- (1909 - 1919) Active on Broadway in the following productions:
- (1909) Stage Play: The Climax. Comedy. Written by Edward Locke. Incidental music by Joseph Carl Breil [earliest Broadway credit]. Weber's Music Hall (moved to Daly's Theatre from 26 Apr 1909- 11 Jul 1909, then moved to Weber's Music Hall from 12 Jul 1909- close): 12 Apr 1909- Nov 1909 (closing date unknown/240 performances). Cast: Albert Bruning (as "Luigi Golfanti"), William Lewers (as "John Raymond"), Effingham Pinto (as "Pietro Golfanti") [Broadway debut], Leona Watson (as "Adelina von Hagen"). Produced by Joseph M. Weber. Note: Filmed by Universal Pictures as The Climax (1930), by Universal Pictures as The Climax (1944) starring Boris Karloff, and produced as an episode of the Broadway Television Theatre [which ran from 1952- 1954] by WOR-TV in 1953 starring Sylvia Sidney.
- (1910) Stage Play: The Climax. Comedy. Written by Edward Locke. Incidental music by Joseph Carl Breil. Weber's Music Hall: 30 Apr 1910- May 1910 (closing date unknown/33 performances). Cast: Effingham Pinto, Ann Swinburne, Robert S. Taber, Albert Tavernier. Produced by Joseph M. Weber. Note: Filmed by Universal Pictures as The Climax (1930), by Universal Pictures as The Climax (1944) starring Boris Karloff, and produced as an episode of the Broadway Television Theatre [which ran from 1952- 1954] by WOR-TV in 1953 starring Sylvia Sidney.
- (1919) Stage Play: The Climax. Comedy (revival). Written by Edward Locke. Incidental music by Joseph Carl Breil [final Broadway credit during lifetime]. Comedy Theatre: 16 Jan 1919- Feb 1919 (closing date unknown/28 performances). Cast: Eleanor Painter, Effingham Pinto, Roy Walling, Walter Wilson. Produced by Lee Shubert and J.J. Shubert. Note: Filmed by Universal Pictures as The Climax (1930), by Universal Pictures as The Climax (1944) starring Boris Karloff, and produced as an episode of the Broadway Television Theatre [which ran from 1952- 1954] by WOR-TV in 1953 starring Sylvia Sidney.
- (1917) Joseph Carl Breil's Dramatic Music for Motion Picture Plays (Chappell Music, London). Composer's Foreword: "The object of this book is to assist directors of orchestras, pianists and organists in moving picture presentations to devise fitting music for their attractions. It is the result of several years experience at composing and adapting music to motion picture plays. The numbers herein contained, embrace expression of the various human emotions and impressions; and are so arranged that they may be satisfactorily played, by either a solo piano or organ, or by an orchestra of either limited or large dimensions. Each number has been divided into several sections, A-B-C--etc, all designed to express the normally logical sequences of scenes. These can each be repeated in part, or as a whole, if the scenes are of unusual duration. Each single section has been so constructed that it can be played independently, in other words the entire book has been so arranged, that it is possible to pass from one section of one number into almost any section of another without violently offending the ear or breaking the musical continuity. It will be found that both in tonality and thematic construction a co-relation has been maintained between nearly all the numbers. Thus for instance, it seems quite natural to pass from the end of B in number 1 to either A of number 2 or B of number 4 etc. etc. Upon examination it will be found that this rule applies to nearly all sections in the book. The musical director of a Motion Picture Orchestra will thus, with a little acumen and understanding on his own part, be enabled to give absolute spice and variety to the accompaniment of a picture play; and if he handles the adaptations deftly, he will find the numbers in this book will enable him to present what, really might be called an opera score without voices. The actors on the screen will prove to be silent singers. Besides having compiled this book with all these utilitarian objects in view, the other aim not neglected was to write it in a dignified musicianly manner, attractive to both the unscholastic as also to the music student. That the "hoi polloi" will enjoy, and the musical savant take no exceptions to these strains is the ardent wish of the composer."
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