold worldwide. After singing house and freestyle music in English in his early career, Marc Anthony revitalized salsa music with a series of early 1990s musical hits that paved the way for the 1999 Latin pop explosion. He has successfully crossed linguistic borders, singing both in English and Spanish within the same album and thus contesting the label of “crossover.” His stage performances and the hybrid musical arrangements that have cast traditional Puerto Rican songs like “Preciosa” and “Lamento borincano” as salsa songs embody his Nuyorican identity in the public space, thus exemplifying the transnational nature of salsa music. Some of his best-known songs in English include “I Need to Know” and “You Sang to Me.”...
(b Bucharest, Romania, Dec 25, 1907; d Tirana, Albania, March 17, 1979). Tenor, actor, and stage director. He studied at the Mimodramatic High School of Bucharest and then in Rome, with M. Polverosi. In Romania, he had a successful career as an actor and singer. He was in the movie industry in the 1920s and early 30s, playing in more than 15 films, including Ciocoii (1931), Iancu Jianu, (1928), and Maiorul Mura (1927). In the meantime, he worked in the Alhambra theater as a singer and stage director of operettas. In the mid 1930s, Antoniu moved to Albania and pursued a singing career. He made only one cinematic appearance in 1943, for the short film documentary Takimi në liqen (‘Meeting at the Lake’). He was a dramatic tenor, with a baritone quality in his voice. This led him to explore a large range of operatic characters from both the Western opera repertory and the Albanian one. He performed and recorded Albanian traditional or folk songs, handled with an operatic vocal posture and arranged with western harmonies. His son, Gjergj Antoniu was a prominent Albanian cellist....