On stage 1 production
| 1934 | Union Pacific St James Theatre · Original · directed by W. de Basil | 4 perf. |
Each row is a staging this name appears in the cast list of, read from the production record rather than from the person record. The person record names works instead, and a work cannot say which run somebody was in — that is how Elaine Stritch ends up filed under Show Boat 1927 when she was in the 1994 revival. No row here says what part was played, because no cast list records it.
Also credited on1 work
These come off the person record, which names a work and not a production. So we can say this name is attached to the work and we cannot say which staging, or in what capacity. For a composer or a writer that is the whole career we hold; there is no cast list to find them in.
In the literature1 passages
- 55 . The ballet had initially been choreographed by George Balanchine, with a score by Sergei Prokofiev; David Lichine completely redid the choreography because Balanchine would not release the rights (“The Prodigal Son (Australian context),” Trove, National Library of Australia, http://trove.nla.gov.au/list?id=1143, accessed April 9, 201…ebooks/Oja, Carol J_/Bernstein Meets Broadway_ Collaborative Art in a Time of War (Broadway Legacies) - Carol J. Oja.txt
Passages naming this person, found by keyword across 178 books. A keyword match is not a biography, and a common name will pull in the wrong one.
What this page does not know
- What this person played. No cast list we hold records a character against a performer.
- Any portrait. 1,626 of 7,139 people have one, so this is the usual case rather than the exception.
- Which of the credits above the roles on this record — choreographer — apply to. The roles sit on the person and never on a credit, so a director who also acted looks the same here as one who did not.