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Home , Actors Studio, Cheryl Crawford, Harold Clurman, Irwin Shaw, Lee Strasberg, Mordecai Gorelik

Note on Sources

elen Chinoy made the decision early in her writing of the Group’s story to minimize scholarly apparatus. Her objective was to follow a scheme H“that avoid[s] footnotes in the text.” Her intention was to have “notes for each chapter take the form of a running commentary which picks up topics and quotes.” She then would expect the reader to locate specific sources for all references in the bibliography. Unfortunately, she only left behind one example of this strategy, while from time to time including in her narrative allusions or direct references to sources. Her one full example actually added several pages to the one sample chapter. The length of her manuscript precluded the editors from following this prescription and adding more words to the total or trying to retrace all of Chinoy’s more-than-three-decade research efforts in order to locate all her sources. Still, the editors felt that readers of Chinoy’s version of the Group ’s history needed some suggestion of sources used and the inclusion of signpost references were most helpful in having some grasp of Chinoy’s extensive research of both published and archival sources. Our decision is a compromise of Chinoy’s wishes. We’ve tried not to jeopardize or disrupt her narrative, and we’ve operated on our shared assumption that Helen Chinoy was the major scholarly authority on the Group; over decades, she had assimilated a vast amount of knowledge on all aspects of the Group (as her archival notes confirm). Thus we urge the reader to trust Chinoy’s own unique role as a principal authority on this subject—and American theater in general. We have fact-checked when we felt this was needed and have confirmed (or corrected), when possible, quotations from participants in the Group’s history. Chinoy did not leave behind a clear sense of sources used for each chapter, therefore our major chore as editors, other than cutting, or otherwise shortening, each chapter in order to adhere to contractual require- ments, has been to cite, briefly, selective sources as deemed possible (“redoing” Helen’s extensive research was not our objective). Whenever possible we have gone to published and accessible sources, with limited citation of unpublished, archival sources. We are aware that not all significant quotes have sources cited. We welcome corrections and/or additions so that these can be inserted in sub- sequent editions. In the text the following abbreviations are frequently used: FY (Clurman, The Fervent Years); S&A (Lewis, Slings and Arrows); TisR (Odets, The Time Is Ripe); NYT (The Times); NYPL [New York Public Library (for the Performing Arts, Lincoln Center)]. The bibliography that follows reflects in almost all instances sources we know were used by Helen Chinoy. 264 Note on Sources

In regard to the above, we include here some written comments left by Helen, which help to focus the reader on what she felt most important as sources of authority. She states:

The essential document of the Group Theatre is ’s The Fervent Years, originally published in 1945 by Alfred Knopf. The basic information about the people, the chronology, and the history of the theatre comes from this invaluable theatrical and cultural history. Central as Clurman’s book is to any study, it is one man’s view of what was a group endeavor. In my research, I have undertaken to find out what the experience meant in the lives of the other members. Reunion: A Self-Portrait of the Group Theatre, a special issue of the Educational Theatre Journal, 1976 [now out of print], is a collection of interviews I have published from my researches.

As the major consultant for the 1989 “” on The Group Theatre on PBS, Chinoy was also centrally involved with interviews, most undertaken by actress/narrator , with many of the original members and associ- ates of the Group, and drew on these in her writing. In Chinoy’s version of the Group’s history and especially in allowing participants in this endeavor to speak for themselves,

some of the quotations attributed to Clurman come from The Fervent Years . . . quota- tions from other participants and many from Clurman are in Reunion or come from unpublished interviews and sources [selectively noted in the text]. The main papers of the Group Theatre (including its scrapbooks) are in the Billy Rose Theatre Collection, Library of the Performing Arts, Lincoln Center, New York. The Manuscript Collection at Columbia University Library, New York, has important papers of Clurman and the Columbia Oral History Project Collection has interviews with several Group members.

Since completing her research, the has acquired relevant papers of (still in the possession of Anna Strasberg during the years of Chinoy’s research) and the , the University of Texas, Austin, has recently added papers of and Harold Clurman to its collection, some seen by Chinoy while still possessed by Adler and Clurman. In our compiled bibliography, which focuses primarily on published sources used most extensively by Chinoy (and indicated by an asterisk preceding the refer- ence), we include Wendy Smith’s Real Life Drama: The Group Theatre and America, 1931–1940 (1990), an extensive history not used directly by Chinoy but clearly read by her and consulted often to confirm facts, chronology, and the like (her copy of the book with extensive notes survives). But it should be underscored that Chinoy’s objective in her history is quite different from that of Smith, who undeni- ably sought to be as complete as possible, approaching the Group’s history as a well- versed outsider. Chinoy, who was born in 1922, lived through the Depression years and admits, as she does in the introduction, that in her late teens she had what some considered radical ideas, especially in her perception of the American theater of the day. Though too young to know the Group intimately, she was aware of it, grew up in nearby Newark, and earned degrees at and Columbia, thus experiencing intimately the theater of the 1930s and 1940s in . Note on Sources 265

Chinoy’s aim was to tell the Group’s story as personally and authoritatively as she could, drawing on the words of the participants, providing the reader the context for the decade of the Group’s life, offering glimpses of the excitement in the theater of the Group, and finally providing the complex history in broad strokes, warts and all, rather than in a detailed blow-by-blow account, useful though that is. Chinoy’s extensive notes, relevant books, and drafts of most chapters can be consulted in her files in the Smith College Archives, Northampton, Massachusetts. Select Bibliography

n asterisk (*) indicates sources used most extensively by Chinoy; these are from her personal library and include extensive notes inserted plus margina- A lia. A few titles published since Chinoy’s illness in the mid-1990s are cited here, helpful to the editors in various ways. Aaron, Daniel, and Robert Bendiner. The Strenuous Decade: A Social and Intellectual Record of the Nineteen-Thirties. NY: Anchor Books, 1970. *Adams, Cindy. Lee Strasberg: The Imperfect Genius of the Studio. NY: Doubleday, 1980. Adler, Stella. The Art of . NY: Applause Books, 2000. ———. A Technique of Acting. NY: Bantam Books, 1988. Allen, Frederick Lewis. The Big Change: America Transforms Itself 1900–1950. NY: Harper & Row, 1952. ———. Since Yesterday: 1929–1939. NY: Harper & Row, 1940. “The American .” Yale/Theatre. Vol. 9, nos 2&3, spring 1977. Includes essays/inter- views with Stella Adler, , Lee Strasberg, et al. Ardrey, Robert. Plays of Three Decades. NY: Collins, 1968. Ashby, Clifford Charles. “Realistic Acting and the Advent of the Group in America: 1889–1922.” PhD diss., Stanford University, 1963. Barranger, Milly S. A Gambler’s Instinct: The Story of Broadway Producer . Carbondale: Southern Illinois University Press, 2010. Baxandall, Lee. Radical Perspective in the Arts. Harmondworth: Penguin Books, 1972. Benedetti, Jean. Stanislavski. : Methuen & Co., 1988. Bentley, Eric. The Theatre of Commitment. NY: Atheneum, 1967. ———. Thirty Years of Treason. NY: Viking Press, 1978. Bentley, Joanne. Hallie Flanagan: A Life in the American Theatre. NY: Alfred A. Knopf, 1988. Berkson, Michael A. “: Actor and Theatre.” PhD diss., University of Illinois, 1975. Boleslavsky, Richard. Acting: The First Six Lessons. NY: Theatre Arts Books, 1933. : From His Theatre Work. Exhibition Catalogue. NY: NYPL at Lincoln Center, 1981. *Brenman-Gibson, Margaret. : American Playwright: The Years from 1906 to 1940. NY: Atheneum, 1981. Burke, Kenneth. A Grammar of Motives. NY: Prentice-Hall, 1952. ———. The Philosophy of Literary Form. Baton Rouge: Louisiana University Press, 1941. Carnovsky, Morris. The Actor’s Eye. NY: Performing Arts Journal Publications, 1984 ———. Theatre Arts Magazine (June–July 1948). *Carrington, Hardy Michael. “The Theatre Art of Richard Boleslavsky.” PhD diss., University of Michigan, 1971. Chinoy, Helen Krich. “The Impact of the Stage Director on American Plays, Playwrights, and : 1860–1930.” PhD diss., Columbia University, 1963. 268 Select Bibliography

*Chinoy, Helen Krich, ed. “The Chosen Ones: The Founding of the Group Theatre.” In Theatrical Touring and Founding in North America. Edited by L. W. Conolly. Westport, CT: Greenwood Press, 1982. 135–52. ———. “The Poetics of Politics: Some Notes on Style and Craft in the Theatre of the Thirties.” The Theatre Journal, vol. 35, no. 4 (December 1983): 475–98. ———. Reunion: A Self-Portrait of the Group Theatre. Reprinted from the Educational Theatre Journal, vol. 28, no. 4 (December 1976): 443–552. Chinoy, Helen Krich, and Linda Walsh Jenkins. Women in American Theatre. 1981. 3d revised ed. NY: Theatre Communications Group, 2005. Ciment, Michael. Kazan on Kazan. NY: Viking Press, 1974. Clurman, Harold. All People Are Famous. NY: Harcourt, Brace, Jovanovich, 1974. ——— . The Collected Works of Harold Clurman. Ed. Marjorie Loggia and Glenn Young. NY: Applause Books, 1994. ———. “Critique of the American Theatre.” The Drama, April 1931. Reprinted in The Collected Works of Harold Clurman, 1–4. *———. The Fervent Years: The Group Theatre and the Thirties. NY: Alfred Knopf, 1945; NY: Da Capo Press, 1975, with new introduction by Stella Adler (1983). ———. “Group Theatre’s Future.” New York Times. May 18, 1941. Reprinted in The Collected Works of Harold Clurman, 37–40. ——— . On Directing. NY: The Macmillan Company, 1972. Cole, Toby, compiler, with intro. by Lee Strasberg, Acting: A Handbook of the Stanislavski Method. Rev. ed. NY: Crown Publishers, 1955. Cole, Toby, and Helen Krich Chinoy. Actors on Acting. 1949. NY: Crown, 1980. ———. Directors on Directing. 1953. NY: Bobbs-Merrill, 1963. Cooney, Terry A. Balancing Acts: American Thought and Culture in the 1930s. NY: Twayne Publishers, 1995. Copland, Aaron. Copland: 1900 Through 1942. NY: St. Martin’s, 1984. Corey, Lewis. The Crisis of the Middle Class. NY: Covici-Friede, 1935. Cosgrove, Stuart. “Prolet Buehne: Agit-prop in America.” In Performance and Politics in Popular Drama. Ed. by David Bradby, Louis James, and Bernard Sharratt. Cambridge, UK: Cambridge UP, 1980, 201–12. Cowley, Malcolm. Exile’s Return. NY: Viking Press, 1951. ———. Think Back on Us. Carbondale: Southern Illinois University Press, 1967. Craig, Edward Gordon. On the Art of the Theatre. Chicago: Browne’s Bookstore, 1911. *Crawford, Cheryl. One Naked Individual. NY: Bobbs-Merrill, 1977. Deutsch, Helen, and Stella Hanau. The Provincetown: A Story of the Theatre. NY: Russell and Russell, 1931. The Drama Review: The Group Theatre Issue, vol. 28, no. 4 (Winter 1984): 1–72. Engel, Lehman. This Bright Day: An Autobiography. NY: Macmillan, 1974. Evans, Alice. “A Theatre of Action.” New Theatre (May 1934): 11–12, 33. Farmer, Frances. Will There Really Be a Morning? NY: G.P. Putnam’s Sons, 1972. Fearnow, Mark. The American Stage and the Great Depression, A Cultural History of the Grotesque. Cambridge, UK: Cambridge University Press, 1997. Filippov, Boris. Actors without Make-up. Moscow: Progress Publishers, 1977. Flanagan, Hallie. “A Theatre Is Born.” Theatre Arts Magazine (November 1931): 909. Fletcher, Anne. Rediscovering : Scene Design and the American Theatre. Carbondale: Southern Illinois University Press, 2009. The Flying Grouse. Group Theatre magazine. Two issues published: February and June 1936. Garfield, David. A Player’s Place: The Story of the . NY: Macmillan, 1980. Select Bibliography 269

Gasper, Raymond D. “A Study of the Group Theatre and Its Contributions to Theatrical Production in America.” PhD diss., Ohio State University, 1955. *Gassner, John. Producing the Play. NY: The Dryden Press, 1941. Included are essays by Clurman, Lewis, and Gorelik, each closely studied by Chinoy. Gold, Michael. “A Bourgeois Hamlet for our Times.” New Masses, April 10, 1934. Goldstein, Malcolm. The Political Stage. NY: Oxford University Press, 1974. Gorchakov, Nikolai. The Vakhtangov School of Stage Art. Moscow: Foreign Languages Publishing House, n.d. Gorelik, Mordecai. New Theatres for Old. NY: Samuel French, 1940. Gornick, Vivian. The Romance of American Communism. NY: Basic Books, 1977. *Hethmon, Robert H., ed. Strasberg at the Studio. NY: Viking, 1975. *Himelstein, Morgan Y. Drama Was a Weapon. New Brunswick, NJ: Rutgers University Press, 1963. *Hirsch, Foster. on Stage: From to Broadway. NY: Knopf, 2002. ———. A Method to Their Madness: The History of the Actors Studio. NY: Norton, 1984. Houghton, Norris. But Not Forgotten. NY: William Sloan Publishers, 1951. ———. Entrances and Exits: A Life In and Out of the Theatre. NY: Limelight Editions, 1991. Houseman, John. Runthrough. NY: Simon & Schuster, 1972. Kaplan, Alan, and Thomas Klein. Harold Clurman: A Life of Theatre. PBS Documentary, July 3, 1989. *Kazan, Elia. A Life. NY: Alfred A. Knopf, 1988. Kazin, Alfred. On Native Grounds (1942). NY: Anchor Books, 1956. ———. Starting Out in the Thirties. Boston: Atlantic–Little, Brown, 1965. Klehr, Harvey. The Heyday of American Communism: The Depression Decade. NY: Basic Books, 1984. Kreymborg, Alfred. “America, America!” In Proletarian Literature in the . Ed. Granville Hicks and others. International Publishers, 1935. Krutch, Joseph Wood. The American Drama Since 1918. NY: Random House, 1939. Lahr, John. Review of Awake and Sing! revival. New Yorker. October 26, 1992. Langner, Lawrence. The Magic Curtain. NY: E.P. Dutton & Co., 1951. Lawson, John Howard. Processional! NY: Thomas Seltzer, 1925. *Lewis, Robert. Advice to the Players. NY: Harper and Row, 1980. ——— . Method or Madness? NY: Samuel French, 1958. *———. Slings and Arrows: Theater in My Life. NY: Stein and Day, 1984. Lyon, James K. Bertolt Brecht in America. Princeton, NJ: Princeton University Press, 1980. Macgowan, Kenneth, and . Continental Stagecraft. 1922. Reprint. NY: Benj. Blom, 1964. MacLeish, Archibald. “The Hope for Poetry in the Theatre.” New Theatre (December 1935): 9. Malague, Rosemary. An Actress Prepares: Women and “The Method.” NY: Routledge, 2012. Malden, Karl. When Do I Start?: A Memoir. NY: Simon & Schuster, 1997. McConachie, Bruce A. Melodramatic Formations: American Theatre and Society, 1820–1870. Iowa City: University of Iowa Press, 1992. McDermott, Douglas. “The Theatre Nobody Knows: Workers Theatre in America, 1926–1942.” Theatre Survey (May 1965): 65 ff. Meisner, Sanford, and Dennis Longwell. Sanford Meisner On Acting. NY: Random House /Vintage Books, 1987. Miller, Arthur. Timebends. NY: Grove Press, 1987. Miller, Gabriel. Clifford Odets. NY: Continuum, 1989. 270 Select Bibliography

Mordden, Ethan. The American Theatre. NY: Oxford University Press, 1981. Munk, Erica. “A Theater in Search of a Politics.” Village Voice. June 15, 1982. Murray, Edward. Clifford Odets: The Thirties and After. NY: Frederic Ungar, 1969. Navasky, Victor. Naming Names. NY: Viking Press, 1980. *Odets, Clifford. Six Plays of Clifford Odets. NY: The Modern Library [ca. 1935] 1963. *———. The Time Is Ripe: The 1940 Journal of Clifford Odets. NY: Grove Press, 1988. Pack, Richard. “Shock Troupe in Action.” New Theatre (November 1934): 33. , Barry, ed. Stella Adler on America’s Master Playwrights. NY: Knopf, 2012. Paxton, John. “The Fabulous Fanatics.” Stage. December 1938. Pells, Richard H. Radical Visions & American Dreams: Culture and Social Thought in the Depression Years. NY: Harper & Row, 1973. Rabkin, Gerald. Drama and Commitment. Bloomington: Indiana University Press, 1964. Reinelt, Janelle. Crucible of Crisis: Performing Social Change. Ann Arbor: University of Michigan Press, 1996 (see especially introduction, 1–12). *Reynolds, Steven Clarence. “The Theatre Art of : An Analysis and Evaluation.” PhD diss., University of Michigan, 1981. Rich, Frank, and Lisa Aronson. The Theatre Art of Boris Aronson. NY: Alfred Knopf, 1987. Rosenfeld, Lulla. Bright Star of Exile: Jacob Adler and the Yiddish Theater. NY: Thomas Y. Crowell, 1977. Sadkin, Davis. “Emblem of an Era: A Critical History of the Group Theatre in Its Times.” PhD diss., Kansas State University, 1970. *Salvi, Delia Nora. “The History of the Actors’ Laboratory, Inc., 1941–1950.” PhD diss., UCLA, 1969. Sarlós, Robert Károly. Jig Cook and the Provincetown Players. Amherst: University of Massachusetts Press, 1982. *Scharfenberg, Jean. “Lee Strasberg: Teacher.” PhD diss., University of Wisconsin, 1963. Sh a n k, T heodore. “Pol it ic a l T he at re, Ac tors a nd Aud ienc e s: Some Pri nciple s a nd Tec h n ique s.” Theater 10 (Spring 1979). Sheaffer, Louis. O’Neill: Son and Artist. Boston: Little, Brown, 1973. Sheehy, Helen. : A Biography. NY: Knopf, 1996. Shnayerson, Michael. : A Biography. NY: G.P. Putnam’s Sons, 1989. Smiley, Sam. The Drama of Attack. Columbia: University of Missouri Press, 1972. Smith, Julia. . NY: E.P. Dutton, 1953. *Smith, Wendy. Real Life Drama: The Group Theatre and America, 1931–1940. NY: Knopf, 1990. Steiner, Ralph. A Point of View. Middletown, CT: Wesleyan University Press, 1978. Stevens, Norman. “Case of the Group Theatre.” New Theatre (July 1936): 26. Strasberg, John. Accidentally on Purpose. New York: Applause, 1996. *Strasberg, Lee. A Dream of Passion: The Development of the Method. Boston: Little, Brown and Co., 1987. ———. “The Magic of Meyerhold.” New Theatre (September 1934): 14–15, 30. ———. “Moscow Rehearsals.” New Theatre (May 1936): 19–20, 33. ———. “Russian Notebook.” The Drama Review, vol. 17, no. 57 (March 1973): 106–21. Also excerpt from Strasberg’s “Diary on Visit to Russian, 1934.” 110–12. Strasberg, Susan. Bitter Sweet. NY: G.P. Putnam’s, 1980. Taylor, Karen Malpede. People’s Theatre in Amerika. NY: Drama Book Specialists/Publishers, 1972. Terkel, Studs. Hard Times. NY: Pantheon Books, 1970. Wagner, Arthur. Interview of Odets, October 9, 1961, for doctoral dissertation. Excerpts published in Harper’s, September 1966. Select Bibliography 271

Wainscott, Ronald H. The Emergence of the Modern American Theatre, 1914–1929. New Haven: Yale University Press, 1997. Watkins, T. H. The Great Depression: America in the 1930s. Boston: Little, Brown and Co., 1993. Weales, Gerald. Clifford Odets. (1971). Paperback ed. NY and London: Methuen, 1985. Williams, Jay. Stage Left. NY: Scribner’s, 1974. Willis, Ronald A. “The American Laboratory Theatre, 1922–1930.” PhD diss., University of Iowa, 1968. Wilmeth, Don B., and Christopher Bigsby, eds. The Cambridge History of American Theatre. Volume II, 1870–1945. Cambridge and NY: Cambridge University Press, 1999. Wilmeth, Don B., with Tice L. Miller, eds. Cambridge Guide to American Theatre. Paperback edition. Cambridge: Cambridge University Press, 1996. Wilson, John. The Dorothy Patten Story: From Chattanooga to Broadway. Chattanooga, TN: Chattanooga News-Free Press, 1986. Pp. 31–55 on Group Theatre experience. Wolfe, Donald Howard. “The Significance of the Group Theatre.” PhD diss., Cornell University, 1969. Zuker, Joel Stewart. Ralph Steiner: Filmmaker and Still photographer. NY: Arno Press, 1978. Index

Abbott, George, 54, 58 aff ective memory, see emotional memory acting, 4, 8 Agit-prop, 172, 194, 195 and subtext, 5, 8 Altman, Frieda, 141 Stanislavsky’s system, see Stanislavsky America! America! (Kreymborg), 8, 14 Strasberg’s method, 4 American Academy of Dramatic Art, 24 Actor Prepares, An (Stanislavsky), 106, 109 American Laboratory Th eatre (ALT), 17, Actors’ Equity Association (AEA), 39, 55, 18, 19, 22, 24–5, 27, 28, 38, 43, 62, 189, 190, 228 96, 98, 130, 131 Actors on Acting (Cole and Chinoy), 9, 15 American Method, see Strasberg, Lee Actors Studio, 6, 110, 112, 128, 244 (Stanislavsky), 25, 34 Playwrights’ Unit in, 245 Anderson, Maxwell, 37, 45, 62, 83, 168, Adams, Cindy, 108 195, 220 Adler, Jacob, 18, 19, 22, 78, 106, 129 as Group Th eatre “angel,” 224 Adler, Luther, 17, 45, 67, 73, 74, 76, 78, 88, Anderson, Sherwood, 14, 23, 24, 25, 27, 30, 173 92, 131, 134, 138, 139, 141, 147, 151, Anthony, Mab, 27, 37, 65, 204 153, 154, 155, 159, 175, 206, 232, see also Maynard, Gertrude 234, 237, 238, 240, 243, 245, Ardrey, Robert, 7, 12, 157, 159, 201, 258 247, 248, 249, 259 Aronson, Boris, 137–8, 144, 147, 213 Adler, Philip, 224 Artef, 194–5 Adler, Stella, 1, 21, 30, 36–7, 38, 40, 47, Atkinson, Brooks, 56–7, 71, 139, 141, 144, 156 48, 60, 63, 67, 73, 74, 75, 82, 85, 92, Awake and Sing! (Odets), 2, 7, 9, 29, 81, 83, 94, 95–6, 102, 111–12, 114, 116, 117, 84, 110, 118, 122, 129, 130, 132–40, 118, 119, 122, 123, 131, 132, 134, 137, 142, 143, 157, 168, 173, 179, 181, 182, 138, 141, 143, 147, 158, 173, 179, 188, 196, 208, 232, 233, 234, 236, 249, 254 191, 195–6, 204, 205, 206, 208, 213, audience response to, 138–9 220, 230, 231, 232–3, 234, 235, 246, cast of, 134–5, 138 249, 252, 253 rehearsals for, 137–8 background of, 22, 210–11 reviews of, 133, 138–9 in Hollywood, 240, 243, 244 meeting with Stanislavsky (Paris), 6, 93, Baker, George Pierce, 20 104–6 Barber, Philip, 68, 84, 211 member of Group Th eatre Actors’ Barker, Margaret (Beany), 13, 21, 23–4, 37, Committee, 239 38, 39, 40, 43, 47–8, 56, 76–7, 82, 86, on Harold Clurman, 205, 211 87, 89, 91, 92, 102–3, 106, 117, 120, on marriage, 211 172, 173, 191, 203, 204, 206, 207, on Stanislavsky’s system, 106–7 209, 234, 243, 246 on Lee Strasberg, 95, 103–10, 111 background of, 24 on the Group Th eatre experience, 31 on , 243 on women in the Group Th eatre, 208, 210 on Group experience, 206 relationship with Clurman, 20–1 on Lee Strasberg, 102 teaching of, 6, 110–12, 120, 152, 250 on Stella Adler, 241 tribute to Stanislavsky, 108 on theatre, 50 274 Index

Barratt, Watson, 119 broadway, 2, 3, 4, 5, 6, 8, 13, 15, 16, 17, Barrymore, John, 14, 40 18, 21, 22, 24, 25, 27, 28, 19, 29, 40, Barton, Wilhelmina, 67 45, 50, 53, 54, 56, 59, 71, 77, 78, 91, Baxter, Alan, 172, 235 98, 114, 118, 119, 134, 138, 139, Bel Geddes, Norman, 91 144, 157, 158, 169, 180, 182, 187, Ben-Ami, Jacob, 18, 25 194, 205, 222 Benedetti, Jean, 106 commercialism of, 4 Benson, Sidney, 187, 196 Broadway Dreamers (television), 9, 15 Bessie, Alvah, 196 Bromberg, J. Edward (Joe), 21, 27, 38, 46, Biberman, Herbert, 17 60, 67, 69, 73, 82, 83, 85, 86, 87, 88, Bickford, Charles, 248 92, 117, 175, 179, 215, 232, 235, 249 Big Knife, Th e (Odets), 164 as Communist Party member, 185, 188, Big Night (Powell), 63, 83, 130, 172, 190, 191 212–13, 222, 235 Brookfi eld Center (CT), 23, 24, 26, 30, cast of, 212–13 33–50, 53, 59, 65, 130, 169, 205, 211, rehearsals for, 212–13 212, 219, 222, 250 reviews of, 213 Broun, Heywood, 67 Blacklist, 185, 202 Browder, Earl, 183, 190 Blitzstein, Marc, 193 Brown, John Mason, 56, 57, 71 Bloomgarden, Kermit, 246, 252 Building a Character (Stanislavsky), 109 as Group Th eatre business manager, 246 Bulgakov, Leo, 27, 97 Bohnen, Roman (Bud), 68, 71, 72, 74, 76, Burgess, Grover, 69, 120, 173 92, 116, 120, 122, 141, 143, 160, 177, Bury the Dead (Shaw), 131 231, 232, 243, 245, 251–2, 255, 259–60 on Dorothy Patten, 76 Café Universal (fi lm), 68, 84 on Group Th eatre Actors’ Committee, Caldwell, Erskine, 257, 258 237, 240 Can You Hear Th eir Voices? (Flanagan & on sensory exercises, 65 Cliff ord), 8 Boleslavsky, Richard, 3, 5, 20, 24, 33, 38, Carnovsky, Morris, 1, 8, 16, 21, 24, 27, 29, 41, 43, 54–5, 62, 95, 96, 97–8, 102, 35, 37, 38, 39, 40, 43, 47, 48, 55, 58, 103, 109, 130, 131, 136 60, 69, 74, 77, 82, 83, 85, 92, 94, 99, on acting, 17, 24, 28 102, 106, 107, 120, 121, 122, 125, on art as necessity, 72 126, 134–5, 138, 139, 141, 148, 151, production of Martine, 38, 43, 62 154, 156, 158, 160, 172, 182, 205, Bonstelle, Jesse, 27 224, 235, 246, 248, 251, 252, 253, Brand, Phoebe, 21, 27, 38, 43, 48, 57, 60, 255, 256, 258 69, 85, 86, 88, 92, 103, 107, 110–11, as Communist Party member, 185, 187, 116, 119, 120, 124, 134, 138, 139, 188, 191 148, 156, 171, 204, 205, 206, 207, background of, 22–3, 27 208, 213, 214, 246, 251, 255 member of Group Th eatre Actors’ as Communist Party member, 185, Committee, 224 187, 199 on emotional memory, 102 on as premature on Stella Adler, 253 feminist, 214 on the Group Th eatre, 31 on political activism, 207 Case of Clyde Griffi ths, Th e (Piscator), 114, on the Group experience, 207 118–22, 183, 209, 236 Brecht, Bertolt, 118, 119, 122 cast of, 119–20 alienation eff ect, 122 costumes for, 120 Brenman-Gibson, Margaret, 140, 150, 163, improvisations for, 120 164, 179, 188, 209, 250 rehearsals for, 120 Index 275

reviews of, 121 on Idea of Th eatre, 5, 15, 30, 130, stage design for, 118, 119 131, 132, 134 Casey Jones (Ardrey), 247, 248 on improvisation, 69, 137, 142 Challee, William (Bill), 17, 27, 38, 68, 75, on Lee Strasberg, 99, 101, 115 120, 156, 220 on , 91 Chekhov, Anton, 83, 108, 111, 136, on , 160 157, 158 on , 129, 141–2, 144 Chekhov, Michael, 97, 99 on politics and art, 186, 187, 191–2, Child, Nellise, 141, 183, 213–14 193–4, 195, 198, 199, 258 background of, 213 on rehearsals, 17 Settlement House, 18, 19, on relationship with Stella Adler, 25, 98, 112, 170 245, 252–3 Ciment, Michel, 197 on Rocket to the Moon, 154 Civic Repertory Th eatre, 25, 93, 133, 225 on roles for women in Group plays, productions of, 27 208–9 Clare Tree Major School of Th eatre, 19, 96 on Silent Partner, 200 (Odets), 164, 259 on Stanislavsky system, 99 Cliff ord, Margaret Ellen, 8 on Stella Adler, 22, 33–6, 205 Clurman, Harold, 1, 2, 7, 8, 16, 18, 25, 33, on subtext, 142 35, 36, 37, 38, 39, 40, 43, 45, 53–8, on Success Story, 78 59–63, 67, 69–70, 74, 75, 76, 81, 82, on , 215 84, 85, 86, 89–90, 102, 104, 108, 112, on theatre, 3, 14–15, 16, 30, 35–6, 63, 114, 116, 117, 119, 121, 123, 126, 127, 116, 162, 167 129–45, 147–64, 167–82, 193, 197, on the Depression, 205 198, 203, 204, 208, 214, 215, 243, on Th e House of Connelly, 46–7 244, 246, 249–50, 251, 257, 258 on Winterset, 195 as actor, 20 on writing on the Group Th eatre, 9 as cofounder of the Group Th eatre, 3–4 plays directed by: Awake and Sing!, as director, 7, 110, 118, 130, 131, 132, 134 Th e Gentle People, , Night as Group managing director, 122, 145, 245 Music, Paradise Lost, Retreat to as teacher, 71, 77 Pleasure, Rocket to the Moon as visionary, 13–14 pseudonym of, 175, 194 education of, 19 rejection of Actors’ Committee diary of, 198 Report, 259 in Hollywood, 241, 255, 259 resignation from the Group, 243 on Americanism, 28–9 reviews written for Daily Worker, 91, 93 on Awake and Sing!, 129, 136 talks by, 3–4, 21–2, 23, 24, 26, 30–1, on Big Night, 210 167, 197, 253 on Broadway, 50 tribute to Lee Strasberg, 128, 244 on casting, 252 Cobb, Lee J., 1, 150, 246, 252 on Cheryl Crawford, 213 Cohan, George M., 87 on Cliff ord Odets, 26–7, 147, 163 Collectivism, 16 on Clurman’s mysticism, 251 Collins, Russell, 124, 126, 230, 235, 238 on directing, 53, 131–2, 141 communism, 168, 171 on Elia Kazan, 242 Communist Party (CP), 6, 17, 167, 169, on Group Th eatre, 163–4, 259 170, 171, 173, 174, 178, 186, 187–91, on Group Th eatre as collective, 253, 194, 195, 196, 197, 198, 199, 201, 254, 258 206, 207, 228, 231 on Group Th eatre women, 207–8, Connelly, Marc, 15, 235 209, 211 Cook, George Cram (“Jig”), 18 276 Index

Copeau, Jacques, 13, 19, 53, 104, 129 Eagels, Jeanne, 14, 18, 40 as director, 19 Eames, Clare, 23 Copland, Aaron, 19, 129, 193–4 Eisler, Hanns, 160 Cornell, Katharine, 14, 23, 24, 28 Eitington, Bess, 132 Country Girl, Th e (Odets), 164 as Group Th eatre “angel,” 224–5 Coy, Walter, 27, 90, 94, 120, 141, 160, 235 Elizabeth the Queen (Anderson), 15, 20, 24 resignation from the Group Th eatre, 235 Ellenville (New York), 106–10, 115, 190, Craig, Edward Gordon, 18, 41, 53, 54, 72, 196, 231 131, 167 Emerson, Ralph Waldo, 28, 29, 168 on theatre, 18 Emperor Jones, Th e (O’Neill), 83 Crawford, Cheryl, 1, 3, 4, 7, 17, 18, 22, 24, emotional memory, see aff ective memory 26, 30, 34, 36, 40, 43–4, 45, 46, 50, emotional memory exercise, see Strasberg 53, 56, 76, 77, 81, 85, 89, 90, 106, Engel, Lehman, 124 112, 115, 116, 119, 122, 123, 129, Erikson, Leif, 154, 156 130, 145, 151, 168, 173, 188, 196, ’s , 152 198, 204, 205, 217, 242, 244 as casting director, 20, 212 Farmer, Frances, 1, 151, 156, 199, 201, 203, as cofounder of the Group Th eatre, 204, 206, 208, 211, 214, 215, 248, 251 3–4, 13, 20–1 background of, 214–15 as stage director, 11, 63, 212, 213 Farmer, Mary Virginia, 27, 39, 49, 69, 85, as stage manager, 20 91, 77, 100, 139, 204, 206, 207 contributions to the Group Th eatre, background of, 17 211–12 on Lee Strasberg, 101 resignation from the Group Th eatre, Federal Th eatre Project, 193, 199, 240, 145, 197 246, 248 Creating a Role (Stanislavsky), 109 plays of, 193 Crisis (Kingsley), see Men in White feminism, see Group Th eatre Crisis of the Middle Class, Th e (Lewis Feningston, Sylvia, 28, 169, 174, 204 Corey), 141 Ferber, Edna, 38 Fervent Years, Th e: Th e Group Th eatre and D’Angelo, Evelyn, 82 the 30’s (Clurman), 1, 6, 14, 15, 33, Daily Worker, Th e, 91, 93, 169, 175, 192, 55, 115, 130, 186, 188, 191, 199, 221 194, 195, 196, 199, 234 Flanagan, Hallie, 8, 14, 170, 248 Da Silva, Howard, 148 as director of Federal Th eatre David, Hallie Flanagan, see Flanagan, Project, 170 Hallie Flowering Peach, Th e (Odets), 164 Deeter, Jasper, 27 Fonda, Henry, 35 Depression, Th e, 1, 2, 8, 9, 15, 28, 30, 31, Fontanne, Lynn, see Lunts, the 59, 63, 167, 168, 169, 170, 171, 173, Ford, Friendly, 17–18, 61 203, 204, 205, 223 Frank,Waldo, 16, 28, 173 Deutsch, Helen, 33, 204 Freud, Sigmund, 5, 101, 102 Directors on Directing (Cole and Chinoy), 9 Dos Passos John, 168, 173 Gallery Gods (Houseman), 130–1 Dover Furnace (Pawling, NY), 63, 65–77, Garfi eld, David, 244 81, 82, 83, 84, 86, 88, 100, 130, 132, Garfi eld, John (Jules or Julie), 1, 117, 124, 147, 134, 171, 172, 181, 191 148, 179, 193, 213, 215, 240, 246, 252 Drama, Th e (magazine), 15, 167 Garrick Gaieties (revue), 20, 54, 83, 98 Dream of Passion, A (Strasberg), 54, Gassner, John, 168 55, 101 Gilder, Rosamond, 162 Duse, Eleonora, 2, 18, 89 Gentle People, Th e (Shaw), 200, 215, 247, 248 Index 277

casting of, 248 see also Th e House of Connelly, fi nancing of, 247 Gentlewoman (Lawson), 93–4, 104, 229 Gropper, William, 67 casting of, 94 Groupstroy, 81, 84, 132, 134, 136, 223, reviews of, 94 224 set design for, 93 as collective living, 172–3 Gershwin, George and Ira, 3, 123 Group Th eatre, 1–9, 13–31 Gilmore, Frank, 189 Actors’ Committee and Report, 122, Gladstone, Blanche, 141 123, 127, 145, 197, 211, 229, 231–2, Gods of the Lightning (Anderson, M.), 25–6, 233, 234, 237, 239–40, 241, 242, 243, 83, 168 254, 256–7, 258 Gold Eagle Guy (Levy), 70, 106, 114, “angels” for, 222 115–18, 132, 177, 179, 209, 229, 232 as Broadway’s dreamers, 227 production costs of, 231–2 as cautionary tale, 16 rehearsals for, 190 as collective living and experience, 53, reviews of, 115, 116 167, 172–3, 195, 197, 219, 223, 246, set design for, 115, 116 249, 253–4, 259–60 Golden Boy (Odets), 133, 145, 147–53, 154, as theatre experiment, 7 203, 215, 246–7, 248, 249, 251 audiences for, 247–9 “angels” for, 246 casting issues, 92–3 casting of, 147–8 Chosen Ones, 4, 13–31, 246 production costs of, 246 cofounders of, 3, 13 rehearsals for, 148–51 collectivism of, 5, 253 reviews of, 151–2 Communist Party Unit in, 6, 85, 183, set design for, 149 185–6, 188, 191, 195, 196–8, 221, Golden Years, Th e (Shaw), 158, 159 232, 242, 244–5; activities of, 188, Gold, Michael (Mike), 23, 168, 191 197, 199; purpose of, 198 Good Soldier Schweik, Th e (Brecht and crisis within, 201 Weill), see Johnny Johnson decline of, 158 Gordon, Elizabeth, 250 defi nition of a Group member, 249–50 as compiler of Smithtown “log,” 250 dissolution of, 253, 259–60 Gordon, Michael, 119, 133, 148, 241, 243, economics of, 30 250, 252, 259 feminism and, 203–17 as stage manager, 133 fi lms of, 84 on Harold Clurman, 259 fi nancial issues, 221–3, 227, 228, Gorelik, Mordecai (Max), 45, 60, 69, 87, 238, 248 89, 93, 94, 119, 149, 151, 155, 150, gender issues in, 203–17 174, 193, 196, 226, 229, 230–1, 247, Group Constitution, 254, 256, 257–8 256, 257, 258 Group Idea, 3, 4, 6, 7, 8, 12, 21, 34, 53, on theatre, 91–2 54, 59, 164, 167, 216, 234, 240, 245, Gorky, Maxim, 108 250, 254, 260 Graham, Martha, 70 Group’s Day Book, 33–4, 37, 38, 41, Grasso, Giovanni, 18 43, 47, 48, 49 Grayson, Bette, 160 Group Th eatre School, 241, 250 Green Grow the Lilacs, see Riggs, Lynn in Hollywood, 240 Green Mansions (Warrenburg, NY), 81, legacy of, 9 82, 85, 86, 88, 89, 106, 130, 132 offi ce in Sardi Building, 1 Green Pastures, Th e (Connelly), 13 on Clurman’s leadership, 251 Green, Paul, 13, 33, 34, 35, 43, 45, 47, organizational structure, 219–40, 241–59 49–50, 55–6, 122, 123, 222 plans for a new Group Th eatre, 244, 245 278 Index

Group Th eatre—Continued I Got the Blues (Odets), see Awake and Sing! political activism in, 207 improvisations, 84 politics of, 167–83, 185–202, 207 International (Lawson), 23 premature feminists in, 203, 217 Isaacs, EdithJ. R., 132, 139 Production Committee of, 119, 123 rehearsals and improvisations, Jaff ee, Sam, 248 53–61, 178 Jerome, V. J., 196, 197, 198, 200 roles for women, 208, 217 Johnny Johnson (Green and Weill), 114, star factor in, 248 122–6, 145, 198, 235, 237, 238, 239, subtext defi ned, 5 241–2, 248 summer retreats, see Brookfi eld Center, cast of, 124–5 Dover Furnace, Ellenville, Green rehearsals for, 125–6 Mansions, Pinebrook Club Camp, reviews of, 124, 126 Smithtown set design for, 123 Th eatre School of, 152 staging of, 123–4 tours of, 249 Jones, Robert Edmond, 14, 19–20, 35, 53, women in, 204, 215–16 54, 58, 62, 91, 115, 224 Juarez and Maximilian (Werfel), 20 Hairy Ape, Th e (O’Neill), 227 Hapgood, Elizabeth, 25, 34, 105 Kachlov, Vassily, 18 Harold Clurman Th eatre, 211 Kahn, Otto, 223, 225 Harris, Jed, 54, 58, 220 Kaufman, George S., 54, 58, 123 Hayes, Helen, 248 Kazan, Elia (Gadget), 1, 63, 65, 67, 68, 71, Hedgrow Th eatre, see Deeter, Jasper 72, 76, 84, 85, 93, 78, 99, 100, 112, Helburn, Th eresa, 20, 28, 55, 212 115, 117, 119, 121, 122, 123, 127, 138, Hellman, Lillian, 185 141, 143–4, 147, 148, 149, 150, 152, Hepburn, Katharine, 21, 25, 102 153, 154, 157, 159, 161, 172, 173, Heyday of American Communist: Th e 175, 177, 178, 179, 180, 182, 204, Depression Decade, Th e (Harvey, 207, 215, 233–4, 238, 242–3, Klehr), 187 245, 253, 254, 257 Hollywood, 5, 74, 76, 81, 87, 89, 114, 138, as actor, 141, 143–4, 179, 182 147, 148, 150, 151, 152, 153, 154, 158, as Communist Party member, 185–6, 172, 183, 185, 227, 242, 243 187, 200 Hollywood Reporter (magazine), 185 as member of Actors’ Committee, 239, 240 Hook, Sidney, 173 as stage director, 11 Hoover, Herbert, 2, 68, 191 as stage manager, 93, 117, 138, 182 Hopkins, Arthur, 14, 53 HUAC testimony of, 185–6, 187, 190, Houghton, Norris, 35 197, 202, 233–4 House of Connelly, Th e (Green), 13, 33, in Hollywood, 240 44–50, 55–60, 102, 103, 130, 169, marriage to, 84 193, 208, 212, 219, 220, 221, on Cheryl Crawford, 242 222, 224 on Harold Clurman, 245, 252 fi nancing of, 222–3 on Helen Tamiris, 71 rehearsals for, 36–50 on instructions from the CP Unit, 188–91 revised ending, 50, 55, 222 on Lee Strasberg, 78, 100, 127, 242–3 reviews of, 56–7 on naming names, 185–6, 187 set design for, 60 on sensory exercises, 65 Houseman, John, 131, 193 on the Group Th eatre, 99 Howard, Sidney, 25, 193 politics of, 185–7, 196, 200, Hurwitz, Leo T., 175 resignation from the CP, 197, 200 Index 279

Kazan, Molly Day Th acher, 84, 174, 175, background of, 25–6 177, 185, 204, 206, 250, 254 on Stanislavsky’s chart, 107 resignation from the Group Th eatre, 254 Ley, Maria, 250 Kazin, Alfred, 16, 139 Life, A (Elia Kazan), 185, 188, 197 Kessler, David, 18 Little Foxes, Th e (Hellman), 193 Kingsley, Sidney, 7, 79, 81, 85–8, 90, 93, Loeb, Philip, 69, 160 174, 177, 233 Logan, Joshua, 35 Kirkland, Alexander (Bill), 82, 86, 89, 90, Lord, Pauline, 14, 18, 25 92, 94, 106, 120, 189 Lunt, Alfred, see Lunts, the Kline, Herbert, 175, 177, 181, 186, 192 Lunts, the, 23, 24, 139, 220 Knight, Fannie de, 43, 56 Lynn, Eleanor, 154, 156, 157, 159, 204, 215 Kook, Eddie, 90 Kraber, Gerritt (Tony), 21, 27, 36, 41, 48, MacArthur, Charles, 248 61, 67, 72, 82, 119, 120, 122, 124, Macgowan, Kenneth, 19, 54 172, 173, 180, 231, 233, 237 Madison, Joan, 141 background of, 17 Malden, Karl, 148, 150 as CP member, 185, 187, 189 Mamoulian, Rouben, 14 on Elia Kazan, 65 Mantle, Burns, 16 on Harold Clurman, 241 Marching Song (Lawson), 122, 233 Kreymborg, Alfred, 8 Marxism, 72, 75, 85, 167, 174, 189, 192, Krim, Arthur, 252 203, 207, 222, 223 Krutch, Joseph Wood, 91, 152 Maynard, Gertrude, see Anthony, Mab McClendon, Rose, 43, 45, 56, 115 Labor Stage, 246 McCormick, Myron, 35 Laemmle, Carl, Jr., 247 McMahon, Aline, 21 as Group Th eatre “angel,” 247 Meisner, Sanford (Sandy), 1, 16, 21, 25, 26, Langner, Lawrence, 21 35, 83, 88, 102, 107, 112, 120, 122, 123, Lawson, John Howard, 23, 63, 69, 73, 75, 138, 141, 143, 150, 152, 154, 167–8, 78, 91, 93, 94, 104, 123, 130, 151, 169, 171, 172, 173, 178, 215, 224, 241, 168, 172, 199, 225, 229 246, 249, 250, 251, 258, 259 League of American Writers, 198 as teacher, 152 Lee Strasberg Institutes, 127 background of, 25 Le Gallienne, Eva, 18, 25, 27, 35, on acting, 25 53–4, 93 on Lee Strasberg, 112 Lenya, Lotte, 122, 123, 125 Men in White (Kingsley), 79, 81–93, 94, Leverett, Lewis, 27, 34, 38, 82, 85, 126, 104, 114, 119, 122, 130, 131, 174, 177, 173, 213, 234 189, 195, 227, 228, 229, 230, 248 as CP member, 187, 193, 199 audience response to, 91 background of, 17 casting of, 83, 86 Levy, Melvin, 70, 106, 115–16, 209, 233 fi nancing of, 229 Lewis, Robert (Bobby), 1, 7, 8, 13, 21, 30, Pulitzer Prize awarded to, 93 36, 40, 43, 47, 48, 67–8, 69, 71, 81, rehearsals and improvisations for, 83–6, 83, 88, 102, 108, 112, 115, 117, 119, 87–90 120, 121, 124, 126, 142, 148, 156, reviews of, 91 157, 168, 173, 175, 179, 189, 191, set design for, 87 194, 206, 208, 213, 224, 227, 236, see also Crisis 249, 250, 251, 252, 256, 257 Meredith, Burgess, 195 as actor, 25–6 Merlin, Frank, 132, 225 as Group Th eatre director, 11 Method-or-Madness? (Lewis), 107 as teacher, 152 Meyerhold Th eatre (Russia), 114 280 Index

Meyerhold, Vsevolod, 74, 97, 98, 113–14, New Th eatre League, 5, 110, 118, 175, 232 115, 116, 122, 127, 171 New Th eatres for Old (Gorelik), 92, 226 bio-mechanics of, 72, 113, 116 New Year’s Eve (Frank), 16, 28 infl uences of, 75, 78 Night Music (Odets), 157, 159–62, 200, productions of, 75, 112–14 215, 247, 248, 254, 255, 256, 258 Mielziner, Jo, 14 “angels” for, 247 Milestone, Lewis, 239, 252 cast of, 159–60 as Group Th eatre “angel,” 239 production costs, 247 Miller, Arthur, 8, 249 rehearsals for, 159–61 on Group infl uence, 8 reviews of, 162 Miller, Paula, 27, 37–8, 85, 120, 125, 172, set design for, 160 173, 179, 204, 206, 213, 244 (Anderson, M.), 62, 220, and HUAC, 185 224–5 as CP member, 185, 187, 195, 206 production costs, 224 in Hollywood, 244 1931- (Claire and Paul Sifton), 59–61, Moeller, Philip, 14, 26, 53 169, 170, 222, 224, 226 Morris, Mary, 27, 38, 39, 47–50, 55, 204, 207 reviews of, 61, 62 background of, 27 Nolan, Lloyd, 94 Moscow Art Th eatre (Russia), 2, 14, 17, 18, 27, 34, 35, 39, 40, 53, 96, 97, 108, O’Casey, Sean, 83, 136 109, 113, 114, 204, 253 Odets, Cliff ord, 3, 9, 25, 26, 28, 29, 33, 34, Moskvin, Ivan, 18 35, 38, 45, 48, 56, 63, 67, 78, 83, 84, Mother Bloor, 196, 199 85, 110, 118, 123, 129, 131, 132–40, Mourning Becomes Electra (O’Neill), 3, 14 147–64, 168, 171–2, 173, 176, 177, My Heart’s in the Highlands (Saroyan), 247 178–9, 181–3, 198, 203, 205, 206, (Stanislavsky), 97, 109 217, 223, 232, 233, 234, 239, 241, 243, 245, 247, 248, 251–2, Naming Names (Navasky), 185 254–5, 257, 259 Natwick, Mildred, 35 and Hollywood, 141, 145, 235, 240, 241, Navasky, Victor, 185 243, 245, 247, 248, 251–2, 254–5, On Elia Kazan as informer, 185 257, 259 Neighborhood Playhouse (New York), and HUAC, 185, 188, 199, 200 131, 152 as actor, 47–50, 140 Nelson, Ruth, 13, 17, 21, 30, 38, 43, 48, as CP member, 185, 187, 189, 190, 62, 68, 116, 117, 118, 120, 154, 156, 195, 200 160, 177, 203, 204, 206–7, 208, 213, as director, 164 246, 251, 252, 253, 259 description of Helen Tamiris, 70–1 background of, 27 diary of, 72, 73, 74–5, 76, 101, 171 on the Group experience, 217 journal of, 161, 163, 201–2, 254, on , 180 256, 257–8 on Lee Strasberg’s exercises, 42 marriages of, 145, 153 Nemirovich-Danchenko, Vladimir, 34 plays of, 8, 130, 132–43, 145 New Leader (magazine), 169 on artistic freedom, 201 New Masses (magazine), 8, 67, 161, on Communist Party, 200 192, 196, 248 on Eleanor Lynn, 215 New Playwrights’ Th eatre, 2, 23, 27, on Elia Kazan, 163 69, 168 on Harold Clurman, 63, 153, 161–2, Newsboy (agit-prop), 170, 171, 178 255, 256 New Th eatre (magazine), 8, 139, 175, 177, on Kermit Bloomgarden, 246 180, 186, 192, 238 on Lee Strasberg, 37, 43, 68–9, 75 Index 281

on Mordecai Gorelik, 163 Proctor, James, 255 on Paradise Lost, 140 Provincetown Players, 2, 14, 19, 20, 28, 33, on politics and art, 193 54, 115, 222 on Stella Adler, 74 Pulitzer Prize, 3, 93 on Success Story, 76 Pure in Heart, Th e (Lawson), 94, 130 on the American Gallery, 7 on theatre, 201 (Shaw), 247 on the Group Th eatre, 255, 256, 258 on the ideal woman, 200 Rainer, Luise, 145, 153, 203, 209, 215, 247 on Waiting for Lefty, 179 Ratner, Herbert (Herbie), 27, 35, 43, 102, 241 resignation from the CP, 199 Red Rust (Soviet play), 17, 43, 211 Oenslager, Donald, 115, 116, 123–4 Reed, Joseph Verner, 208 Of Th ee I Sing (musical), 3 Reinhardt, Max, 35, 53, 98 Off Broadway, 3, 226 Retreat to Pleasure (Shaw), 247, 258, 259 Off Off Broadway, 3, 226 “angels” for, 247 On Directing (Clurman), 154 Reunion: A Self-Portrait of the Group Th eatre O’Neill, Eugene, 3, 14, 19, 23, 28, 30, (Chinoy), 9, 217 93, 98 Rice, Elmer, 14 as Group Th eatre “angel,” 222 Riggs, Lynn, 13 plays of, 27, 58 Ritt, Martin, 1, 145 On the Art of the Th eatre (Craig), 18, 54 Robeson, Paul, 259 Othello (Shakespeare), see Robeson, Paul Robinson, Edward G., 23 Ouspenskaya, Maria, 3, 17, 54, 95, 96–8 Robinson, Philip, 172 Overgaard, Andrew, 181, 190, 196, 197, Rocket to the Moon (Odets), 153 –8, 159, 198, 231 162, 200, 215, 247, 248, 249, 251 “angels” for, 247 Paradise Lost (Odets), 140–5, 151, 154, 177, cast of, 154, 156 183, 216, 233 rehearsals, 154, 155, 157 cast of, 141 reviews of, 156 production costs of, 235 set design for, 155 rehearsals for, 141–3 reviews of, 144–5 Sacco, Nicola, 16, 26, 137, 168, 195 Party, Th e (Odets), see Big Night Saroyan, William, 7, 157 Patten, Dorothy, 24, 38, 57–8, 74, 75, 76, Saxe, Al, 170, 171, 176 78, 120, 191, 204, 238, 259 Schwartz, Maurice, see Yiddish Art Th eatre background of, 24 Seagull, Th e (Chekhov), 111 on Harold Clurman, 56–7 Shaw, Irwin, 7, 131, 157, 158, 159, 258 on theatre, 204–5 Sherwood, Robert, 14 on the Group experience, 205 Shubert, Lee, 76, 81, 224 on Th e House of Connelly, 57–8 Shubert, Milton, 236 performance, 3 Shubert organization, 119 Pie in the Sky (fi lm), 84 Shumlin, Herman, 248 Pinebrook Club Camp (CT), 110, Sidney, Sylvia, 155, 159, 204, 215, 247, 122–5, 238 248, 259 Pins and Needles (revue), 246 marriage to, 215 Pitoëff , Georges, 19 Sifton, Claire, 59, 61, 169 Piscator, Erwin, 118, 121, 122, 183 Sifton, Paul, 59, 61, 169 Players’ Place, A (David Garfi eld), 244 Silent Partner, Th e (Odets), 123, 140, 145, Powell, Dawn, 63, 130, 172, 212–13, 214 158, 183, 187, 200, 208, 240, 248 Processional (Lawson), 91, 151, 227 Simonson, Lee, 14 282 Index

Singer, Cleo, 154, 159 188, 195, 196, 204, 205, 206, 213, Six Lessons in Acting (Boleslavsky), 97 222, 223, 224–5, 226, 230, 231, 237, Smith, Art, 27, 47, 48, 68, 77, 84, 85, 93, 239, 240, 241–2, 244–5, 256, 257, 259 111, 120, 124, 148, 154, 160, 177, and the American Method, 95, 112 253, 259 as acting teacher, 96–9, 109–12, 118, as CP member, 185, 187 122, 127 background of, 27 as actor, 98, 118, 182 on acting exercises, 111 as cofounder of Group Th eatre, 13, Smithtown (Long Island, NY), 157, 158, 20–1, 220 201, 208, 249–50, 251–2, 253, 254 as director, 41, 46, 53, 55, 58, 59, 60, Sokolow, Anna, 178 61–2, 63, 75, 81–4, 106, 113, Son of God (Siftons), see 1931– 121–2, 126, 127–8, 233 Stage Relief Fund, 15 as stage manager, 20 Stanislavsky, Konstantin, 2–3, 6, 17, 18, 23, at American Laboratory Th eatre, 95 33, 34, 35, 39, 53, 58, 67, 70, 71, 72, authority challenged, 6, 231 78, 93, 94, 104–7, 108, 111, 113, 114, background of, 18, 96 119, 127, 171, 176, 177, 195, 203, 211, exercises for actors, 5, 6, 65–6, 67, 68, 214, 251, 253 98, 99, 109–10, 111 legacy of, 112, 131, 137 death of, 95 on starting a theatre, 35 legacy of, 128 system of actor-training, 5, 16, 19, 28, marriages of, 27, 99 40–1, 46, 54, 70, 95, 97, 98, 99, on acting methods, 16, 39–40 101–2, 103, 104, 105, 106–7, on collective activity, 236, 237 112, 131, 175 on directing Men in White, 90 teachings of, 109 on Elia Kazan, 243 Starting Out in the Th irties (Kazin), 16 on Golden Boy, 151 Stebbins, Edith, 250 on Group Th eatre’s fi nancial Stein, Gertrude, 2 management, 224, 232 Steinbeck, John, 251 on Harold Clurman, 242 Steiner, Ralph, 13, 45, 68, 69, 84, 175 on improvisation, 42–3, 49, 70, 98, 99 Steinway Hall, 13, 26, 129, 193, 253 on politics and the Group, 192 Stella Adler Studio, 95 on Richard Boleslavsky, 95 Steward, James, 35 on Stella Adler, 74 Stieglitz, Alfred, 28 on substitutions, 74–5 Stoddard, Eunice, 17, 21, 24, 38, 40, 41, 47, on the American Method, 95, 112 72–3, 83, 85, 88, 94, 105, 107, 116, on Waiting for Lefty, 179 120, 171, 204, 206, 209, 238 resignation from Group Th eatre, 114, background of, 24 126, 145, 197, 221, 244 on the Group Th eatre, 204 trip to Moscow, 93 Strand, Paul, 37, 44, 45, 72, 133, 194, 211, Streetcar Named Desire, A (Williams), 185 227, 229, 230 Students of Art and Drama (SAD), 18, Strasberg, Arthur, 59, 189 98, 99 Strasberg, Lee, 3, 4, 7, 8, 13, 17, 19, 26, 27, Success Story (Lawson), 63, 77–8, 81, 83, 30, 33, 34, 35, 36, 37, 38, 40, 41–3, 88, 89, 92, 109, 122, 130, 151, 172, 44–5, 48, 53–9, 60–3, 68, 69, 78–9, 173, 177, 216, 222, 225, 235 81–94, 95–6, 97–9, 100–1, 102–3, controversy around, 75 105, 106, 107, 108–9, 111–12, 113–15, production costs for, 224 117–18, 119–24, 129, 130, 131, 132–3, rehearsals for, 69–76 136, 137, 144, 145, 148, 150, 164, reviews of, 78 168, 170, 172, 173, 174, 175, 176, 177, Sullavan, Margaret, 35 Index 283

Tamiris, Helen, 70–1, 116 infl uences of, 75, 78 Taylor, Laurette, 14, 18, 40 productions by, 113 Th eatre, 16 Vakhtangov Th eatre (Russia), 175 as collective art, 243 Vanzetti, Bartolomeo, 16, 26, 137, 168, 195 as public art, 16 Th eatre Arts Committee for Democracy Waiting for Lefty (Odets), 14, 71, 110, 118, (TAC), 246 138, 139, 140, 177, 178–81, 182, 187, Th eatre Arts Monthly (magazine), 8, 91, 132, 192, 197, 217, 232, 233, 234, 248, 254 139, 162, 170 as agit-prop, 178, 180 Th éâtre du Vieux Colombier (Paris), 19 casting of, 179, 180 Th eatre Guild, 2, 13, 16, 17, 18, 19, 20–1, reviews of, 133–4, 180–1 22, 23, 24, 26, 27, 28, 30, 34, 44, 53, Walker, Alixe, 28, 33, 38, 47, 204, 227 54, 55–6, 61, 62, 67, 94, 98, 195, 215, as stage manager, 47, 212 222, 225 Wanger, Walter, 240, 247, 249 as Group Th eatre “angel,” 222 as Group Th eatre “angel,” 247 productions of, 13, 19, 20, 24, 25, 27 Warner, Doris, 227 Th eatre Guild School, 20, 25, 211 as Group Th eatre “angel,” 227 Th eatre Guild Studio, 17 Washington Square Players, 27 Th eatre of Action, 151, 170, 173, 175, 196, Weales, Gerald, 132 200, 246 Weep for the Virgins (Child), 141, 183, 236 Th eatre Union, 174, 176, 177, 178, 196, cast of, 213 228, 235, 246 Weill, Kurt, 122, 123, 126 plays of, 195 on musical theatre, 122 Th ey Knew What They Wanted (Howard), 25 Werfel, Franz, 20 Th ompson, Helen, 204, 225, 232 Westley, Helen, 61 Th reepenny Opera, The (Weill), 122 Whitman, Walt, 29, 67, 168, 191 Th ree Sisters, Th e (Chekhov), 157, 158, 252–3 Whitney, John Hay, 239 cast of, 253 as Group Th eatre “angel,” 239 Th under Rock (Ardrey), 159, 201, 249, 254 Wilenchick, Clement, 28 (Odets), 118, 181–2, 187, Willard, Dorothy, 247 213, 232 as Group Th eatre “angel,” 247 reviews of, 181 Williams, Tennessee, 185 Time Is Ripe, Th e (Odets), 161 Winterset (Anderson), 141, 195–6 Tone, Franchot, 16, 21, 24, 28, 34, 39, 40, Pulitzer Prize for, 196 48, 60, 62, 71, 73–4, 75, 78, 81, 89, Women in American Th eatre 92, 168, 218, 224, 233, 247 (Chinoy and Jenkins), 9 as Group Th eatre “angel,” 222, 224, 247 Woollcott, Alexander, 43 background of, 23 Workers’ Drama League, in Hollywood, 138, 212 see New Th eatre League resignation from the Group Th eatre, 74 Workers’ Labor Th eatre, 228 Tower of Light (Ardrey), see Th under Rock Workers’ Laboratory Th eatre, Trouble in July (Caldwell), 257, 258 see Th eatre of Action Workers Th eatre (magazine), 171, 175 U. S. House Committee on Un-American Wyatt, Jane, 159, 204 Activities (HUAC), 6, 183, 185–6, 188, 197, 202, 233 Yiddish Art Th eatre, 205 and the Hollywood Ten, 196 Yiddish Th eatre, 18, 19, 22, 23, 37, 113, 129, 149 Vakhtangov, Eugene, 71–2, 74, 97, 98, 99–100, Young, Ruth, 246 113–14, 127, 142, 171, 195, 221 Young, Stark, 19, 139