Theatre Prog, Ethel Waters Member of Wedding, Brian Donlevy King of Hearts, 1955

Director: Phillippe De Broca; Stars: Alan Bates, Genevihve Bujold; Release Date: June 01, 1990

Brian Donlevy

In one of his first "adult" roles (he made his last Andy Hardy vehicle only a year earlier), Mickey Rooney plays Tommy McCoy, a dancer who performs in a going-nowhere nightclub act with his alcoholic father, Brian (James Dunn). Johnny Martin (Mickey Knox), a lightweight boxing champ who is headlining the show that Tommy and his Dad are currently working, admires Tommy's footwork and tells him that he might have a future in the ring. Tommy gives the fight game a try, and he soon proves he's got the goods as a slugger. Before long, Tommy is fighting Johnny for the lightweight title, and after a hard-fought match, Tommy wins -- and Johnny dies. Now dubbed "Killer" McCoy by the press and boxing fans, a distraught Tommy allows his career to be taken over by Jim Caighn (Brian Donlevy), an unscrupulous manager with a gambling problem. Jim drags Tommy through the dirtiest and most dishonest levels of the fight game, but Jim's daughter Sheila (Ann Blyth) sees Tommy's decent side and tries to rescue him. KILLER MCCOY w

Outspoken tomboy Frankie befriends the family s maid in one of the most beautiful plays ever written about loneliness and love. Tall, awkward, and lonely, Frankie Addams has a vivid imagination but no friends. Even her father calls her a great big long-legged 12-year-old blunderbuss, and the friendless girl spends most of her time in the kitchen, pouring out her heart to Berenice, the gentle and wise family cook and housekeeper. Frankie< >s jealousy of her brother< >s impending marriage, and her curious belief that she must accompany him and his bride on their honeymoon in order to belong, drives her to strange measures. She devises a desperate plan, reinventing herself as the seemingly sophisticated F. Jasmine, a gawky beauty in a pink dress who looks closer to 16 than 12. But she's ill prepared for what follows from this troubling game of make-believe. Carson McCullers captures the universal in the particular in this sensitive, nuanced portrayal of one girl's struggle into adulthood. A L.A. Theatre Works full-cast performance featuring: June Angela, John Cothran Jr., Ruby Dee, Daniel Henson, Victor Mack, Jena Malone, Lawrence Pressman, Jacquelyn Riggs and Tegan West.

Victor Mature

Ethel Waters

Anna Lee

Ethel Waters overcame her disadvantaged childhood to become the most famous African American actress, singer, and entertainer of her time. Her critically acclaimed move to Broadway in the mid 1920s—after having first triumphed in Black vaudeville during the Harlem Renaissance—brought the startlingly innovative and subtle character of Black Theatre into the mainstream. Ethel transformed such songs as "Dinah, " "Am I Blue?, " "Stormy Weather, " and Irving Berlin's "Heat Wave" into classics and inspired the next generation of Black female vocalists. She gave sophistication and class to the blues and American popular song, and she influenced countless singers including Judy Garland and Frank Sinatra.Tough, uncompromising, courageous, and ambitious, Ethel Waters became one of the first African American women to be given equal billing with white stars on the Broadway stage. In 1943, the film version of her Broadway success, Cabin in the Sky, established her as Hollywood's first Black-leading lady. In such plays as Mamba's Daughters and films including The Member of the Wedding, she shattered the myth that Black women could perform only as singers. For her work in Pinky, she received an Academy Award nomination for Best Supporting Actress, the second African American to be so honored.Although she was arguably the most influential female blues and jazz singer of the 1920s and 1930s, as well as a major Black figure in 20th century theatre, cinema, radio, and television, she is now the least remembered. In Ethel Waters: Stormy Weather, Stephen Bourne documents the career of this monumental figure in American popular culture, offering new insights into the work of this forgotten legend. Supplemented by fourteen photographs, this biography leaves little doubt as to why—for decades—no other Black star was held in such high regard.

It's Pat Garrett vs. Billy the Kid again in a remake of the 1930 Johnny Mack Brown starrer. At least this one's in vibrant Technicolor. Academy Award Nominations: Best (Color) Cinematography.

Sepia Records