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There was a dedicated effort to win pledges from individuals attending performances and to sign up subscribers and sponsors. An increase in grant writing is evident during the 's. The grant files show how, each year, the NYSF described its own mission and role in society. The files also reveal the NYSF's increasing interest in producing original musical theater, especially during the eighties.

There are voluminous files of correspondence, grant files and proposals to foundations, corporations, and government sources. The files even contain personal appeals from Papp to individuals, such as LuEsther Mertz. The records of the Press Office consist of correspondence, memoranda, press lists, invitations, promotional materials printed matter , program copy, advertising copy, press releases, and clippings. All photographs, primarily production stills and cast head shots, were removed to the Photographs series.

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Papp often used this information for fund-raising purposes. Staff and production lists, logs, and inventories in the Archives Office files document the history of the Festival. Programs, flyers, brochures, clippings and, in some cases, scripts are included among the printed matter.

Miscellaneous events refer to guest performances, benefits, celebrations, political forums, memorial services, and the early Latin American Theatre Festivals. The files include general ledgers for the NYSF's regular and extended programming, financial statements, auditors reports, minutes of the Board of Trustees, administrative files and miscellaneous financial records.

The financial history of the New York Shakespeare Festival is recorded from the first hand-written ledger, which spans to years , through , when the ledgers run to hundred of computer-generated pages. The budget of the Festival grew over the years as they expanded their programming and increased their fundraising efforts. Perhaps the greatest chance in their financial situation was the incredible success of A Chorus Line. The Festival used the profits from that musical to finance many other less popular programs.

The records also reflect the ways in which A Chorus Line profits were disbursed and some of the marketing efforts make to sell show-related memorabilia. In addition to the records of the Finance Office, financial information can be found in several other series, especially the records of the General Manager and the Development Office.

General Manager's files may include production budgets and the Development Office series includes budgets and financial data collected for grant applications. The records of the Education Department for to document the Pilot Project, Shakespeare on Broadway, educational programs for teachers, correspondence of the Education Project Coordinators Mary T.

Ralph Nader

Kelly and Michelle Macau, and include a group of general files for the Education Department. The records contain correspondence, memoranda, scheduling and attendance records, budget and fundraising files, clippings, press releases, curriculum guides, stage and house manager's reports, transcripts of discussions with teachers, letters from teachers and students regarding performances, student and teacher questionnaires, and miscellaneous departmental files.

The files reflect the Festival's relations with both City Hall and the Board of Education in organizing its programs for school children. The series contained a limited number of performance photographs. The Photograph series contains black and white gelatin prints, contact sheets, color prints, 35mm slides, master and copy negatives, glass slides, color transparencies, and Polaroid snapshots in a variety of sizes.

The photographs represent production stills, publicity photographs, cast head shots, rehearsal shots, candid shots of actors during make-up, prop and set design studies, and productions. The photographs also depict special events such as opening nights, benefit performances, and other publicity functions. Subseries 1 and 2 document, primarily, Papp's theatrical activity before the founding of the Shakespeare Festival. Subseries 3 contains Papp's extensive hand-written notes on Hamlet which he directed in , , and as well as several heavily annotated Shakespeare volumes from his personal bookshelf.

Much of the material in Subseries 4 through 9 was assembled by Serge Mogilat, director of the NYSF Archives Office, who was asked by Papp in to document his thinking and decision-making process. The Archives Office kept "clean copies" of Papp's writings for his personal reference.

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  5. -- New York Shakespeare Festival records.
  6. Subseries 10 includes correspondence sent to Joseph Papp upon the death of his son Tony and good wishes following Papp's own diagnosis of cancer. There are get-well cards from many notable figures in theatre and film.

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    The bulk of the condolences are notes to Gail Merrifield Papp following her husband's death in October, This grouping of personal papers represents but a small portion of the information about Joseph Papp that can be found in the Collection. It should be examined alongside Series I for insight into Papp's life and working process. Series I contains boxes originating from Papp's office, and should be consulted for such items as memoranda, meeting minutes, correspondence, and Papp's writing in general.

    The Oversized Materials records include large-format production materials such as ground plans, set designs, light plots, and posters. Selected audio-visual materials have been transferred to other divisions at the Library for the Performing Arts. Music materials have been transferred to the Music Division. All these materials are cataloged individually and can be found in the Library's online research catalog.

    This accrual overlaps somewhat with the materials described in this finding aid, but also extends to E Contact. D Digitized. New York Shakespeare Festival records. Please check the collection records in the NYPL's online catalog for detailed location information. Joseph Papp forms Shakespeare Workshop, chartered by Board of Regents of State of New York "to encourage and cultivate interest in poetic drama with emphasis on the works of William Shakespeare and his Elizabethan contemporaries and to establish an annual Shakespeare Festival. First season of Free Shakespeare in the Park presented in cooperation with Dept.

    Papp moves operations to Heckscher Theater. Shakespeare Workshop opens season at Belvedere Lake with a new, grant-funded truck stage, and tours the five boroughs of New York City with Romeo and Juliet. Second season of Free Shakespeare at Belvedere Lake.

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    4. Papp called before HUAC. Papp goes to court to protest charging admission to public. Lockhart, Jean A. Merrill, Margaret H. Basil E.

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