Arthur Tracy and Lilli Palmer star in this 1930's British romantic drama. With his voice faltering due to nerves, celebrated stage performer "The Street Singer" (Tracy) parts company with the theatre and goes to live in a gypsy camp where he meets and falls in love with Susan (Palmer), an attractive young woman who is unaware of his fame.
Rather than renouncing his artistic dreams and working in his father's company, a young man, who is vocally equipped, is content to perform at street corners. This allows him to know and fall in love with a beautiful blind girl.
On a train trip out west to become a mail-order bride, Susan Bradley meets a cheery crew of young women traveling out to open a "Harvey House" restaurant at a remote whistle-stop.
A photographer is murdered just outside a college dance. The body is found by Lee Watson, but promptly disappears, as it's being whisked from one point to another on campus by an ex-con night watchman. However, he isn't the killer, and Freddie, Dodie, Betty and Lee set out to find the culprit who put a big damper on their big event.
Unable to deal with her parents, Jeannie Tyne runs away from home. Larry and Lynn Tyne search for her, and in the process meet other people whose children ran away. With their children gone, the parents are now free to rediscover/enjoy life.
La traviata (Italian: [la traˈviaːta], "The Fallen Woman"[1][2]) is an opera in three acts by Giuseppe Verdi set to an Italian libretto by Francesco Maria Piave. It is based on La dame aux Camélias (1852), a play adapted from the novel by Alexandre Dumas, fils. The opera was originally entitled Violetta, after the main character. It was first performed on 6 March 1853 at the La Fenice opera house in Venice. Piave and Verdi wanted to follow Dumas in giving the opera a contemporary setting, but the authorities at La Fenice insisted that it be set in the past, "c. 1700". It was not until the 1880s that the composer and librettist's original wishes were carried out and "realistic" productions were staged.[3]
When stubborn, spotty Kevin and his equally hopeless best friend Perry go on holiday to the party island Ibiza, they see it as their big chance to become superstar club DJs and, more importantly, to lose their virginities. But they aren't prepared for the interference of top DJ Eyeball Paul, not to mention the embarrassment factor of Kevin's long-suffering parents.
A retelling of the classic Dickens tale of Ebenezer Scrooge, miser extraordinaire. He is held accountable for his dastardly ways during night-time visitations by the Ghosts of Christmas Past, Present and Future.
Set at the base of a historic castle in Ireland, Bryan Adams: Live At Slane Castle brings fans a night of unforgettable rock 'n' roll. Shot the evening of August 26, 2000, Live At Slane Castle finds Adams soaring on performances of his chart-topping hits.
The one act performance by choreographer Yuri Possokhov pays homage to the celebrated founder of the fashion house that bears her name and features a stunning display of Chanel costumes specially created for the ballet. Created specifically for Zakharova, the ballet "Gabrielle Chanel" recounts the most memorable moments of the work and life of the French fashion designer, who died in 1971 aged 87.
Playing around while aboard a cruise ship, the Chipmunks and Chipettes accidentally go overboard and end up marooned in a tropical paradise. They discover their new turf is not as deserted as it seems.
Graced with a velvet voice, 21-year-old Violet Sanford heads to New York to pursue her dream of becoming a songwriter only to find her aspirations sidelined by the accolades and notoriety she receives at her "day" job as a barmaid at Coyote Ugly. The "Coyotes" as they are affectionately called tantalize customers and the media alike with their outrageous antics, making Coyote Ugly the watering hole for guys on the prowl.
The teenagers of Disney's most infamous villains return to the Isle of the Lost to recruit a new batch of villainous offspring to join them at Auradon Prep.
Invited by the conductor Premil Petrovic to stage Arnold Schoenberg’s Pierrot Lunaire, a musical theater work from 1912 based on the poems of Albert Giraud, LaBruce transposed a strange and tragic episode of true crime onto the composition. Complementing the original atonal score is a narrative about a trans man who is outed by his girlfriend’s father and forbidden from seeing the young woman again. Crestfallen, the protagonist decides to prove the fact of his manhood by castrating a taxi driver and then revealing his newly transplanted member to the two of them. This story, which for LaBruce “serves as a kind of allegory for all gender radicals and outcasts driven to extremes by the disapproval and hostility of the dominant order,” is rendered in a visual style that nods to the era of Schoenberg’s melodrama. LaBruce cheekily appropriates the formal vocabulary of silent cinema with black-and-white photography, irises, and intertitles like “A cock, a cock, my kingdom for a cock!&r