![]() ![]() Betty Boop's cartoons featured great musical stars such as Maurice Chevalier, Rudy Vallée, Ethel Merman, Louis Armstrong, and Cab Calloway.ġ1. Today there are 250 companies manufacturing Betty Boop licensed products in the United States and nearly as many abroad.ġ0. In 1989, CBS aired Betty Boop's Hollywood Mystery, a second animated musical spectacular.ĩ. ![]() This is false information, Betty's garter-belt was never removed, it was hidden by the longer dresses she wore.Ĩ. According to King Features, the famed garter vanished in 1933, but public demand brought it back. Betty Boop was chastised for being overly seductive in the 1930s.ħ. Betty Boop was best recognized for her cartoons, but she also appeared in two comic strips, a radio show, and two network animated musical specials.Ħ. Betty Boop has appeared in over 100 cartoons.ĥ. According to King Features, Betty Boop originally appeared in human form in the cartoon short Any Rags?, although her first legit appearance according to the "Betty Boop Wikia Fandom" as a human girl was actually in Mask-A-Raid.Ĥ. Betty Boop's initial cartoon debut was as a dog with long floppy ears and great legs.ģ. Betty Boop made her first cartoon appearance as a satire of Helen Kane, Clara Bow and flapper girls of the Roaring Twenties in the 1930 short Dizzy Dishes.Ģ. Betty's cartoons, which were frequently set in Depression-era New York City, took adult moviegoers to weird worlds where the characters were pursued by frightening creatures but where everything turned out all right in the end. Fleischer Studios' animators gave her the common touch. A writer whose journal was peppered with the most innocent of writing prompts: “Describe the…,” and yet whose life ended at the hands of the Communist Party of the Soviet Union.Betty Boop is still popular throughout the world. It’s also deepened his connection to the writer that inspired Describe the Night in the first place: Babel. “These are very current and relevant questions considering a lot of the state of our media and politics right now,” he says. ![]() Though he wrote the play three years ago, its exploration of truth feels more affecting in 2017. When are the hard facts of something necessary and when is metaphor and symbol the best way in towards something? And when does metaphor and symbol become a lie?”įor Joseph, these overarching themes have taken on new meaning in today’s context. “There’s a lot to unpack about how we understand ourselves in the world and what modes of communication do we use. What is myth and what is fact,” says Joseph. “ Describe the Night is about the age-old debate over what is true and what is not true. ![]() This meant examining the themes closest to his heart. Any playwright has to simply trust that they’re writing something that is hopefully from their core,” he says. “There are a million ways to have written this play, or any play. In the end, Joseph wrote the story that mattered most to him. “I don’t think I could have ever just sat down at my desk and written it. “That process is why Describe the Night is such a unique play,” he says. “It’s like sifting through a jigsaw puzzle and finding the pieces and putting them together in a totally new shape.”ĭanny Burstein, Zach Grenier, and Tina Benko “It was fascinating to get such a diverse and well-informed amount of research to pack into this process,” says Joseph, who took notes throughout. Especially during the conceiving of a play.” That always happens with a production but happens less with the development. “One of the things that I love about theatre is that it’s a collaborative effort. The group also invited a number of speakers, such as Val Vinokour, a distinguished Isaac Babel scholar and translator, to attend the sessions. Over a two-week period, followed by a two-month rehearsal in the fall, the NYU acting students paged through research and performed their findings for Joseph and Sardelli. It’s an epic play (three hours including two intermissions)-unsurprising considering the detailed research process behind it. The story traces the lives of seven men and women in Russia connected by history, myth, and conspiracy, and interweaves tales of forbidden love, complicated families, and unlikely friendships. Inspired by a line in Babel’s real-life journal, the play, now in previews at Atlantic Theater Company, spans 90 years. By the end of the process, Joseph had a first draft of Describe the Night. Along with director Giovanna Sardelli, the two worked with eight students to develop the play using The Joint Stock Method in which writers use company research to inspire workshops. Rather than begin his research in the usual fashion, however, Joseph tapped New York University’s Graduate Acting Program. Most playwrights will tell you researching a play tends to be a solitary process, marked by hours alone in a library or an office. ![]()
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