Introduction “Exactly As You Envisioned” 1

Home , Alan Schneider, Barney Rosset, Beckett on Film, Coconut Grove Playhouse, Michael Weller

Notes

Introduction “Exactly as You Envisioned” 1 . R a k e s h H . S o l o m o n , Albee in Performance (Bloomington: Indiana University Press, 2010), 7. Despite his appreciation for Schneider’s work on his early plays, later in his career Albee turned to other directors and, increasingly, to directing his own work. 2 . Three of Beckett’s favored European directors—Roger Blin (Paris), Donald McWhinnie (London), and Deryk Mendel (Berlin)—directed two world premieres each. He also worked closely with George Devine, an actor-manager- director at the Royal Court Theatre in London, although Devine did not stage any world premieres. 3 . Minor works for the theatre include the two mimes (Act Without Words I and II ), the unfinished Rough for Theatre I and II , Breathe , Come and Go , and A Piece of Monologue . 4 . There is considerable speculation about why Beckett never returned to the United States. Schneider himself concluded that New York was “just too far away and too noisy, the job of getting [there] too demanding.” Alan Schneider, “Working with Beckett,” in On Beckett: Essays and Criticism, ed. S. E. Gontarski (New York: Grove Press, 1986), 238. In the following years, plans were occasionally made for a repeat visit, but they never came to fruition. See also Lois Oppenheim, Palgrave Advances in Samuel Beckett Studies (New York: Palgrave, 2004), 2. Oppenheim argues that Beckett could indulge his reluctance to return to the United States partly because he trusted Schneider to steward his work there. 5 . Schneider to Beckett (January 10, 1964), in No Author Better Served: The Correspondence of Samuel Beckett and Alan Schneider , ed. Maurice Harmon (Cambridge: Harvard University Press, 1998), 151. 6 . Martin Esslin, “The Man Who Understood Beckett,” The New York Times , January 26, 1986. 7 . Quoted in Jeffrey Stephens, “Negotiations and Exchanges: Alan Schneider, Our Town , and Theatrical Dé tente,” The Journal of American Drama and Theatre 23 (Winter 2011), 43–44. 154 ● Notes

8 . O p p e n h e i m , Palgrave Advances in Samuel Beckett Studies , 5. 9 . Mark Nixon and Matthew Feldman, The International Reception of Samuel Beckett (London: Continuum, 2009), 5. 10 . Nicholas Johnson, “A Spectrum of Fidelity, an Ethic of Impossibility: Directing Beckett,” in The Plays of Samuel Beckett, ed. Katherine Weiss (London: Methuen, 2013), 152. 1 1 . M a r v i n C a r l s o n , The Haunted Stage: The Theatre as Memory Machine (Ann Arbor: University of Michigan Press, 2001). 12 . Schneider, “Working with Beckett,” 239. Schneider articulated this theme often in his writings, including his autobiography, Entrances (New York: Limelight, 1987), 252. 13 . “Role of Director Defined by Panel,” The New York Times , February 9, 1960. 14. See David Bradby and David Williams’s introduction in Directors’ Theatre (New York: St. Martin’s Press, 1988), 1–23. 15 . Richard Gilman, “How the New Theatrical Directors Are Upstaging the Playwright,” The New York Times , July 31, 1977. Gilman (1923–2006) was one of the last century’s leading American theatre critics. The author of five books, he taught at the Yale School of Drama from 1967 to 1998. This article signals not just news reporting, but also a significant marker in the zeitgeist shift toward the auteur director. 1 6 . I b i d . 1 7 . L o i s O p p e n h e i m , Directing Beckett (Ann Arbor: University of Michigan Press, 1994), 55. 18 . Maurice Harmon, ed., No Author Better Served: The Correspondence of Samuel Beckett and Alan Schneider (Cambridge: Harvard University Press, 1998). Although I was able to view much of the correspondence in person, I will cite the published letters and not the archive directly. Harmon’s editing has been thorough. He grappled (mostly successfully) with the issue of Beckett’s nearly illegible handwriting. While the Beckett estate restricted the publication of some personal material, in the estimation of James Knowlson, “almost nothing of real import has been omitted.” See his review in The Journal of Beckett Studies 8, (2), 86. 19 . See Martha Dow Fehsenfeld and Lois More Overbeck, ed., The Letters of Samuel Beckett, Volume 1 (1929–1940) and, with editors George Craig and Dan Gunn, Volume II (1941–1956) (London: Cambridge University Press, 2009, 2011). 20 . The editors of the series, working under constraints set forth by the Beckett estate (and before his death, by Beckett himself), are able to publish only 2,500 out of some 15,000 items of correspondence they have collected. This leaves much work to be done for scholars, who must uncover in archives those items that remain unpublished, and has attracted some degree of criticism for the series. See Aaron Their, “Love, Sam,” The Nation (June 4, 2012), 28–32, and S. E. Gontarski, “A Contrarian Reads the Letters of Samuel Beckett, 1941– 1956,” James Joyce Literary Supplement 27 (2013), 17–18 for two examples. Notes ● 155

Nevertheless, response to the first two volumes has been mostly positive. Enoch Brater labeled it “one of the most important epistolary editing projects of our time” in his review for Modern Drama 55 (Fall 2012), 412. 21 . S. E. Gontarski, “Greying the Canon: Beckett in Performance,” in Beckett after Beckett , ed. S. E. Gontarski and Anthony Uhlmann (Gainesville: University Press of Florida, 2006), 145. Gontarski also notes that Beckett’s authoritative voice on his own work was heard by Schneider more than most other directors and collaborators, 143. 22 . Beckett’s production notebooks show a similar formal approach to textual analysis and division, albeit a more precise and exacting one. See The Theatrical Notebooks of Samuel Becket, Volumes I–IV , published by Grove Press and Faber and Faber between 1992 and 1999. 23 . Schneider, “Working with Beckett,” 246–247. 2 4 . I b i d . , 2 4 4 . 25 . This was the case in the filmed version of Not I for the Beckett on Film Project, Blue Angel Films, 2001, directed by Neil Jordan, with Julianne Moore playing Mouth. 26 . Stanton Garner, Bodied Spaces (Ithaca, NY: Cornell University Press, 1994), 54. 27 . Ruby Cohn, “Animateurs de Beckett,” in Samuel Beckett Revue d’Esth é tique , ed. Pierre Chabert (Paris: Jean-Michel Place, 1990), 193. 2 8 . S . E . G o n t a r s k i , “ R e i n v e n t i n g B e c k e t t , ” Modern Drama 49 (Winter 2006), 430. 29 . It took Roger Blin three years to find a theatre for the world premiere of Godot in Paris: see David Bradby, Modern French Drama 1940–1990 (Cambridge: Cambridge University Press, 1991), 51. Peter Bull, who played Pozzo in the original London production directed by Peter Hall in 1955, described the opening-night audience as “hostile.” See Ruby Cohn, ed., Casebook on Waiting for Godot (New York: Grove Press, 1967), 41. This is to say nothing of the first American audience’s response, which I address in chapter 1 . 30 . C. W. E. Bigsby, Modern American Drama, 1945–2000 (Cambridge: Cambridge University Press, 2000), 125. 31 . Including Schneider himself, who studied for a time with Lee Strasberg. 3 2 . W e i s s , The Plays of Samuel Beckett , 196. 33. S. E. Gontarski, “Within a Budding Grove: Publishing Beckett in America,” in A Companion to Samuel Beckett (West Sussex: Wiley/Blackwell, 2010), 23–31. 3 4 . L o r e n G l a s s , Counter-Culture Colophon: Grove Press, The Evergreen Review, and the Incorporation of the Avant-Garde (Stanford: Stanford University Press, 2013), 12. Glass’s book is an excellent look at Rosset’s life and includes a detailed discussion of his involvement in off-Broadway theatre; see chapter 2 , “Publishing Off Broadway,” 65–99. 35 . In addition to Glass’s work, Gontarski has done much to demonstrate the centrality of Rosset’s role. 156 ● Notes

3 6 . X e r x e s M e h t a , “ G h o s t s , ” i n Directing Beckett, ed. Lois Oppenheim (Ann Arbor: University of Michigan Press, 1994), 170. 37 . See his foreword to Joseph W. Zeigler’s Regional Theatre: The Revolutionary Stage (Minneapolis: University of Minnesota Press, 1973). 38 . Schneider to Franklin Heller, October 16, 1979, Schneider to Franklin Heller, 1975–1984, Alan Schneider Papers, Box 64, Mandeville Special Collections Library, University of California, San Diego. Heller was one of Schneider’s editors for his autobiography Entrances . 39 . Mark Matousek, “Schneider on Beckett, Understanding Differently,” The Village Voice (July 3, 1984), 97. 40 . Beckett to Schneider, February 1, 1961, Maurice Harmon ed., No Author Better Served: The Correspondence of Samuel Beckett and Alan Schneider (Cambridge: Harvard University Press, 1998), 79. 4 1 . S c h n e i d e r , Entrances , 250. 42 . Beckett to Schneider, January 14, 1971, Harmon, No Author Better Served, 244.

1 The Laugh Sensation of Two Continents! 1 . The New York production was still billed as a premiere for several reasons. First, the Miami run was technically an out-of-town preview for the Broadway production. Second, even though the New York production had a (mostly) new cast and a new director, it retained the same producer, who viewed the Miami opening as a fiasco and reimagined the New York opening as the offi- cial premiere. Third, because the run in Miami was abbreviated and because of New York’s significance as theatrical capital sine qua non, the New York opening was viewed as the more significant “premiere” for the playwright. 2 . David Richards, “Staging the Inner Life: Director Alan Schneider and His Theater of Humanity,” The Washington Post , May 4, 1984, B1, Alan Schneider Clippings File, Harvard Theatre Collection, Harvard University. 3. A l a n S c h n e i d e r , Entrances: An American Director’s Journey (New York: Proscenium, 1987), 183–186. 4 . Craig et al., eds., The Letters of Samuel Beckett, 1941–1956 (Cambridge: Cambridge University Press, 2011), 413. 5 . I b i d . , 4 7 8 . 6 . Ibid., 498, n. 2. It is interesting to consider this alternate scenario; had Godot premiered off-Broadway in the Village, it would have undoubtedly found a more welcoming audience than it did in Miami. 7 . Myerberg originally wanted Sir Peter Hall, director of the British premiere, to direct the American production, but he was unavailable (Craig, 570). See also James Knowlson, Damned to Fame , The Life of Samuel Beckett (New York: Simon & Schuster, 1996), 375. 8 . Myerberg to Schneider, November 16, 1955, Contract Agreement, Waiting for Godot (1956) Arbitration, Schneider vs. Myerberg, Alan Schneider Papers Notes ● 157

Box 10, Mandeville Special Collections Library, University of California, San Diego. 9 . A r n o l d A r o n s o n , American Avant-Garde Theatre: A History (London: Routledge, 2000), 42–44. The size of off-Broadway houses has since been increased to a maximum of 499, with a minimum of 100. 10 . David A. Crespy, Richard Barr: The Playwright’s Producer (Carbondale: Southern Illinois University Press, 2013), 79. 1 1 . J o s e p h W . Z e i g l e r , Regional Theatre: The Revolutionary Stage , with a forward by Alan Schneider (Minneapolis: University of Minnesota Press, 1973), 17–31. 12 . Craig et al., The Letters of Samuel Beckett, 569, n. 1. 1 3 . S c h n e i d e r , Entrances , 223–224. 1 4 . P r o d u c t i o n p h o t o s r e p r i n t e d i n Theatre Arts Magazine , August 1956, confirm this impression, depicting a stage covered with dead branches, a barrel, and a background draped in layers of fabric. Waiting for Godot (1956) Theatre Arts Magazine , Alan Schneider Papers, Box 11, Mandeville Special Collections Library, University of California, San Diego. Beckett also mentions this frequently in Volume II of his correspondence; see, for example, Craig et al., eds., The Letters of Samuel Beckett , 548, 568, 570. 15 . Beckett to Schneider, December 14, 1955, Maurice Harmon ed., No Author Better Served: The Correspondence of Samuel Beckett and Alan Schneider (Cambridge: Harvard University Press, 1998), 2–5. The majority of Beckett’s notes to Hall concern details of pronunciation, pacing, pauses, and emphasis. 16 . Myerberg to Schneider, undated telegram, Waiting for Godot (1956) Correspondence 1955–1956, Alan Schneider Papers, Box 11, Mandeville Special Collections Library, University of California, San Diego. 17 . Lahr, Ewell to Schneider, December 1, 1955, Western Union Cablegram, Waiting for Godot (1956) Correspondence 1955–1956, Alan Schneider Papers, Box 11, Mandeville Special Collections Library, University of California, San Diego. 1 8 . Waiting for Godot (1956), Director’s Promptbook (Photocopy) Part 1, Alan Schneider Papers, Box 11, Mandeville Special Collections Library, University of California, San Diego. 1 9 . S c h n e i d e r , Entrances , 226. 20 . Schneider to Myerberg; the letter is undated but refers to it being the night before he left for France. Waiting for Godot (1956) Correspondence 1955– 1956, Alan Schneider Papers, Box 11, Mandeville Special Collections Library, University of California, San Diego. 2 1 . S c h n e i d e r , Entrances, 228. 22 . Johnson to Schneider, November 20, 1955, Waiting for Godot (1956) Correspondence 1955–1956, Alan Schneider Papers, Box 11, Mandeville Special Collections Library, University of California, San Diego. 23 . See David Bradby, Waiting for Godot, Plays in Production (Cambridge: Cambridge University Press, 2001), 80. Bradby offers an insightful reading as to why both English and American audiences were hesitant about the play at first, which resulted in similar problems in each premiere. 158 ● Notes

2 4 . L e s E s s i f , Empty Figure on an Empty Stage (Bloomington: Indiana University Press, 2001), 27. 2 5 . I b i d . , 6 4 . 26 . Quoted in Aaron Their, “Love Sam,” The Nation , June 4, 2012, 31. 27 . Schneider to Myerberg, December 11, 1955, Waiting for Godot (1956) Correspondence 1955–1956, Alan Schneider Papers, Box 11, Mandeville Special Collections Library, University of California, San Diego. 2 8 . Waiting for Godot (1956) Director’s Notebook, Alan Schneider Papers Box 11, Mandeville Special Collections Library, University of California, San Diego. 2 9 . I b i d . 30 . Beckett abhorred this detail. See Schneider, Entrances , 225. 31 . Myerberg to Schneider, December 12, 1955, Waiting for Godot (1956) Correspondence 1955–1956, Alan Schneider Papers, Box 11, Mandeville Special Collections Library, University of California, San Diego. 3 2 . Waiting for Godot (1956), Floor Plans, Alan Schneider Papers, Box 65, Mandeville Special Collections Library, University of California, San Diego. 33 . Beckett to Schneider, December 27, 1955, Harmon, No Author Better Served, 6. 3 4 . Waiting for Godot (1959) Photos, Alan Schneider Papers, Box 13, Mandeville Special Collections Library, University of California, San Diego. 3 5 . Waiting for Godot , 1971, Theatre on Film and Tape Archive, Billy Rose Theatre Collection, New York Public Library. 36 . Una Chaudhuri, Staging Place: The Geography of Modern Drama (Ann Arbor: University of Michigan Press, 1995), 23. 3 7 . Waiting for Godot (1956) Director’s Notebook, Alan Schneider Papers Box 11, Mandeville Special Collections Library, University of California, San Diego. 3 8 . I b i d . 3 9 . S c h n e i d e r , Entrances, 222–223. The two spent so much time together that after the trip a rumor emerged, completely erroneous, that Wilder had “rewritten” Beckett’s script. 40 . Schneider is quoting Wilder here in a letter to Myerberg; see note 20. 41 . Schneider to Myerberg, undated, Waiting for Godot (1956) Correspondence 1955–1956, Alan Schneider Papers, Box 11, Mandeville Special Collections Library, University of California, San Diego. The letter refers to the date as being the day following Schneider and Beckett’s first meeting, recorded else- where as November 26, 1955. 42 . See Ruby Cohn, “Animateurs de Beckett,” in Samuel Beckett Revue d’Esthé tique , ed. Pierre Chabert (Paris: Jean-Michel Place, 1990), 192. 4 3 . Waiting for Godot (1956) Director’s Notebook, Alan Schneider Papers Box 11, Mandeville Special Collections Library, University of California, San Diego. 4 4 . S a m u e l B e c k e t t , Complete Dramatic Works (London: Faber and Faber, 1990), 50. 4 5 . Waiting for Godot (1956) Director’s Notebook, Alan Schneider Papers Box 11, Mandeville Special Collections Library, University of California, San Diego. 46 . My comments about blocking and other staging details are extrapolated from the two Schneider Godots that I have seen on tape—the 1960 television version Notes ● 159

and the 1971 off-Broadway revival available at the Theatre on Film and Tape archive, Billy Rose Theatre Collection at Lincoln Center, New York Public Library. 4 7 . B e c k e t t , Complete Dramatic Works , 64. 4 8 . Waiting for Godot (1956) Director’s Notebook, Alan Schneider Papers Box 11, Mandeville Special Collections Library, University of California, San Diego. 4 9 . I b i d . 50 . Beckett to Schneider, December 27, 1955, Harmon, No Author Better Served, 6. 51 . Dougald McMillan and James Knowlson, eds., The Theatrical Notebooks of Samuel Beckett: Volume I: Waiting for Godot (New York, Grove Press, 1994), xiv. 5 2 . S c h n e i d e r , Entrances, 228. 53 . Another instance of Beckett’s concurrence with Schneider on this point is when he revised the opening tableau to have Vladimir onstage with Estragon as a way of emphasizing symmetry and balance. See McMillan and Knowlson, Theatrical Notebooks, xiii. 5 4 . S c h n e i d e r , Entrances, 231. For Schneider’s full account of the experience, see pages 227–235. 5 5 . J o h n L a h r , Notes on a Cowardly Lion (New York: Alfred A. Knopf, 1969), 263–264. 5 6 . S c h n e i d e r , Entrances , 235. 5 7 . Waiting for Godot , Fox Rock Film, 1961. 5 8 . S c h n e i d e r , Entrances , 227–230. 5 9 . Waiting for Godot (1956) Director’s Notebook, Alan Schneider Papers Box 11, Mandeville Special Collections Library, University of California, San Diego. 60 . Director Herbert Blau encountered similar skepticism when he first worked on the play with the Actor’s Workshop around the same time. He even raised with Beckett his concern that the play was somehow “un-American”: see Blau, As If (Ann Arbor: University of Michigan Press, 2011), 220–221. 61 . John Bell, “American Drama in the Postwar Period,” in Concise Companion to Postwar American Literature and Culture , ed. Josephine G. Hendin (Malden: Blackwell, 2004), 110–113. 62 . Harold Clurman made essentially the same point in his review of the Broadway premiere in The Nation : “What is all this if not the concentration in almost childlike images of the contemporary European—particularly French—mood of despair, a distorted mirror reflection of the impasse and disarray of Europe’s present politics, ethic, and common way of life? If this play is generally difficult for Americans to grasp as anything but an exasperatingly crazy concoction, it is because there is no immediate point of reference for it in the conscious life of our people.” See “Theatre,” The Nation 182 (May 5, 1956), 387–390. 6 3 . S c h n e i d e r , Entrances , 229. 6 4 . Waiting for Godot (1956) Programs and Publicity Materials, Alan Schneider Papers Box 11, Mandeville Special Collections Library, University of California, San Diego. 6 5 . I b i d . 160 ● Notes

6 6 . Q u o t e d i n C r a i g e t a l . , The Letters of Samuel Beckett, 595, n.3. 67 . “Theatre Is a Hit But Godot Isn’t” was the headline in the Miami Daily News . See Craig et al., The Letters of Samuel Beckett, 593, n.4. 68 . “800-Seat Theatre Is Opened in Miami,” The New York Times, January 5, 1956. 69 . Sam Zolotow, “Play by Beckett to Close on Road,” The New York Times, January 6, 1956. 7 0 . L a h r , Notes on a Cowardly Lion , 262. When Myerberg opened his Broadway premiere that April, he freely admitted fault for the way the Miami production was positioned. See Arthur Gelb, “Wanted: Intellectuals,” The New York Times , April 15, 1956, 117. 71 . Beckett to Schneider, January 11, 1956, Harmon, No Author Better Served, 8. 72 . Anna McMullan, “Samuel Beckett as director: the art of mastering failure,” in The Cambridge Companion to Beckett, ed. John Pilling (Cambridge: Cambridge University Press, 1994), 196–208. 73 . Beckett to Schneider, January 11, 1956, Harmon, No Author Better Served, 9. Beckett mentioned that Rosset was talking with producers at the Théâ tre de Lys in New York about a potential production. 7 4 . K n o w l s o n , Damned to Fame , 700, n.12. 75 . Ibid., 380. Myerberg’s contract gave him control over New York productions for quite some time, a matter that was mentioned several times in correspondence between Beckett and Schneider from 1956 to 1962. See also Harmon, No Author Better Served, 21–22, 63, 117–118. 76 . For a detailed account of the process, see Lahr, Notes on a Cowardly Lion , 274–284. 77 . Arthur Gelb, “Wanted: Intellectuals,” The New York Times, April 15, 1956, 117. See also Knowlson, Damned to Fame, 380. Myerberg also held open forums between the cast and audiences after certain performances. See “Forum on ‘Godot’ Tuesday,” The New York Times , May 11, 1956, 25 and Enoch Brater, The Essential Samuel Beckett (London: Thames and Hudson, 1989), 67. 78. Brooks Atkinson, “Theatre: Beckett’s ‘Waiting for Godot,’” The New York Times , April 20, 1956, 21. 79 . See Loren Glass, Counter-Culture Colophon: Grove Press, The Evergreen Review, and the Incorporation of the Avant-Garde (Stanford: Stanford University Press, 2013), 69–70. 8 0 . Waiting for Godot . LP. Caedmon Recordings, 1956. 81 . Wood to Myerberg, March 28, 1956, Waiting for Godot (1956) Arbitration, Schneider vs. Myerberg, Alan Schneider Papers Box 10, Mandeville Special Collections Library, University of California, San Diego. 8 2. Schneider to Wood, June 21, 1956, Waiting for Godot (1956) Arbitration, Schneider vs. Myerberg, Alan Schneider Papers Box 10, Mandeville Special Collections Library, University of California, San Diego. 83 . Oster to Orenstein, Esq. March 6, 1957 and Lahr to Orenstein, March 7, 1957, Waiting for Godot (1956) Arbitration, Schneider vs. Myerberg, Alan Notes ● 161

Schneider Papers Box 10, Mandeville Special Collections Library, University of California, San Diego. 84. From the program note “About the Play: Godot is ‘what people wait for.’ Beckett is carefully allusive, giving Godot concrete aspects of the big things all of us wait for. (Not the Cadillacs, raises and strawberry sodas.) Thus, obscu- rity in the identity of Godot is actually in the lives of those watching. Life is ‘waiting’ for something, and if the spectators don’t know what they themselves are waiting for, the fault is not entirely Beckett’s.” Waiting for Godot (1959) Playbill and Programs, Alan Schneider Papers Box 13, Mandeville Special Collections Library, University of California, San Diego. 8 5 . Q u o t e d i n G l a s s , Counter-Culture Colophon , 70. 8 6 . D a v i d B r a d y , Waiting for Godot, Plays in Production (Cambridge: Cambridge University Press, 2001), 96 –105. See also S. E. Gontarski, “Beckett’s Reception in the USA,” in The International Reception of Samuel Beckett , ed. Mark Nixon and Matthew Feldman (London: Continuum, 2009), 12–13. 8 7 . M a r t i n E s s l i n , The Theatre of the Absurd , 3rd ed. (New York: Vintage Books, 2004 [1961]), 19–28. 88 . See Herbert Blau, The Impossible Theatre (New York: Macmillan, 1964), 236, and Sails of the Herring Fleet: Essays on Beckett (Ann Arbor: University of Michigan Press, 2000), 37. 8 9 . B l a u , The Impossible Theatre , 236. Blau goes on to describe how warmly and enthusiastically they were received in Brussels. 9 0 . H a r m o n , No Author Better Served, 73–74. 91 . Alan Schneider, “No More Waiting,” The New York Times, January 31, 1971, D1. 92 . See, for example, Gottfried’s 1972 review, “Beckett Festival at Lincoln Center,” Women’s Wear Daily , November 22, 1972. 93 . They were two of many. Another group committed to off-Broadway and new work at this time was the triumvirate in charge of the Playwrights Unit: Richard Barr, Clinton Wilder and Edward Albee. See David A. Crespy, “A Paradigm for New Play Development,” Theatre History Studies 26 (2006), 31–51.

2 Finding a Home Off-Broadway 1 . See two Ruby Cohn sources for a detailed description of this: “The Play That Was Rewritten: Fin de Partie,” in Just Play: Beckett’s Theater (Princeton, NJ: Princeton University Press, 1980), 173–186, and “The Beginning of Endgame ,” Modern Drama 9 (December 1966), 319–323. 2 . Deirdre Bair, Samuel Beckett, A Biography (New York: Harcourt Brace Jovanovich, 1978), 479. 3 . Dougald McMillan and Martha Fehsenfeld, Beckett in the Theatre: The Author as Practical Playwright and Director (London: John Calder, 1988), 163. 4 . A l a n S c h n e i d e r , Entrances: An American Director’s Journey (New York: Proscenium, 1987), 248. 162 ● Notes

5 . In a November 21, 1957 letter to Schneider, Beckett indicated that Myerberg had planned to do another production of Godot . At this point, Beckett was still uncertain as to when Myerberg’s control of Godot productions in the United States would expired, according to the original contract. Maurice Harmon ed., No Author Better Served: The Correspondence of Samuel Beckett and Alan Schneider (Cambridge: Harvard University Press, 1998), 21. 6. Beckett to Schneider, April 16, 1957 and April 30, 1957, Harmon, No Author Better Served, 13–14. 7 . Beckett to Rosset, April 6, 1957, Beckett-Rosset Collection Box 3, Burns Library Special Collections, Boston College. 8 . Beckett to Schneider, August 12, 1957, Harmon, No Author Better Served, 15. 9 . A r n o l d A r o n s o n , American Avant-Garde Theatre: A History (London: Routledge, 2000), 42–44. 10 . This is not to say that Schneider never directed on Broadway again; he had several prominent Broadway premieres, including Albee’s Who’s Afraid of Virginia Woolf in 1962, a high point in his career. 11. S. E. Gontarski, “Within a Budding Grove: Publishing Beckett in America,” in A Companion to Samuel Beckett , ed. S. E. Gontarski (Chichester: Wiley- Blackwell, 2010), 27. 1 2 . S c h n e i d e r , Entrances, 247. 13 . Beckett to Schneider, October 26, 1957, Harmon, No Author Better Served, 17. 1 4 . L o i s O p p e n h e i m , Directing Beckett (Ann Arbor: University of Michigan Press, 1994), 133. 1 5 . M a r k T a y l o r - B a t t y , Roger Blin: Collaborations and Methodologies (Oxford: Oxford Press, 2007), 114–115. 16. Beckett to Schneider, January 11, 1956, Harmon, Harmon, No Author Better Served, 8. 1 7 . O d e t t e A s l a n , Roger Blin and Twentieth-Century Playwrights , trans. Ruby Cohn (Cambridge: Cambridge University Press, 1988), 159. 1 8 . T a y l o r - B a t t y , Roger Blin, 130. 1 9 . S c h n e i d e r , Entrances , 250. 2 0 . Endgame (1958) Director’s Promptbook, Alan Schneider Papers Box 12, Mandeville Special Collections Library, University of California, San Diego. 2 1 . I b i d . 2 2 . I b i d . 2 3 . S . E . G o n t a r s k i , e d . , The Theatrical Notebooks of Samuel Beckett; Volume II: Endgame (London: Faber and Faber Limited, 1992). 24 . McMillan and Fehsenfeld, Beckett in the Theatre, 186–188. 25 . Quoted in Ruby Cohn, A Beckett Canon (Ann Arbor: University of Michigan Press, 2001), 230. 2 6 . Endgame (1958) Director’s Promptbook, Alan Schneider Papers Box 12, Mandeville Special Collections Library, University of California, San Diego. 2 7 . I b i d . Notes ● 163

28 . H. Porter Abbott, “Late Modernism: Samuel Beckett and the Art of the Oeuvre,” in Around the Absurd , ed. Enoch Brater and Ruby Cohn (Ann Arbor: University of Michigan Press, 1990), 73–96. 29 . Alan Schneider, “Working with Beckett,” in On Beckett , ed. S. E. Gontarski (New York: Grove Press, 1986), 247. 3 0 . G o n t a r s k i , Theatrical Notebooks , xxi. 31 . Schneider to Beckett, November 8, 1957, Harmon, No Author Better Served, 17–21. 32 . Beckett to Schneider, November 21, 1957, Harmon, No Author Better Served, 22. 3 3 . S a m u e l B e c k e t t , Complete Dramatic Works (London: Faber and Faber, 1990), 126. 34 . Beckett to Schneider, November 21, 1957, Harmon, No Author Better Served, 22–23. 35. Beckett to Schneider, December 29, 1957, Harmon, No Author Better Served, 24. 36 . S. E. Gontarski, “Greying the Canon: Beckett in Performance,” in Beckett after Beckett , ed. S. E. Gontarski and Anthony Uhlmann (Gainesville: University Press of Florida, 2006), 143. 37 . Schneider, “Working with Beckett,” 286. 38 . Beckett to Schneider, January 9, 1958, Harmon, No Author Better Served, 29. 39 . Alan Schneider, “Waiting for Beckett, A Personal Chronicle,” The Chelsea Review (Autumn 1958), 3–20. 40. Beckett to Schneider, November 21, 1958, Harmon, No Author Better Served, 50. 4 1 . S c h n e i d e r , Entrances, 253. 4 2 . Endgame Playbill, 1958, Harvard Theatre Collection, Harvard University. 43 . Alvin Epstein, interview with the author, December 10, 2003. 4 4 . I b i d . 45 . Schneider to Beckett, January 5, 1958, Harmon, No Author Better Served, 26. 4 6 . S c h n e i d e r , Entrances , 251–252. 47 . Alan Schneider, “Waiting for Beckett,” in Critical Thought Series Four: Critical Essays of Samuel Beckett , ed. Lance St. John Butler (Hants, UK: Scolar Press, 1993), 185. 4 8 . B e c k e t t , Complete Dramatic Works , 132. 49 . Beckett to Schneider, March 30, 1958, Harmon, No Author Better Served, 44. 50 . B eckett to Schneider, April 27, 1958 and May 15, 1958, Harmon, No Author Better Served, 45–46. 5 1 . B r o o k s A t k i n s o n , “ T h e T h e a t r e : B e c k e t t ’ s ‘ Endgame, ’” New York Times (January 29, 1958), 1957–1958, New York Stage Reviews, Billy Rose Theatre Collection, Lincoln Center. 52 . Atkinson’s reaction to Beckett’s plays would continue to evolve throughout the next decade, even long after he had left the Times . It was not until the 1971 off- Broadway revival of Godot that he truly embraced Beckett wholeheartedly. 164 ● Notes

5 3 . J o h n M c C l a i n , “ B e c k e t t F a i l s i n ‘ Endgame ,’” New York Journal (January 29, 1958), 1957–1958, New York Stage Reviews, Billy Rose Theatre Collection, Lincoln Center. 54 . William H. Honan, “Existentialism Not for Beckett,” The Villager , New York (January 6, 1958), Endgame (1958) Reviews, Alan Schneider Papers Box 12, Mandeville Special Collections Library, University of California, San Diego. 5 5 . S c h n e i d e r , Entrances , 257. 56 . Schneider to Beckett, January 30, 1958, Harmon, No Author Better Served, 35. 5 7 . Endgame closed on April 20. Herb Blau’s important Actor’s Workshop production of Waiting for Godot did not come to New York until the end of that summer, 1958. 5 8 . L o r e n G l a s s , Counter-Culture Colophon: Grove Press, The Evergreen Review, and the Incorporation of the Avant-Garde (Stanford: Stanford University Press, 2013), 73. 59 . Including new works by Edward Albee, Joe Orton, Harold Pinter, Lanford Wilson, and Michael Weller. 60 . Beckett to Schneider, October 18, 1958, Harmon, No Author Better Served, 49. 61 . See Alan Havig, “Neglected Playscripts, Hidden Talent: The Vaudeville Playlet,” Journal Of American Drama and Theatre 19 (Winter 2007), 33–56, for a discussion of the role of the Little Theatre movement, early in the twentieth century, in experimentation with the one-act form. 62 . Schneider to Beckett, February 22, 1959, Harmon, No Author Better Served, 53–4. 63 . Beckett to Schneider, March 3, 1959, Harmon, No Author Better Served, 55. 64 . Beckett to Schneider, November 21, 1958, Harmon, No Author Better Served, 51. 6 5 . Happy Days, Krapp’s Last Tape, Act Without Words, Not I (1972) Director’s Notes, Alan Schneider Papers, Box 26, Mandeville Special Collections Library, University of California, San Diego, p. 100. The Schneider archive often con- tains two separate notebooks where he recorded preproduction thoughts. The first is the promptbook with the script and marginal notes. The second is a separate notebook labeled Director’s Notes. The promptbook for the 1960 production of Krapp’s Last Tape can be found in Box 13, Folder 18 of the collection. It reflects the same notation system used in the Endgame and Godot promptbooks to separate beats and pauses with margin notes commenting on the text. However, no separate file of Director’s Notes has been preserved from the 1960 premiere so I refer instead to Schneider’s notes from a 1972 revival. 66 . Notes, Stanford University—Beckett Seminar, 1975, Alan Schneider Papers, Box 38, Mandeville Special Collections Library, University of California, San Diego. 6 7 . J a m e s K n o w l s o n a n d J o h n P i l l i n g , Frescoes of the Skull (London: Calder, 1979), 89. 68 . Beckett to Schneider, January 4, 1960, Harmon, No Author Better Served, 60. Beckett’s notes for his 1969 production at the Schiller Theatre frequently reference the opposing images of dark and light, black and white. See Knowlson, Notes ● 165

ed., The Theatrical Notebooks of Samuel Beckett, Volume 3: Krapp’s Last Tape (New York: Grove Press, 1992), xiv–xxv. He returned to this theme in his 1977 production as well. 69 . McMillan and Fehsenfeld, Beckett in the Theatre, 304. 70 . Beckett to Schneider, January 4, 1960, Harmon, No Author Better Served, 60. 71 . Notes, Stanford University—Beckett Seminar, 1975, Alan Schneider Papers Box 38, Mandeville Special Collections Library, University of California, San Diego. 72. Beckett to Schneider, January 4, 1960, Harmon, No Author Better Served, 60. 73 . Schneider to Beckett, January 16, 1960, Harmon, No Author Better Served, 62. 7 4 . K n o w l s o n , The Theatrical Notebooks of Samuel Beckett, Volume 3 , xvii. 7 5 . L o i s O p p e n h e i m , The Painted Word: Samuel Beckett’s Dialogue with Art (Ann Arbor: University of Michigan Press, 2000), 160. 76 . Beckett to Schneider, September 21, 1959, Harmon, No Author Better Served, 57. See also McMillan and Fehsenfeld, Beckett in the Theatre, 288–289. 77 . Crespy, “A Paradigm for New Play Development: The Albee-Barr-Wilder Playwrights Unit,” Theatre History Studies 26 (2006), 35. 78 . Beckett to Schneider, December 7, 1959, Harmon, No Author Better Served, 58. 7 9 . Happy Days, Krapp’s Last Tape, Act Without Words, Not I (1972) Director’s Notes, Alan Schneider Papers Box 26, Mandeville Special Collections Library, University of California, San Diego, p. 99. 8 0 . Krapp’s Last Tape , LP, Spoken Arts, Inc., 1961. 8 1 . A Washington Post review praised the production for being “knowingly con- ceived, often memorably played and [with] many pulsating moments.” See Richard L. Coe, “Chekhov Pull Felt at Arena,” The Washington Post (January 14, 1960), D8. 82 . Schneider to Beckett, January 16, 1960, Harmon, No Author Better Served, 62. 8 3 . Krapp’s Last Tape (1960) Reviews, Alan Schneider Papers, Box 13, Mandeville Special Collections Library, University of California, San Diego. 84 . “Theatre: The Tape and the Zoo,” Jerry Tallmer, The Village Voice (January 20, 1960), 9–10 in Krapp’s Last Tape (1960) Reviews, Alan Schneider Papers, Box 13, Mandeville Special Collections Library, University of California, San Diego. 85 . Best new play went to Jack Gelber’s The Connection. 86 . David A. Crespy, Richard Barr: The Playwright’s Producer (Carbondale: Southern Illinois Press, 2013), 93. 87 . See three sources by David Crespy: “A Paradigm for New Play Development,” 31–51; Off-off Broadway Explosion (New York: Backstage Books, 2003), 17–30; and his new book, Richard Barr: The Playwright’s Producer. 8 8 . C r e s p y , Off-off Broadway Explosion , 30. 8 9 . C r e s p y , Richard Barr: The Playwright’s Producer , 101. 166 ● Notes

90 . Clive Barnes, “The Theatre: Krapp’s Last Tape and Zoo Story ,” The New York Times (date missing), Krapp’s Last Tape (1968) Reviews, Alan Schneider Papers, Box 23, Mandeville Special Collections Library, University of California, San Diego. 91 . Beckett to Schneider, January 11, 1956, Harmon, No Author Better Served, 8. 92 . Schneider to Beckett, May 14, 1960, Harmon, No Author Better Served, 69. 9 3 . K n o l w s o n , Damned to Fame , The Life of Samuel Beckett (New York: Simon & Schuster, 1996), 419. 94 . “Blin on Beckett,” an interview by Tom Bishop in On Beckett , ed. S. E. Gontarski, 226. 95 . Beckett to Schneider, May 23, 1960, Harmon, No Author Better Served, 71.

3 A Series of Firsts 1. Beckett to Schneider, August 4, 1960, Maurice Harmon ed., No Author Better Served: The Correspondence of Samuel Beckett and Alan Schneider (Cambridge: Harvard University Press, 1998), 72. 2. Beckett to Schneider, September 23, 1960, Harmon, No Author Better Served, 74. Beckett’s early manuscript draft of the play, begun October 8, 1960, starts: “Play. Female Solo.” See James Knowlson, Damned to Fame , The Life of Samuel Beckett (New York: Simon and Schuster, 1996), 425. 3. S . E . G o n t a r s k i , Beckett’s Happy Days: A Manuscript Study (Columbus, OH: The Ohio State University Libraries, 1977), 10. 4 . Beckett to Schneider, January 2, 1961, Harmon, No Author Better Served, 79. 5 . A l a n S c h n e i d e r , Entrances: An American Director’s Journey (New York: Proscenium, 1987), 293–295. 6 . I b i d . , 2 9 5 . 7 . By the time he was working on Play , three years later, Beckett had come to the definitive conclusion that no dramatic text could be “finished” on the page; his work on it in production was essential to the creative process. See note 76 in this chapter. 8 . Beckett to Schneider, May 5, 1961, Harmon, No Author Better Served, 82. 9 . Schneider to Beckett, November 26, 1960, Harmon, No Author Better Served, 76. 10 . Schneider to Barr, July 20, 1961, Happy Days (1961) Correspondence, Alan Schneider Papers Box 14, Mandeville Special Collections Library, University of California, San Diego. 11 . Beckett to Schneider, July 25, 1961, Harmon, No Author Better Served, 90. 12. Beckett to Schneider, August 8, 1975, Harmon, No Author Better Served, 329. 13 . Schneider to Beckett, July 6, 1961, Harmon, No Author Better Served, 84. 14 . Schneider to Rosset, June 27, 1961, Happy Days (1961) Correspondence, Alan Schneider Papers, Box 14, Mandeville Special Collections Library, University of California, San Diego. See also Grove Press letter to Schneider, June 28, Notes ● 167

1961, confirming this. This letter was mistakenly catalogued as Contract, Alan Schneider Papers, Box 19, Mandeville Special Collections Library, University of California, San Diego. 15 . Grove Press Correspondence, 1971 (see several letters in this file regard- ing the transfer of power to French), Barney Rosset/Samuel Beckett Papers, Grove Press Business Files, Box 6, Burns Library Special Collections, Boston College. 16 . Jonathan Kalb, Beckett in Performance (Cambridge: Cambridge University Press, 1989), 84. 17 . Brater lists half a dozen playwrights who name Beckett as one of their major influences, and there are scores more. See Enoch Brater, Ten Ways of Thinking about Samuel Beckett: The Falsetto of Reason (London: Methuen, 2011), 2. 18. For an excellent assessment of Grove Press’s role as promoters of the playwrights they published and facilitators of the American assimilation of European avant-garde theatre, see Loren Glass, “Absurd Imprint: Grove Press and the Canonization of the Theatrical Avant-Garde,” Modern Drama 54 (4), (Winter 2011), 534–561. 19 . Two years earlier, Serban and Schneider directed productions of The Cherry Orchard simultaneously in New York. Schneider worked with student actors at Juilliard, while Serban directed an all-star cast at the Vivian Beaumont Theatre at Lincoln Center. His “all-white” set and unconventional staging earned him accolades for interpretive originality and imagination. The fact that both productions ran in February and March of 1977 only heightened the contrast between the two directors’ styles. 20 . Kalb, Beckett in Performance, 90. 21 . Ruby Cohn, Back to Beckett (Princeton, NJ: Princeton University Press, 1973), 192. 2 2 . Happy Days (1961) Director’s Promptbook, Alan Schneider Papers, Box 14, Mandeville Special Collections Library, University of California, San Diego. 2 3 . Happy Days, Krapp’s Last Tape, Act Without Words, Not I , (1972) Director’s Notes, page 1, Alan Schneider Papers, Box 26, Mandeville Special Collections Library, University of California, San Diego. 2 4 . Happy Days (1961) Director’s Promptbook, Alan Schneider Papers, Box 14, Mandeville Special Collections Library, University of California, San Diego. 25 . Schneider to Beckett, August 13, 1961, Harmon, No Author Better Served, 91. 2 6 . S c h n e i d e r , Entrances , 296. 27 . James Knowlson, ed., Happy Days: The Production Notebooks of Samuel Beckett (London: Faber and Faber, 1985), 31. Beckett first directed Happy Days in Germany in 1971, although the production notes published here are from the 1979 production at the Royal Court Theatre in London, with Billie Whitelaw as Winnie. 28 . Ruby Cohn, Just Play: Beckett’s Theatre (Princeton, NJ: Princeton University Press, 1980), 254. 168 ● Notes

29 . Beckett to Schneider, August 4, 1960, Harmon, No Author Better Served, 72. 3 0 . C o h n , Just Play , 254. 3 1 . Happy Days, Krapp’s Last Tape, Act Without Words, Not I , (1972) Director’s Notes, pages 4–9, Alan Schneider Papers, Box 26, Mandeville Special Collections Library, University of California, San Diego. 32 . Stanford University Beckett Seminar, 1975, Alan Schneider Papers, Box 38, Mandeville Special Collections Library, University of California, San Diego. 33 . Beckett to Schneider, August 17, 1961, Harmon, No Author Better Served, 94. 34 . From letters dated August 28, 1961 and August 13, 1961, respectively, Harmon, No Author Better Served, 99, 93. 3 5 . S a m u e l B e c k e t t , Complete Dramatic Works (London: Faber and Faber, 1990), 140. 36 . Beckett to Schneider, August 17, 1961, Harmon, No Author Better Served, 95. 37 . Kalb, Beckett in Performance , 235. 38 . Schneider to Beckett, August 28, 1961, Harmon, No Author Better Served, 99. 39 . Beckett to Schneider, September 3, 1961, Harmon, No Author Better Served, 102. 40 . Schneider to Beckett, September 6, 1961, Harmon, No Author Better Served, 105. 41 . Beckett to Schneider, September 12, 1961, Harmon, No Author Better Served, 107. 42 . Schneider to Beckett, September 10, 1961, Harmon, No Author Better Served, 106. 43 . Howard Taubman, “The Theatre: Beckett’s Happy Days, ” The New York Times , September 18, 1961, 36. 4 4 . S c h n e i d e r , Entrances , 299. In a comment here on how the critical response to Beckett’s plays was always slightly behind his newest work, Schneider wrote that each new play would be clobbered by a substantial number of critics who wrote that “it wasn’t nearly as powerful or rich or true or something as [the last Beckett play] which they had previously clobbered.” 4 5 . P e t e r B r o o k , “ Happy Days and Marienbad,” Encore 9 (January–February 1962), 35. 46 . Schneider to Beckett, September 14, 1961, Harmon, No Author Better Served, 109. White stayed inside the mound for the curtain call—the only option that Schneider deemed suitable, artistically. 47 . Beckett to Schneider, September 23, 1961, Harmon, No Author Better Served, 113. Beckett again expressed his gratitude to Schneider after the show closed. 48 . Schneider to Beckett, September 19, 1961, Harmon, No Author Better Served, 111. 49. S. E. Gontarski, “Within a Budding Grove: Publishing Beckett in America,” in A Companion to Samuel Beckett , ed. S. E. Gontarski (Chichester: Wiley- Blackwell, 2010), 27. 50 . Deirdre Bair, Samuel Beckett , A Biography (New York: Harcourt Brace Jovanovich, 1978), 540. Notes ● 169

51 . Four years after the premiere, Edward Albee and producers Barr and Wilder revived Happy Days for a brief run at the Cherry Lane, with White and Becher reprising their roles. Preceding this revival was a French production of the same play, performed by Madeleine Renaud and Jean-Louis Barrault and directed by Blin. Renaud continued to play the role of Winnie intermittently for the next 20 years, well into her eighties. The Cherry Lane revival was well received during its four-week run. 52 . Schneider to Beckett, September 19, 1961, Harmon, No Author Better Served, 111. 53 . The festival produced the following plays in rotation: Endgame (Beckett), Bertha (Kenneth Koch), Gallows Humor (Jack Richardson), The Sandbox (Albee), Deathwatch (Genet), Picnic on the Battlefield (Arrabal), The American Dream (Albee), The Zoo Story (Albee), and The Killer (Ionesco). Schneider also directed The American Dream. Theatre of the Absurd Program, Production Materials, Theatre of the Absurd, 1962, Box 4 Richard Barr-Clinton Wilder Papers, Billy Rose Theatre Collection at Lincoln Center, New York Public Library. 54 . Schneider to Beckett, January 22, 1962, Harmon, No Author Better Served, 120. Barr had wanted Schneider to direct a revival of Godot for the festival, but he refused, stating that Barr had not identified a strong enough cast. Schneider remarks with surprise in this letter that Myerberg released the rights to Godot for this festival, more evidence that Myerberg’s initial rights to Godot lin- gered for many years after the Broadway premiere. This is the beginning of Schneider’s ten-year struggle to stage a New York revival of the play, which is discussed in chapter 4 . 55. Beckett to Schneider, February 20, 1961, Harmon, No Author Better Served, 121. 56 . Ronan McDonald, The Cambridge Introduction to Samuel Beckett (Cambridge: Cambridge University Press, 2006), 26. 57 . Glass, “Absurd Imprint,” 538. 58 . See Laurence Senelick’s foreword to Albee’s essay “Which Theater Is the Absurd One?” in The American Stage: Writing on Theatre from Washington Irving to Tony Kushner (New York: Library of America, 2010), 622. 5 9 . D a v i d C r e s p y , Richard Barr: The Playwright’s Producer (Carbondale: Southern Illinois University Press, 2013), 94. 60 . C. W. E. Bigsby, Modern American Drama , 1945–2000 (Cambridge: Cambridge University Press, 2000), 125. 61 . A new effort is being made to reframe Esslin’s influence. See Michael Y. Bennett’s Reassessing the Theatre of the Absurd: Camus, Beckett, Ionesco, Genet, and Pinter (New York: Palgrave Macmillan, 2001). 62 . Schneider to Beckett, August 4, 1962, Harmon, No Author Better Served, 126. 63 . Schneider to Beckett, August 27, 1962, Harmon, No Author Better Served, 127. 6 4 . S c h n e i d e r , Entrances , 334. 6 5 . B e c k e t t , Complete Works , 307. 170 ● Notes

6 6 . S e e S . E . G o n t a r s k i , e d . , The Theatrical Notebooks of Samuel Beckett, Volume 4—The Shorter Plays (London: Faber and Faber Limited, 1999), xvi, for just one example. 67 . Schneider to Beckett, November 4, 1962, Harmon, No Author Better Served, 130. 6 8 . K n o w l s o n , Damned to Fame , 429. Suzanne Deschevaux-Dumesnil (1900– 1989) was Beckett’s companion from the late thirties until her death in the summer of 1989. They married in secret in 1961, mostly to protect Suzanne financially should Beckett predecease her. Throughout their partnership, Beckett carried on sexual liaisons with a number of other women. Although he remained loyal to Suzanne and always lived with her, the couple maintained separate bedrooms in their shared apartments. 69. Beckett to Schneider, November 7, 1962, Harmon, No Author Better Served, 131. 70 . George Devine (1910–1966) was an actor-manager-director at the Royal Court theatre. He directed the English translation of Endgame there in 1958—while playing the role of Hamm—as well as the first British productions of Happy Days (1962) and Play (1964). 7 1 . K n o w l s o n , Damned to Fame, 377–378. 7 2 . B e c k e t t d i r e c t e d Endspiel there in 1967 and would do five more productions with the company in the decade to come. 7 3 . K n o w l s o n , Damned to Fame , 451. 74 . Beckett to Schneider, July 20, 1963, Harmon, No Author Better Served, 138. 7 5 . S . E . G o n t a r s k i , “ B e c k e t t ’ s Play, in extenso ,” Modern Drama 42 (Fall 1999), 442. 7 6 . S e e S . E . G o n t a r s k i , “ E d i t i n g B e c k e t t ,” Twentieth Century Literature 41 (Summer 1995), 190–207. 77 . Ibid., 196. The Faber and Faber edition of Beckett’s complete dramatic works, first published in 1986, includes an entire page of notes about the Repeat that Beckett added after working on the piece several times. See Beckett, Complete Dramatic Works , 320. 78 . The other was the staging of the Auditor in Not I , discussed in chapter 4 . 79 . Beckett to Barr, September 18, 1963, Samuel Beckett, Personal Correspondence, Box 36, Richard Barr-Clinton Wilder Papers, Billy Rose Theatre Collection at Lincoln Center, New York Public Library. 80 . Beckett to Barr, September 25, 1963, Samuel Beckett, Personal Correspondence, Box 36, Richard Barr-Clinton Wilder Papers, Billy Rose Theatre Collection at Lincoln Center, New York Public Library. 81 . Barr to Beckett, September 30, 1963, Samuel Beckett, Personal Correspondence, Box 36, Richard Barr-Clinton Wilder Papers, Billy Rose Theatre Collection at Lincoln Center, New York Public Library. 82 . Ibid. It appears that Barr was attempting to play Rosset and Schneider against each other on this issue. He states in the letter that Rosset was opposed but Schneider was amenable. I think he hoped that with Beckett on board, he Notes ● 171

could persuade Rosset to go along. But he miscalculated Schneider’s willingness and the approach backfired. 8 3 . Play, The Lover (1964), Director’s Promptbook, Alan Schneider Papers Box 17, Mandeville Special Collections Library, University of California, San Diego. 84 . Schneider to Beckett, December 26, 1963, Harmon, No Author Better Served, 149. 85 . Richard Schechner, “Reality Is Not Enough. An Interview with Alan Schneider,” in Re-direction, A Theoretical and Practical Guide , ed. Rebecca Schneider and Gabrielle Cody (London: Routledge, 2002), 77. 86 . Beckett to Schneider, November 26, 1963, Harmon, No Author Better Served, 144. 87 . Beckett to Schneider, November 26, 1963, Harmon, No Author Better Served, 145. 8 8 . G o n t a r s k i , “ B e c k e t t ’ s Play, in extenso ,” 453, n.6. 89 . Schneider to Beckett, December 23, 1963, Harmon, No Author Better Served, 148; Beckett to Schneider, December 29, 1963, Harmon, No Author Better Served, 150. 9 0 . S c h n e i d e r , Entrances, 342. 9 1 . C r e s p y , Richard Barr: The Playwright’s Producer , 101. 9 2 . You Have to Hock Your House: The Story of a Producer, Box 37, Richard Barr- Clinton Wilder Papers, 1935–1982, Billy Rose Theatre Collection, New York Public Library. 93. Schneider to Beckett, January 2, 1964, Harmon, No Author Better Served, 150. 94 . Beckett to Schneider, January 18, 1964, Harmon, No Author Better Served, 152. 9 5 . S c h n e i d e r , Entrances , 342. 96 . Ibid. Schneider also writes that it was the producers who pressured him to make the change, but I have found no other evidence to corroborate this. 97 . Ha v i n g a l r e a d y w o r k e d o n t h e F r e n c h p r o d u c t i o n o f Comedie with Jean- Marie Serreau, Beckett had concluded before the London rehearsals began that Play would benefit from a da capo that expressed a slight weakening, in both volume and speed. See Gontarski, “Beckett’s Play, in extenso,” 444. Beckett also mentioned his new insights about the repeat after working with Serreau in this letter to Schneider; see Beckett to Schneider, March 14, 1964, Harmon, No Author Better Served, 154. 98 . Howard Taubman, “Theater: Dual Offering,” The New York Times , January 6, 1964. 99 . For just three examples, see Norma Bouchard, “Film in Context(s),” Samuel Beckett Today/Aujourd’hui 7 (1998), 121–133; Graley Herren, Beckett’s Plays on Film and Television (New York: Palgrave Macmillan, 2007); S. E. Gontarski, “Film and Formal Integrity,” in Samuel Beckett, Humanistic Perspectives , ed. Morris Beja, S. E. Gontarski, and Pierre Astier (Columbus: Ohio State University Press, 1982), 129–136. 172 ● Notes

1 0 0 . K n o w l s o n , Damned to Fame , 212–213. 1 0 1 . S . E . G o n t a r s k i , The Intent of Undoing in Samuel Beckett’s Dramatic Texts (Bloomington: Indiana University Press, 1985), 101. 102 . Enoch Brater, Beyond Minimalism: Beckett’s Late Style in the Theatre (New York: Oxford University Press, 1987) 75. 103 . Gontarski, “Film and Formal Integrity,” in Samuel Beckett, Humanistic Perspectives, ed. Morris Beja, S. E. Gontarski, and Pierre Astier (Columbus: Ohio State University Press), 129–130. 1 0 4 . B e c k e t t , Film, Complete Scenario (New York: Grove Press, 1969), 16. 105 . Beckett to Schneider, March 15, 1963, Harmon, No Author Better Served, 136. 1 0 6 . Film Correspondence, Alan Schneider Papers, Box 19, Mandeville Special Collections Library, University of California, San Diego. 107 . See letters from Schneider to Rosset dated May 1, 1964, and May 17, 1964, Film Correspondence, Alan Schneider Papers, Box 19, Mandeville Special Collections Library, University of California, San Diego. 1 0 8 . Film, Budget, Alan Schneider Papers, Box 19, Mandeville Special Collections Library, University of California, San Diego. The initial budget was $53,303, although these are preliminary figures and the final bottom line is undoubtedly higher. 1 0 9 . Film Shooting Schedule, Alan Schneider Papers, Box 19, Mandeville Special Collections Library, University of California, San Diego. 1 1 0 . H e r r e n , Beckett’s Plays on Film and Television , 41. 1 1 1 . Film , Production Notes, Alan Schneider Papers, Box 19, Mandeville Special Collections Library, University of California, San Diego. 1 1 2 . G o n t a r s k i , The Intent of Undoing in Samuel Beckett’s Dramatic Texts , 107. See also 190 for his transcript of a tape made from this meeting. 1 1 3 . Film , Director’s Promptbook, Alan Schneider Papers, Box 19, Mandeville Special Collections Library, University of California, San Diego. 1 1 4 . Film, Shooting Locations, Alan Schneider Papers, Box 19, Mandeville Special Collections Library, University of California, San Diego. 1 1 5 . Film, Casting Notes, Alan Schneider Papers, Box 19, Mandeville Special Collections Library, University of California, San Diego. 1 1 6 . B e c k e t t , Film, Complete Scenario (New York: Grove Press, 1969), 12. 1 1 7 . Film , Set Design, Alan Schneider Papers, Box 19, Mandeville Special Collections Library, University of California, San Diego. 1 1 8 . Film , Misc. Correspondence, Beckett to Rosset, May 19, 1964, Alan Schneider Papers, Box 19, Mandeville Special Collections Library, University of California, San Diego. 119 . Schneider, “On Directing Film .” In Film by Samuel Beckett (New York: Grove Press, 1969), 85. 1 2 0 . K n o w l s o n , Damned to Fame , 466–467. 121 . Beckett to Schneider, September 29, 1964, Harmon, No Author Better Served, 166. Notes ● 173

122 . See for example, Gontarski, Film and Formal Integrity , 135 or Herren, Beckett’s Plays on Film and Television, 36–41. 123 . Beckett to Schneider, October 28, 1964, Harmon, No Author Better Served, 177. 124 . Beckett to Schneider, March 12, 1965, Harmon, No Author Better Served, 187. 1 2 5 . S c h n e i d e r , On Directing Film , 93 126 . Quoted in Raymond Federman, “Film ,” Film Quarterly 20 (Winter 1966– 1967), 47. 1 2 7 . I b i d . 1 2 8 . B r a t e r , Beyond Minimalism , 185, n.3. 129 . Beckett to Schneider, March 13, 1965, Harmon, No Author Better Served, 188.

4 New York and Beyond 1 . S. E. Gontarski, “Viva, Sam Beckett, or Flogging the Avant-Garde,” Journal of Beckett Studies 16 (2007), 4. 2 . Alan Schneider, “No More Waiting,” The New York Times , January 31, 1971, D1. 3 . See letters from 1962 to 1970, Maurice Harmon ed., No Author Better Served: The Correspondence of Samuel Beckett and Alan Schneider (Cambridge: Harvard University Press, 1998). 4 . Schneider to Rosset, February 21, 1970, Waiting for Godot (1971) Correspondence 1970–1971, Alan Schneider Papers, Box 24 Mandeville Special Collections Library, University of California, San Diego. 5 . Schneider to Knox and Shenkel, January 24, 1970, Waiting for Godot (1971) Correspondence 1970–1971, Alan Schneider Papers, Box 24 Mandeville Special Collections Library, University of California, San Diego. 6 . Schneider to Beckett, January 27, 1970, Harmon, No Author Better Served, 231. 7 . S t e p h e n J . B o t t o m s , Playing Underground: A Critical History of the 1960’s Off- Off Broadway Movement (Ann Arbor: University of Michigan Press, 2004), 23. 8 . Waiting for Godot (1971) Correspondence, 1970–1971, Alan Schneider Papers, Box 24 Mandeville Special Collections Library, University of California, San Diego. 9 . Schneider, “No More Waiting,” D1. 10 . Schneider to Beckett, February 28, 1971, Harmon, No Author Better Served, 248. He also mentions in a letter from February 8, 1971 that this was the first opportunity many young audience members had to see the play professionally performed: Harmon, No Author Better Served, 245. Glass points out that the same was true of the Broadway premiere of Godot , whose audiences also had a significant youth component. Grove used this fact to promote 174 ● Notes

both the play and playwright; see Counter-Culture Colophon: Grove Press, The Evergreen Review, and the Incorporation of the Avant-Garde (Stanford: Stanford University Press, 2013), 70. 1 1 . R o b e r t B r u s t e i n , The Third Theatre (New York: Knopf, 1969), 35. 12 . Quoted in Glass, “Absurd Imprint: Grove Press and the Canonization of the Theatrical Avant-Garde,” Modern Drama 54 (Winter 2011), 557. 1 3 . G l a s s , Counter-Culture Colophon , 73–74. 1 4 . A Discussion Guide for the Play Waiting for Godot (New York: Grove Press, 1971). Prepared by Ruth M. Goldstein, Assistant Chairman of English, Abraham Lincoln High School, Brooklyn, New York. Pages 3–42. 15 . See Louis Calta, “Off-Broadway Actors Go on Strike,” The New York Times , November 17, 1970, 52. 16 . Schneider to Beckett, January 1, 1971, Harmon, No Author Better Served, 240. 17 . The set photos from this production are very similar to those from the 1959 Alley Theatre production, although Ritman was not the designer there. This suggests the design was fundamentally an articulation of Schneider’s vision. 1 8 . Waiting for Godot (1971) Photos, Alan Schneider Papers, Box 25, Mandeville Special Collections Library, University of California, San Diego. 19 . Estragon’s line: “We always find something, eh Didi, to give us the impression we exist?” Samuel Beckett, The Complete Dramatic Works (London: Faber and Faber, 1990), 64. 20 . Jonathan Kalb, Beckett in Performance (Cambridge: Cambridge University Press, 1989), 27. 2 1 . L e s E s s i f , Empty Figure on an Empty Stage (Bloomington: Indiana University Press, 2001), 64. 2 2 . Waiting for Godot (1971) Director’s Promptbook, Alan Schneider Papers, Box 25, Mandeville Special Collections Library, University of California, San Diego. 23 . Beckett to Schneider, January 14, 1971, Harmon, No Author Better Served, 244. 24 . Ibid. These lines follow this exchange in the first act: Estragon: “And why would he shout?” Vladimir: “At his horse.” See Beckett, Complete Dramatic Works , 21. 25 . Beckett’s remarks to Cohen, circa 1960, can be found in Cohen’s article “Pozzo’s Knook, Beckett’s Boys, and Santa Claus,” Modern Drama 54 (Summer 2011), 187; his comments on the Grove Godot from 1963 are referenced in S. E. Gontarski’s “A Centenary of Missed Opportunities: A Guide to Assembling an Accurate Volume of Samuel Beckett’s Dramatic ‘Shorts,’” Modern Drama 54 (Fall 2011), 363. This article provides an overview of the complexities involved in reconciling the textual inconsistencies of Beckett’s dramatic plays in print. The section on Godot : 363–368. 2 6 . Waiting for Godot (1971) Publicity Materials, Alan Schneider Papers, Box 25, Mandeville Special Collections Library, University of California, San Diego. Notes ● 175

27 . Schneider to Beckett, February 8, 1971, Harmon, No Author Better Served, 245. 28 . Clive Barnes, “Theatre: Waiting for Godot Revived,” The New York Times (February 4, 1971) in Waiting for Godot (1971) Reviews, A lan Schneider Papers, Box 25, Mandeville Special Collections Library, University of California, San Diego. 29 . Schneider to Beckett, February 8, 1971, Harmon, No Author Better Served, 246. 30 . Walter Kerr, “Drama as We Have Known It Is Terminated,” The New York Times (February 14, 1971), D18. 31 . The interview was produced by the Theatre on Film and Tape Archive (TOFT) and directed by Betty L. Corwin, whose pioneering work to document live theatrical performance transformed TOFT between 1969 and 2000. TOFT began filming live productions in 1970. During her time there, Corwin also produced over 200 videos of interviews with theatre professionals discussing their work. 32 . He became the senior drama critic for The New Yorker in 1992 and is the author of numerous books. 33 . Conversation between Alan Schneider and John Lahr, May 21, 1971, Theatre on Film and Tape Archive, Billy Rose Theatre Collection at Lincoln Center, New York Public Library. 3 4 . I b i d . 35 . Kalb, Beckett in Performance , 30. 3 6 . Waiting for Godot , 1971, Theatre on Film and Tape Archive, Billy Rose Theatre Collection at Lincoln Center, New York Public Library. 37 . Conversation between Alan Schneider and John Lahr, May 21, 1971, Theatre on Film and Tape Archive, Billy Rose Theatre Collection at Lincoln Center, New York Public Library. 38 . Brooks Atkinson to Alan Schneider, February 15, 1971, Waiting for Godot (1971) Correspondence, Alan Schneider Papers, Box 24, Mandeville Special Collections Library, University of California, San Diego. 3 9 . I b i d . 40 . The production also went on a brief but successful tour the following spring to Philadelphia and Princeton: Schneider to Beckett, April 17, 1972, Harmon, No Author Better Served, 267. 41 . Ira Peck, “At Last, He’s Shaken the Seven-Year Itch,” The New York Times , August 29, 1971, D1. 42 . James Knowlson, Damned to Fame , The Life of Samuel Beckett (New York: Simon & Schuster, 1996), 522. See also Gontarski, The Intent of Undoing in Samuel Beckett’s Dramatic Texts (Bloomington: Indiana University Press, 1985), 133–142. In the early sixties Beckett had experimented with some dramatic texts using a disembodied head, which he later discarded. 43 . Beckett to Schneider, August 25, 1963, Harmon, No Author Better Served, 139–140. 176 ● Notes

4 4 . K n o w l s o n , Damned to Fame , 520–522. Enoch Brater also discusses the origins of Not I in his essay “Dada, Surrealism, and the Genesis of Not I ,” Modern Drama 18 (March 1975), 49–59. 45. Grove Press Business Files, Samuel Beckett-Barney Rosset Collection, Box 7, Burns Library Special Collections, Boston College. 46 . Beckett to Cronyn, August 23, 1972, Samuel Beckett-Barney Rosset Collection, Box 7, Burns Library Special Collections, Boston College. 47 . Schneider to Beckett, July 2, 1972, Harmon, No Author Better Served, 272. 48 . Schneider to Beckett, June 4, 1972, Harmon, No Author Better Served, 270. 49 . Schneider, Notes on Visit with Samuel Beckett (1972–1984), Alan Schneider Papers, Box 44, Mandeville Special Collections Library, University of California, San Diego. 5 0 . I b i d . 51. S. E. Gontarski, “Revising Himself: Performance as Text in Samuel Beckett’s Theatre,” Journal of Modern Literature 21 (Fall 1998), 131–146. 52. There are differing accounts on whether this decision stemmed from loyalty to Schneider or complications at the Royal Court. Knowlson insists that Beckett gave the premiere to Schneider out of friendship more than anything else. As he points out, Schneider was coming off of several Broadway flops, a fact to which Beckett was not insensitive; see Damned to Fame, 523. Bair reports that the Royal Court performance was initially meant to happen simultaneously with the one at Lincoln Center, and it was only because of delays in London that Schneider ended up with the premiere; see Beckett, A Biography (New York: Harcourt Brace Jovanovich, 1978), 623–624. Of course, Knowlson’s account is the more authoritative one. 5 3 . O t i s G u e r n s e y , Curtain Times: The New York Theatre 1965–1987 (New York: Applause, 1987), 253–262. 54 . There were initial problems with the contract Cronyn signed through Samuel French. Not I, et al. (1972) Contract and Related Correspondence, Alan Schneider Papers, Box 26, Mandeville Special Collections Library, University of California, San Diego. 55 . Enoch Brater, Beyond Minimalism: Beckett’s Late Style in the Theatre (New York: Oxford University Press, 1987), 30. 5 6 . K n o w l s o n , Damned to Fame , 524. 5 7 . D i r e c t o r ’ s N o t e s — Happy Days , Krapp’s Last Tape , Act Without Words , Not I (1972), Alan Schneider Papers, Box 26, Mandeville Special Collections Library, University of California, San Diego. After work on several subsequent productions, in 1986 Beckett advised two directors of Not I to eliminate the Auditor altogether. “He is very difficult to stage (light—position) and may well be of more harm than good. For me the play needs him but I can do without him. I have never seen him function effectively.” (S. E. Gontarski, “Editing Beckett,” Twentieth Century Literature 41 (Summer 1995), 203.) 58 . Enoch Brater, “Billie Whitelaw’s TV Beckett,” in Drawing on Beckett: Portraits, Performances, and Cultural Contexts , ed. Linda Ben-Zvi (Tel Aviv: Assaph Books, 2003), 185. Notes ● 177

59 . Ruby Cohn, Just Play: Beckett’s Theater (Princeton, New Jersey: Princeton University Press, 1980), 195. 60 . Ruby Cohn, “ Animateurs de Beckett ,” in Samuel Beckett Revue d’Esthé tique , ed. Pierre Chabert (Paris: Jean-Michel Place, 1990), 193. Cohn says Schneider “terrorized” technicians in his quest for perfection. 61 . Beckett to Schneider, October 16, 1972, Harmon, No Author Better Served, 283. 62 . Martin Esslin, “A Theatre of Stasis—Beckett’s Late Plays,” in Critical Essays on Samuel Beckett, ed. Patrick A. McCarthy (Boston: G. K. Hall, 1986), 197–198. 6 3 . D i r e c t o r ’ s N o t e s — Happy Days , Krapp’s Last Tape , Act Without Words , Not I (1972), Alan Schneider Papers, Box 26, Mandeville Special Collections Library, University of California, San Diego. 6 4 . I b i d . 65 . Jackson Bryer and Richard A. Davison, eds., The Actor’s Art: Conversations with Contemporary American Stage Performers (New Brunswick: Rutgers University Press, 2001), 23–24. 6 6 . B i l l i e W h i t e l a w , Who He? An Autobiography (New York: St. Martin’s Press, 1996), 122. 67 . Mark Matousek, “Schneider on Beckett, Understanding Differently,” The Village Voice , July 3, 1984, 97. 68 . Schneider to Beckett, September 30, 1972, Harmon, No Author Better Served, 279. 69 . Beckett to Schneider, October 16, 1972, Harmon, No Author Better Served, 283. 70 . Schneider to Beckett, October 22, 1972, Harmon, No Author Better Served, 284. 71 . Schneider to Beckett, September 30, 1972, Harmon, No Author Better Served, 281. 72 . Kalb, Beckett in Performance , 178–180. 7 3 . B a i r , Beckett, A Biography, 626. 74 . Schneider to Beckett, October 22, 1972, Harmon, No Author Better Served, 285. 75 . Beckett to Schneider, October 16, 1972, Harmon, No Author Better Served, 284. Beckett acquiesced here that Act Without Words I could come before Happy Days if playing it second was “technically quite unfeasible.” 7 6 . D a v i d B l a c k , The Magic of Theatre: Behind the Scenes with Today’s Leading Actors (New York: MacMillan, 2003), 126. 77 . Beckett to Schneider, October 16, 1972, Harmon, No Author Better Served, 284. See also Schneider to Beckett, September 30, 1972 , Harmon, No Author Better Served, 281. The date of Schneider’s letter is unclear on the carbon copy that is archived. However, Beckett’s response on October 16, 1972 refers to the letter as being from September 30, 1972. See Harmon, No Author Better Served , 283. 78 . Posters—Misc., Alan Schneider Papers, Box 35, Mandeville Special Collections Archive, University of California, San Diego. 178 ● Notes

79 . “Program from Lincoln Center Beckett Festival,” Box 9, Alan Schneider Papers 1917–1984, Billy Rose Theatre Collection at Lincoln Center, New York Public Library. A special VIP matinee performance was added on December 7, bringing the combined total of performances to 67. Business records indicate that the royalties for the performances were $1,005, or $15 per showing. See “Samuel Beckett Festival,” Box 155, Actors Workshop and Repertory Theatre of Lincoln Center Records, Billy Rose Theatre Collection at Lincoln Center, New York Public Library. 80 . Schneider to Beckett, October 22, 1972, Harmon, No Author Better Served, 285. 8 1 . B o t t o m s , Playing Underground , 125. 82 . “Program from Lincoln Center Beckett Festival,” Box 9, Alan Schneider Papers 1917–1984, Billy Rose Theatre Collection at Lincoln Center, New York Public Library. 83 . Douglas Watt, “Beckett Festival in Full Swing,” New York Daily News , November 23, 1972. 84 . Clive Barnes, “Theater: A World Premiere for Beckett’s ‘ Not I, ’” The New York Times , November 23, 1972, 49. 85 . Edwin Wilson, “The Uncluttered Style of Samuel Beckett,” The Wall Street Journal , November 28, 1972, Not I , et al., (1972) Reviews and Articles, Alan Schneider Papers, Box 26, Mandeville Special Collections Archive, University of California, San Diego. 86 . Walter Kerr, “Beckett, Yes, But Also a Tandy-Cronyn Festival,” The New York Times , December 3, 1972. 87 . Jack Kroll, “Down to the Mouth,” Newsweek , December 4, 1972. 88 . Schneider to Beckett, November 24, 1972, Harmon, No Author Better Served, 290. 89 . Schneider to Beckett, November 24, 1972, Harmon, No Author Better Served, 289. 90 . Schneider to Beckett, November 30, 1972, Harmon, No Author Better Served, 291. 91 . Schneider to Beckett, December 9, 1972, Harmon, No Author Better Served, 295. 92. Martin Gottfried, “Beckett Festival at Lincoln Center,” Women’s Wear Daily , November 22, 1972. Gottfried also criticized Schneider’s direction, saying he “blundered” his staging of Krapp’s Last Tape and “mutilated this exquisite and touching farewell to love. Beckett’s trust of Schneider was never more misguided.” 93. Martin Gottfried Correspondence, 1970, Alan Schneider Papers, Box 2, Mandeville Special Collections Archive, University of California, San Diego. 94 . Productions like Andre Gregory’s Manhattan Project Endgame of 1973, or Andre Serban’s 1979 Happy Days at the Public Theatre, are rare exceptions of significant New York stagings by other directors during this time. 9 5 . M a r v i n C a r l s o n , The Haunted Stage (Ann Arbor: University of Michigan Press, 2001), 66–67. Notes ● 179

96. Schneider to Beckett, August 21, 1973, Harmon, No Author Better Served, 309. 97 . Schneider to Beckett, February 17, 1974, Harmon, No Author Better Served, 313. 98 . Harmon noted in footnote, 320. 9 9 . W h i t e l a w , Who He?, 143. 1 0 0 . K n o w l s o n , Damned to Fame, 533. 101 . Schneider to Beckett, July 27, 1975, Harmon, No Author Better Served, 327. 102. Beckett to Schneider, August 8, 1975, Harmon, No Author Better Served, 329. 103 . Schneider to Beckett, August 21, 1975, Harmon, No Author Better Served, 330. 104 . Schneider to Papp, September 3, 1975, Play , Footfalls , That Time (1976) Correspondence, 1975–1977, Alan Schneider Papers, Box 28, Mandeville Special Collections Archive, University of California, San Diego. Papp brought the New York Shakespeare Festival to Lincoln Center between 1973 and 1977. 105 . Schneider to Beckett, November 15, 1975, Harmon, No Author Better Served, 334. 1 0 6 . S u s a n B e n n e t t , Theatre Audiences: A Theory of Production and Reception, 2nd ed. (London: Routledge, 1997), 102. 107 . Beckett to Schneider, September 1, 1974, Harmon, No Author Better Served, 320. Perhaps Beckett felt the pieces were too similar in style to be performed back-to-back. 108 . Beckett to Davis, November 11, 1975, Play , Footfalls , That Time (1976) Correspondence, 1975–1977, Alan Schneider Papers, Box 28, Mandeville Special Collections Archive, University of California, San Diego. 1 0 9 . Beckett to Schneider, November 23, 1975, Harmon, No Author Better Served, 335. 110 . Schneider to Beckett, September 1, 1976, Harmon, No Author Better Served, 343. 1 1 1 . J o s e p h W e s l e y Z e i g l e r , Regional Theatre, The Revolutionary Stage (Minneapolis: University of Minnesota Press, 1973), 193–195. 112 . Clive Barnes, “The Theatre: ‘Indians’ in Washington: New Version Presented by Arena Stage Changes from London All for the Best,” The New York Times , May 27, 1969. 1 1 3 . S c h n e i d e r , Entrances , 159. 114 . Schneider typically preferred thrust or arena theatres over prosceniums. He mentioned this frequently in his directing and teaching notes. For more on this, see an early article he wrote for the Times in which he encouraged the American theatre to move away from the proscenium arch and embrace thrust or arena staging, which he labeled “modern”: Alan Schneider, “Shrinking Arch,” The New York Times , July 25, 1954. On this matter, Beckett did not agree. He always felt that his plays needed a proscenium arch, and Schneider’s efforts to convince him otherwise met with middling success. Of course, most 180 ● Notes

Beckett plays restrict the movements of at least one character to the point where arena staging is all but impossible. 115. Schneider to Beckett, October 28, 1976, Harmon, No Author Better Served, 345. 1 1 6 . That Time , 1976 Promptbook, Alan Schneider Papers, Box 17, Mandeville Special Collections Archive, University of California, San Diego. 1 1 7 . B e c k e t t , Complete Dramatic Works, 403. 118 . Schneider to Beckett, November 24, 1976, Harmon, No Author Better Served, 348. 1 1 9 . Play/Footfalls/That Time (1976) Program and Publicity, Alan Schneider Papers, Box 28, Mandeville Special Collections Archive, University of California, San Diego. 120 . Mel Gussow, “Beckett Continues to Refine His Vision,” The New York Times , December 26, 1976, X22. 121 . David Richards, “Lost, in a Lonely World,” Washington Star , December 4, 1976, Play/Footfalls/That Time (1977) Reviews, Alan Schneider Papers, Box 28, Mandeville Special Collections Archive, University of California, San Diego. 1 2 2 . Q u o t e d i n L o i s O p p e n h e i m , The Painted Word: Samuel Beckett’s Dialogue with Art (Ann Arbor: University of Michigan Press, 2000), 125. 123 . Schneider to Beckett, April 3, 1977, Harmon, No Author Better Served, 353. 124 . Clive Barnes, “Memories by Beckett,” New York Post , December 19, 1977, Play/Footfalls/That Time (1977) Reviews, Alan Schneider Papers, Box 28, Mandeville Special Collections Archive, University of California, San Diego.

5 American Zenith 1 . Schneider worked with professional actors and designers on both, but the festival organizers served as producer in each case. 2 . James Knowlson, Damned to Fame, The Life of Samuel Beckett (New York: Simon & Schuster, 1996), 582. 3 . Notes on Visit With Samuel Beckett, 1972–1984, Alan Schneider Papers, Box 44, Mandeville Special Collections Library, University of California, San Diego. 4 . Beckett to Schneider, June 20, 1980, Maurice Harmon ed., No Author Better Served: The Correspondence of Samuel Beckett and Alan Schneider (Cambridge: Harvard University Press, 1998), 389. 5 . Beckett wrote Footfalls for Whitelaw, but not Rockaby . See Enoch Brater, Beyond Minimalism: Beckett’s Late Style in the Theatre (New York: Oxford University Press, 1987), 173. 6 . Schneider to Beckett, February 15, 1981, Harmon, No Author Better Served, 398. 7 . Oppenheim expands on my knowledge here, as she viewed both the film itself and Pennebaker’s outtakes. See “Alan Schneider Directs Rockaby,” in Directing Beckett (Ann Arbor: University of Michigan Press, 1994), 13–19. Notes ● 181

8 . Rockaby (1981) Scripts, Alan Schneider Papers Box 30, Mandeville Special Collections Library, University of California, San Diego. 9 . Beckett to Schneider, February 24, 1981, Harmon, No Author Better Served, 400. 1 0 . L i n d a B e n - Z v i , Women in Beckett (Urbana: University of Illinois Press, 1990), 5–6. 1 1 . Rockaby , a film by D. A. Pennebacker and Chris Hegedus, 1981. 1 2 . I b i d . 1 3 . S a m u e l B e c k e t t , The Complete Dramatic Works (London: Faber and Faber, 1990), 442. 14 . Oppenheim, “Alan Schneider Directs Rockaby,” Directing Beckett, taken from pages 15, 17, and 18. 1 5 . Rockaby , D. A. Pennebaker film, 1981. 1 6 . B i l l i e W h i t e l a w , Billie Whitelaw: Who He? An Autobiography (New York: St. Martin’s Press, 1996), 178. 1 7 . B e c k e t t , Complete Dramatic Works, 433. 1 8 . Rockaby (1981) Photos, Alan Schneider Papers Box 30, Mandeville Special Collections Library, University of California, San Diego. 1 9 . G a r n e r u s e s t h i s p h r a s e t o d e s c r i b e Waiting for Godot , although he extends his phenomenological analysis to Beckett’s subsequent plays. See Stanton B. Garner, Bodied Spaces (Ithaca: Cornell University Press, 1994), 8. 2 0 . B r a t e r , Beyond Minimalism , 174. 21 . Knowlson also notes biographical influences in the composition of Rockaby , including that of Beckett’s own grandmother. See Knowlson, Damned to Fame , 583. Such personal influences may be linked to Beckett’s willingness to suggest personal backstory for his characters. 2 2 . Rockaby (1981) Press Releases, Alan Schneider Papers Box 30, Mandeville Special Collections Library, University of California, San Diego. 23 . This conflict was the subject of Xerxes Mehta’s lecture at the Beckett in Berlin 2000 Symposium in September 2000. Mehta, himself a hybrid academic/ artist, pointed out the fallacy of this practitioner-versus-scholar dichotomy within Beckett performance, and urged individuals on both sides to bridge the gap. See “Scholars/Artists/Beckett,” in Samuel Beckett: Endlessness in the Year 2000 , ed. Angela Moorjani and Carola Veit (Amsterdam: Rodopi Press, 2001), 125–131. 24 . Schneider to Franklin Heller, September 10, 1978, Alan Schneider Papers Box 64, Mandeville Special Collections Library, University of California, San Diego. 2 5 . K n o w l s o n , Damned to Fame , 584. 26 . Schneider to Beckett, April 18, 1981, Harmon, No Author Better Served, 401. 27 . See, for example, Schneider to Lynne Meadow, Artistic Director of MTC, January 10, 1981, Alan Schneider Papers Box 30, Mandeville Special Collections Library, University of California, San Diego. 2 8 . W h i t e l a w , Who He? , 179–180. 29 . Pierre Astier, “Beckett’s Ohio Impromptu: A View from the Isle of Swan,” Modern Drama 25 (September 1982), 333. 182 ● Notes

30 . S. E. Gontarski interview with the author, February 10, 2006. 31 . See original manuscript drafts reprinted in the back of Morris Beja, S. E. Gontarski, and Pierre Astier, eds., Samuel Beckett: Humanistic Perspectives (Columbus: Ohio State University Press, 1983), 191. 32 . Many of Beckett’s texts have biographical influences, but he carefully edited out the personal details. This is especially true of Ohio Impromptu ; see Adam Seelig, “Beckett’s Dying Remains: The Process of Playwriting in the Ohio Impromptu Manuscripts,” Modern Drama 43 (Fall 2000), 376. 3 3 . S a m u e l B e c k e t t , Complete Dramatic Works , 445. 3 4 . I b i d . , 4 4 6 . 3 5 . K n o w l s o n , Damned to Fame , 586. 3 6 . Ohio Impromptu (1981) Correspondence, Alan Schneider Papers, Box 30, Mandeville Special Collections Library, University of California, San Diego. 37 . Schneider to Beckett, December 23, 1980, Harmon, No Author Better Served, 396. 3 8 . K n o w l s o n , Damned to Fame , 556. 3 9 . I b i d . , 5 8 6 . 40 . Schneider to Warrilow, January 12, 1981, and Warrilow to Schneider, January 26, 1981, Ohio Impromptu (1981) Personal Correspondence, Alan Schneider Papers Box 30, Mandeville Special Collections Library, University of California, San Diego. 41 . Schneider to Beckett, February 15, 1981, Harmon, No Author Better Served, 399. 42 . Schneider to Beckett, May 16, 1981, Harmon, No Author Better Served, 404. 43 . Martha Fehsenfeld correspondence with the author, June 19, 2006. 4 4 . K n o w l s o n , Damned to Fame , 586. 4 5 . Ohio Impromptu (1981) Personal Correspondence, Alan Schneider Papers Box 30, Mandeville Special Collections Library, University of California, San Diego. 46 . Beckett to Schneider, January 11, 1981, Harmon, No Author Better Served, 398. 4 7 . Ohio Impromptu (1981) Scenic Designs and Sets, Alan Schneider Papers Box 30, Mandeville Special Collections Library, University of California, San Diego. 48 . Schneider to Beckett, May 16, 1981, Harmon, No Author Better Served, 404. 4 9 . Ohio Impromptu (1981) Playbills and Programs, Alan Schneider Papers Box 30, Mandeville Special Collections Library, University of California, San Diego. This Democritus quotation, which Beckett used in Malone Dies , was one of his favorites. 50 . S. E. Gontarski, interview with the author, February 10, 2006. 51 . Schneider to Beckett, May 16, 1981, Harmon, No Author Better Served, 404. 52 . Martha Fehsenfeld, correspondence with the author, June 19, 2006. 5 3 . Ohio Impromptu , Theatre on Film and Tape Archive, Billy Rose Theatre Collection at Lincoln Center, New York Public Library. Notes ● 183

5 4 . Ohio Impromptu , Catastrophe Correspondence (June 1983) Alan Schneider Papers Box 31, Mandeville Special Collections Library, University of California, San Diego. 55 . Schneider to Beckett, October 23, 1981, Harmon, No Author Better Served, 412–413. 56 . Schneider to Beckett, November 13, 1981, Harmon, No Author Better Served, 415. 57 . Schneider to Beckett, January 9, 1982, Harmon, No Author Better Served, 420. 58 . Included in letter Beckett to Schneider, February 9, 1982, Harmon, No Author Better Served, 423. 5 9 . K n o w l s o n , Damned to Fame , 597. 6 0 . B e r t O . S t a t e s , “ Catastrophe : Beckett’s Laboratory Theatre,” Modern Drama 30 (March 1987), 14. 6 1 . G a r n e r , Bodied Spaces , 64. 62. One aspect of realism that Schneider maintained were the lines the Assistant speaks to Luke, the character in charge of the lighting, at the end of the play. Beckett indicates only “A transmits in technical terms” in both Schneider’s working script and the published text. Schneider wrote in his notes, “How complex?” (See Catastrophe , Original Working Script, Box 31, Alan Schneider Papers, Mandeville Special Collections Archive, University of California, San Diego). Schneider elected to have the Assistant speak to Luke using technical jargon. In the performance she calls out, “Take out 9, 10, 11, 12 and raise special at 5. Kill everything but 6 special at 5.” (Catastrophe , Theatre on Film and Tape Archive, Billy Rose Theatre Collection at Lincoln Center, New York Public Library.) This specificity is a nod to realism. 6 3 . Catastrophe , Theatre on Film and Tape Archive, Billy Rose Theatre Collection at Lincoln Center, New York Public Library. 6 4 . Catastrophe , Beckett on Film Project, Blue Angel Films, 2001. 65 . Beckett to Schneider, July 23, 1982, Harmon, No Author Better Served, 432. 6 6 . L o r e n G l a s s , Counter-Culture Colophon: Grove Press, The Evergreen Review, and the Incorporation of the Avant-Garde (Stanford: Stanford University Press, 2013), 215. 67. Beckett to Schneider, February 6, 1982, Harmon, No Author Better Served, 422. 68 . Schneider to Beckett, September 25, 1982 and November 3, 1982, Harmon, No Author Better Served, 436 and 438. 69 . Schneider to Beckett, November 3, 1982, Harmon, No Author Better Served, 438. 70 . In 1957, when Blau and the Actor’s Workshop performed W aiting for Godot at the San Quentin Prison, Cluchey was one of the inmates in the audience. Mesmerized by the performance, Cluchey started his own theatre troupe while still in prison. After his life sentence was commuted in 1967, he continued his theatrical work, forming the San Quentin Drama Workshop and touring 184 ● Notes

professionally. Beckett and Cluchey met in 1974, and Beckett was his friend and patron for the rest of his life. 7 1 . Ohio Impromptu, Catastrophe (June 1983) Correspondence, Alan Schneider Papers Box 31, Mandeville Special Collections Library, University of California, San Diego. 72 . May 13, 1983, Notes on Visit with Samuel Beckett, 1972–1984, Alan Schneider Papers Box 44, Mandeville Special Collections Library, University of California, San Diego. 7 3 . K n o w l s o n , Damned to Fame , 602. 7 4 . B e c k e t t , Complete Dramatic Works , 470. 7 5 . I b i d . , 4 7 6 . 7 6 . Ohio Impromptu, Catastrophe, What Where (June 1983) Playbills and Programs, Alan Schneider Papers Box 32, Mandeville Special Collections Library, University of California, San Diego. 77 . Alisa Soloman, “Weighing Absence,” The Village Voice, June 28, 1983, in Ohio Impromptu, Catastrophe, What Where (June 1983) Reviews and Articles, Alan Schneider Papers Box 32, Mandeville Special Collections Library, University of California, San Diego. 78 . Schneider to Beckett, June 19, 1983, Harmon, No Author Better Served, 449. 7 9 . Ohio Impromptu, Catastrophe, What Where , (June 1983) Script, Alan Schneider Papers Box 32, Mandeville Special Collections Library, University of California, San Diego. 8 0 . B r a t e r , Beyond Minimalism , 152. 81 . Schneider to Beckett, June 9, 1983 and June 19, 1983, Harmon, No Author Better Served, 447 and 449. 82 . Schneider to Beckett, June 19, 1983, Harmon, No Author Better Served, 449. 8 3 . Ohio Impromptu, Catastrophe, What Where, (June 1983), Photos, Alan Schneider Papers Box 32, Mandeville Special Collections Library, University of California, San Diego. 84. Excerpted from Rosette Lamont, “New Beckett Plays: A Darkly Brilliant Evening,” Other Stages, 16 June 1983, 3, quoted in Brater, Beyond Minimalism, 158. 8 5 . What Where , Theatre on Film and Tape Archive, Billy Rose Theatre Collection at Lincoln Center, New York Public Library. 86 . Schneider to Beckett, June 9, 1983, Harmon, No Author Better Served, 448. 87 . Schneider to Beckett, August 28, 1983, Harmon, No Author Better Served, 459. Schneider complains in this letter that Garfein was selling xeroxed copies of the unpublished scripts in the lobby, without authorization. 88 . Clive Barnes, “Three New Jewels by Beckett,” New York Post , June 21, 1983, in Ohio Impromptu, Catastrophe, What Where (June 1983) Reviews and Articles, Alan Schneider Papers Box 32, Mandeville Special Collections Library, University of California, San Diego. 89 . Edith Oliver, “The Theatre,” The New Yorker , June 27, 1983, in Ohio Impromptu, Catastrophe, What Where (June 1983) Reviews and Articles, Alan Notes ● 185

Schneider Papers Box 32, Mandeville Special Collections Library, University of California, San Diego. 90 . Schneider to Beckett, August 1, 1983, Harmon, No Author Better Served, 454. 91 . Schneider to Beckett, October 13, 1983, Harmon, No Author Better Served, 463. (Toyko is mentioned in a letter from November 20, 1983, Harmon, No Author Better Served, 465). 9 2 . K n o w l s o n , Damned to Fame , 584. 93 . Schneider to Beckett, December 16, 1982, Harmon, No Author Better Served, 439. 94 . Photos, Alan Schneider Papers, Box 52, Mandeville Special Collections Library, University of California, San Diego. 95 . Schneider to Beckett, August 28, 1983, Harmon, No Author Better Served, 460. 9 6 . I b i d . 97 . The AEA’s policies on permitting foreign actors (particularly British actors) to appear on American stages have a long and complicated history. In this case, it seems a deal was forged to allow Whitelaw to appear in exchange for the Royal Court’s hosting of the cast and production team for “Three Plays by Beckett” (presumably a reference to the Ohio Impromptu triple bill). See Samuel G. Freedman, “U.S. & Britain in Actor Trade War: Exchanges Ease Limits,” The New York Times , February 23, 1984. 98 . Schneider to Beckett, December 17, 1983, Harmon, No Author Better Served, 467. 9 9 . Rockaby (1984) Reviews—New York Production, Alan Schneider Papers Box 33, Mandeville Special Collections Library, University of California, San Diego. 100 . Schneider to Beckett, February 17, 1984, Harmon, No Author Better Served, 470. 1 0 1 . Rockaby, Footfalls, Enough , Theatre on Film and Tape Archive, Billy Rose Theatre Collection at Lincoln Center, New York Public Library. There is no date given for the recording, but Whitelaw mentions to Kalb in Beckett in Performance that by later in the run she had memorized virtually all of the text; see 236. 102 . See Harmon, No Author Better Served, 465, n.4. 103 . Kalb, Beckett in Performance , 15–16. 1 0 4 . Rockaby, Footfalls, Enough , Theatre on Film and Tape Archive, Billy Rose Theatre Collection at Lincoln Center, New York Public Library. 105 . Frank Rich, “Stage: A Whitelaw Beckett,” The New York Times, February 17, 1984, C3. 1 0 6 . W h i t e l a w , Who He?, 190. 107 . Schneider to Beckett, March 2, 1984, Harmon, No Author Better Served, 471. 1 0 8 . Rockaby ran for 78 performances from February 16 to April 22. 109 . Schneider to Beckett, March 2, 1984, Harmon, No Author Better Served, 4 7 3 . 186 ● Notes

Conclusion Assessing Schneider’s Legacy 1 . Schneider to Beckett, January 29, 1984, Maurice Harmon, ed., No Author Better Served: The Correspondence of Samuel Beckett and Alan Schneider (Cambridge: Harvard University Press, 1998), 468. 2 . James Knowlson, Damned to Fame, The Life of Samuel Beckett (New York: Simon & Schuster, 1996), 612. 3 . “Forty Years of Passion: In Memoriam: Alan Schneider,” American Theatre 18 (July–August 2001), 42–43. 4 . Mel Gussow, “Alan Schneider, Pioneering Director, Is Dead,” The New York Times , May 4, 1984, A1. 5 . See Nicholas Johnson’s essay “A Spectrum of Fidelity, an Ethic of Impossibility: Directing Beckett,” 154–155 (in Weiss, The Plays of Samuel Beckett ) for a discussion of why certain “postmodern” directors (as he refers to them) resist Beckett because they feel he restricts their creative freedom. 6 . Alan Schneider, “Working with Beckett,” in On Beckett , ed. S. E. Gontarski (Grove Press: New York, 1986), 252–253. 7 . Pierre Chabert, “The Body in Beckett’s Theatre,” Journal of Beckett Studies 8, (Autumn 1982), 27. 8 . Schneider, “Working with Beckett,” 250. 9 . Jonathan Kalb, “The Question of Beckett’s Context,” Performing Arts Journal 11 (1988), 33. 1 0 . L o i s O p p e n h e i m , Directing Beckett (Ann Arbor: University of Michigan Press, 1994), 138. 11 . Kalb, Beckett in Performance (Cambridge: Cambridge University Press, 1989), 11. 1 2 . I b i d . , 1 9 . 13 . Enoch Brater, Beyond Minimalism: Beckett’s Late Style in the Theatre (New York: Oxford University Press, 1987), 146. 1 4 . E r i c B e n t l e y , The Life of the Drama (New York: Applause, 1964), 353. 15 . Howard Stein, “An Interview with Michael Kahn,” in Intersecting Boundaries: The Theatre of Adrienne Kennedy, ed. Paul K. Bryant-Jackson and Lois M. Overbeck (Minneapolis: University of Minnesota Press,1992), 190. 16 . Mervyn Rothstein, “Nichols Tries to Put the Fun Back in Godot ,” The New York Times , September 13, 1988. 17 . Edward Albee in Beckett Remembering Remembering Beckett, ed. James and Elizabeth Knowlson (New York: Arcade, 2006), 228–231. 18 . Jonathan Kalb, “American Playwrights on Beckett,” PAJ: A Journal of Performance and Art 29, (January 2007), 1–20. 19 . Enoch Brater, “The Globalization of Beckett’s Godot,” Comparative Drama 38, (Summer 2003), 149–150.

Bibliography

Archives and Collections Mandeville Special Collections Library, University of California, San Diego Alan Schneider Papers, 1937–2001, MSS 0103.

John J. Burns Library Special Collections, Boston College Alan Schneider-Samuel Beckett Collection, 1955–1984. Barney Rosset-Samuel Beckett Collection, 1949–1989 (including Grove Press Business Files).

Billy Rose Theatre Collection at Lincoln Center, New York Public Library Actor’s Workshop and Repertory Theatre of Lincoln Center Records, 1947–1978. Alan Schneider Papers, 1923–1984. Richard Barr and Clinton Wilder Papers, 1935–1982. Theatre on Film and Tape Archive (TOFT).

Harvard Theatre Collection, Cambridge, Massachusetts Alan Schneider Clippings File.

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Index

absurdism, 74–5 as director, 25, 30, 41, 46, 47, 54, Act Without Words I, 77, 101–2, 153 62, 68, 70, 76, 77, 80, 88, 90, New York (1972), 91, 101–2, 107, 104, 105, 106, 107, 115, 118, 109, 117, 177 124, 164–5, 167 Act Without Words II, 8, 153 visit to the United States, 62, University of Wisconsin (1962), 75 85–8, 153 Albee, Edward, 88 Berghof, Herbert, 35, 38, 91, 98, 141 as playwright, 1, 3, 5, 41, 56, 60, binaries, tension between, 9, 28–30, 47, 65, 69, 74–5, 90, 102, 115, 116, 54–5, 67, 82, 97, 99, 149–50, 151, 153, 162, 164, 169 164 as producer, 59, 78, 80, 114, 161, 169 Blau, Herbert, 7, 13, 15, 37–8, see also Playwrights Unit; Theatre 66, 103, 159, 161, 1960/1961/etc. 164, 183 Arena Stage, 3, 14, 16, 21, 57, 91, 112, Blin, Roger, 20, 35, 41, 43, 44–5, 60, 114, 115–16 76, 147, 153, 155, 169 Atkinson, Brooks, 36, 38, 52, 58, 72, Brook, Peter, 7, 72 99–100, 163 Brown, Curtis, 20, 42–3 auteur directors, 6–7, 16, 44, 100, 149, 154, 186 Camus, Albert, 28, 74, 96 avant-garde theatre, 6–7, 11, 12, 14, 16, Catastrophe, 133–4, 135 42, 43, 58, 60, 66, 73, 106, 167 Avignon (1982), 133–5 New York (1983), 132–8, 140–1, Barnes, Clive, 60, 98, 99, 110, 116, 142, 183 118, 140 Cherry Lane Theatre, New York, 20, Barr, Richard, 55–7, 59–60, 63, 64, 65, 43, 51, 56, 63, 69, 72, 74, 78, 68, 72, 74–5, 78, 80–1, 114, 95, 114, 169 161, 169, 170–1 Cluchey, Rick, 13, 136, 183–4 see also Playwrights Unit; Theatre Coconut Grove Playhouse, Miami, 1960/1961/etc. Florida, 19, 24, 32, 34, 101 Beckett, Samuel Come and Go, 8, 115, 136, 144, 153 deference to Schneider, 17, 43, 54, Cronyn, Hume, 14, 91, 101–9, 64, 76, 78, 81, 170–1, 177 112, 176 202 ● Index

Davis, Donald, 56–9, 97, 115, Happy Days, 7, 14, 17, 60, 62–4, 66–7, 116–17, 138 72, 92, 101, 102, 106, 107, 113, Deschevaux-Dumesnil, Suzanne, 76, 167, 168, 169, 170 79, 129, 170 New York (1961), 10, 14, 60, 61–74, Devine, George, 76–7, 81–2, 153, 170 83, 89, 95, 102, 107, 150 set design, 61, 69–70 Endgame, 11, 14, 41, 46, 48, 54, 59, 65, New York (1972), 67, 91, 101–2, 107, 67, 72, 170, 178 109, 110, 117, 177 Berlin (1967), 46, 47, 90, 170 New York (1979), 66, 123, 178 New York (1958), 14, 39, 41–53, 56, 58, 64, 73, 89, 164 Ionesco, Eugene, 43, 65, 74, 83, set design, 50–1 128, 169 New York (1962), 74, 169 Paris (1957), 41, 43, 44 Keaton, Buster, 84–7 Enough, 128 Kerr, Walter, 3, 36, 52, 58, 72, 73, 98, New York (1984), 141–5 99, 100, 110 Epstein, Alvin, 35, 38, 49–50, 141 Krapp’s Last Tape, 14, 53–4, 56, 59, 60, Esslin, Martin, 3, 37, 74–5, 104, 169 66, 84, 107, 109, 113, 164–5 Ewell, Tom, 20, 23, 24, 26, 30, 31, Berlin (1977), 54, 165 48, 100–1 London (1958), 53 existentialism, 9, 27–9, 30, 31, 67, New York (1960), 41–2, 53–61, 69, 96, 137, 138, 139 73, 95, 97, 138, 140, 150, 164 New York (1972), 91, 101–2, 106–7, Fehsenfeld, Martha, 4–5, 46, 130, 131, 109, 117, 164, 178 151 Paris (1960), 60, 76–7 Fichandler, Zelda, 3, 21, 115, 116 Film (1964), 2, 8, 62, 82–90, 126, 141, Lahr, Bert, 3, 20, 23, 26, 30–1, 32, 35, 172 36, 37, 38, 98 Footfalls, 72, 113, 115, 118, 121, 128, Lincoln Center, 6, 67, 73, 91, 103, 112, 139, 180 114, 115, 117, 151, 167, 176, New York (1984), 141–5 178, 179 Washington, DC (1976), 14, 91, 93, 112–19 Magee, Patrick, 53, 54, 114, 115 McWhinnie, Donald, 53, 114, 115, 153 Gontarski, S. E., 4, 5, 9, 48–9, 77, 79, Mendel, Deryk, 77, 79, 153 85, 88, 122, 128–31, 155, 174 Meredith, Burgess, 31, 38 Gottfried, Martin, 38–9, 111–12, 178 Mostel, Zero, 3, 31, 38, 84 Grove Press, 12, 36, 42–3, 52, 64, 65, Myerberg, Michael, 20, 21–7, 28, 32, 83, 88, 89, 91, 93–4, 96–7, 101, 34, 35–7, 38, 42, 50, 52, 65, 103, 111, 135, 150, 167, 173–4 92, 101, 156, 160, 162, 169 Gussow, Mel, 118, 140, 147 Nobel Prize, 14, 65, 73, 91, 109 Hall, Sir Peter, 21, 22, 24, 26, 35, 80, Not I, 7, 10, 55, 72, 101, 113, 115, 155, 155, 156, 157 166, 176, 179 Index ● 203

London (1973), 103, 105 realism, 11–12, 15, 24, 25, 26–7, 31–2, New York (1972), 10, 14, 73, 85, 86, 66–7, 72, 74, 96, 134–5, 137, 91, 101–12, 117, 140, 142, 150 140, 149, 183 technical challenges, 11, 102, and American acting, 11–12, 78–9, 103–4, 150, 170, 176 85–6, 105–6, 126–7, 151 regional or repertory theatre, 12, 13, Obie Awards, 53, 59, 61, 73, 82, 112 15, 16, 21, 37, 43, 55, 75, 103, off-Broadway, 3, 15, 16, 21, 39, 42–3, 112, 113, 114, 115–16, 119, 50, 58–9, 75, 92–3, 94–5, 100, 121, 145, 151 109, 113, 116, 130, 133, 140, Ritman, Bill, 69, 80, 95, 98, 174 144, 151, 155, 157, 161 Rockaby, 11, 122–3, 133–4, 136, 141, and Beckett’s work, 12, 14, 15, 21, 149, 181 26, 27, 35, 39, 41, 43, 52–3, 56, Buffalo (1981), 10, 14, 114, 122–8, 58–9, 73, 91–2, 94, 97, 100, 145, 180 103, 114, 122, 128, 131–2, 142, New York (1984), 128, 132–3, 144, 151, 156, 159, 163 141–5, 185 off-off-Broadway, 15, 59, 93, 106, 109 Rosset, Barney, 12, 21–2, 49, 92, Ohio Impromptu, 122, 136, 143, 182, 135, 155 185 as Beckett’s theatrical agent, 12, 14, Columbus (1981), 10, 14, 122, 127, 35, 39, 41–3, 53, 55, 64–5, 73, 128–33, 145, 151 75, 76, 78, 81, 83, 84–6, 87, New York (1983), 132–6, 138, 88, 102, 142, 150, 155, 160, 140–1, 142, 144, 145 170–1 monopoly on Beckett’s work in performance reconstruction, 4, 7–8, America, 13, 38–9, 42, 65–6, 10, 15 78, 111, 118 performance text, 5, 10, 15, 26, 55, visits to Paris, 102, 113 112, 150 see also Grove Press phenomenology, 28, 47, 126, 181 Royal Court Theatre, London, 53, 60, Pinter, Harold, 3, 5, 65, 78, 82, 83, 64, 65, 103, 105, 114, 115, 106, 164 116, 117, 118, 153, 167, 170, Play, 14, 72, 75, 76, 78–9, 103, 104, 176, 185 113, 115, 121, 166 Berlin (1963), 79–80 Samuel French, 65, 101, 118, 176 da capo, 76, 77–8, 79, 80–2, 90, 117, Schiller Theatre, Berlin, 30, 46, 47, 77, 170, 171 79, 90, 106, 107, 114, 116, 164 London (1964), 81–2, 124, 170 Schneider, Alan New York (1964), 14, 60, 61–2, biography, 2–3, 147 75–82, 84, 85, 90, 109, 117, 176 fidelity to Beckett’s intent, 5–7, 26, Ulm-Donau (1963), 77, 83 43–4, 47, 52, 53, 61, 64, 72–3, Washington, DC (1976), 112–19 79–80, 81, 107, 117–18, 124, Playwrights Unit, 59, 151, 161 134–5, 140, 148–9, 155 see also Albee, Edward; Barr, influence on Beckett’s writing, Richard; Wilder, Clinton 16–17, 61–4, 73–4, 83 204 ● Index

Schneider, Alan—Continued 54, 60, 65, 73, 89, 91, 92, 98, legacy, 15–16, 147–52 100–1, 115, 144, 156, 157 monopoly on Beckett’s work in casting, 23–4 America, 38–9, 65–6, 78, marketing, 32–4 111–12, 118 reviews of, 33–4 originality as a director, 7, 15–16, Schneider’s contract for, 20–1, 44, 49, 77, 98–100, 148–50 23–4, 36–7 and university theatre, 3, 12–13, 14, New York (1956), 19, 35–7, 38, 42, 16, 75–6, 115, 121, 127, 49, 52, 73, 91, 98, 100, 101, 135–6, 151 141, 156, 160, 173–4 Serban, Andrei, 6, 13, 66, 100, 123, New York (1971), 14, 27, 39, 90, 91, 127, 167, 178 92–101, 103, 112, 117, 140, 141, 142, 158–9, 163, 169, Tallmer, Jerry, 58–9, 93 173, 174, 175 Tandy, Jessica, 3, 14, 73, 85, 91, Paris (1953), 19–20, 35, 155 101–10, 112 “Play of the Week” TV production Taubman, Howard, 72, 82 (1960), 31, 38, 73, 96, 158 textual fidelity, 5–7, 16, 44, 49, 50, San Francisco (1957), 37, 164 66, 80, 99, 100 at San Quentin prison, 7, 37, 183 That Time, 72, 82, 113–14, 115, 121, 179 Warrilow, David, 129–32, 133, 135, Washington, DC (1976), 14, 91, 136, 138, 140–1 112–19 What Where, 136–7, 139, 143 Theatre 1960/1961/etc., 56, 59, 60, 63, New York (1983), 10, 13, 93, 132, 65, 78, 80 136–41, 142 see also Albee, Edward, as producer; White, Ruth, 68–9, 72, 73, 92, 110, Barr, Richard; Wilder, Clinton 168, 169 Whitelaw, Billie, 70, 103, 105, 113, university theatre, 3, 12–13, 14, 15, 16, 115, 118, 123–8, 130, 133, 136, 37, 75–6, 112, 113, 115, 121–2, 141, 142–7, 149, 167, 180, 185 127, 132–3, 135–6 Who’s Afraid of Virginia Woolf?, 59, 75, 90, 116, 162 Waiting for Godot, 11, 25, 27–8, 36, Wilder, Clinton, 59–60, 63, 65, 68, 72, 37, 38–9, 41, 42, 48, 59, 68–9, 78, 80, 161, 169 70, 72, 86, 91, 106, 111, 113, see also Playwrights Unit; Theatre 122, 139, 151, 152, 157, 162, 1960/1961/etc. 174, 181 Wilder, Thornton, 3, 5, 20, 28, 158 Berlin (1975), 30, 106 Williams, Tennessee, 11, 32, 34 Houston (1959), 27, 37, 55, 96, 161 Worth, Irene, 3, 66, 123 London (1955), 2, 22, 42, 44, 80 Miami (1956), 1, 2, 12, 13, 14, Zoo Story, The, 41–2, 56, 58, 59, 60, 19–35, 39, 41, 42, 44, 50, 53, 140