peter hall director (16 resultados)

Soft cover. Condición: Very Good. 8 page 1956 Criterion Theatre programme. (SL#22).

Poster. Condición: Good. Movie poster measures 30 by 40 cms approx & 75 x 100cms. Starring: Rod Steiger, Claire Bloom, Judy Geeson. Vertical centre fold creases present. Some light stains on front of poster. Some light nicks & tear to extremeties. Some minor writing in biro on rear of poster. Else good +.

Cf. Bolton 176. Unpaginated, though 12 pages, with the center leaves as fold-outs, forming a 4-page center spread. Laid-in, a printed b/w sheet, detailing 2 additonal actors, Roy Castle & Peter Bull, not found in the regular printed text. Photographic illustrations of all major actors. 12" x 9" "Pickwick is a musical with a book by Wolf Mankowitz, music by Cyril Ornadel, and lyrics by Leslie Bricusse. Based on the novel by Charles Dickens, it is set in and around London and Rochester in 1828. This stage production produced by Bernard Delfont, which premiered in the West End in 1963, with Harry Secombe in the lead role and choreography by Gillian Lynne. The musical opened on 3 June 1963 at the Palace Theatre, Manchester prior to the West End premiere on 4 July 1963 at the Saville Theatre and closed on 27 February 1965 following 694 performances. . The Broadway premiere, produced by David Merrick, was at the 46th Street Theatre on 4 October 1965. It closed on 18 November after 56 performances. The New York production was directed by Peter Coe, choreographed by Gillian Lynne, and featured Harry Secombe as Pickwick, Charlotte Rae as Mrs. Bardell, Roy Castle as Sam Weller, Nancy Haywood as Isabella, Michael Logan as Mr. Wardle, and Peter Bull as Sgt. Buzfuz. One of the better known songs from the score is 'If I Ruled The World'". [Wiki]. This promotional brochure from the New York production is quite scarce. Some modest wear. Age-toning to white wrappers, most noticably at the edges. Very Good. Full color paper wrappers, stapled, with artwork by "Nappi". Now housed in a clear archival mylar sleeve.

Paperback. Condición: Very Good. What are the most fundamental differences among the political economies of the developed world? How do national institutional differences condition economic performance, public policy, and social well-being? Will they survive the pressures for convergence generated by globalization and technological change? These have long been central questions in comparative political economy. This book provides a new and coherent set of answers to them. Building on the new economics of organization, the authors develop an important new theory about which differences among national political economies are most significant for economic policy and performance. Drawing on a distinction between 'liberal' and 'coordinated' market economies, they argue that there is more than one path to economic success. Nations need not converge to a single Anglo-American model. They develop a new theory of 'comparative institutional advantage' that transforms our understanding of international trade, offers new explanations for the response of firms and nations to the challenges of globalization, and provides a new theory of national interest to explain the conduct of nations in international relations. The analysis brings the firm back into the centre of comparative political economy. It provides new perspectives on economic and social policy-making that illuminate the role of business in the development of the welfare state and the dilemmas facing those who make economic policy in the contemporary world. Emphasizing the 'institutional complementarities' that link labour relations, corporate finance, and national legal systems, the authors bring interdisciplinary perspectives to bear on issues of strategic management, economic performance, and institutional change. This pathbreaking work sets new agendas in the study of comparative political economy. As such, it will be of value to academics and graduate students in economics, business, and political science, as well as to many others with interests in international relations, social policy-making, and the law. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

One page, 4to, fold marks, good condition. Text: "[THanks] THE SPANISH TRAGEDY is a play which we are currently considering and hope to do at some point. | Thank you for the car sticker idea, which I will pass on to Al Senter, our bookshop manager, for him to look into it further. | I an delaighted that you are an ardent supporter of the NT [.][subscripotion and signature]".

One vintage studio still photograph, one vintage color studio still photograph, one vintage reference photograph, and two vintage borderless reference photographs from the 1973 film. After being involved in a deadly car accident, a wealthy German businessman finds himself the subject of extreme scrutiny by the media, who uncover his past criminal dealings during World War II. Set in Germany, shot on location in Jaffa, Israel and Germany. Three photographs 10 x 8 inches, one photograph 7.5 x 9.75 inches, one photograph 9.5 x 7.5. Near Fine.

Condición: Fine. 28'' x 20'' original one sheet lobby or outside advertisement colour poster from The Old Vic Theatre, London. In Fine condition. Sent rolled in a tube with end caps. We currently hold in stock over 100 other English and foreign theatre and cinema posters. Member of the P.B.F.A. THEATRE (Cinema) POSTERS.

Condición: Fine. 28'' x 20'' original one sheet lobby or outside advertisement colour poster from The Old Vic Theatre, London. In Fine condition. Sent rolled in a tube with end caps. We currently hold in stock over 100 other English and foreign theatre and cinema posters. Member of the P.B.F.A. THEATRE (Cinema) POSTERS.

Four vintage reference photographs from the US release of the 1969 British film, including three borderless and one bordered. All with mimeo snipes on the verso. From the collection of artist and author Duncan Hannah. Duncan Hannah was a key figure in the burgeoning New York underground arts scene, befriending Andy Warhol and his superstars, Lou Reed, Allen Ginsberg, Patti Smith, Salvador Dali, and many others. A graduate of the Parsons School of Design, his paintings were exhibited in the influential 1980 Times Square Show alongside work by Keith Haring and Jean-Michel Basquiat, and several of his paintings are held in the permanent collection of the Metropolitan Museum of Art. A married sales executive must conceal his past affair with a young hitchhiker after his wife agrees to take the girl on as a boarder. Set in Middlesex, shot on location in Hampshire. Three 7.5 x 9.5 inches, one 8 x 10 inches. Near Fine.

Both items in good condition, with minor signs of age and wear. The black and white photographic print is 24.5 x 19.5 cm, and depicts a chubby Hall, in shirtsleeves and tie, leaning over a seat at the back of a darkened theatre, with a positive look of concentration on his face, as he stares at the stage, a playscript in his hand. The reverse carries two stamps by 'Tony Armstrong Jones, one of them declaring his copyright. Also on the reverse are pencil calculations of dimensions for cropping for publication. The invoice, on the printed letterhead of Armstrong Jones Ltd., is made out by Armstrong Jones to 'Mr Kitchin | 4, Park Hill, | Croons Hill, | S.E.10.' It charges five guineas 'Copyright Fee - | Peter Hall: 2756 - B 8' and 10s 6d for the '10 x 8 Print'. While the National Portrait Gallery possesses a portrait of Hall by Snowdon from 1981 (NPG P1881), the present image is not to be found in its collection.

Revised Draft script for the pilot episode of the 1985-1986 television series, which originally aired on October 4, 1985, on CBS. The television debut of Courteney Cox. Doctors Hayes and Lincoln are researchers in biological oddities for the Humanidyne company. When they find a man still alive after being frozen for 50 years, their greedy boss fires them and takes the Iceman to use for military experiments. Left without jobs, Hayes and Lincoln decide to get a group of "freaks" (including a telekinetic 17-year-old and a rock guitarist who shoots lightning from his hands) together to rescue the Iceman and stop their boss' reckless experiments. The series ran for one season on CBS, from 1985 until 1986. Pink titled self wrappers, noted as "Rev." on the front wrapper, stamped copy No. 113 and production No. 85971, dated January 6, 1985, with credit for screenwriter James D. Parriott. Title page integral with front wrapper. 123 leaves, with last page of text numbered 122. Xerographically duplicated, rectos only. Pages Near Fine, wrapper Near Fine, bound with three gold brads.

Revised Draft script for the 1980-1983 Broadway play, dated February 1981, copy belonging to actor Russell Gold, with the manuscript ink and marker annotations of "R. Gold" and copy number "#45B," respectively, on the top of the title page, with copious manuscript pencil and ink annotations and dog-eared pages throughout. Gold played the character Guiseppe Bonno in the Broadway production, as well as being the understudy for Salieri's Valet and Count Johann Killan Von Strack, and replacement for Baron van Swieten, Guiseppe Bono, and Citizen of Vienna. The manuscript annotations appear to reflect notes for dialogue and stage directions for all the characters noted above. The play made its Broadway premiere at the Broadhurst Theatre on December 17, 1980, concluding after 1,181 performances on October 16, 1983, and starred Tim Curry as Mozart and Ian McKellen as Salieri, and was the recipient of the 1981 Drama Desk Award for Outstanding New Play and the 1981 Tony Award for Best Play. Peter Shaffer's acclaimed fictionalized dramatization of the lives of Wolfgang Amadeus Mozart and his jealous, scheming rival Antonio Salieri. Made into the 1984 Academy Award-winning film directed by Milo Forman and starring Tom Hulce and F. Murray Abraham. Set in turn-of-the 19th Century Vienna. Black titled Studio Duplicating Services wrappers, with credits for playwright Peter Shaffer. Title page present, dated February 1981, noted as Rev, with credits for playwright Peter Shaffer. 122 leaves, with last page of text numbered II-58. Mimeograph duplication, rectos only. Pages Near Fine, wrapper Very Good plus, bound with two gold brads.

Working Draft script for the 1974 film, belonging to uncredited crew member Dennis Maddison, with name and phone numbers in manuscript ink on top margin of title page, here under the working titles, "Dr. Death," visible through die-cut window, hand written in manuscript marker on partial page, affixed, with what appears to be gauze bandages, on inserted leaf preceding title page, which contains, upside down and beneath partial page, the working title "The Legend of Dr. Death," and on title page is the working title "The Revenge of Dr. Death." Heavily annotated throughout, in manuscript ink, marker, and pencil, generally calling out props and striking scenes. Annotation in manuscript marker of "Production 584" on front wrapper. Based on the 1969 novel "Devilday" by Angus Hall. Vincent Price stars as a fictionalized version of himself, Paul Toombes, an aging horror movie actor, who, after twelve years in an asylum following the murder of his wife, which he himself may have committed, he returns to his signature role as "Dr. Death," when cast and crew begin being murdered in the manner of his old movies. An under appreciated late gem from Amicus Productions. Shot on location in London and Surrey, England. Blue untitled wrappers with die-cut window in the British fashion. Title page present, with credits for screenwriter Greg Morrison and author Angus Hall. 139 leaves, with last page of text numbered 127. Mimeograph duplication, rectos only, with blue, pink, and yellow revision pages throughout, dated variously between 1.5.73 and 19.6.73. Pages Very Good plus, with frequent vertical folds throughout, as is common with working scripts, wrapper Very Good plus, bound internally with two flat metal brads.

Two pages, 8vo, blue paper, closed tear not affecting texyt, a bit rumpled but text clear and complete as follows: "Leslie [Caron, first wife] & I are delighted to hear that you're getting married. I'm a firm believer in a bourgeois base for artists! | Shan't see your student I'm afraid till I return from my three month rest. We leave on Tuesday. But I'm sure John [Barton, co-director] will take good care of him. | I hope you enjoy the Histories. They've been misery to do, but I think are my most important work to date." Note: "The Wars of the Roses was a 1963 theatrical adaptation of William Shakespeare's first historical tetralogy (1 Henry VI, 2 Henry VI, 3 Henry VI and Richard III)".

Vintage publicity photograph from the 1974 film, showing actor Vincent Price in costume as skull-faced serial killer Dr. Death. Based on Angus Hall's 1969 novel "Devilday," about a famed Hollywood horror icon who returns to the screen after twelve years in an asylum. An under-appreciated late gem from Amicus Productions. Shot on location in London and Surrey, England. 10 x 8 inches. Near Fine.

Eight vintage studio still photographs from the 1973 film, housed in their original brown paper envelope, stamped "The Homecoming 8 Stills." Based on the 1965 play by Harold Pinter, who also wrote the screenplay. Teddy (Michael Jayston) brings his wife Ruth (Vivien Merchant) to visit his estranged and abrasive family in a dingy, claustrophobic North London flat, after a nine year absence. 8 x 10 inches. Near Fine.