The facade is divided into two sections: the six-story stage house to the west and the five-story auditorium to the east. The ground floor is clad with terracotta blocks and contains an entrance with a marquee. The upper stories of both sections are made of brick and terracotta; the auditorium facade has arched windows, niches, and a central pediment, while the stage house has a more plain design. The interior is designed in the Adam style and includes two lobbies and a mezzanine-level lounge. The auditorium consists of a ground-level orchestra and one balcony with boxes. The theater interiors are decorated with paneling and plasterwork, and the auditorium has a domed ceiling. Above the auditorium were three stories of offices.
Alexander Pincus and M. L. Goldstone developed the Alvin Theatre, which opened on November 22, 1927, with Funny Face. Aarons and Freedley initially operated the theater and owned it from 1930 to 1932. In the theater's early years, it hosted musicals such as Anything Goes, Lady in the Dark, and Something for the Boys, as well as plays. CBS took over in 1946 and continued to operate the theater until 1959, when Max and Stanley Stahl bought it. The Alvin was further sold in 1967 to Rock-Time Inc. and in 1975 to the Nederlanders. Through the 1960s and 1970s, the Alvin hosted long runs of shows such as A Funny Thing Happened on the Way to the Forum, High Spirits, The Great White Hope, Company, Shenandoah, and Annie. After the theater was renamed for Neil Simon, it hosted several of his plays during the 1980s and 1990s, as well as the musical Hairspray during much of the 2000s.
The Neil Simon Theatre, originally the Alvin Theatre, was designed by Herbert J. Krapp and was constructed in 1927. The exterior is designed in the neo-Georgian style,[5][8] while the interior is designed in the Adam style typical of most of Krapp's designs.[9]
Facade
The facade consists of two sections, which are connected to each other. The five-story-tall eastern section is wider and is symmetrical, containing the auditorium entrance. The western section, which contains the stage house, is six stories high.[10][11] On the upper stories, the facade is made of red brick in English bond, with terracotta trim.[12][13] The Neil Simon is one of a few Broadway theaters with a neo-Georgian facade, along with the Belasco Theatre, Hayes Theater, and Stephen Sondheim Theatre. This was done to create the impression that theater-goers were "entering the producer's home".[8] When the Alvin was built, one critic said the exterior design had "an appearance in keeping with the dignity of its neighbor" across the street, now the Wilson.[14]
Base
In both sections, the base is made of rusticated blocks of terracotta, designed to resemble marble. On the eastern side of the ground-floor facade is a pair of recessed metal doors. The center of the auditorium facade contains two sets of metal-and-glass doors. Six doors to the east connect with the inner lobby, while eight doors to the west connect with the box office lobby; there is a modern marquee above these doors. In the stage-house section of the facade, there are several recessed doorways, including a stage door. A horizontal frieze with panels and vertical grooves runs above the base.[11][10]
Upper stories
Upper stories (east to west)
Eastern (left) pavilion of auditorium
Central section of auditorium
Stage house
Above the base, vertical terracotta bands and quoins divide the auditorium facade into three sections. The central section has three vertical bays of windows. Each bay contains a double-height arched window at the second story, with terracotta imposts and keystones near the top of each arch. On the fourth story, each of the three central bays has a rectangular window with a terracotta frame, above which is a broken pediment with scrolls flanking an urn. The fifth-story windows also have rectangular terracotta frames; their sills are connected by a terracotta band course. A triangular gable rises above these windows; there is a terracotta oculus at the center of the gable, surrounded by wreaths and floral decorations.[11][15]
The outer sections of the auditorium facade are designed as pavilions, which are almost identical to each other except at the top. Both pavilions are flanked by fluted terracotta pilasters, which rest on the frieze that runs above the base. Between these pilasters are double-height niches at the second story, each surrounded by terracotta imposts and keystones. The niches contain terracotta urns, placed above seashell motifs. Above each niche, the fourth story contains two windows with rectangular terracotta frames. Each pair of pilasters supports a terracotta entablature and pediment on the fifth floor, as well as a cornice above that story. Whereas the eastern (left) pavilion is capped by a parapet, the western (right) pavilion rises for another story, the same height as the stage house.[15][16]
The stage house is to the right of the auditorium. Vertical terracotta bands and quoins split the stage house into sections with one, three, and one bays from left to right. The windows of the stage house are rectangular, with terracotta lintels above each window. The center bays of the stage house also have terracotta panels above the third and fourth floors. There is a cornice and paneling above the fifth floor, as well as a parapet with a balustrade above the sixth floor. The leftmost bay of the stage house, nearest the auditorium, rises to a seventh story. The stage house's rightmost bay has a vertical sign with the theater's name.[15][16]
Interior
Lobbies
The rectangular ticket lobby is directly inside the main entrance[17] and has dark marble walls.[14][18][19] The western (right) wall has ticket windows, while the eastern (left) wall has a recessed niche to the inner lobby, containing a glass-and-bronze double door flanked by small sconces. The eight glass-and-bronze doors on the north wall lead from the street, with panels above them, while the south wall contains paneled wooden doors to the auditorium's orchestra level. A cornice surrounds the ceiling. which is decorated with plasterwork in the Adam style. The middle of the ceiling has a pair of crystal lamps.[17]
The inner lobby is rectangular in plan. It is accessed by the niche on its western wall, which leads from the ticket lobby, as well as from the six glass-and-bronze doors on the north wall, which lead from the street. The south wall contains paneled wooden doors to the auditorium, while the east wall contains a staircase to the mezzanine lounge. The inner lobby's ceiling is decorated with plasterwork in the Adam style and contains a pair of crystal chandeliers.[17]
When the Alvin was built, the mezzanine lounge was designed as an English lounge measuring 100 by 35 ft (30 by 11 m).[14][18] The mezzanine lounge's walls are wainscoted and contain lighting sconces.[20] The space also originally contained a fireplace. Four "retiring rooms" led off the lounge, which included men's and women's smoking rooms.[18] The lounge's ceiling has an oval dome with plasterwork decorations; a central chandelier; and a cornice, which intersects with the dome. From the mezzanine lounge, staircases lead down to the north, connecting with the inner lobby, and south, connecting with the orchestra. There are rectangular coffers above either staircase, with crystal chandeliers and surrounding cornices. The southern staircase has a metal railing.[20] These staircases were placed in the lounge, rather than within the auditorium itself, to minimize disruption from latecomers.[21]
Auditorium
The auditorium has an orchestra level, one balcony, boxes, and a stage behind the proscenium arch.[17] The auditorium space is designed with plaster decorations and is nearly square in plan.[13][17] According to the Nederlander Organization, the auditorium has 1,445 seats;[22] meanwhile, The Broadway League cites a capacity of 1,467 seats[1] and Playbill cites 1,380 seats.[23] The theater originally had a capacity of 1,400 seats, with 702 in the orchestra, 674 in the balcony, and 24 in the boxes.[14][18] An article from 1967 described the theater as having 1,363 seats for musicals and 1.334 seats for plays.[24] The auditorium initially had a color scheme of ivory, blue, gray, and gold,[14][18][21] with lavender or mulberry draperies.[13][18] White paint covers many of the original interior decorations.[13] Above the auditorium were three stories of offices.[21]
Seating areas
The orchestra level is raked, sloping down toward an orchestra pit in front of the stage.[25] The rear of the orchestra contains a promenade with a paneled wall to the east, with sconces. The rear of the orchestra has a standing rail made of marble, separating the promenade from the rear rows of seats. The promenade and the orchestra seating are separated by two columns, designed to resemble marble pillars; they are topped by Doric-style capitals.[20] The south (left) wall of the orchestra has metal doorways, alternating with paneled wall sections that contain sconces. The north (right) wall has two sets of paneled wooden doors, separated by a panel with a sconce; the doors in the rear lead to the inner lobby, while those in the front lead to the ticket lobby. The exit signs above each door are flanked by friezes that depict lyres and griffins.[25]
The balcony level is divided into front and rear sections by an aisle halfway across its depth, which in turn is delineated by a metal railing. The crossover aisle connects to exit doors on both of the side walls, which in turn are topped by friezes with lyres and griffins. Exit doors with similar friezes are also placed on the side walls next to the front balcony. The rest of the balcony's side walls are divided into sections by pilasters with Ionic capitals, which support an entablature around the auditorium. Each side-wall section contains crystal-and-brass lighting sconces. The front rail of the balcony contains swags, urns, and cameo patterns, which have been partly covered over with light boxes. The underside of the balcony has Adam-style panels with crystal light fixtures. The balcony's rear wall is divided into panels that contain lighting sconces. There are some air-conditioning vents on the walls.[20]
On either side of the stage is a wall section with three boxes at the balcony level. The boxes step downward toward the stage; the front box curves forward into the proscenium arch, while the rear box curves backward into the balcony.[13][17] At the orchestra level, there is an opening on either wall, corresponding to the locations of the boxes above. The undersides of the boxes include crystal lamps and console brackets, while the front railings of the boxes contain swags, urns, and cameo patterns. Paneled piers separate the boxes from each other, supporting a smaller entablature directly above the boxes; each small entablature has a broken pediment with scrolls flanking an urn. Above the pediment, there are colonettes with female grotesques, which extend upward to the entablature that surrounds the auditorium.[17]
Other design features
Next to the boxes is a flat proscenium arch, which consists of fluted Ionic pilasters on either side of the opening, as well as an entablature above. The entablature contains an Adam-style frieze. Above the arch is a lunette panel with a mural, which shows a pastoral scene with mythological characters.[17] When the theater was built, the proscenium opening was described as measuring 40 ft (12 m) wide.[14][18] Behind the opening, the stage was 100 feet wide and 35 feet deep, with a gridiron 68 ft (21 m) tall.[14] The orchestra pit in front of the stage could fit 48 people.[18][19] Backstage were 20 dressing rooms capable of accommodating 150 performers, as well as a pair of chorus "rest rooms" and a rehearsal room.[14][18]
The ceiling contains groin vaults on the side walls, separated by ribs with plasterwork decorations. At the front of the auditorium is a recessed circular dome encircled by ornamental bands, with a crystal chandelier hanging from a central medallion. Behind the dome, the ceiling is divided into panels with Adam-style plasterwork decorations. Above the rear balcony is a half-dome with ornamental bands and technical-booth openings. Air-conditioning vents are placed in the ceiling.[20]
History
Times Square became the epicenter for large-scale theater productions between 1900 and the Great Depression.[26][27] The Alvin Theatre was one of the later theaters to be built before the Depression.[28] The theater's name was an amalgamation of the first names of its original operators:[8][29] Alex A. Aarons (1891–1943[30]) and Vinton Freedley (1891–1969[31]). Both men hailed from Philadelphia.[28][32] Aarons was a producer of musical comedies, while Freedley was "the only Broadway producer whose name was listed in the social register".[28] The men had formed a partnership in 1923[31] or 1924,[33] but they only worked together until 1933.[31][33] Since 1983,[22][34] it has been named for Neil Simon (1927–2018), one of Broadway's most prolific playwrights.[35] The Neil Simon is operated by the Nederlander Organization.[1][23]
Development and early years
In January 1927, Alexander Pincus and M. L. Goldstone bought the sites at 244–254 West 52nd Street from the Lebanon Estates Corporation, with plans to develop a legitimate theater on the site.[36][37] Pincus had previously developed the Longacre and Imperial theaters;[38] he and Goldstone planned to fund the theater's $1.4 million cost.[39][40] The same month, Pincus submitted plans to the New York City Department of Buildings for a theater at the site, designed by Herbert J. Krapp.[41] Pincus and Goldstone awarded a general contract for the theater's construction to the O'Day Construction Company that March.[7][39] By October 1927, Aarons and Freedley had leased the theater and planned to stage George and Ira Gershwin's musical Funny Face, starring Fred and Adele Astaire.[32][42] The Alvin opened on November 22, 1927, with Funny Face;[43][44] that show ran for 250 performances.[45][46]Brooks Atkinson, the theater critic for The New York Times, wrote: "If Funny Face had been less engrossing, the audience might have had more time to appreciate the new theatre."[9][44]
The Alvin's first few musicals had relatively short runs.[47] In 1928, the theater hosted the Gershwin musical Treasure Girl with Gertrude Lawrence.[47][48] Though the musical charged a top admission of $6, then an unprecedented price,[49] it managed 69 performances before it closed.[50][51] Next was the Theatre Guild's production of Wings Over Europe, which relocated from the Martin Beck Theatre.[19] Aarons and Freedley received a $570,000 mortgage loan on the theater in January 1929.[52][53] The Rodgers and Hart musical Spring Is Here opened at the Alvin that March[54][55] and had 104 performances.[56][57] Another Rodgers and Hart musical, Heads Up!, opened at the Alvin that November[58] for a 144-performance run.[56][59] In 1930, Ethel Merman made her Broadway debut in the Gershwins' Girl Crazy,[60] which had 272 performances.[56][61] Aarons and Freedley bought the Alvin and the land underneath it that April.[62][63]
By the mid-1930s, the Alvin Theatre and the neighboring Guild (now August Wilson) Theatre were the northernmost venues in the Theater District that still hosted legitimate shows.[76] The original production of the Gershwins' American folk opera Porgy and Bess opened at the Alvin in October 1935.[77][78] While Porgy and Bess closed at the Alvin after 124 performances,[74][79][80] its revivals proved more successful.[68] This was followed in October 1936 by Porter's Red, Hot and Blue with Merman and Jimmy Durante,[70][81] which lasted 181 performances.[74][82] The Alvin hosted two musicals by Rodgers and Hart in the late 1930s.[83]I'd Rather Be Right opened with George M. Cohan in 1937,[84] running for 289 performances,[85][86] and The Boys from Syracuse opened in 1938,[87] lasting 235 performances.[88][86]
Brighton Beach Memoirs, the first play in Neil Simon's Eugene trilogy, opened at the Alvin in March 1983.[223] The Nederlanders renamed the theater for Simon shortly afterward on June 29, 1983.[224][225] The renaming was unrelated to Brighton Beach Memoirs; the Nederlanders had offered to rename the theater after Simon in 1982, but the playwright had declined at the time.[225] Neil Simon was the second playwright to have a Broadway theater named for him, after the late Eugene O'Neill, and the first living playwright so honored.[224] Members of the theatrical community expressed that the Alvin should have been renamed for the Gershwins; that name had been applied to the Uris Theatre.[226]Jerry Weintraub then purchased a stake in the operation of the Neil Simon Theatre in 1984.[227][228] Concurrently, the New York City Landmarks Preservation Commission (LPC) had started to consider protecting the Neil Simon as a landmark in 1982,[229] with discussions continuing over the next several years.[230] The LPC designated the facades of the Neil Simon, Ambassador, and Virginia (now August Wilson) theaters as landmarks in August 1985, along with the Ambassador's and Neil Simon's interiors,[231][232] over the objections of the three theaters' owners.[233][234] The New York City Board of Estimate ratified the landmark designations in December 1985.[235]
A revival of the musical The Music Man opened at the Neil Simon in early 2000,[285][286] lasting until the end of 2001.[287][288] During The Music Man's run, the comedian Mandy Patinkin launched a U.S. tour on September 10, 2001, with a concert at the Neil Simon.[289]Elaine Stritch's one-woman show Elaine Stritch at Liberty then premiered at the Neil Simon in February 2002.[290][291] After the closure of Elaine Stritch at Liberty, the Neil Simon was expanded from 1,328 seats to a potential 1,467 in preparation for its next engagement: the musical Hairspray,[292] which opened in August 2002.[293][294]Hairspray set the house record for the theater, closing at the beginning of 2009.[295][296]Robin Williams was to perform his comedy tour Weapons Of Self-Destruction at the Neil Simon in April 2009, but he canceled his engagement after undergoing surgery.[297][298] A revival of Ragtime was booked instead,[299] opening in November 2009.[300][301]Ragtime failed to repeat the success it had enjoyed at the Kennedy Center in Washington, D.C., closing in January 2010 after 57 performances.[302][303]
A revival of Frederick Loewe and Alan Jay Lerner's musical Gigi opened at the Neil Simon in April 2015, only for the show to close after two months.[324][325] In July 2015, the Nederlanders sold 20,000 sq ft (1,900 m2) of the unused air rights above the Neil Simon for $8.9 million. The buyers were a development consortium erecting a hotel several blocks away.[326][327][b] At the end of that year, The Illusionists performed a magic show at the Neil Simon for a limited run.[329][330] A revival of Andrew Lloyd Webber's hit musical Cats opened at the Neil Simon in August 2016 and ran until the end of the next year.[331][332]Tony Kushner's play Angels in America then opened in March 2018 for a three-month run.[333][334] The musical The Cher Show opened that December and ran until August 2019,[335][336] and The Illusionists returned in late 2019 for their magic show, Magic of the Holidays.[337][338]
After The Cher Show closed, MJ the Musical had been booked at the Neil Simon for mid-2020.[339] The theater did not host another show for two years due to the COVID-19 pandemic in New York City. It reopened in December 2021 with previews of MJ the Musical,[340] which officially opened in February 2022.[341][342]MJ broke the theater's box-office record ten times in 2022 and set the current record during the week ending January 1, 2023, when the musical grossed $2,223,069.[343]
Notable productions
Productions are listed by the year of their first performance.[1][23]
^ abThis capacity is approximate and may vary depending on the show.[4]
^New York City zoning sets a maximum floor area for each land lot, after which developers must buy air rights to increase their floor area. Typically, building owners could only sell air rights to developers who owned adjacent sites. Broadway theater owners are allowed to sell their air rights to developers of any lot between Sixth and Eighth Avenues north of 40th Street, regardless of whether the land lots were contiguous.[328]
^The Little Prince and the Aviator never officially opened at the Alvin Theatre; it only played previews.[218]
^ abcdefghi"New Alvin Playhouse Opens Tuesday Night: 'Fanny Face' the Initial Attraction of Theater Dedicated to Musical Comedy". New York Herald Tribune. November 20, 1927. p. E12. ProQuest1113651866.
^ abc"New Theatre on 52d St: the Alvin, Nearing Completion, Will Seat 1,400". The New York Times. November 20, 1927. p. RE2. ISSN0362-4331. ProQuest104014083.
^ ab"Neil Simon Theatre". Nederlander Organization. Archived from the original on December 4, 2021. Retrieved December 10, 2021.
^ abc"Neil Simon Theatre". Playbill. February 13, 2020. Archived from the original on February 27, 2022. Retrieved February 28, 2022.
^ ab"The Call Boy's Chat". The Philadelphia Inquirer. October 16, 1927. p. 71. Archived from the original on February 28, 2022. Retrieved February 28, 2022 – via newspapers.com.
^Johnston, Laurie; Anderson, Susan Heller (June 30, 1983). "New York Day by Day". The New York Times. ISSN0362-4331. Archived from the original on February 28, 2022. Retrieved February 28, 2022.
^"Real Estate Notes: Buyers Plan 1,500-seat Theatre for West. Fifty-second Street Plot". The New York Times. January 19, 1927. p. 39. ISSN0362-4331. ProQuest104239522.
^"12 Flatbush Houses Sold". New York Herald Tribune. January 19, 1927. p. 31. ProQuest1113685630.
^"Theater News: Judith Anderson to Appear in New George Kelly Play; Guild Troupers Depart". New York Herald Tribune. October 10, 1927. p. 13. ProQuest1113577773.
^Hammond, Percy (November 23, 1927). "The Theaters: the Astaires and Others in "Funny Face," a First-class Symbol at the New Alvin Theater Adele Astaire". New York Herald Tribune. p. 14. ProQuest1133777680.
^ abAtkinson, J. Brooks (November 23, 1927). "Astaires and Others". The New York Times. ISSN0362-4331. Archived from the original on February 28, 2022. Retrieved February 28, 2022.
^"$570,000 Advanced On Alvin Theater In Fifty-second St.: $400,000 Loaned on New Building Project on Bronx River Road Corner". New York Herald Tribune. January 23, 1929. p. 41. ProQuest1111696431.
^Ruhl, Arthur (March 12, 1929). "Spring Is Here' a Musical Way--To Take Care of Glenn Hunter: Star of 'Seventeen' Has Difficulty in New Scenes, but Davis Hokum Helps Glenn Hanter". New York Herald Tribune. p. 22. ProQuest1111951174.
^Atkinson, J. Brooks (March 12, 1929). "THE PLAY". The New York Times. ISSN0362-4331. Archived from the original on February 28, 2022. Retrieved February 28, 2022.
^"Legitimate: Only 35 Theatres Left for Legit; 17 Houses Switched Their Policies During Past Season; Once Were 60". Variety. Vol. 114, no. 7. May 1, 1934. p. 47. ProQuest1475821537.
^"'Something for the Boys' to Open at the AIvin Tonight With Ethel Merman in Lead". New York Herald Tribune. January 7, 1943. p. 14. ProQuest1267867409.
^"'Something for the Boys' to Quit the Alvin to Let 'Jackpot' Have Theater Irene Worth". New York Herald Tribune. December 15, 1943. p. 21. ProQuest1266869152.
^Atkinson, Brooks (November 19, 1946). "THE PLAY in Review". The New York Times. ISSN0362-4331. Archived from the original on February 28, 2022. Retrieved February 28, 2022.
^Dash, Thomas R. (April 20, 1951). "Theatres: "A Tree Grows In Brooklyn": Alvin Theatre". Women's Wear Daily. Vol. 82, no. 78. p. 44. ProQuest1522636836.
^Atkinson, Brooks (December 14, 1951). "At the Theatre". The New York Times. ISSN0362-4331. Archived from the original on March 1, 2022. Retrieved March 1, 2022.
^ abJohnston, Laurie; Anderson, Susan Heller (June 30, 1983). "New York Day by Day". The New York Times. ISSN0362-4331. Archived from the original on February 28, 2022. Retrieved March 1, 2022.
^ ab"Legitimate: It's Now Neil Simon; Nee Alvin Theatre". Variety. Vol. 311, no. 10. July 6, 1983. pp. 69, 74. ProQuest1438399684.
^Shepard, Joan (August 28, 1985). "Is the final curtain near?". New York Daily News. pp. 462, 464. ISSN2692-1251. Archived from the original on September 21, 2021. Retrieved September 16, 2021 – via newspapers.com.
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Le tardoneTitolo di testa del filmTitolo originaleLas otoñales Paese di produzioneSpagna, Italia Anno1964 Durata122 min Dati tecniciB/N Generecommedia RegiaMarino Girolami Sceneggiatura1° ep.: Roberto Gianviti 2° ep.: Beppe Costa, Fabio Dipas 3° ep.: Walter Chiari, Tito Carpi 4° ep.: Paulino Rodrigo 5° ep.: Renzo Tarabusi, Giulio Scarnicci ProduttoreMarino Girolami Casa di produzioneMarco Film Distribuzione in italianoPanta (1964 regionale) FotografiaMario Fioretti MontaggioEnzo G. Cas…
Sashadhar MukherjeeLahir29 September 1909Jhansi, Uttar Pradesh, IndiaMeninggal3 November 1990 (aged 81)Mumbai, Maharashtra, IndiaPekerjaanPembuat filmSuami/istriSati DeviAnak6 (mel. Joy, Deb, dan Shomu)KeluargaKeluarga Mukherjee-Samarth Sashadhar Mukherjee (29 September 1909 – 3 November 1990) adalah seorang produser dalam perfilman Hindi. Ia memulai kariernya dengan Bombay Talkies pada 1930an, dan kemudian mendirikan Filmistan Studio bersama Rai Bahadur Chunilalis yang adalah ayah dari sutrad…
Grand Prix Prancis 2023Detail lombaLomba ke 5 dari 20Grand Prix Sepeda Motor musim 2023Tanggal13–14 Mei 2023Nama resmiShark Grand Prix de FranceLokasiBugatti CircuitLe Mans, FranceSirkuitFasilitas balapan permanen4.185 km (2.600 mi)MotoGPPole positionPembalap Francesco Bagnaia DucatiCatatan waktu 1:30.705 Putaran tercepatPembalap Marco Bezzecchi DucatiCatatan waktu 1:31.855 di lap 15 PodiumPertama Marco Bezzecchi DucatiKedua Jorge Martín DucatiKetiga Johann Zarco DucatiM…
Peter J. Schoomaker Jenderal Peter Jan Schoomaker (lahir 12 Februari 1946) adalah Kepala Staf Angkatan Darat Amerika Serikat ke-35 yang diangkat pada 1 Agustus 2003. Sebelumnya, selama hampir 30 tahun, ia ditugaskan pada berbagai jenis penugasan, baik pada operasi militer konvensional maupun khusus. Ia adalah Kastaf AD pertama yang mendapat pernah mendapat pelatihan pasukan khusus, dan merupakan Kepala Staf Gabungan kedua setelah Henry H. Shelton. Artikel bertopik biografi Amerika Serikat ini ad…
American shipped through the post Charlotte May PierstorffBornMay 12, 1908DiedApril 25, 1987(1987-04-25) (aged 78)Known forBeing shipped through the U.S. Mail Charlotte May Pierstorff (May 12, 1908 – April 25, 1987), American girl who was shipped alive through the United States postal system by parcel post on February 19, 1914.[1][2][3] After the incident, parcel post regulations were changed to prohibit the shipment of humans.[4] In 1997, Michael O. T…
Demographics of the United KingdomPopulation pyramid in 2021Population 67,596,281 (2022)[1]Density279/km2 (720/sq mi) (2022)[1]Growth rate 0.53% (2022 est.)Birth rate 10.79 per 1,000 (2022)Death rate 9.07 per 1,000 (2022)Life expectancy 81.94 years (2022) • male 79.95 years of age (2022) • female 84.04 years of age (2022)Fertility rate 1.61 (2021)Infant mortality rate 3.82 deaths/1,000 live births (2022)Net migration rate 3.59 migrant(s)/1,000 po…
American college basketball season 1956–57 North Carolina Tar Heels men's basketballNCAA tournament National championsACC tournament championsACC regular season championsConferenceAtlantic Coast ConferenceRankingCoachesNo. 1APNo. 1Record32–0 (14–0 ACC)Head coachFrank McGuireAssistant coachBuck FreemanHome arenaWoollen GymnasiumSeasons← 1955–561957–58 → 1956–57 ACC men's basketball standings vte Conf Overall Team W L PCT W …