Hermes Pan

On stage 3 productions, 2 years

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.

Worked with more than once1 names

Both names in the same cast list, more than once. It is not evidence of a partnership — a long-running company puts the same forty people together every night — but it is where one would start looking. 1 of these names are not links because we hold no record behind them; the name is set from the identifier and its punctuation may be wrong.

Also credited on1 work

As The Girls Go

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 literature8 passages

• WAYNE CILENTO: Bob’s roots come out of the Jack Cole and Hermes Pan era. He danced for them in movies. When Gwen and Bob got together, the influence of Jack Cole had to have rubbed off on them.ebooks/Frommer, Myrna Katz & Frommer, Harvey/It Happened on Broadway_ An Oral History of the Great White Way - Myrna Katz Frommer & Harvey Frommer.txt
• Returning to Hollywood in the fall of 1951, he continued to develop this method in his films with Marge. Working with Fred Astaire’s choreographer, Hermes Pan, on Lovely to Look At (1952), a remake of Jerome Kern and Otto Harbach’s Roberta with Howard Keel, Kathryn Grayson, Red Skelton, and Ann Miller, he developed one number that bears s…ebooks/Gilvey, John Anthony/Before the Parade Passes By_ Gower Champion and the Glorious American Musical - John Anthony Gilvey.txt
• Gene Kelly, Fred Astaire, and choreographer Hermes Pan also worked in the music building. There was constant, exhilarating hubbub, with doors opening and closing as people came and went, everyone busy doing something. Music for Westerns, musicals, romances, and comedies—for every type of movie that MGM made—was created there. A huge sound…ebooks/Reynolds, Debbie/B0089LOHFG EBOK - Debbie Reynolds & Dorian Hannaway.txt
• He took me to the studio where he was rehearsing with Hermes Pan, another great MGM choreographer. I watched in awe as Fred worked on his routines to the point of frustration and anger. I realized that if it was hard for Fred Astaire, dancing was hard for everyone. No one ever made it look easier. His kind gesture helped me a great deal.ebooks/Reynolds, Debbie/B0089LOHFG EBOK - Debbie Reynolds & Dorian Hannaway.txt
• And he didn’t think much of the job. He said, “I thought choreographers were all rock bottom.” Astaire was a star, not Hermes Pan. As for Broadway, de Mille and Robbins transcended. They were artists. At best, Fosse was an entertainer.ebooks/Wasson, Sam/Fosse - Sam Wasson.txt
• [>] Choreographer Hermes Pan asked: Tommy Rall, interview with the author, April 20, 2011.ebooks/Wasson, Sam/Fosse - Sam Wasson.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.
• 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.