Jos Ferrer

José Ferrer (1912–1992) became the first Puerto Rican actor to win the Best Actor Academy Award for the 1950 film version of Cyrano de Bergerac. His iconic portrayal of the lovelorn poet/swordsman had already won him the Tony in 1947, and he would be identified with Cyrano for the rest of his life. Ferrer was a theatrical dynamo with limitless energy; in 1952 he directed Stalag 17, The Fourposter, and The Shrike (which he starred in) on Broadway, while New York City movie marquees were heralding his appearance in Anything Can Happen. At his apex in the 1950s, Ferrer was in constant demand both in theater and movies. He capitalized on his Oscar with such triumphs as Moulin Rouge and The Caine Mutiny. Not content with merely acting, Ferrer soon became a force behind the camera, acting and directing such critically well-received films as The Shrike and The Great Man. Success proved difficult to sustain. In the late 1950s, such ambitious theatrical productions as Edwin Booth and Juno were critical and commercial flops, while film studios also lost their patience with him. By the mid-1960s, Ferrer took whatever roles he could get in films, television, or regional theater. In addition, Ferrer had a turbulent personal life. His first marriage to actress Uta Hagen ended in divorce and scandal. His personal and professional relationship with his Othello costar Paul Robeson landed Ferrer before the House Un-American Activities Committee. Ferrer’s marriage to actress/dancer Phyllis Hill was marred by his infidelity, while his initial wedded bliss with singer Rosemary Clooney eroded as his career began to ebb while hers started to peak. In spite of everything, Ferrer managed to endure and was working practically right up to his death. Ferrer maintained his pride in his Puerto Rican heritage, donating his Oscar to the University of Puerto Rico while championing the work of Latino poets and playwrights. He continuously evolved, striving to remain relevant, stretching his talents (including cabaret, operas, musicals, and yes, ballet!), and writing the occasional guest column for major newspapers. Ferrer’s life is an American success story and a testament to reinvention and resilience.

José Ferrer (1912–1992) became the first Puerto Rican actor to win the Best Actor Academy Award for the 1950 film version of Cyrano de Bergerac. His iconic portrayal of the lovelorn poet/swordsman had already won him the Tony in 1947, and he would be identified with Cyrano for the rest of his life. Ferrer was a theatrical dynamo with limitless energy; in 1952 he directed Stalag 17, The Fourposter, and The Shrike (which he starred in) on Broadway, while New York City movie marquees were heralding his appearance in Anything Can Happen. At his apex in the 1950s, Ferrer was in constant demand both in theater and movies. He capitalized on his Oscar with such triumphs as Moulin Rouge and The Caine Mutiny. Not content with merely acting, Ferrer soon became a force behind the camera, acting and directing such critically well-received films as The Shrike and The Great Man. Success proved difficult to sustain. In the late 1950s, such ambitious theatrical productions as Edwin Booth and Juno were critical and commercial flops, while film studios also lost their patience with him. By the mid-1960s, Ferrer took whatever roles he could get in films, television, or regional theater. In addition, Ferrer had a turbulent personal life. His first marriage to actress Uta Hagen ended in divorce and scandal. His personal and professional relationship with his Othello costar Paul Robeson landed Ferrer before the House Un-American Activities Committee. Ferrer’s marriage to actress/dancer Phyllis Hill was marred by his infidelity, while his initial wedded bliss with singer Rosemary Clooney eroded as his career began to ebb while hers started to peak. In spite of everything, Ferrer managed to endure and was working practically right up to his death. Ferrer maintained his pride in his Puerto Rican heritage, donating his Oscar to the University of Puerto Rico while championing the work of Latino poets and playwrights. He continuously evolved, striving to remain relevant, stretching his talents (including cabaret, operas, musicals, and yes, ballet!), and writing the occasional guest column for major newspapers. Ferrer’s life is an American success story and a testament to reinvention and resilience.

Francisco Ferrer Guardia, a theoretical anarchist and founder of La Escuela Moderna, was born in 1849 near Barcelona. In 1901, Ferrer opened La Escuela Moderna. The professed goal of the school was to educate the working class in a rational, secular and non-coercive setting, but its high tuition allowed only wealthy middle class students to attend. It was privately hoped that when the time was ripe for revolutionary action, these students would be motivated to lead the working classes. La Escuela Moderna grew rapidly. By 1906, thirty-four schools with over 1,000 students were directly or indirectly influenced by the school and its textbooks. In 1906 an employee of Ferrers publishing firm threw a bomb at King Alphonso XIII's wedding party. Police speculated that Ferrer had encouraged Morral to throw the bomb. Ferrer was arrested, but released a year later, due to insufficient evidence. During Ferrer's incarceration, La Escuela Moderna was shut down and would not open its doors again. Ferrer soon realized, however, that he had lost his ability to influence directly the educational movement in Spain. His old interest in anarcho-syndicalism reemerged, and he began to devote more and more of his time to the Catalan labor movement. In July of 1909, political events in Spain spun out of control. Spontaneous protests broke out in the streets, evolving into a massive general strike. Revolutionary leaders, anxious to seize the moment, were ultimately unprepared and thus lost control of the crowds. The result was five days of mob rule known today as the Tragic Week. On July 28, martial law was declared throughout Spain, and a brutal military suppression continued until September. Anyone deemed dangerous to the government was jailed. Francisco Ferrer was arrested late in September. A hurried trial ensued, in which he was accused of fomenting the insurrection. Ferrer had very little, if anything, to do with the uprising, but false evidence and forced confessions were produced. The government still believed that Ferrer had instigated the assassination attempt on the king in 1906 and wanted revenge. Ferrer was put to death by firing squad on October 13, 1909. Because Ferrer was well known internationally, his execution caused a sensation throughout North America and Western Europe. In Great Britain, George Bernard Shaw, H. G. Wells, and Sir Arthur Conan Doyle protested with Peter Kropotkin and other anarchists. Ferrer was named a martyr for free thought and, by his execution, became one of the most famous of Spanish anarchists.

This is the first major biographical dictionary devoted exclusively to celebrating Caribbeans and Caribbean Americans who have made significant contributions to their society and beyond. More than 160 profiles feature historical and contemporary figures from every Caribbean island, the United States, and even England and Canada, and from a diverse range of fields such as acting, sports, political activism, and more. Selection criteria included the notable demonstration of a Caribbean ethos or style, combined with a lasting and novel impact. Individual narrative entries discuss family background, education, challenges, and achievements. The breadth of coverage in Notable Caribbeans and Caribbean Americans will enlighten and inspire students and general readers alike. Many lesser known role models, such as labor activist and educator Antonia Pantoja and political philosopher Frantz Fanon, are presented along with engaging portraits of better known personalities like reggae superstar Bob Marley and baseball great Sammy Sosa. Bibliographical sources for further research complement each entry. A wide selection of photographs accompanies the text.

The book examines in specific detail every Broadway musical which opened during the seminal decade of the 1960s, a decade which encompassed traditional musicals (such as Hello, Dolly!) as well as iconoclastic ones (Hair). Besides technical information, the book includes extensive commentary for all 268 musicals which opened during the decade. It includes all New York City Center and Music Theatre of Lincoln Center revivals; New York City Opera revivals of Broadway musicals; productions of all pre-Broadway closings (musicals which closed either during New York previews or during pre-Broadway tryouts); all eight musicals which were produced at the 1964 New York World’s Fair; concert productions (usually of one-man or one-woman shows); and all imports which opened during the decade. The technical information includes details regarding cast and credits, plot, critical reviews, London productions, recordings, published scripts, and film versions.

Kwanzaa is an African American holiday celebrated from December 26 to January 1, while celebrating Kwanzaa people eat delicious foods, wear special clothes, sing, dance, and celebrate their ancestors.

The 1970s was an exciting decade for musical theatre. Besides shows from legends Stephen Sondheim (Company, Follies, A Little Night Music, and Sweeney Todd) and Andrew Lloyd Webber (Jesus Christ Superstar and Evita), old-fashioned musicals (Annie) and major revivals (No, No, Nanette) became hits. In addition to underappreciated shows like Over Here! and cult musicals such as The Grass Harp and Mack and Mabel, Broadway audiences were entertained by black musicals on the order of The Wiz and Raisin. In The Complete Book of 1970s Broadway Musicals, Dan Dietz examines in detail every musical that opened on Broadway during the 1970s. In addition to including every hit and flop that debuted during the decade, this book highlights revivals and personal-appearance revues with such performers as Tony Bennett, Lena Horne, Bette Midler, and Gilda Radner. Each entry includes the following information: Opening and closing dates Plot summaries Cast members Number of performances Names of all important personnel including writers, composers, directors, choreographers, producers, and musical directors Musical numbers and the names of performers who introduced the songs Production data, including information about tryouts Source material Critical commentary Tony awards and nominations Details about London and other foreign productions Besides separate entries for each production, the book offers numerous appendixes, including a discography, filmography, and published scripts, as well as lists of Gilbert and Sullivan operettas, black-themed shows, and Jewish-themed productions. A treasure trove of information, The Complete Book of 1970s Broadway Musicals provides readers with a comprehensive view of each show. This significant resource will be of use to scholars, historians, and casual fans of one of the greatest decades in musical theatre history.