$14.99


From the CIVIC LIGHT OPERA, 1954, this is an ORIGINAL Philharmonic auditorium the PLAYGOER 72 page Theater PROGRAM, measuring 6 x 9" slight corner bend and tear on the right.

THIS PROGRAM is a souvenier program that was given out at the time of the performance featuring Mary Martin starring in her famed stage production of

Peter Pan

This original program is all Original, it is 60 years old! There are no photos, but there are articles on Mary Martin and her time in Los Angeles. Also, lots of great ads including: BARKER BROS. JACKMAN originals, CADILLAC, PALM TERRACE at the BEVERLY HILLS HOTEL, DON LOPER OF RODEO DRIVE BILTMORE HOTEL, MODERN HOUSE, COLBURN FURS, TEITELBAUM FURS, BECKMAN FURS, COLUMBIA RECORDS for MARY MARTIN albums, ROBBINS LTD, PARKLABREA TOWERS, HEDDA HOPPER for the LOS ANGELES TIMES, FOREST LAWN Memorial Park, SEEING SITES WITH FAY HAMMOND, OLD HORSESHOE TAVERN, and CHESTERFIELD CIGARETTES with Jean and Joan Corbett Twins. Nice old Program!

Peter Pan

Original Cast Recording

Music Jule Styne

Mark Charlap

Trude Rittmann (dance arrangements)

Lyrics Betty Comden

Adolph Green

Carolyn Leigh

Book Sir James M. Barrie

Basis Sir J. M. Barrie's play

Peter Pan

Productions 1954 Broadway

Peter Pan is a musical adaptation of J. M. Barrie's 1904 play Peter Pan and Barrie's own novelization of it, Peter and Wendy. The music is mostly by Mark "Moose" Charlap, with additional music by Jule Styne, and most of the lyrics were written by Carolyn Leigh, with additional lyrics by Betty Comden and Adolph Green.

The original 1954 Broadway production, starring Mary Martin as Peter and Cyril Ritchard as Captain Hook, earned Tony Awards for both stars. It was followed by NBC telecasts of it in 1955, 1956, and 1960 with the same stars, plus several rebroadcasts of the 1960 telecast. The show has enjoyed several revivals onstage.

Several productions of Peter Pan were staged early in the 20th century, starting on Broadway in 1905 with a production starring Maude Adams. In a nod to the original play, and the pantomime tradition it derives from, the title role of Peter Pan in the musical is usually played by a woman, including Mary Martin, Sandy Duncan and Cathy Rigby, among others.

Producer Edwin Lester, founder and director of the Los Angeles Civic Light Opera, acquired the American rights to adapt Peter Pan as a play with music for Mary Martin. The show was not successful in its pre-Broadway West Coast tour, so director Jerome Robbins hired lyricists Comden and Green and composer Jule Styne to add more songs, including "Never Never Land," "Distant Melody" and several other numbers, turning the show into a full-scale musical. The musical, instead of using Barrie's original ending, in which Peter simply let Wendy and the other children return home, includes an additional scene that Barrie had written later and titled An Afterthought (later included by Barrie in his 1911 novelization Peter and Wendy). In this ending, Peter returns after many years to take Wendy back to Never Never Land for spring cleaning. He finds that he has been away so long that Wendy is now an adult, married woman with a daughter. Despondent at first, he is delighted when Wendy's daughter Jane offers to be his new mother, and instead takes her with him

The 1954 musical version of Peter Pan opened on October 20, 1954 at the Winter Garden Theatre in New York for a planned limited run of 152 performances. The show had been sold to NBC, which ensured that it was a financial success despite the limited run. It played its final performance on February 26, 1955. The revised score and Tony Award-winning performances by Martin and Ritchard made Peter Pan a success. A Broadway cast album was made of the songs, and is still in print today.

The show opened in a busy Broadway season, competing with such notable shows as The Boy Friend, Fanny, Silk Stockings, and Damn Yankees. However, while still in tryouts in Los Angeles, a deal was made for the show to be broadcast on the NBC anthology series Producers' Showcase on March 7, 1955. The show closed so that it could be broadcast on television, although box office continued to be strong throughout the Broadway run.

Cast of major productions (1954–1999)

Character 1954 Broadway 1955 broadcast 1956 broadcast 1960 broadcast 1979 Broadway 1990 Broadway 1991 Broadway 1998 Broadway 1999 Broadway

Peter Pan Mary Martin Sandy Duncan Cathy Rigby

Captain Hook / Mr. Darling Cyril Ritchard George Rose Stephen Hanan J. K. Simmons Paul Schoeffler

Mrs. Darling Margalo Gillmore Beth Fowler Lauren Thompson Barbara McCulloh

Tiger Lily Sondra Lee Maria Pogee Holly Irwin Michelle Schumacher Dana Solimando

Wendy Darling Kathleen Nolan Maureen Bailey[13] Marsha Kramer Cindy Robinson Elisa Sagardia

Michael Darling Joseph Stafford Tom Halloran Kent Fletcher[13] Jonathan Ward Chad Hutchison Joey Cee Drake English

John Darling Robert Harrington Joey Trent[13] Alexander Winter Britt West David Burdick Chase Kniffen Barry Cavanagh

Smee Joe E. Marks Arnold

MORE INFO ON MARY MARTIN: Mary Virginia Martin (December 1, 1913 - "November 3, 1990) was a prolificand-winning actress. She originated many roles over her career including Nellie Forbush inand Maria in. She was named ain 1989.

Mary Martin's life as a child, as Martin describes it in her My Heart Belongs, was secure and happy. She had close relationships with both her mother and father, as well as her siblings. Her autobiography details how the young actress had an instinctive ear for recreating musical sounds.

Martin's father, Preston Martin, was a lawyer and her mother, Juanita Presley, was a violin teacher. Although the doctors told Juanita that she would risk her life if she attempted to have another baby, she was determined to have a boy. Instead, she had Mary, who became quite a tomboy. Her birth was an event as all of the neighbors gathered around Juanita's bedroom window, waiting for the raising of a curtain to signal the baby"€™s arrival.

Her family had a barn andthat kept her entertained. She played with her older sister Geraldine (whom she calls "€œSister"€), climbing trees and riding ponies. Martin adored her father. "€œHe was a tall, good-looking, silver-haired, with the kindest brown eyes. Mother was the disciplinarian, but it was Daddy who could turn me into an angel with just one look"€ (p. 19). Martin, who said "€œI"€™d never understand the (p. 19), began singing outside the courtroom where her father worked every Saturday night at a bandstand where the town band played. She sang in a trio of little girls dressed in bellhop uniforms. "€œEven in those days without microphones, my high piping voice carried all over the square. I have always thought that I inherited my carrying voice from my father"€ (p. 19).

She remembered having a photographic memory as a child, making it easy to memorize songs, as well as get her through school tests. She got her first taste of singing solo at a fire hall, where she soaked up the crowd"€™s appreciation. ""?¬œSometimes I think that I cheated my own family and my closest friends by giving to audiences so much of the love I might have kept for them. But that"€™s the way I was made; I truly don't think I could help it"€ (p. 20). Martin"€™s craft was developed by seeing movies and becoming a mimic. She""?¬™d win prizes for looking, acting and dancing likeand singing exactly like. "€œNever, never, never can I say I had a frustrating childhood. It was all joy. Mother used to say she never had seen such a happy childâ€"that I awakened each morning with a smile. I don"€™t remember that, but I do remember that I never wanted to go to bed, to go to sleep, for fear I"€™d miss something"€ (p. 20).

As she grew older, Martin dated Benjamin Jackson Hagman while in high school, before being sent to thefinishing school in. Besides imitatingat singing gigs, she thought school was dull and felt confined by the strict rules. She was homesick for Weatherford, her family and Hagman. During a visit, Mary and Benjamin convinced Mary's mother to allow them to marry. They did, and by the age of 17, Martin was legally married, pregnant with her first child () and forced to leave finishing school. However she was happy to begin her new life. She soon learned that this life was nothing but ""?¬œrole playing"€ (p. 39).

Their honeymoon was at her parent"€™s house, and Martin's dream of life with a family and a white-picket fence faded. “I was 17, a married woman without real responsibilities, miserable about my mixed-up emotions, afraid there was something awfully wrong with me because I didn"€"?¢t enjoy being a wife. Worst of all, I didn't have enough to do"€ (p. 39). It was "€œSister"€ who came to her rescue, suggesting that she should teach dance. "€œSister"€ taught Martin her first real dance"€"the waltz clog. Martin perfectly imitated her first dance move, and she opened a dance studio. Here, she created her own moves, imitated the famous dancers she watched in the movies, and taught “Sister"€™s"€ waltz clog. "€œI was doing something I wanted to do"€"creating"€ (p. 44).

Wanting to learn more moves, Martin went to California to attend the dance school at the Franchon and Marco School of the Theatre, and opened her own dance studio in . She was given a ballroom studio under a certain deal"€"she had to sing in the lobby every Saturday. Here, she learned how to sing into a microphone and how to phrase blues songs. One day at work, she accidentally walked into the wrong room where auditions were being held. They asked her what key she""?¬™d like to sing "€œSo Red Rose"€. Having absolutely no idea what her key was, she sang regardless and got the job. She was hired to sing "€œSo Red Rose"€ at thein, followed by the Paramount Theater in. There would be one catch "€" she had to sing in the wings. She scored her first professional gig, unaware that she would soon be center stage.

Soon after, Martin learned that her studio had been burnt down by a man who thought dancing was a sin. She began to express her unhappiness "€" she needed to let go and be free. Her father gave her advice, saying that she was too young to be married. Martin left everything behind, including her young son, Larry, and went towhile her father handled the divorce for her. In Hollywood, Martin plunged herself into auditions"€"so many that she became known as "€œAudition Mary""?¬. Her first professional audition and job was on a national radio network. She sang on a program called "€œGateway to Hollywood"€ and was told that her job was "€œsustaining"€. Little did she know that "€œsustaining"€ meant unpaid. Among one of Martin's first auditions in Hollywood, she was "€œdetermined to give them everything I could do"€, before announcing her intention to sing ""?¬œin my soprano voice, a song you probably don""?¬™t know,"€. After singing the song, "€œa tall, craggly man who looked like a mountain†told Martin that he thought she had something special. He added, "€œOh, and by the way, I know that song. I wrote it."€ It was(pp. 58-59). This marked the start of her career.

Mary Martin struggled for nearly two years to break into show business. As a struggling young actress, Martin endured humorous and sometimes frightful luck trying to make it in the world, from car crashes leading to vocal instruction, unknowingly singing in front of, to her final break ongranted by the very prominent producer, Lawrence Schwab.

Using her maiden name, Mary Martin began pursuing a performing career singing on radio in Dallas and in nightclubs in Los Angeles. Her performance at one club impressed a theatrical producer, and he cast her in a play in New York. That production did not open, but she got a role in Cole Porter's. In that production, she became popular on Broadway and received attention in the national media singing "". "Mary stopped the show with My Heart Belongs to Daddy. With that one song in the second act, she became a star 'overnight'." Martin reprised the song in,(the Hollywood "biographical" movie about Porter) during the film in an audition as herself for Porter ().

"" catapulted her career and became very special to Mary "€" she even sang it to her ailing father in his hospital bed while he was in a. Martin did not learn immediately that her father had died. Headlines read "Daddy Girl Sings About Daddy as Daddy Dies." Due to the show"€™s demanding schedule, Martin couldn"€™t even attend her father’s funeral.

She received the Donaldson Award and thein 1943 for. A specialcame her way in 1948 for "spreading theatre to the rest of the country while the originals perform in New York." In 1955 and 1956, she received, first, a Tony Award for, and then anfor appearing in the same role on television. She also received Tony Awards for, and, in 1959, for.

MORE INFO ON JOHN RAITT: John Emmett Raitt (January 29, 1917 – February 20, 2005) was an American actor and singer best known for his performances in musical theater

Born in Santa Ana, California. He got his start in theatre as a high school student at Fullerton Union High School in Fullerton, California. While there, he played in several drama productions in Plummer Auditorium. Raitt sang in the chorus of The Desert Song. A few years before he died, Raitt once again came back to the Plummer to see a rehearsal, visit students and recollect his beginnings. He is on the school's "Wall of Fame" for his accomplishments. In 1935, Raitt won the "football throw" at the California State High School Track and Field Championship; his mark of 220 feet remains the state record in that short-lived event.

He is best known for his stage roles in the musicals Carousel, Oklahoma!, The Pajama Game, Carnival in Flanders, Three Wishes for Jamie, and A Joyful Noise, in which he set the standard for virile, handsome, strong-voiced leading men during the golden age of the Broadway musical. His only leading film role was in the 1957 movie version of The Pajama Game opposite Doris Day.

On television, he was seen many times on the Bell Telephone Hour. A clip of a television performance of Raitt singing the final section of the song "Soliloquy" from Carousel is included in the documentary film Broadway: The Golden Age, by the Legends Who Were There. In 1957, also for television, he and Mary Martin re-created their starring roles in the national touring version of Annie Get Your Gun. On September 29, 1953, he joined Jackie Gleason and Phil Foster in an appearance on the CBS panel discussion This Is Show Business. On January 26, 1961, he appeared in the last season of NBC's The Ford Show, Starring Tennessee Ernie Ford.

In addition, Raitt made several studio cast recordings of Broadway musicals, including Oklahoma! (as Curly) and Show Boat (as Gaylord Ravenal).

In 1945, John Raitt was one of the recipients of the first Theatre World Award for his debut performance in Carousel. In 1965, he starred in the twentieth-anniversary production of the show at Lincoln Center for the Performing Arts.In 1981, he found out that his high school sweetheart was widowed. Having recently divorced from his second wife, he phoned her. "Having played Zorba, I believe in grabbing at life," he recalled. "So I called her and this sweet voice answered. 'I'm free now,' I told her, 'and I'm coming to dinner.'" They married.

Raitt appeared in a 1996 cameo role in Season 1 (episode 12, "Frozen Dick") of 3rd Rock from the Sun in which he sings a portion of the title song from Oklahoma!

He died on February 20, 2005, at his home in Pacific Palisades, California, from complications due to pneumonia, aged 88. He has a star on the Hollywood Walk of Fame for Live Theatre.

He is the father of singer Bonnie Raitt, who proved herself to be the consummate show-biz professional by going on-stage for a concert in Indio, California, just days after his death, and former father-in-law of Michael O'Keefe. His grandson is Bay Raitt, the creator of Gollum's face for The Lord of the Rings film trilogy.

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PETER PAN Original Theatre Program MARY MARTIN Playgoer
Item #BMM0001024