Work in Films and The Theater
Ellington's film work began in 1929 with the short film Black and Tan. Symphony in Black (1935) featured his extended piece 'A Rhapsody of Negro Life'. It introduced Billie Holiday, and won an Academy Award as the best musical short subject. He also appeared in the Amos 'n' Andy film Check and Double Check (1930). Ellington and his Orchestra continued to appear in films through the 1930s and 1940s, both in short films and in features such as Murder at the Vanities and Belle of the Nineties (1934), and Cabin in the Sky (1943). In the late 1950s, his work in films took the shape of scoring for soundtracks, notably Anatomy of a Murder (1959), with James Stewart, in which he appeared fronting a roadhouse combo, and Paris Blues (1961), which featured Paul Newman and Sidney Poitier as jazz musicians.
He wrote an original score for director Michael Langham's production of Shakespeare's Timon of Athens at the Stratford Festival in Ontario, Canada which opened on July 29, 1963. Langham has used it for several subsequent productions, most recently in an adaptation by Stanley Silverman which expands the score with some of Ellington's best-known works.
Ellington composed the score for the musical Jump For Joy, which was performed in Los Angeles during 1941. Ellington's sole book musical, Beggar's Holiday, was staged on Broadway in 1946. Sophisticated Ladies, an award-winning 1981 musical revue, incorporated many tunes from his repertoire.
Read more about this topic: Duke Ellington
Famous quotes containing the words work, films and/or theater:
“Let us work without theorizing, tis the only way to make life endurable.”
—Voltaire [François Marie Arouet] (16941778)
“Science fiction films are not about science. They are about disaster, which is one of the oldest subjects of art.”
—Susan Sontag (b. 1933)
“The Miss America contest is ... the most perfectly rendered theater in our culture, for it so perfectly captures what we yearn for: a low-class ritual, a polished restatement of vulgarity, that wants to open the door to high-class respectability by way of plain middle-class anxiety and ambition.”
—Gerald Early (b. 1952)