judy holliday images

Your source for arts news, stories and events in North Texas. Art&Seek is a service from NPR member station KERA (KERA FM, KERA TV and KXT 91.7). During the 1950s she appeared in a handful of films for Columbia where she used her 'dumb blonde' image for acting in various roles. Though comedians fared. Syd and Judy Holliday and me. Images scanned by Cineteca di Bologna as part of Progetto Chaplin and by Musée de l'Elysée.

: Judy holliday images

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Judy holliday images -

If you’re a football fan you know that New England Patriots coach Bill Belichick is one of the most successful head coaches of all time. He’s won multiple Super Bowls and every year you can bet that his team will be playing deep into January. But even with all the winning he does, Belichick rarely ever cracks a smile. However, if you scroll through the Instagram feed of his longtime girlfriend, Linda Holliday, you’d see another side of him.

Belichick, who is also the franchise’s general manager, doesn’t have any social media accounts himself and has said many times that he doesn’t really know what Facebook, Snapchat, and Instagram are. But Holliday sure does, and she must be teaching him because he’s made plenty of appearances in photos and videos on her account. She has posted everything from pics of the pair on vacation to events they’ve attended together to snaps from their magazine cover shoot. Yes, she got “The Hoodie” to do a photo shoot.

Here’s more on the woman who stole Belichick’s heart and makes him smile so much.

How they met and how long they’ve been dating

Belichick divorced his first wife, Debbie, in 2006 and met Holliday a year later. Players Wives noted that Holliday, a Florida native, was at a nightclub in Palm Beach with some friends when she and the NFL coach started talking. At the time she was dating another man but broke things off with him to pursue a relationship with Belichick.

Since they’ve been together Holliday has become a fixture at Patriots games. She posts lots of photos from game day to her Instagram stories while cheering the team on.

Where they go on vacation together

When they’re not at Gillette Stadium together, Belichick and his lady enjoy vacationing in Nantucket, off the coast of Massachusetts.

“I started off in Detroit, then Denver, then the Giants, then Cleveland, then the Patriots, then the Jets, and then the Patriots [again]. But at the end of every one of those years, I was here. Nantucket has always been a constant,” Belichick told Nantucket Magazine.

“No matter what everybody is doing during their busy lives, Nantucket is where family comes together as a unit again,” Holliday added.

They have children from previous relationships

Speaking of family, Holliday and Belichick each have children from previous relationships.

Belichick has three grown kids — Stephen, Amanda, and Brian — with his ex-wife. His daughter is a lacrosse coach and his two sons work within the Patriots organization.

Holliday has been married three times before and has two children. Her twins daughters, Ashley and Kat Hess, run a fashion blog and are often seen at Pats games with their mother.

Holliday worked in TV and is now a CEO

Holliday graduated from Vanderbilt University in 1986 with a bachelor’s degree in Radiography. She previously worked in TV as a Lifestyle Correspondent for Style Boston. These days though Holliday is the CEO of the Bill Belichick Foundation.

The BBF’s website states that its mission is “to provide coaching, mentorship, and financial support to individuals, communities, and organizations. Focusing on football and lacrosse, its mission is to bring the values of the Belichick family — a love of sports, coaching and team building — to the athletic leaders of tomorrow.”

Read more: How Many Kids Do Tom Brady and Gisele Bundchen Have and How Old Are They?

Check out The Cheat Sheet on Facebook!

Источник: https://www.cheatsheet.com

 1982 Hollywood: The Gift of Laughter (TV Movie documentary) (performer: "I Can't Give You Anything But Love" (1928) - uncredited)

 1965 A Thousand Clowns (writer: "A Thousand Clowns" (1965))

 1960 Bells Are Ringing (performer: "It's a Perfect Relationship" (1956), "Better Than a Dream" (1956), "Mu Cha Cha" (1956), "Just In Time" (1956), "Drop That Name" (1956), "The Party's Over" (1956), "I'm Going Back" (1956) - uncredited)

 1955 Max Liebman Presents: Promenade (TV Movie) (performer: "Chattanooga Choo Choo" - uncredited)

 1954 It Should Happen to You (performer: "Let's Fall in Love" (1933) - uncredited)

 1952 The Marrying Kind (performer: "Dolores" - uncredited)

 1950 Born Yesterday (performer: "I Can't Give You Anything but Love" - uncredited)

 1958-1961 Perry Como's Kraft Music Hall(TV Series)
Self - Guest / Self

- George Sanders, Judy Holliday (1961) ... Self - Guest

- Judy Holliday, Jane Morgan, The Dunhills, Kukla & Ollie (1958) ... Self

- Frankie Avalon, Judy Holliday, Jimmy Dean, The Baird Puppets (1958) ... Self - Guest

- Judy Holliday, George Hamilton IV, Mike Nichols & Elaine May (1958) ... Self

 1958 The 12th Annual Tony Awards (TV Special)
Self - Presenter

 1957 The 11th Annual Tony Awards (TV Special)
Self - Winner

 1955 Max Liebman Presents: Promenade (TV Movie)
Self - Guest

 1955 Max Liebman Presents: Kaleidoscope (TV Movie)
Self

 1955 Entertainment - 1955 (TV Special)
Self

Источник: https://www.imdb.com/name/nm0391062/
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  • JUDY HOLLIDAY (1921-1965) Promotional photo of US singer and film actress about 1945 - Stock ImageJUDY HOLLIDAY (1921-1965) Promotional photo of US singer and film actress about 1945JUDY HOLLIDAY (1921-1965) Promotional photo of US singer and film actress about 1945https://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/stock-photo-judy-holliday-1921-1965-promotional-photo-of-us-singer-and-film-actress-130859839.html
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  • FILM: BORN YESTERDAY, 1950. /nBroderick Crawford as the tycoon and Judy Holliday as Billie Dawn in 'Born Yesterday,' - Stock ImageFILM: BORN YESTERDAY, 1950. /nBroderick Crawford as the tycoon and Judy Holliday as Billie Dawn in 'Born Yesterday,' directed by George Cukor, 1950.FILM: BORN YESTERDAY, 1950. /nBroderick Crawford as the tycoon and Judy Holliday as Billie Dawn in 'Born Yesterday,' directed by George Cukor, 1950.https://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/stock-photo-film-born-yesterday-1950-nbroderick-crawford-as-the-tycoon-and-judy-95807438.html
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  • 1954, Film Title: IT SHOULD HAPPEN TO YOU, Director: GEORGE CUKOR, Studio: COLUMBIA, Pictured: FABRICATING, JUDY - Stock Image1954, Film Title: IT SHOULD HAPPEN TO YOU, Director: GEORGE CUKOR, Studio: COLUMBIA, Pictured: FABRICATING, JUDY HOLLIDAY, JACK LEMMON, STUNNED, SHOCKED, LYING, SMOKING, CIGARETTE. (Credit Image: SNAP)1954, Film Title: IT SHOULD HAPPEN TO YOU, Director: GEORGE CUKOR, Studio: COLUMBIA, Pictured: FABRICATING, JUDY HOLLIDAY, JACK LEMMON, STUNNED, SHOCKED, LYING, SMOKING, CIGARETTE. (Credit Image: SNAP)https://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/stock-photo-1954-film-title-it-should-happen-to-you-director-george-cukor-studio-90118056.html
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Judy Holliday wallpapers for your PC, Android Device, Iphone or Tablet PC. If you want to download Judy Holliday High Quality wallpapers for your desktop, please download this wallpapers above and click «set as desktop background». You can share this wallpaper in social networks, we will be very grateful to you. 

Judy Holliday (born Judy Holliday, 21 June 1921 -. June 7, 1965, real name Judith Tuvim.) – American actress, who won in 1950, the “Oscar” for best actress.
Biography
Holliday was born in New York in a family of Jews – immigrants from the Russian Empire. In December 1938, she translated his name into English as Tuwim Holliday and began performing in nightclubs as part of the comic quartet The Revuers. The success was such that soon she was invited to star in the movies.
Despite the memorable role in the comedy “Adam’s rib” (1949), for the 1940 Holliday continued to work on Broadway. A particular success among its repertoire enjoyed the play “Born Yesterday”. When in 1950 there was a question about porting it to the big screen, she sang the title role was proposed precisely Holiday. For this work she was awarded the prize “Golden Globe” and “Oscar” – despite the presence of that year such serious competitors as Gloria Swanson ( “Sunset Boulevard”) and Bette Davis ( “All About Eve”).
The extraordinary success of Halliday called McCarthyists suspicions, and the FBI started to investigate her alleged links with the Communists. Her name is mentioned in the “black list” of Hollywood. This hype is essentially undermined her film career, although no compromising Holiday materials have been identified. It is believed that the investigators actress brilliantly performed the role of “dumb blonde” who managed her best.
Continuing a career on the stage of Broadway, Holliday won the 1957 award “Tony” for his role in the musical “The Bell Tolls”, and three years later she performed her own in the film version of the musical. She died of breast cancer at the age of 43 years.

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Источник: https://www.benesseresalute.net/d8-dd-dab9e5/caffdf_d_/17899786939402/15182/ZW_IzOT_Y3_OW/143-9-1376/caffdfd

By MARK KENNEDY, AP Entertainment Writer

NEW YORK — Stephen Sondheim, the songwriter who reshaped the American musical theater in the second half of the 20th century with his intelligent, intricately rhymed lyrics, his use of evocative melodies and his willingness to tackle unusual subjects, has died. He was 91.

Sondheim's death was announced by Rick Miramontez, president of DKC/O&M. Sondheim's Texas-based attorney, Rick Pappas, told The New York Times the composer died Friday at his home in Roxbury, Connecticut.

Sondheim influenced several generations of theater songwriters, particularly with such landmark musicals as “Company,” “Follies” and “Sweeney Todd,” which are considered among his best work. His most famous ballad, “Send in the Clowns,” has been recorded hundreds of times, including by Frank Sinatra and Judy Collins.

The artist refused to repeat himself, finding inspiration for his shows in such diverse subjects as an Ingmar Bergman movie (“A Little Night Music”), the opening of Japan to the West (“Pacific Overtures”), French painter Georges Seurat (“Sunday in the Park With George”), Grimm’s fairy tales (“Into the Woods”) and even the killers of American presidents (“Assassins”), among others.

Tributes quickly flooded social media as performers and writers alike saluted a giant of the theater. “We shall be singing your songs forever,” wrote Lea Salonga. Aaron Tveit wrote: "We are so lucky to have what you’ve given the world.”

“The theater has lost one of its greatest geniuses and the world has lost one of its greatest and most original writers. Sadly, there is now a giant in the sky," producer Cameron Mackintosh wrote in tribute. Music supervisor, arranger and orchestrator Alex Lacamoire tweeted: “For those of us who love new musical theater: we live in a world that Sondheim built.”

Six of Sondheim’s musicals won Tony Awards for best score, and he also received a Pulitzer Prize (“Sunday in the Park”), an Academy Award (for the song “Sooner or Later” from the film “Dick Tracy”), five Olivier Awards and the Presidential Medal of Honor. In 2008, he received a Tony Award for lifetime achievement.

Sondheim’s music and lyrics gave his shows a dark, dramatic edge, whereas before him, the dominant tone of musicals was frothy and comic. He was sometimes criticized as a composer of unhummable songs, a badge that didn’t bother Sondheim. Frank Sinatra, who had a hit with Sondheim’s “Send in the Clowns,” once complained: “He could make me a lot happier if he’d write more songs for saloon singers like me.”

To theater fans, Sondheim’s sophistication and brilliance made him an icon. A Broadway theater was named after him. A New York magazine cover asked “Is Sondheim God?” The Guardian newspaper once offered this question: “Is Stephen Sondheim the Shakespeare of musical theatre?”

A supreme wordsmith — and an avid player of word games — Sondheim’s joy of language shone through. “The opposite of left is right/The opposite of right is wrong/So anyone who’s left is wrong, right?” he wrote in “Anyone Can Whistle.” In “Company,” he penned the lines: “Good things get better/Bad gets worse/Wait — I think I meant that in reverse.”

He offered the three principles necessary for a songwriter in his first volume of collected lyrics — Content Dictates Form, Less Is More, and God Is in the Details. All these truisms, he wrote, were “in the service of Clarity, without which nothing else matters.” Together they led to stunning lines like: “It’s a very short road from the pinch and the punch to the paunch and the pouch and the pension.”

Taught by no less a genius than Oscar Hammerstein, Sondheim pushed the musical into a darker, richer and more intellectual place. “If you think of a theater lyric as a short story, as I do, then every line has the weight of a paragraph,” he wrote in his 2010 book, “Finishing the Hat,” the first volume of his collection of lyrics and comments.

Early in his career, Sondheim wrote the lyrics for two shows considered to be classics of the American stage, “West Side Story” (1957) and “Gypsy” (1959). “West Side Story,” with music by Leonard Bernstein, transplanted Shakespeare’s “Romeo and Juliet” to the streets and gangs of modern-day New York. “Gypsy,” with music by Jule Styne, told the backstage story of the ultimate stage mother and the daughter who grew up to be Gypsy Rose Lee.

It was not until 1962 that Sondheim wrote both music and lyrics for a Broadway show, and it turned out to be a smash — the bawdy “A Funny Thing Happened on the Way to the Forum,” starring Zero Mostel as a wily slave in ancient Rome yearning to be free.

Yet his next show, “Anyone Can Whistle” (1964), flopped, running only nine performances but achieving cult status after its cast recording was released. Sondheim’s 1965 lyric collaboration with composer Richard Rodgers — “Do I Hear a Waltz?” — also turned out to be problematic. The musical, based on the play “The Time of the Cuckoo,” ran for six months but was an unhappy experience for both men, who did not get along.

It was “Company,” which opened on Broadway in April 1970, that cemented Sondheim’s reputation. The episodic adventures of a bachelor (played by Dean Jones) with an inability to commit to a relationship was hailed as capturing the obsessive nature of striving, self-centered New Yorkers. The show, produced and directed by Hal Prince, won Sondheim his first Tony for best score. “The Ladies Who Lunch” became a standard for Elaine Stritch.

The following year, Sondheim wrote the score for “Follies,” a look at the shattered hopes and disappointed dreams of women who had appeared in lavish Ziegfeld-style revues. The music and lyrics paid homage to great composers of the past such as Jerome Kern, Cole Porter and the Gershwins.

In 1973, “A Little Night Music,” starring Glynis Johns and Len Cariou, opened. Based on Bergman’s “Smiles of a Summer Night,” this rueful romance of middle-age lovers contains the song “Send in the Clowns,” which gained popularity outside the show. A revival in 2009 starred Angela Lansbury and Catherine Zeta-Jones was nominated for a best revival Tony.

“Pacific Overtures,” with a book by John Weidman, followed in 1976. The musical, also produced and directed by Prince, was not a financial success, but it demonstrated Sondheim’s commitment to offbeat material, filtering its tale of the westernization of Japan through a hybrid American-Kabuki style.

In 1979, Sondheim and Prince collaborated on what many believe to be Sondheim’s masterpiece, the bloody yet often darkly funny “Sweeney Todd.” An ambitious work, it starred Cariou in the title role as a murderous barber whose customers end up in meat pies baked by Todd’s willing accomplice, played by Angela Lansbury.

The Sondheim-Prince partnership collapsed two years later, after “Merrily We Roll Along,” a musical that traced a friendship backward from its characters’ compromised middle age to their idealistic youth. The show, based on a play by George S. Kaufman and Moss Hart, only ran two weeks on Broadway. But again, as with “Anyone Can Whistle,” its original cast recording helped “Merrily We Roll Along” to become a favorite among musical-theater buffs.

“Sunday in the Park,” written with James Lapine, may be Sondheim’s most personal show. A tale of uncompromising artistic creation, it told the story of artist Georges Seurat, played by Mandy Patinkin. The painter submerges everything in his life, including his relationship with his model (Bernadette Peters), for his art.) It was most recently revived on Broadway in 2017 with Jake Gyllenhaal.)

Three years after “Sunday” debuted, Sondheim collaborated again with Lapine, this time on the fairy-tale musical “Into the Woods.” The show starred Peters as a glamorous witch and dealt primarily with the turbulent relationships between parents and children, using such famous fairy-tale characters as Cinderella, Little Red Riding Hood and Rapunzel. It was most recently revived in the summer of 2012 in Central Park by The Public Theater.

“Assassins” opened off-Broadway in 1991 and it looked at the men and women who wanted to kill presidents, from John Wilkes Booth to John Hinckley. The show received mostly negative reviews in its original incarnation, but many of those critics reversed themselves 13 years later when the show was done on Broadway and won a Tony for best musical revival.

“Passion” was another severe look at obsession, this time a desperate woman, played by Donna Murphy, in love with a handsome soldier. Despite winning the best-musical Tony in 1994, the show barely managed a six-month run.

A new version of “The Frogs,” with additional songs by Sondheim and a revised book by Nathan Lane (who also starred in the production), played Lincoln Center during the summer of 2004. The show, based on the Aristophanes comedy, originally had been done 20 years earlier in the Yale University swimming pool.

One of his more troubled shows was “Road Show,” which reunited Sondheim and Weidman and spent years being worked on. This tale of the Mizner brothers, whose get-rich schemes in the early part of the 20th century finally made it to the Public Theater in 2008 after going through several different titles, directors and casts.

He had been working on a new musical with “Venus in Fur” playwright David Ives, who called his collaborator a genius. “Not only are his musicals brilliant, but I can’t think of another theater person who has so chronicled a whole age so eloquently,” Ives said in 2013. “He is the spirit of the age in a certain way.”

Sondheim was born March 22, 1930, into a wealthy family, the only son of dress manufacturer Herbert Sondheim and Helen Fox Sondheim. At 10, his parents divorced and Sondheim’s mother bought a house in Doylestown, Pa., where one of their Bucks County neighbors was lyricist Oscar Hammerstein II, whose son, James, was Sondheim’s roommate at boarding school. It was Oscar Hammerstein who became the young man’s professional mentor and a good friend.

He had a solitary childhood, one that involved verbal abuse from his chilly mother. He received a letter in his 40s from her telling him that she regretted giving birth to him. He continued to support her financially and to see her occasionally but didn’t attend her funeral.

Sondheim attended Williams College in Massachusetts, where he majored in music. After graduation, he received a two-year fellowship to study with avant-garde composer Milton Babbitt.

One of Sondheim’s first jobs was writing scripts for the television show “Topper,” which ran for two years (1953-1955). At the same time, Sondheim wrote his first musical, “Saturday Night,” the story of a group of young people in Brooklyn in 1920s. It was to have opened on Broadway in 1955, but its producer died just as the musical was about to go into production, and the show was scrapped. “Saturday Night” finally made it to London's Bridewell Theatre in 1997 and in New York off-Broadway in 2000.

Sondheim wrote infrequently for the movies. He collaborated with actor Anthony Perkins on the script for the 1973 murder mystery “The Last of Sheila,” and besides his work on “Dick Tracy” (1990), wrote scores for such movies as Alain Resnais’ “Stavisky” (1974) and Warren Beatty’s “Reds” (1981).

Over the years, there have been many Broadway revivals of Sondheim shows, especially “Gypsy,” which had reincarnations starring Angela Lansbury (1974), Tyne Daly (1989) and Peters (2003). But there also were productions of “A Funny Thing,” one with Phil Silvers in 1972 and another starring Nathan Lane in 1996; “Into the Woods” with Vanessa Williams in 2002; and even of Sondheim’s less successful shows such as “Assassins” and “Pacific Overtures,” both in 2004. “Sweeney Todd” has been produced in opera houses around the world. A reimagined “West Side Story” opened on Broadway in 2020 and this year an off-Broadway “Assassins” opened off-Broadway at Classic Stage Company and a scrambled “Company” opened on Broadway with the gender of the protagonist switched. A film version of “West Side Story” is to open this December directed by Steven Spielberg.

Sondheim’s songs have been used extensively in revues, the best-known being “Side by Side by Sondheim” (1976) on Broadway and “Putting It Together,” off-Broadway with Julie Andrews in 1992 and on Broadway with Carol Burnett in 1999. The New York Philharmonic put on a star-studded “Company” in 2011 with Neil Patrick Harris and Stephen Colbert. Tunes from his musicals have lately popped up everywhere from “Marriage Story” to “The Morning Show.”

An HBO documentary directed by Lapine, “Six by Sondheim,” aired in 2013 and revealed that he liked to compose lying down and sometimes enjoyed a cocktail to loosen up as he wrote. He even revealed that he really only fell in love after reaching 60, first with the dramatist Peter Jones and then in his last years with Jeff Romley.

“Every so often someone comes along that fundamentally shifts an entire art form. Stephen Sondheim was one of those. As millions mourn his passing I also want to express my gratitude for all he has given to me and so many more," singer and actor Hugh Jackman wrote via Twitter.

___

Mark Kennedy is at http://twitter.com/KennedyTwits

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Источник: https://www.wral.com/towering-musical-theater-master-stephen-sondheim-dies-at-91/20003490/

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By MARK KENNEDY, AP Entertainment Writer

NEW YORK — Stephen Sondheim, the songwriter who reshaped the American musical theater in the second half of the 20th century with his intelligent, intricately rhymed lyrics, his use of evocative melodies and his willingness to tackle unusual subjects, has died. He was 91.

Sondheim's death was announced by Rick Miramontez, president of DKC/O&M. Sondheim's Texas-based attorney, Rick Pappas, told The New York Times the composer died Friday at his home in Roxbury, Connecticut.

Sondheim influenced several generations of theater songwriters, particularly with such landmark musicals as “Company,” “Follies” and “Sweeney Todd,” which are considered among his best work. His most famous ballad, “Send in the Clowns,” has been recorded hundreds of times, including by Frank Sinatra and Judy Collins.

The artist refused to repeat himself, finding inspiration for his shows in such diverse subjects as an Ingmar Bergman movie (“A Little Night Music”), the opening of Japan to the West (“Pacific Overtures”), French painter Georges Seurat (“Sunday in the Park With George”), Grimm’s fairy tales (“Into the Woods”) and even the killers of American presidents (“Assassins”), among others.

Tributes quickly flooded social media as performers and writers alike saluted a giant of the theater. “We shall be singing your songs forever,” wrote Lea Salonga. Aaron Tveit wrote: "We are so lucky to have what you’ve given the world.”

“The theater has lost one of its greatest geniuses and the world has lost one of its greatest and most original writers. Sadly, there is now a giant in the sky," producer Cameron Mackintosh wrote in tribute. Music supervisor, arranger and orchestrator Alex Lacamoire tweeted: “For those of us who love new musical theater: we live in a world that Sondheim built.”

Six of Sondheim’s musicals won Tony Awards for best score, and he also received a Pulitzer Prize (“Sunday in the Park”), an Academy Award (for the song “Sooner or Later” from the film “Dick Tracy”), five Olivier Awards and the Presidential Medal of Honor. In 2008, he received a Tony Award for lifetime achievement.

Sondheim’s music and lyrics gave his shows a dark, dramatic edge, whereas before him, the dominant tone of musicals was frothy and comic. He was sometimes criticized as a composer of unhummable songs, a badge that didn’t bother Sondheim. Frank Sinatra, who had a hit with Sondheim’s “Send in the Clowns,” once complained: “He could make me a lot happier if he’d write more songs for saloon singers like me.”

To theater fans, Sondheim’s sophistication and brilliance made him an icon. A Broadway theater was named after him. A New York magazine cover asked “Is Sondheim God?” The Guardian newspaper once offered this question: “Is Stephen Sondheim the Shakespeare of musical theatre?”

A supreme wordsmith — and an avid player of word games — Sondheim’s joy of language shone through. “The opposite of left is right/The opposite of right is wrong/So anyone who’s left is wrong, right?” he wrote in “Anyone Can Whistle.” In “Company,” he penned the lines: “Good things get better/Bad gets worse/Wait — I think I meant that in reverse.”

He offered the three principles necessary for a songwriter in his first volume of collected lyrics — Content Dictates Form, Less Is More, and God Is in the Details. All these truisms, he wrote, were “in the service of Clarity, without which nothing else matters.” Together they led to stunning lines like: “It’s a very short road from the pinch and the punch to the paunch and the pouch and the pension.”

Taught by no less a genius than Oscar Hammerstein, Sondheim pushed the musical into a darker, richer and more intellectual place. “If you think of a theater lyric as a short story, as I do, then every line has the weight of a paragraph,” he wrote in his 2010 book, “Finishing the Hat,” the first volume of his collection of lyrics and comments.

Early in his career, Sondheim wrote the lyrics for two shows considered to be classics of the American stage, “West Side Story” (1957) and “Gypsy” (1959). “West Side Story,” with music by Leonard Bernstein, transplanted Shakespeare’s “Romeo and Juliet” to the streets and gangs of modern-day New York. “Gypsy,” with music by Jule Styne, told the backstage story of the ultimate stage mother and the daughter who grew up to be Gypsy Rose Lee.

It was not until 1962 that Sondheim wrote both music and lyrics for a Broadway show, and it turned out to be a smash — the bawdy “A Funny Thing Happened on the Way to the Forum,” starring Zero Mostel as a wily slave in ancient Rome yearning to be free.

Yet his next show, “Anyone Can Whistle” (1964), flopped, running only nine performances but achieving cult status after its cast recording was released. Sondheim’s 1965 lyric collaboration with composer Richard Rodgers — “Do I Hear a Waltz?” — also turned out to be problematic. The musical, based on the play “The Time of the Cuckoo,” ran for six months but was an unhappy experience for both men, who did not get along.

It was “Company,” which opened on Broadway in April 1970, that cemented Sondheim’s reputation. The episodic adventures of a bachelor (played by Dean Jones) with an inability to commit to a relationship was hailed as capturing the obsessive nature of striving, self-centered New Yorkers. The show, produced and directed by Hal Prince, won Sondheim his first Tony for best score. “The Ladies Who Lunch” became a standard for Elaine Stritch.

The following year, Sondheim wrote the score for “Follies,” a look at the shattered hopes and disappointed dreams of women who had appeared in lavish Ziegfeld-style revues. The music and lyrics paid homage to great composers of the past such as Jerome Kern, Cole Porter and the Gershwins.

In 1973, “A Little Night Music,” starring Glynis Johns and Len Cariou, opened. Based on Bergman’s “Smiles of a Summer Night,” this rueful romance of middle-age lovers contains the song “Send in the Clowns,” which gained popularity outside the show. A revival in 2009 starred Angela Lansbury and Catherine Zeta-Jones was nominated for a best revival Tony.

“Pacific Overtures,” with a book by John Weidman, followed in 1976. The musical, also produced and directed by Prince, was not a financial success, but it demonstrated Sondheim’s commitment to offbeat material, filtering its tale of the westernization of Japan through a hybrid American-Kabuki style.

In 1979, Sondheim and Prince collaborated on what many believe to be Sondheim’s masterpiece, the bloody yet often darkly funny “Sweeney Todd.” An ambitious work, it starred Cariou in the title role as a murderous barber whose customers end up in meat pies baked by Todd’s willing accomplice, played by Angela Lansbury.

The Sondheim-Prince partnership collapsed two years later, after “Merrily We Roll Along,” a musical that traced a friendship backward from its characters’ compromised middle age to their idealistic youth. The show, based on a play by George S. Kaufman and Moss Hart, only ran two weeks on Broadway. But again, as with “Anyone Can Whistle,” its original cast recording helped “Merrily We Roll Along” to become a favorite among musical-theater buffs.

“Sunday in the Park,” written with James Lapine, may be Sondheim’s most personal show. A tale of uncompromising artistic creation, it told the story of artist Georges Seurat, played by Mandy Patinkin. The painter submerges everything in his life, including his relationship with his model (Bernadette Peters), for his art.) It was most recently revived on Broadway in 2017 with Jake Gyllenhaal.)

Three years after “Sunday” debuted, Sondheim collaborated again with Lapine, this time on the fairy-tale musical “Into the Woods.” The show starred Peters as a glamorous witch and dealt primarily with the turbulent relationships between parents and children, using such famous fairy-tale characters as Cinderella, Little Red Riding Hood and Rapunzel. It was most recently revived in the summer of 2012 in Central Park by The Public Theater.

“Assassins” opened off-Broadway in 1991 and it looked at the men and women who wanted to kill presidents, from John Wilkes Booth to John Hinckley. The show received mostly negative reviews in its original incarnation, but many of those critics reversed themselves 13 years later when the show was done on Broadway and won a Tony for best musical revival.

“Passion” was another severe look at obsession, this time a desperate woman, played by Donna Murphy, in love with a handsome soldier. Despite winning the best-musical Tony in 1994, the show barely managed a six-month run.

A new version of “The Frogs,” with additional songs by Sondheim and a revised book by Nathan Lane (who also starred in the production), played Lincoln Center during the summer of 2004. The show, based on the Aristophanes comedy, originally had been done 20 years earlier in the Yale University swimming pool.

One of his more troubled shows was “Road Show,” which reunited Sondheim and Weidman and spent years being worked on. This tale of the Mizner brothers, whose get-rich schemes in the early part of the 20th century finally made it to the Public Theater in 2008 after going through several different titles, directors and casts.

He had been working on a new musical with “Venus in Fur” playwright David Ives, who called his collaborator a genius. “Not only are his musicals brilliant, but I can’t think of another theater person who has so chronicled a whole age so eloquently,” Ives said in 2013. “He is the spirit of the age in a certain way.”

Sondheim was born March 22, 1930, into a wealthy family, the only son of dress manufacturer Herbert Sondheim and Helen Fox Sondheim. At 10, his parents divorced and Sondheim’s mother bought a house in Doylestown, Pa., where one of their Bucks County neighbors was lyricist Oscar Hammerstein II, whose son, James, was Sondheim’s roommate at boarding school. It was Oscar Hammerstein who became the young man’s professional mentor and a good friend.

He had a solitary childhood, one that involved verbal abuse from his chilly mother. He received a letter in his 40s from her telling him that she regretted giving birth to him. He continued to support her financially and to see her occasionally but didn’t attend her funeral.

Sondheim attended Williams College in Massachusetts, where he majored in music. After graduation, he received a two-year fellowship to study with avant-garde composer Milton Babbitt.

One of Sondheim’s first jobs was writing scripts for the television show “Topper,” which ran for two years (1953-1955). At the same time, Sondheim wrote his first musical, “Saturday Night,” the story of a group of young people in Brooklyn in 1920s. It was to have opened on Broadway in 1955, but its producer died just as the musical was about to go into production, and the show was scrapped. “Saturday Night” finally made it to London's Bridewell Theatre in 1997 and in New York off-Broadway in 2000.

Sondheim wrote infrequently for the movies. He collaborated with actor Anthony Perkins on the script for the 1973 murder mystery “The Last of Sheila,” and besides his work on “Dick Tracy” (1990), wrote scores for such movies as Alain Resnais’ “Stavisky” (1974) and Warren Beatty’s “Reds” (1981).

Over the years, there have been many Broadway revivals of Sondheim shows, especially “Gypsy,” which had reincarnations starring Angela Lansbury (1974), Tyne Daly (1989) and Peters (2003). But there also were productions of “A Funny Thing,” one with Phil Silvers in 1972 and another starring Nathan Lane in 1996; “Into the Woods” with Vanessa Williams in 2002; and even of Sondheim’s less successful shows such as “Assassins” and “Pacific Overtures,” both in 2004. “Sweeney Todd” has been produced in opera houses around the world. A reimagined “West Side Story” opened on Broadway in 2020 and this year an off-Broadway “Assassins” opened off-Broadway at Classic Stage Company and a scrambled “Company” opened on Broadway with the gender of the protagonist switched. A film version of “West Side Story” is to open this December directed by Steven Spielberg.

Sondheim’s songs have been used extensively in revues, the best-known being “Side by Side by Sondheim” (1976) on Broadway and “Putting It Together,” off-Broadway with Julie Andrews in 1992 and on Broadway with Carol Burnett in 1999. The New York Philharmonic put on a star-studded “Company” in 2011 with Neil Patrick Harris and Stephen Colbert. Tunes from his musicals have lately popped up everywhere from “Marriage Story” to “The Morning Show.”

An HBO documentary directed by Lapine, “Six by Sondheim,” aired in 2013 and revealed that he liked to compose lying down and sometimes enjoyed a cocktail to loosen up as he wrote. He even revealed that he really only fell in love after reaching 60, first with the dramatist Peter Jones and then in his last years with Jeff Romley.

“Every so often someone comes along that fundamentally shifts an entire art form. Stephen Sondheim was one of those. As millions mourn his passing I also want to express my gratitude for all he has given to me and so many more," singer and actor Hugh Jackman wrote via Twitter.

___

Mark Kennedy is at http://twitter.com/KennedyTwits

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Источник: https://www.wral.com/towering-musical-theater-master-stephen-sondheim-dies-at-91/20003490/

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From the Archives: Judy Holliday, Winner of Oscar, Dies of Cancer

Reporting from NEW YORK (AP) — 

Judy Holliday, who won an Oscar and a niche in theatrical history for her performance as the junk dealer’s squeaky-voiced girl friend in “Born Yesterday,” died Monday of cancer. She was 43.

The blonde actress had been ill for several years and underwent surgery for cancer in 1961.

She entered Mr. Sinai Hospital on May 26.

Arnold R. Krakower, her attorney, who announced the death, said “To the very end she put up a gallant fight to live . . . In her passing the world has lost a great, a beautiful talent, and those who knew her have lost and irreplaceable friend.”

Tall and Bright

The acclaim she won by playing Billie Dawn both in Broadway and movie productions of “Born Yesterday” was a tribute to her acting ability. While Miss Holliday was a tall (5 foot 7) girl with a high IQ (172), she made Billie Dawn appear small and stupid.

“Born Yesterday,” was her first major role and she got it in the classical manner. Jean Arthur, picked for the part became sick three days before the show opened in Philadelphia. Miss Holliday learned the part in three days and rode with it to stardom.

The Academy of Motion Picture Arts and Sciences awarded her the Oscar in 1951 as top actress.

Born in 1921

Born June 21, 1921, she was the daughter of Abraham and Helen Tuvim. “Holliday” is a free translation of the Hebrew word Tuvium. Her father was a fund raiser.

At 4 Judy was taking ballet lessons, and upon graduation from high school she studied at Orson Welles’ Mercury Theater.

Fame came slowly. She played farces on the Eastern Seaboard’s borscht circuit and then more of the same at the Village Vanguard, a New York night club.

After night club dates at Spivy’s Roof and the Blue Angel, both in New York, and at the Trocadero in Hollywood, she won small parts in two motion pictures – “Winged Victory” and “Something for the Boys.”

On Broadway, she had appeared in “Kiss Them for Me” before doing “Born Yesterday.”

During the run of her biggest hit she was married to musician David Oppenheim on Jan. 4, 1948. In 1957 they obtained a Mexican divorce after one child, Jonathan.

Appears at Hearing

At the time of her divorce she was playing in the “Bells Are Ringing,” another success on both Broadway and in the movies.

In 1952 she appeared before the Senate internal security subcommittee, denying she was a Communist or ever had been one.

She had lent her name and made contributions to leftist causes. She said then: “I have awakened to a realization that I have been irresponsible and slightly — more than slightly – stupid. When I was solicited, I always said: ‘Oh, isn’t that too bad. Sure, use my name’.”

[email protected]

MORE ARCHIVAL OBITUARIES

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From the Archives: Screen Idol Douglas Fairbanks Jr. Dies at 90

From the Archives: Death Calls To John Gilbert, Screen Star

From the Archives: Billy Wilder, 95; Director, writer and producer won six Oscars and peers’ envy

From the Archives: Broderick Crawford, Oscar Winner in 1949, Dies at 74

FOR THE RECORD

June 6, 2016: The original version of this obituary, published June 8, 1965, erred in stating that Judy Holliday was born in 1923 and was 41 when she died. In fact, she was born in 1921 and was 43 when she died.

Источник: https://www.latimes.com/local/obituaries/la-me-judy-holliday-19650608-20160606-snap-story.html

Annaleigh Ashford Will Star in Judy Holliday Biopic

Annaleigh Ashford has landed the central role in Smart Blonde, the upcoming film exploring the life and career of Oscar and Tony winner Judy Holliday.

Judy Holliday in Bells Are Ringing

Gene Kirkwood is set to produce the biopic, according to Deadline; he acquired the life rights and select music rights last year. At the time Pulitzer winner Willy Holtzman was attached to pen the script. No word yet on additional creative team members or a production timeline.

Holliday managed to find success bringing the same roles to both stage and screen. After starring as Billie Dawn in 1946's Born Yesterday, she won an Oscar for the film adaptation. She also reprised her Tony-winning turn as Ella Peterson in Bells Are Ringing in the 1960 movie musical. Before then, however, she was noted in Hollywood for speaking out against the sexual coercion perpetrated by Fox mogul Darryl F. Zanuck.

She was subsequently investigated as a communist in the '50s, and during the hearings, was advised to channel Billie Dawn and use the "dumb blonde" trope to her advantage.

Ashford, a Tony winner for You Can't Take It With You, last appeared on Broadway in the revival of Sunday in the Park With George. Her previous screen credits include Masters of Sex, The Assassination of Gianni Versace: American Crime Story, and Fox's Rocky Horror Picture Show remake.

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Источник: http://www.playbill.com/article/annaleigh-ashford-will-star-in-judy-holliday-biopic
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If you’re a football fan you know that New England Patriots coach Bill Belichick is one of the most successful head coaches of all time. He’s won multiple Super Bowls and every year you can bet that his team will be playing deep into January. But even with all the winning he does, Belichick rarely ever cracks a smile. However, if you scroll through the Instagram feed of his longtime girlfriend, Linda Holliday, you’d see another side of him.

Belichick, who is also the franchise’s general manager, doesn’t have any social media accounts himself and has said many times that he doesn’t really know what Facebook, Snapchat, and Instagram are. But Holliday sure does, and she must be teaching him because he’s made plenty of appearances in photos and videos on her account. She has posted everything from pics of the pair on vacation to events they’ve attended together to snaps from their magazine cover shoot. Yes, she got “The Hoodie” to do a photo shoot.

Here’s more on the woman who stole Belichick’s heart and makes him smile so much.

How they met and how long they’ve been dating

Belichick divorced his first wife, Debbie, in 2006 and met Holliday a year later. Players Wives noted that Holliday, a Florida native, was at a nightclub in Palm Beach with some friends when she and the NFL coach started talking. At the time she was dating another man but broke things off with him to pursue a relationship with Belichick.

Since they’ve been together Holliday has become a fixture at Patriots games. She posts lots of photos from game day to her Instagram stories while cheering the team on.

Where they go on vacation together

When they’re not at Gillette Stadium together, Belichick and his lady enjoy vacationing in Nantucket, off the coast of Massachusetts.

“I started off in Detroit, then Denver, then the Giants, then Cleveland, then the Patriots, then the Jets, and then the Patriots [again]. But at the end of every one of those years, I was here. Nantucket has always been a constant,” Belichick told Nantucket Magazine.

“No matter what everybody is doing during their busy lives, Nantucket is where family comes together as a unit again,” Holliday added.

They have children from previous relationships

Speaking of family, Holliday and Belichick each have children from previous relationships.

Belichick has three grown kids — Stephen, Amanda, and Brian — with his ex-wife. His daughter is a lacrosse coach and his two sons work within the Patriots organization.

Holliday has been married three times before and has two children. Her twins daughters, Ashley and Kat Hess, run a fashion blog and are often seen at Pats games with their mother.

Holliday worked in TV and is now a CEO

Holliday graduated from Vanderbilt University in 1986 with a bachelor’s degree in Radiography. She previously worked in TV as a Lifestyle Correspondent for Style Boston. These days though Holliday is the CEO of the Bill Belichick Foundation.

The BBF’s website states that its mission is “to provide coaching, mentorship, and financial support to individuals, communities, and organizations. Focusing on football and lacrosse, its mission is to bring the values of the Belichick family — a love of sports, coaching and team building — to the athletic leaders of tomorrow.”

Read more: How Many Kids Do Tom Brady and Gisele Bundchen Have and How Old Are They?

Check out The Cheat Sheet on Facebook!

Источник: https://www.cheatsheet.com
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Judy Holliday (born Judy Holliday, 21 June 1921 -. June 7, 1965, real name Judith Tuvim.) – American actress, who won in 1950, the “Oscar” for best actress.
Biography
Holliday was born in New York in a family of Jews – immigrants from the Russian Empire. In December 1938, she translated his name into English as Tuwim Holliday and began performing in nightclubs as part of the comic quartet The Revuers. The success was such that soon she was invited to star in the movies.
Despite the memorable role in the comedy “Adam’s rib” (1949), for the 1940 Holliday continued to work on Broadway. A particular success among its repertoire enjoyed the play “Born Yesterday”. When in 1950 there was a question about porting it to the big screen, she sang the title role was proposed precisely Holiday. For this work she was awarded the prize “Golden Globe” and “Oscar” – despite the presence of that year such serious competitors as Gloria Swanson ( “Sunset Boulevard”) and Bette Davis ( “All About Eve”).
The extraordinary success of Halliday called McCarthyists suspicions, and the FBI started to investigate her alleged links with the Communists. Her name is mentioned in the “black list” of Hollywood. This hype is essentially undermined her film career, although no compromising Holiday materials have been identified. It is believed that the investigators actress brilliantly performed the role of “dumb blonde” who managed her best.
Continuing a career on the stage of Broadway, Holliday won the 1957 award “Tony” for his role in the musical “The Bell Tolls”, and three years later she performed her own in the film version of the musical. She died of breast cancer at the age of 43 years.

Источник: https://7wallpapers.net/judy-holliday/

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