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Lloyd Richards in Rehearsal

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Lloyd Richards in Rehearsal Lloyd Richards in Rehearsal by Everett C. Dixon A Dissertation submitted to the Faculty of Graduate Studies in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy, Graduate Program in Theatre Studies, York University, Toronto, Ontario September 2013 © Everett Dixon, September 2013 Abstract This dissertation analyzes the rehearsal process of Caribbean-Canadian-American director Lloyd Richards (1919-2006), drawing on fifty original interviews conducted with Richards' artistic colleagues from all periods of his directing career, as well as on archival materials such as video-recordings, print and recorded interviews, performance reviews and unpublished letters and workshop notes. In order to frame this analysis, the dissertation will use Russian directing concepts of character, event and action to show how African American theatre traditions can be reformulated as directing strategies, thus suggesting the existence of a particularly African American directing methodology. The main analytical tool of the dissertation will be Stanislavsky's concept of "super-super­ objective," translated here as "larger thematic action," understood as an aesthetic ideal formulated as a call to action. The ultimate goal of the dissertation will be to come to an approximate formulation of Richards' "larger thematic action." Some of the artists interviewed are: Michael Schultz, Douglas Turner Ward, Woodie King, Jr., Dwight Andrews, Stephen Henderson, Thomas Richards, Scott Richards, James Earl Jones, Charles S. Dutton, Courtney B. Vance, Michele Shay, Ella Joyce, and others. Keywords: action, black aesthetics, black theatre movement, character, Dutton (Charles S.), event, Hansberry (Lorraine), Henderson (Stephen M.), Molette (Carlton W. and Barbara J.), Richards (Lloyd), Richards (Scott), Richards (Thomas), Jones (James Earl), Joyce (Ella), Vance (Courtney ii B.), Schultz (Michael), Shay (Michele), Stanislavsky (Konstantin), super-objective, theatre, Ward (Douglas Turner), Wilson (August). iii Acknowledgements The help I have been granted for this project has been overwhelming, and I cannot hope to remember all of the people who offered me a few minutes of their time to move this project forward. First and foremost, I would like to thank the people who took the time out from very busy schedules to grant me interviews, or answer questions by email: Thomas Aberger, Dwight Andrews, John Beasley, Guy Bergquist, Kathleen Betsko, Lee Blessing, Debra Booth, Scott Bradley, Karen Carpenter, Rocky Carroll, Anthony Chisholm, G. Thomas Clark, Bill Cobbs, E. David Cosier, John Cothran Jr., Lou Criscuolo, Chuck Davis, Phillip Hayes Dean, Charles S. Dutton, Anthony Fanning, Lou Ferguson, Kevin Geer, Helene D. Goldfarb, Stephen Henderson, John Jellison, Brent Jennings, James Earl Jones, Patricia C. Jones, Ella Joyce, Woodie King, Jr., Robert Macbeth, Daniel Martin, Walter Mason, S. Epatha Merkerson, Carman Moore, Lou Myers, William Partlan, Scott Richards, Thomas Richards, Roger Robinson, Amy Saltz, Ruben Santiago-Hudson, Raynor Scheine, Gloria Schultz, Dan Sullivan, Courtney B. Vance, Fred Voelpel, Douglas Turner Ward, Richard Wesley, and George C. White. Thank you also to their agents, publicists and managers who facilitated our contact and the scheduling of the interviews. iv Very special thanks must go to the Departamento de Artes Escenicas and the Universidad del Valle, in Cali, Colombia, without whose financial support this project would have been impossible. Special thanks to the two Department Chairs who oversaw all the paperwork for this project, Gabriel Uribe and Alejandro Gonzalez Puche, to Department secretaries Katherine Muiioz and Myriam Valencia, to my colleagues in the Department, and to Faculty Coordinator Victoria Romero. A special thanks to Armando Collazos for his support throughout these years of study. Thanks to York University for their financial support of this doctorate and my research travels, and thanks to the staff of the Theatre Department: Mary Pecchia, Christine Briggs and Rachel Katz. A special word of thanks and remembrance for my first advisor, and the original instigator for this project, Lisa Wolford Wylam. May she rest in peace. Thanks to my thesis advisor, Leslie Sanders, and the two members of my thesis committee, David Murray and Honor Ford Smith for their very encouraging criticism throughout the process. A very special thanks to Michael Schultz for allowing me to view his unreleased documentary footage on Lloyd Richards. I'd like to extend a special thanks to the staff of the Beinecke Library at Yale University, for their kind and efficient assistance during my study of the Lloyd Richards Papers. v Thanks also to the Theatre on Film and Tape Archive at the New York Public Library, where I was able to view excellent video-recordings of the Richards/Wilson productions on Broadway. Thanks also to the staff and participants of the Eugene 0 'Neill Playwrights Conference, in Waterford, Connecticut, and to Executive Director Preston Whiteway for allowing me to observe the rehearsal process at the conference in July of 2012. A special thanks to director and scholar Henry D. Miller for his faithful correspondence, which helped clarify some of my thinking in the early stages of the research. Thanks also to staff at the Ebony Repertory Theatre in Los Angeles for their kindness and generosity during my visit. Thanks to director Paul Thompson and actor Michael McManus for allowing me to participate in their new creation. Thanks to the Peter Fomenko Studio Theatre and the Russian Academy of Theatre Arts (RA TI/GITIS), and especially Natasha Plusnina, Andrey Vorobyov and Tatyana Deshko for their assistance at several stages of the doctorate. Special thanks and remembrance to my dear teacher and mentor, Peter Fomenko, may he rest in peace. Thanks to my father Robert T. Dixon and Sylvia Kennedy for all their support and advice, and to my family in Toronto and Cali. Finally, I would like to thank my wife, Claudia Patricia Velez, for all her support and insights, and to my newborn daughter, Colette Marie Dixon Velez, who gave me perspective in the final months of the writing. vi Table of Contents Abstract ......................................................................... ·.................................................... ii Acknowledgments ............................................................................................................ iv Table of Contents ............................................................................................................ vii Introduction ....................................................................................................................... 1 1. Preliminary Remarks ..................................................................................................... 1 2. Locating Lloyd Richards ............................................................................................... 5 3. Framing Richards' Directing Methods ........................................................................ 13 4. What is a Director? ...................................................................................................... 18 5. Lloyd Richards, Artistic Director ................................................................................ 21 6. Dissertation Structure .................................................................................................. 26 Part I. Russian Directing Theory and Black Theatre Aesthetics ..................................... 29 Chapter 1. Russian and African American Concepts of Character ................................. 30 1. Russian Concepts of Character ................................................................................... 30 a. "Active Image" and Cliche ..................................................................................... 30 b. Character and Type ................................................................................................ 32 vii c. From Realism to Alienation ................................................................................... 34 d. Organicity, Voice and Movement .......................................................................... 36 2. African American Concepts of Character ................................................................... 38 a. Character Signification ........................................................................................... 3 8 b. Allegorical Representation ..................................................................................... 42 c. Critical Objectivity vs. Symbolic Characterization ................................................ 45 d. Embodiment, Ritual and Ancestor ......................................................................... 50 3. Final Reflection: Character ......................................................................................... 55 Chapter 2. Russian and African American Concepts of Event ....................................... 57 1. Russian Concepts of Event ......................................................................................... 58 a. "Inciting Event" and "Main Event" ........................................................................ 5 8 b. Experiencing in Real Time ..................................................................................... 59 c. Adaptation .............................................................................................................. 62 d. "Holding off' .........................................................................................................
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