Talley Beatty

On stage 4 productions, 3 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 once2 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. 2 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

Inside U.S.A.

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

• Cast: Jan Clayton, Ralph Dumke, Carol Bruce, Charles Fredericks, Buddy Ebsen, Colette Lyons, Kenneth Spencer, Pearl Primus, Talley Beattyebooks/Green, Stanley/Broadway Musicals, Show By Show - Seventh Edition - Stanley Green & Cary Ginell.txt
• Cast: Beatrice Lillie, Jack Haley, John Tyers, Herb Shriner, Valerie Bettis, Lewis Nye, Carl Reiner, Thelma Carpenter, Estelle Loring, Eric Victor, Talley Beatty, Jack Cassidyebooks/Green, Stanley/Broadway Musicals, Show By Show - Seventh Edition - Stanley Green & Cary Ginell.txt
• Talley Beatty remembered a far more dramatic version of events, in which Martin Beck, owner of the Martin Beck Theatre, where Cabin in the Sky was being staged, demanded that much of Balanchine’s choreography for the show be thrown out. Beatty’s story makes the choreographic process successive rather than collaborative—that is, Dunham’s c…ebooks/Oja, Carol J_/Bernstein Meets Broadway_ Collaborative Art in a Time of War (Broadway Legacies) - Carol J. Oja.txt
• Talley Beatty recalled being discovered through the same route. He was also in Heaven Bound “at the Baptist church … and they asked me if I’d like to work with the Chicago Opera Company.” 111 In November 1936, Neal performed with Ruth Page’s dance company in An American in Paris , a ballet starring the white tap dancer Paul Draper that wa…ebooks/Oja, Carol J_/Bernstein Meets Broadway_ Collaborative Art in a Time of War (Broadway Legacies) - Carol J. Oja.txt
• While Neal was dancing with Dunham’s company, his colleagues included Talley Beatty and Janet Collins, who later made history as the first African American prima ballerina hired by the Metropolitan Opera House. Dunham’s company did not have the resources to rehearse throughout the year, as Beatty later recalled, but “perseverance” kept th…ebooks/Oja, Carol J_/Bernstein Meets Broadway_ Collaborative Art in a Time of War (Broadway Legacies) - Carol J. Oja.txt
• Talley Beatty and Billy Strayhorn were both gay, and Frank Neal’s sexual orientation is unknown (he and Dorcas had two daughters). Others in the Neal Salon included the composers John Cage and Lou Harrison, the singer Harry Belafonte, and the writer James Baldwin. 137ebooks/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.
• Which of the credits above the roles on this record — actor — 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.