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Journal articles on the topic 'Broadway Bank (New York)'

Author: Grafiati

Published: 26 July 2024

Last updated: 31 July 2025

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1

Loney, Glenn. "A Theatre of Pre-Depression: Economics and Apathy in New York." New Theatre Quarterly 8, no. 32 (1992): 313–20. http://dx.doi.org/10.1017/s0266464x00007090.

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In an article in NTQ22 (May 1990), Glenn Loney clarified, with special concern for a British readership, the many ‘Factors in the Broadway Equation’. In NTQ 30 (May 1992), he took a closer look at the productions of the 1990–91 season, with its glut of musicals, from the lavish to the just plain lousy, economic ‘single-person shows’ – and the sometimes more challenging products of the off-Broadway and not-for-profit sectors. Here, he continues to trace the long decline of the ‘fabulous invalid’ through the season of 1991–92 – a season overshadowed by the death of Joe Papp, the mourning for a g

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2

Pereira, Renato Barreto. "A Gay New York City in Mart Crowley’s “The Boys in the Band”." East-West Cultural Passage 21, no. 2 (2021): 26–52. http://dx.doi.org/10.2478/ewcp-2021-0012.

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Abstract “The Boys in the Band,” a play by American playwright Mart Crowley (1935-2020), represents a milestone in the representation of urban gay men in theater. By exploring on stage the lives of a group of male gay friends in the late 1960s, Crowley challenged social and dramaturgical norms and conventions. As an integral part of the narrative, New York City, specifically Manhattan Island, makes itself present in the text through direct and indirect references, whether on the level of plot, character construction, or the setting of the play itself. As a paradigmatic play in a moment of spec

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3

Yablon, Nick. "“A Curious Epitome of the Life of the City”: New York, Broadway, and the Evolution of the Longitudinal View." Journal of Urban History 44, no. 5 (2016): 953–84. http://dx.doi.org/10.1177/0096144216654882.

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Discussions of urban representation have been hampered by a persistent contrast between the view from above and the view from street level, or between the urban planner’s panoptic gaze and the flâneur’s fleeting glance. This article challenges such contrasts by identifying a third way of representing a city, that of moving block-by-block along the length of its main thoroughfare. It traces the emergence of what it calls the “longitudinal view” back to antebellum New York, when tour guides and urban sketches promoted the “walk up Broadway” as a means to encompass the social and functional diver

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4

Means Weekly, Edrie. "Shifting Gears in Multiple Styles: An Artist and Teacher of Singing’s Journey with the 2011 Revival of Follies." Journal of Singing 79, no. 4 (2023): 497–501. http://dx.doi.org/10.53830/xyup5554.

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NATS member Edrie Means Weekly has been a pedagogue and performing artist of both opera and musical theatre for over 35 years. In this article, Edrie discusses the audition process at the Kennedy City and in New York City resulting in her being cast as a standby for five Broadway stars in the 2011 revival of Stephen Sondheim’s Follies starring Bernadette Peters. Four of the five roles have large solo songs including the iconic songs “Broadway Baby” and “I’m Still Here”. The four songs were each written in a different musical style ranging from classical to full out traditional belt. As a vocal

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5

Robinson, Danielle. "“Oh, You Black Bottom!” Appropriation, Authenticity, and Opportunity in the Jazz Dance Teaching of 1920s New York." Dance Research Journal 38, no. 1-2 (2006): 19–42. http://dx.doi.org/10.1017/s0149767700007312.

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Head tossed back wearing a mile-wide grin, ecstatic arms stretched to the sky, jutting knees counterbalancing a substantial backside—the Jazz Age had no symbol more potent than the moving black body (Figure 1). Nearly always an illustration, and in many cases a caricature, these images depicted anonymous black movers rather than recognizable individuals. Yet, looking beyond this superficial representation, it was actually visibly white dance professionals who primarily marketed jazz steps to the American public as teachers and choreographers. A quick glance through the pages of the nascentDanc

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6

Olsen, Christopher. "Off-Off-Broadway Explosion: How Provocative Playwrights of the 1960s Ignited a New American Theater. By David A. Crespy. New York: Back Stage Books, 2003; pp. 192; 32 illus. $19.95 paper." Theatre Survey 46, no. 2 (2005): 349–51. http://dx.doi.org/10.1017/s004055740539020x.

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David Crespy's account of Off-Off Broadway's roots in New York City is a welcome addition to a growing body of scholarship on this vibrant period in American theatre history. Many authors writing on this era have limited themselves to focusing on particular theatre groups, such as the Living Theatre, Café Cino, and the Open Theatre, or on the work of specific playwrights, such as Maria Irene Fornés, Sam Shepard, and Edward Albee. More historical accounts are needed to examine a cross section of theatre practitioners in the context of the political and artistic movements of the 1960s. Crespy ha

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7

Loney, Glenn. "Survival Strategies in New York Theatres." New Theatre Quarterly 11, no. 41 (1995): 79–90. http://dx.doi.org/10.1017/s0266464x00008915.

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IN THE SEASON of 1893–94, theatregoers in New York would hardly have realized that ‘Broadway’, as a theatre centre, had just come into being. In fact, 1900 would seem a more appropriate date, but business in the commercial theatre in recent seasons has been so hazardous that the League of American Theatres decided to jump-start the past season with a putative centenary salute, ‘Celebrate Broadway: 100 Years in Times Square’. It was a brave attempt and resulted at least in some interesting historical exhibits. Unfortunately, these only served to remind the viewers of Broadway's glory-days years

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8

Fokina, Svitlana. "BROADWAY SEMIOSPHERE IN NOSTALGIC DISCOURSE OF VERA ZUBAREVA." Baltic Journal of Legal and Social Sciences, no. 2 (April 4, 2022): 164–70. http://dx.doi.org/10.30525/2592-8813-2021-2-21.

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Lyric of Vera Zubarev is distinguished by attention to the semiosphere of a modern place of residence, for example, to the topography of New York, and at the same time to dialogue with the traditions of Russian literature. The choice of Broadway as an object of poetic reflection sets references to J. Brodsky at the subtext level. The text of the “Broadway” poem by Vera Zubarev correlates with the metamorphoses of the largest city of emigrants New York, this angle allows you to update the motives of the fate of the Roman exile poet Ovid and his kind of “heir” J. Brodsky. The Broadway plot expos

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9

Wellbrock, Gary, and Molly Ness. "Perspectives On Practice." Language Arts 95, no. 3 (2018): 190–97. http://dx.doi.org/10.58680/la201829456.

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10

Kauffmann, Stanley. "Broadway and the Necessity for ‘Bad Theatre’." New Theatre Quarterly 1, no. 4 (1985): 359–63. http://dx.doi.org/10.1017/s0266464x00001779.

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Is Broadway necessary? As the focus for new writing and major experimental work in the USA shifts ever further from the old theatre district around Times Square – first to off- and then to off-off-Broadway, more recently to the flourishing regional theatres – many critics have come to regard Broadway either as an economic anachronism, failing to perpetuate past glories, or simply as an irrelevance to ‘real’ theatre. Yet Stanley Kauffmann argues that a focal point for a nation's theatre is more than the sum of sometimes fraying parts, and works on the imagination in ways that cannot be evaluate

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11

Reddy, Srinivas K., Vanitha Swaminathan, and Carol M. Motley. "Exploring the Determinants of Broadway Show Success." Journal of Marketing Research 35, no. 3 (1998): 370–83. http://dx.doi.org/10.1177/002224379803500307.

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This study investigates the determinants of success of an experiential good: Broadway shows. The authors focus on the sources and types of information used in the selection of an artistic event and discuss the impact of critics’ reviews on the length of a show's run and attendance. In addition, the authors empirically determine the influence of other variables, such as previews, newspaper advertising, ticket prices, show type, talent characteristics, and timing of opening. The results indicate that New York newspaper theater critics have a significant impact on the success of Broadway shows. I

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12

Johnson, Paddy. "Finola Jones, Broadway Windows, New York, December - January 1996-7." Circa, no. 79 (1997): 65. http://dx.doi.org/10.2307/25563118.

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13

Cooper, Tom. "TikTok Broadway: Musical Theatre Fandom in the Digital Age, Trevor Boffone (2024)." Studies in Musical Theatre 19, no. 1 (2025): 89–91. https://doi.org/10.1386/smt_00184_5.

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14

Varhola, Kim. "If it happened, he was there." Studies in Musical Theatre 17, no. 3 (2023): 209–15. http://dx.doi.org/10.1386/smt_00132_1.

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The Asian American Broadway musical continues to be a limited category in which many of its most commercially successful titles have histories mired in stereotype, mockery and erasure. Stephen Sondheim and John Weidman’s Pacific Overtures, however, stands apart from most other Broadway musicals written about the Asian and Asian American experience. The positioning of an Asian narrative in a serious and legitimate manner, the effort to incorporate Japanese aesthetic authenticity and the resolve to cast all Asian American talent were central to the creation of Pacific Overtures and were historic

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15

Savran, David. "Trafficking in Transnational Brands: The New “Broadway-Style” Musical." Theatre Survey 55, no. 3 (2014): 318–42. http://dx.doi.org/10.1017/s0040557414000337.

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In a theatre world increasingly dominated by multinational corporations, in which brand-name companies make the rounds of international festivals and multilingual performances are bankrolled by consortia of state-supported theatres, the national identity of theatrical productions is becoming more and more difficult to decide. This identity crisis is especially pronounced in the case of the one theatre form that for generations has been associated with a single New York thoroughfare that for people around the world symbolizes singing and dancing, glamor and dazzle. The form to which Broadway is

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16

Gelles, Barrie. "Beyond Broadway: The Pleasure and Promise of Musical Theatre Across America, Stacy Wolf (2020)." Studies in Musical Theatre 16, no. 1 (2022): 85–87. http://dx.doi.org/10.1386/smt_00088_5.

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17

Slesinger, Emily, Hubert du Pontavice, Brad Seibel, Vincent S. Saba, Josh Kohut, and Grace K. Saba. "Climate-induced reduction in metabolically suitable habitat for U.S. northeast shelf marine species." PLOS Climate 3, no. 4 (2024): e0000357. http://dx.doi.org/10.1371/journal.pclm.0000357.

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The U.S. northeast shelf (USNES) has been experiencing rapid ocean warming, which is changing the thermal environment that marine species inhabit. To determine the effect of current and future ocean warming on the distribution of five important USNES fish species (Atlantic cod [Gadus morhua], black sea bass [Centropristis striata], cunner [Tautogolabrus adspersus], spiny dogfish [Squalus acanthias], summer flounder [Paralichthys dentatus]), we applied species-specific physiological parameters from laboratory studies to calculate the Metabolic Index (MI). The MI for each species was calculated

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18

Turner, Ed.D., Elizabeth. "Challenges of Female Producers on Broadway." Musical Theatre Educators Alliance Journal 5, no. 2024 (2024): 100–115. http://dx.doi.org/10.62392/zttk1750.

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This narrative study shares female Broadway producers' first-hand accounts of the challenges they face in the industry. All participants have served either as a lead producer or co-producer on Broadway in the past twenty years. Aspiring producers interested in learning more about specifically producing in New York City or current producers wanting to include more diversity and inclusion in their work would benefit from reading the findings. All genders will also gain insight into female producers' perspectives. This research may also be helpful to other theatre professionals in the areas of di

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19

Hamm, Charles. "The Firebrand of New York: Kurt Weill and his ‘Broadway Operetta’." Music and Letters 85, no. 2 (2004): 239–54. http://dx.doi.org/10.1093/ml/85.2.239.

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20

Davies, Lyell, and Kay Takeda. "Helen O'Leary, New Work, Michael Gold Gallery, Broadway, New York, October-December 1998." Circa, no. 87 (1999): 58. http://dx.doi.org/10.2307/25563381.

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21

Dunn, Joe P. "Media Review." Teaching History: A Journal of Methods 12, no. 2 (1987): 26–27. http://dx.doi.org/10.33043/th.12.2.26-27.

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The Traditional World of Islam. Six films, each 30 minutes. Film study guide. Available in 16mm film. Order from Institutional Cinema, 915 Broadway, New York, NY 10074. $600 per unit. Review by Joe P. Dunn of Converse College.

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22

WHITLEY, EDWARD. "Whitman's Occasional Nationalism: "A Broadway Pageant" and the Space of Public Poetry." Nineteenth-Century Literature 60, no. 4 (2006): 451–80. http://dx.doi.org/10.1525/ncl.2006.60.4.451.

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Despite the attention given to New York City as a source of the poetic imagery and democratic energy in Walt Whitman's poetry, the space of mid-century New York has never fully been explicated as a site of convergence for Whitman's conflicting allegiances to a local working-class urban subculture, the global community, and the United States itself. The reason for this critical lacuna stems in part from a tendency to focus on Whitman's private lyrics rather than on the type of poetry that is necessarily connected with a specific geographic space-namely, public occasional verse. In "A Broadway P

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23

RAO, NANCY YUNHWA. "Racial essences and historical invisibility: Chinese opera in New York, 1930." Cambridge Opera Journal 12, no. 2 (2000): 135–62. http://dx.doi.org/10.1017/s095458670000135x.

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Describing the performances of two Chinese opera groups – the visiting famous opera singer Mai Lan-fang and his troupe on Broadway and the local San Sai Gai troupe in Chinatown – and their reception by non-Chinese Americans, this essay tracks various formations and effects of Chinese images in 1930s New York that were deeply imprinted in popular imagination. The regrettable invisibility of Chinese opera in American music history is a result of such a pre-constructed concept of Chineseness.

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24

Won, Jongwon, Jong Yoon Lee, and Jong Woo Jun. "Influences of SNS (Social Network Service) Uses and Musical Consumption on City Branding: A Focus on Broadway, New York and the West End, London." Sustainability 12, no. 9 (2020): 3856. http://dx.doi.org/10.3390/su12093856.

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This study explored the role the musical industry plays in creating city brand images. The results showed that younger consumers were found to have more favorable visit intentions in New York and London due to their image as musical cities. Instagram users wanted to visit New York, but Twitter users had negative visit intentions in New York. Sensation-seeking orientation toward musicals influenced visit intention in New York. Broadway familiarity was linked to visit intention. In London, only sensation-seeking orientation influenced visit intention. Uses of SNS did not influence London visit i

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25

Gale, Lorena. "A Servant in Mecca: One Playwright’s Experience of New York." Canadian Theatre Review 125 (January 2006): 47–55. http://dx.doi.org/10.3138/ctr.125.008.

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I am sitting in a bar on Seventh Avenue in Chelsea. I am being interviewed by a writer for Time magazine. It is the middle of the day and I am drinking wine. He has coffee. I am being interviewed because I have written a play about slavery in Montreal that is about to open in New York and Detroit and I have the dubious honour of being not only the most produced Canadian playwright in the United States that month but one of the first black Canadian playwrights to be commercially produced off-Broadway. The interview is not going well, nor are the rehearsals for the New York run.

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26

Spector, Susan. "Preparation for an Audition: Uta Hagen's Broadway Debut." Theatre Survey 30, no. 1-2 (1989): 111–26. http://dx.doi.org/10.1017/s0040557400000818.

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In 1938, at the age of eighteen, Uta Hagen made her debut on Broadway as Nina in The Sea Gull with the Lunts—a fairy tale story come true. A young girl from the provinces—in this case, Madison, Wisconsin—comes to New York to be an actress, and within two months, with the most illustrious American actors of her time, she is playing the role of a young girl from the provinces who wants to be an actress.

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27

Wilson, Christopher P. "Broadway Nights: John Reed and the City." Prospects 13 (October 1988): 273–94. http://dx.doi.org/10.1017/s0361233300005305.

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Not so very long after John Butler Yeats prophesied that “fiddles” would be “tuning up” throughout American intellectual life in the years before World War I, the private musings of John Reed strike another, less hopeful set of notes. The lament emerges in an unpublished tale Reed wrote in 1913 entitled “Success,” about a poet named Alan Meredith, age twenty-two, who, like Reed, has just come from the country to New York to answer his vocation. “The whirling star of Literature revolves in the Big City,” Reed explains. “By force of gravitation the minor bards sooner or later fall within its orb

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Wilson, Christopher P. "Broadway Nights: John Reed and the City." Prospects 13 (October 1988): 273–94. http://dx.doi.org/10.1017/s036123330000675x.

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Not so very long after John Butler Yeats prophesied that “fiddles” would be “tuning up” throughout American intellectual life in the years before World War I, the private musings of John Reed strike another, less hopeful set of notes. The lament emerges in an unpublished tale Reed wrote in 1913 entitled “Success,” about a poet named Alan Meredith, age twenty-two, who, like Reed, has just come from the country to New York to answer his vocation. “The whirling star of Literature revolves in the Big City,” Reed explains. “By force of gravitation the minor bards sooner or later fall within its orb

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29

Bates, Benjamin R. "The New York Yankees and the conservative use of space." Ethnologies 24, no. 1 (2003): 201–24. http://dx.doi.org/10.7202/006537ar.

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Abstract New York City’s “Canyon of Heroes”, the stretch of Broadway between Wall Street and City Hall, is often used as a space for celebrating sports, military, or political achievements through a parade. This essay offers an analysis of one iteration of a parade — the New York Yankees 1998 victory parade — and its (re)presentation by NBC. Drawing on Michel de Certeau’s concept of la perruque, the essay argues that a negotiation of multiple readings of this space (macro, micro, and in-between views) allow us to understand how several threads of symbols are woven together to create a politica

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30

Chappell, Sally A. Kitt. "A Reconsideration of the Equitable Building in New York." Journal of the Society of Architectural Historians 49, no. 1 (1990): 90–95. http://dx.doi.org/10.2307/990500.

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Conventional opinion has held that the Equitable Building (1912-1915) at 120 South Broadway in New York was the embodiment of all that was wrong with skyscrapers, and that it was thus a major cause of the 1916 zoning ordinance which restricted the height, size, and arrangement of buildings in the city. A closer look at the evidence reveals that a blueprint for the zoning regulation was complete in 1913 when the Equitable had just been begun. In the clash of conflicting ideologies surrounding the zoning movement, the Equitable was more a convenient symbol, a handy scapegoat in the heat of conte

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31

Carlyon, David. "From Broadway Tabernacle to the Gettysburg Battlefield: Did Edwin Forrest Influence Abraham Lincoln?" Theatre Survey 56, no. 1 (2014): 71–94. http://dx.doi.org/10.1017/s004055741400057x.

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“Threescore years and two have now elapsed since our fathers ventured on the grand experiment of freedom.” So said the renowned actor Edwin Forrest in a Fourth of July address at New York City's Broadway Tabernacle in 1838. The similarity to the start of the Gettysburg Address in 1863 is striking: “Four score and seven years ago our fathers brought forth on this continent, a new nation, conceived in Liberty.”

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32

DeRose, David. "THEATER IN NEW York: Slouching Towards Broadway: Shepard's A Lie of the Mind." Theater 17, no. 2 (1986): 69–74. http://dx.doi.org/10.1215/01610775-17-2-69.

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33

Carp, Benjamin L. "The Night the Yankees Burned Broadway: The New York City Fire of 1776." Early American Studies: An Interdisciplinary Journal 4, no. 2 (2006): 471–511. http://dx.doi.org/10.1353/eam.2006.0011.

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34

Hall, Robert A. "165 Broadway – A crucial node in American Structural Linguistics." Historiographia Linguistica 18, no. 1 (1991): 153–66. http://dx.doi.org/10.1075/hl.18.1.05hal.

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Summary During the Second World War, the United States Armed Forces Institute (USAFI) provided language teaching manuals and dictionaries for military and civilian use. From 1 July 1943 through 30 June 1945, this work was concentrated at an office which was located at 165 Broadway, New York City, and which was headed by a group of young, vigorous, and well trained linguists. The author provides a list of the personnel of this group and describes their activities and their relations with other developments in linguistics at that time and thereafter. Emphasis is placed on the crucial rôle of the

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35

Guzek, Katie. "A Revolutionary Idea: Planning an Epic Hamil-Con." Children and Libraries 16, no. 1 (2018): 33. http://dx.doi.org/10.5860/cal.16.1.33.

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If you’ve lived under a rock for the past year or two, you probably haven’t heard the catchy, rappy tunes from Lin-Manuel Miranda’s Broadway blockbuster Hamilton. But you didn’t have to live in New York to catch Revolutionary fever—it seems those infectious tunes about Alexander Hamilton and his contemporaries were everywhere—and no age was immune. Even though the lyrics had some sass, even elementary school kids were learning their history in a novel way and singing along.Why not capitalize on that success at a library? That was exactly what several of us librarians at Brown County Library—al

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36

Barros Costa, Hugo. "Nueva York: relatos gráficos." EGA. Revista de expresión gráfica arquitectónica 21, no. 28 (2016): 258. http://dx.doi.org/10.4995/ega.2016.6300.

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<p>En el curso 2015/16 realicé una estancia, como profesor visitante, en la Escuela Parsons The New School, en Nueva York. Esta se centró en la investigación, la comunicación y la representación del Espacio Urbano y Paisaje. Pretendí registrar mi vivencia y relación emotiva con determinados espacios de esta ciudad, siendo que los barrios periféricos se proponían como alternativa a Manhattan. Intentar “ver”, a través del dibujo, esta excitante urbe, desde Long Island Beach al Bronx, fue una experiencia tan intensa como visualmente enriquecedora. Contemplar y posteriormente (o simultáneame

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37

Shafer, Yvonne. "The New York Times Book of Broadway. Edited by Ben Brantley. New York: St. Martin's Press, 2001; pp. 268. $35 hardcover." Theatre Survey 43, no. 02 (2002): 286–87. http://dx.doi.org/10.1017/s004055740233014x.

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38

Kraus, Joe. "Broadway Boogie Woogie: Damon Runyon and the Making of New York City Culture (review)." MFS Modern Fiction Studies 50, no. 3 (2004): 752–53. http://dx.doi.org/10.1353/mfs.2004.0072.

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39

Breon, Robin. "‘Show Boat’: The Past Revisits the Present." Canadian Theatre Review 79-80 (June 1994): 70–79. http://dx.doi.org/10.3138/ctr.79-80.010.

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This October a major revival of the Jerome Kern/Oscar Hammerstein II musical, Show Boat, will open on Broadway. Based on Edna Ferber’s 1926 romantic novel about life on the Mississippi, the production is directed by Harold Prince and produced by Live Entertainment of Canada Inc.’s Garth Drabinsky. Show Boat will join LivEnt’s Tony Award-winning Kiss of the Spiderwoman which closed recently in London but is still playing in New York.

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40

Thompson, Cheryl. "The Show Did Go On." Canadian Theatre Review 187 (July 1, 2021): 91–93. http://dx.doi.org/10.3138/ctr.187.027.

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Using examples from Toronto’s newspapers, this article examines the impact of the 1918–19 Spanish flu pandemic on the city's theatre and the changes that followed in the twenties. Like during the COVID-19 pandemic, in 1918 health boards across Ontario ordered all theatres to close. However, after two weeks, theatres opened, and productions from New York City’s Broadway, such as the musical comedy Ask Dad, appeared at the Royal Alexandra Theatre, to rave reviews. Toronto’s stages became more diverse following the Spanish flu, with productions such as Shuffle Along, the first all-Black musical o

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41

Loney, Glenn. "Entertaining Mr. Loney: an Early Interview with Joe Orton." New Theatre Quarterly 4, no. 16 (1988): 300–305. http://dx.doi.org/10.1017/s0266464x00002864.

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It is now twenty-one years since Joe Orton's death, though his relatively slender theatrical output has retained its freshness and power. After the modest West End success achieved by his first play to reach the stage. Entertaining Mr. Sloane, the New York production proved a failure, and the interview given by Orton to Glenn Loney in New York in October 1965, a few days before the Broadway opening, therefore went unpublished at the time. We print it now, as an intriguing sidelight on the attitudes and opinions of the playwright. It is placed in context by the widely-published theatre critic a

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42

Spector, Susan. "Telling the Story of Albee's Who's Afraid of Virginia Woolf?: Theatre History and Mythmaking." Theatre Survey 31, no. 2 (1990): 177–99. http://dx.doi.org/10.1017/s0040557400009340.

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Who's Afraid of Virginia Woolf? opened on Broadway on 13 October 1962. The author, producers, director and two leading actors won Tony Awards for that season; the play won the New York Drama Critics' Award, and two members of the Pulitzer Committee resigned when that group refused to give Virginia Woolf its top honor. This production of the play captured the vigor and emotional daring of off-Broadway, brought it uptown, and made it pay, running for 644 performances on Broadway. Early in 1964, when Uta Hagen and Arthur Hill repeated their roles in London for twelve weeks, Who's Afraid of Virgin

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43

Hoag, Christopher. "Bank Executive Experience in a Financial Crisis." International Journal of Economics and Finance 16, no. 9 (2024): 1. http://dx.doi.org/10.5539/ijef.v16n9p1.

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This paper evaluates whether bank executive experience can influence bank outcomes during financial crises. Some bank presidents in New York City possessed experience as a bank president at the same bank in New York during the previous banking crisis. The evidence from four crises between 1884 and 1907 suggests that individual bank deposit losses at the same institution appear uncorrelated across adjacent crises, so bank performance does not persist across crises. Further, the retention of an experienced bank president does not mitigate deposit losses in a subsequent financial crisis.

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44

Burghardt, Linda F. "Crossing Broadway: Washington Heights and the Promise of New York City. By Robert W. Snyder." Oral History Review 43, no. 1 (2016): 208–10. http://dx.doi.org/10.1093/ohr/ohw028.

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De Souza Valle Neto, Júlio. "LUDWIG, Ken. How to teach your children Shakespeare. New York: Broadway Books, 2013. 350 p." FronteiraZ. Revista do Programa de Estudos Pós-Graduados em Literatura e Crítica Literária, no. 23 (December 10, 2019): 223–28. http://dx.doi.org/10.23925/1983-4373.2019i23p223-228.

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Dearstyne, Bruce W. "Crossing Broadway: Washington Heights and the Promise of New York City by Robert W. Snyder." New York History 98, no. 1 (2017): 156–59. http://dx.doi.org/10.1353/nyh.2017.0044.

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Mok, Christine. "East West Players and After: Acting and Activism." Theatre Survey 57, no. 2 (2016): 253–63. http://dx.doi.org/10.1017/s0040557416000107.

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“Where are all the Asian actors in mainstream New York theatre?” What began as a plaintive status update on Facebook launched a full-scale investigation by Asian American actors that culminated in a report titled “Ethnic Representation on New York City Stages” and the formation in the fall of 2011 of an advocacy group, the Asian American Performers Action Coalition (AAPAC). AAPAC's findings were disheartening. In the preceding five years, Asian Americans had received only 3 percent of all available roles in not-for-profit theatre and only 1.5 percent of all available roles on Broadway. The per

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Mason, Jeffrey D. "American Theatre in the Culture of the Cold War: Producing and Contesting Containment, 1947–1962. By Bruce A. McConachie. Studies in Theatre History & Culture. Iowa City: University of Iowa Press, 2003; pp. xiv + 347; 15 illus. $49.95 cloth." Theatre Survey 46, no. 2 (2005): 341–43. http://dx.doi.org/10.1017/s0040557405360200.

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From 1947 to 1962, Broadway audiences enjoyed major works by Tennessee Williams and Arthur Miller as well as plays ranging from A Thousand Clowns to Who's Afraid of Virginia Woolf? and a string of durable musical comedies offering light and dark visions of the urban streets (Guys and Dolls and West Side Story), inspirational fables (The Music Man and The Sound of Music), and war in legend and in recent memory (Camelot and South Pacific). Meanwhile, Judith Malina and Julian Beck founded the Living Theatre, José Quintero and Theodore Mann established the Circle in the Square, Joe Papp offered hi

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Asare, Masi. "The Black Broadway voice: calls and responses." Studies in Musical Theatre 14, no. 3 (2020): 343–59. http://dx.doi.org/10.1386/smt_00047_7.

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Black musical theatre artists in New York City share and theorize their experiences with industry expectations around racialized vocal performance. Musical director John Bronson, actor/singer Jamal James, composer/music director Dionne McClain-Freeney, composer/writer Khiyon Hursey, actor/singer Rheaume Crenshaw, actor/singer/voice teacher Elijah Caldwell, and actor/singer Zonya Love Johnson comprise the group. The artists grapple with the conundrum of sounding ‘Black enough’, how the demand for uniform Black vocalization confounds historical accuracy in period shows, and the fantasy of the ge

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ROBERTCROSS, G. "Revenue management: Hard-core tactics for market domination by Robert G. Cross. Broadway Books, 1540 Broadway, New York, NY 10036, 1997. 276 pp. Hardcover, $27.50." Cornell Hotel and Restaurant Administration Quarterly 38, no. 2 (1997): 17. http://dx.doi.org/10.1016/s0010-8804(97)81470-x.

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