NEWSLETTER OF THE THEATRE LIBRARY ASSOCIATION

Volume 13, Number 2/Volume 13, Number 3 Fall/Winter 1985/1986 SPECIAL DOUBLE ISSUE New Series

ANNUAL BOOK AWARDS GIVEN AT GALA RECEPTION

The Theatre Library Association pre- sented its annual book awards at a recep- tion at the Princeton Club in New York City on May 19, 1986. The George Freedley Memorial Award was presented to Michael Meyer, author of Strindberg, published by Random House. The presentation was made by Theodore Mann, Artistic Director of the Circle in the Square, and accepted on Mr. Meyer's behalf by his publisher. The Freedley Award Honorable Mention was given to Dennis Kennedy for his book, Granville Barker and the Dream of Theatre, published by Cambridge University Press. The award was presented to Mr. Kennedy by John Cullom, Tony Award-winning actor who is currently starring in The Boys of Autumn. The Freedley Awards are named for the man who founded the Theatre Library As- sociation in 1937 and who was also the founding curator of The New York Public Library's Theatre Collection. TLA's Vice- President Martha Mahard served as Chair- man of this year's awards committees. The Theatre Library Association Award for ex- cellence in writing about the cinema was not given this year. John Cullorn and Dennis Kennedy

Martha Mahard and Theodore Mann Louis Rachow and William Appleton

Martha Mahard and Mary Ann Jensen Maryann Chach and Sonia Moore ANNUAL BUSINESS MEETING NEW TLA PUBLICATIONS production, the unique qualities of the Old Globe Company and Professor Hill's The TLA Annual Business Meeting was Preserving A merica 3 Performing Arts history were both deemed worthy by the held on Sunday, November 24,1985, at the was published by the Theatre Library Asso- award jury, Ralph Allen, playwright (Sugar Milford Plaza Hotel. President Mary Ann ciation in January, 1986. This illustrated Babies, etc.) and Professor of Theatre, Jensen welcomed the members at 9:00 volume of papers from the 1982 Confer- Queens College, Raymond D. Gasper, Pro- a.m. She delivered a tribute in memory of ence on Preservation Management has fessor and Chair, Theatre Department, Professor Bernard Beckerman, expressing been updated and revised by editors Bar- Queens College, Brooks McNamara, Pro- the feelings of the members of the Theatre bara Naomi Cohen Stratyner and Brigitte fessor of Theatre, New York University, Library Association. It was unanimously Kueppers. It is available to TLA members and Margaret Loftus Ranald, Queens Col- voted that TLA send a $100 contribution to from Ms. Kueppers at the Shubert Archive, lege Professor of English and noted Shake- the memorial fund at Columbia University. 149 West 45th Street, New York, NY 10036, spearean scholar. Secretary-Treasurer Richard M. Buck pre- or by invoice on your 1986 dues notice. The Joseph Award, established to en- sented a detailed breakdown of expenses courage American interest in all aspects of and income for 1984185. His report showed TLA's next occasional publication will Shakespeareana, continues the vision of a a working balance of $6,684. The $1,000 be a Style Manual for Entertainments. Edi- teacher, director, and scholar who made bank certificate is to be reinvested and in- tors Barbara Naomi Cohen Stratyner and a profound impression upon his students creased to $2,000. Ginnine Cocuzza are interested in your and colleagues. An acknowledged inter- Dorothy Swerdlove, Chairman of the suggestions for materials to include in this national expert in Shakespeare and Eliza- Nomirlating Committee, announced the volume on citation formats, bibliography bethan Culture and Society, Bertram Jo- election results. Elected to the TLA Board styles, indexing and illustration of the per- seph authored numerous articles on Re- were Maryann Chach, New York University forming arts and broadcast arts. Please naissance thought and theatre as well as Library; John W. Frick, University of Wis- contact them at Performing Arts Re- six books invaluable to the Shakespearean consin; Audree Malkin, Theatre Arts Li- sources, 265 Riverside Drive, 7C, New scholar, student and theatre practitioner. brary, UCLA; and Don Stowell, Jr., School York, NY 10025. ,(Elizabethan Acting; Conscience and the of Theatre, Florida State University. Pres- King: A Study of Hamlet; Acting Shake ident Jensen thanked outgoing members speare; ed. King Lear; Shakespeare's Eden; Julian Mates, Elizabeth Ross, Dorothy AFI RECEIVES ROBERT A Shakespeare Workbook). A Welshman, Swerdlove and Alan L. Woods for their ALDRICH COLLECTION he received his doctorate from Oxford and dedicated service to TLA. taught there and at the University of Bris- An announcement was made by Jim to1 Old Vic and London's Mermaid The- The American Film lnstitute has ac- Emmet noting his interest in publishing the atre. cepted directorlproducer Robert Aldrich's lnternational Directory of Libraries and Dr. Joseph contributed a host of radio papers from the Directors Guild of Amer- Museums- the "Blue Book"- in England. and television works in the field of pro- ica. The collection includes scripts of Ald- grammed learning, including teaching ma- His company would be prepared to collect rich's films, production files, corporate questionnaires which would be placed on chine courses with guide books, on Ham- records, legal documents, personal corre- Emmet said that a new let, Macbeth, lulius Caesar and Twelfth a data base. Mr. spondence, photographs, awards and other edition could be ready by October, 1986. Night. Radio and TV productions for the memorabilia. The papers provide a com- BBC and American Educational Networks There is a great need for field editors to prehensive chronicle of Aldrich, a fiercely ensure that all collections be included. included twenty-six half-hour programs on independent filmmaker, whose body of English verse from 1500-1800 entitled A Alan Pally reported that a double issue work includes What Ever Happened to Baby of Broadside will be out shortly. The for- Nest of Singing Birds. At the time of his lane?, The Dirty Dozen, The Killing of Sister death he was preparing a book on the rela- mat is to be slightly different, and com- George and The Longest Yard. The DGA re- tionship between iconography and Renais- ments from members would be appreci- tains ownership of the collection it has de- sance English literature, a topic on which ated. Barbara Naomi Cohen Stratyner re- posited with the AFI, and of prints of Ald- he lectured at New York's Metropolitan ported that Volume 11 of Performing Arts rich's movies, which are now housed at the Museum and Atlanta's High Art Museum. Resources would be out in the autumn of UCLA Film Archives. 1986. The preservation handbook will soon be available to those who attended the preservation conference and to the public for a fee. Suggestions for occasional BERTRAM 1. JOSEPH papers and PAR publications should be AWARD GIVEN sent to Barbara Naomi Cohen Stratyner or Ginnine Cocuzza. The renowned Tony Award-winning Old Martha Mahard, Vice President and Globe Theatre of San Diego, California Chairman of the FreedleyITLA Awards and Dartmouth College Theatre Professor, Committee, announced names of the jur- - Errol Hill, are the recipients of the 1985 ors. They are Brooks McNamara, Don B. Bertram L. Joseph Award for Achievement Wilmeth and Barry B. Witham for the in Shakespeare Studies or Stage Produc- Freedley Award and Maryann Chach, Anne tion in America. The award, created as a G. Schlosser and Gwen Sloan for the TLA memorial to the first chairman of the De- Award. The time and place of the awards partment of Drama, Theatre and Dance at ceremony will be announced. Queens College, City University of New -- Lois E. McDonald York, carries with it a $1,000 prize. Recording Secretary The Old Globe Theatre, internationally recognized for its outstanding productions and educational outreach Dronram in Shakespeare, celebrated its 50th Anniver- Vernon and Irene Castle IT1 MOVES sary in 1985. Professor Hill's book, Shake- (Watch Your Step, 1914) speare in Sable, is both a scholarly and t I Please note that the lnternational The- theatrically revealing chronicle of black AII photos, except those of awards reception, are atre lnstitute of the United States has actors onstage in the Bardfs tragedies and from an exhibition on the New Amsterdam Theatre, moved to 220 West 42nd Street, New York, comedies. which took place at The New York Public Library at Lin- NY 10036. Their telephone number is (212) coln Center recently. Photos appear courtesy of the Although the Joseph Award does not Library's Theatre ~ollection. 944-1490. call for separate recognition in studies and I . MARJORIE OBERLANDER REPORTS ON SHAKESPEARE'S LOST YEARS

In his book, Shakespeare: The "Lost acre and John Weaver, clears up the pre Honigmann entertains us in his "The Yearsr'(Barnes and Noble Books, 1985), the viously obscure references in Shakespeare's Shakespeare Epitaphs" chapter. Scholars distinguished E.A.J. Honigmann attempts works. who have questioned whether Shakespeare to grapple with the mystery of where However, Honigmann's justifications are could have written such poor verses as the Shakespeare was and what he was doing not sufficiently convincing. The reader epitaphs that have been credited to him, in his "lost years" before 1592. Much of would be more willing to suspend disbelief will enjoy reading why Honigmann's research carries forward the that this Shakeshafte could be our Shake- Good friend, for Jesus' sake forbear suggestion by E.K. Chambers in Shake- speare if this slight differential of "what's in To dig the dust enclosed here! spearean Gleanings, that Shakespeare as a name" were the only questionable detail. Blessed be the man that spares these William Shakeshafte served as assistant But even accepting the name change as a stones, teacher and actor in the household of possibility-and it is one because Shake- And cursed be he that moves my bones. Alexander Hoghton, a wealthy Roman speare's grandfather is listed in the near- is essentially Shakespeare's own epitaph Catholic Lancashire landowner. Unfortu- by Snitterfield records as Shakstaff -too which he prepared before his death. Hon- nately, the fact that three centuries of many other pieces of known biographical igmann's analysis of other poor epitaphs researchers haven't turned up any better information about Shakespeare have to be which have been credited to Shakespeare information does not serve to satisfy our bended or cajoled to fit Honigmann's solu- will put metal behind those credible schol- need to know about the Bard's life. tion to Shakespeare's "lost years." How- ars who appraise Gary Taylor's newly found Honigmann bases his theory upon Hogh- ever, his excellent and thorough research "Shall We Fly?" as Shakespeare's. ton's will (3 August 1581), in which Hogh- suggests, albeit unintentionally, that Shake- The most illuminating section of the ton requests his brother "to be friendly shafte and Shakespeare are probably not book is the chapter on "The Phoenix and unto Fulk Cillon & William Shakeshafte one and the same. For example, if Shake- the Turtle." The poem was first published now dwelling with me & either to take speare were Shakeshafte in the employ of untitled in Robert Chester's Love3 Martyr in them into his service or else to help them Hoghton, he would have had to be Cath- 1601. Honigmann backdates the poem to to some good master. . ." Furthermore, olic. (In Honigmann's chronology Shake- 1586 by explaining its meaning in light of Hoghton leaves William Shakeshafte forty speare becomes a Protestant in 1583 after the fact that it was written for the wedding shillings to be paid to him yearly until the birth of his daughter, Susannah. Why, of John Salusbury, whose brother some Shakeshafte's death. (The will, included in then, would we have the records of his mar- three months beforehand was executed as this book as Appendix A, is in itself a highly riage to Anne Hathaway, the baptisms of a traitor, and Ursula Stanley. According to interesting document and perusal is recom- Susannah and the twins, without any trace Honigmann, the poem proves "indisput- mended for anyone who is interested in of his conversion?) Most scholars have pre- ably" that Shakespeare was in some way legal documents of Shakespeare's time.) viously understood that Shakespeare was connected with the Stanley family. Al- It is highly probable, Honigmann asserts, born and died a Protestant. While it is diffi- though his argument remains not totally that John Cottom, a native of Lancashire cult to think of Shakespeare as a Catholic, convincing, Honigmann's interpretation of and the Stratford schoolteacher, was Honigmann feels that there is no proof he this previously "obscure and baffling" poem Shakespeare's "Lancashire connection." was not one. is enlightening. Cottom could naturally have referred his For those scholars who feel that Shake- If Shakespeare were Shakeshafte, then bright and able student, Will Shakespeare, speare's religion is clear from his irreveren- his Lancashire connection which was en- the oldest of ten children, to Hoghton. tial treatment of the Catholic church in sured by Hoghton's last request would have Honigmann accepts the fact that Shake- King john, Henry VI, Measure for Measure quite nicely been granted by and have be- speare would have had to be Catholic for and his own will, Honigmann assures us come a part of Lord Strange's Men, which this position and then researches the lives that we have no real knowledge of the fact Honigmann feels is what happened to of the surrounding Lancashire families who that Shakespeare was a Protestant and that Shakespeare during his "lost years." Honig- were in a position to aid the talented the anti-Catholic tone present in his plays mann has made a good case for Shake- Shakespeare. If we accept this particular could merely have been-although we speare having a Lancashire connection; Lancashire connection as well as the fact don't like to think so- politically pro-Eng- however, Shakespeare as the Catholic that our Shakespeare is probably the lish. Perhaps more research into the life Shakeshafte still remains hard to swallow. Shakeshafte of Hoghton's will, then the bio- of John Shakespeare, Shakespeare's father, graphical data about Hoghton, Sir Thomas which is just touched upon in this book, will Hesketh of Rufford, John Cottom of Tarn- spread more light on this subject. -Marjorie j. Oberlander

Elsie Ferguson (left), Herbert Beerbohm Tree (center) (King Henry VIII, 1916) BOOK REVIEWS of the writer-whether dead or alive-and author-a Creek architect and a professor the actor to preeminent positions in the at the university in Thrace-observes that American Musical Revue: From the Pass- mounting of a production, without the in- the primary design problem for all con- ing Show to Sugar Babies. By Gerald Bord- tervention or interpretation of the director. cerned with the theatre has been the audi- man. New York: Oxford University Press, Callow would have the director function ence-performer relationship. And yet, he 1985. 184 pp. 817.95. to inform the actors of the world of the justly notes, "for a very long time these play and its performing traditions and to two theatrical functions were approached Perhaps theatre historians have avoided challenge them to reach the play's world separately, each as a different feature that the revue because it is so intractable a and style. To some this idea may seem rad- should have no connection with the other." subject. Definitions of the genre differ, ical, but it evolves from a book which is by His book is largely a survey of the devel- revues are by nature transitory, and it is turns penetrating, frank, passionate, infor- opment of the theatre-building over the virtually impossible to suggest their the- mative, and witty. ages, as conditioned by the cultures which atrical impact. Gerald Bordrnan's book is a Best known for having created the role spawned the theatre arts performed in workmanlike study, but he fails to recreate of Mozart in the original National Theatre those spaces. Structure is related to func- the spirit of these entertainments which for production of Amadeus (he appeared in tion, with the intent of making the evolu- so many years delighted audiences. the film in a smaller role and is now being tion of theatres understandable to the lay Two previous books on the revue-one seen by American audiences in the film A reader. Athanasopulos insists his book is by Robert Baral (1962) and one by Ray- Room With a View), Simon Callow made not another concise history of the theatre. mond Mander and Joe Mitchenson (1971) his debut in 1973 at the Edinburgh Festi- While certainly not concise, it does man- -cater unashamedly to nostalgia and in- val. This book grew from a college lecture age to emerge as a kind of theatre history, dulge the reader with almost as many Callow gave on acting. In the first section since the theatres of each era are, in his pages of illustrations as of text. Bordman he describes in detail the career of one view, the results of a confluence of artis- has made no effort to write a coffee-table young actor of the 70's and 80's- himself. tic, economic, social, political, and even book. Instead, his account is terse and fac- He traces the thread of acting which runs religious pressures. In itself, this is not at tual. His introductory pages on the genesis through this actor's life. After a start in the all a bad thing, but the text lacks the detail of the revue are interesting, particularly box office at the National Theatre, and a and the insight which could have this those dealing with the forgotten John fateful meeting with Michael MacLiam- treatment specially valuable. Although Brougham and William Mitchell. His dis- moir at Queen's University, Belfast, Callow the author deplores the lack of scholarly cussion of Ziegfeld is equally good. Thanks returned to London and trained at the studies on the evolution of the theatre. to his invaluable American Musical Theatre Drama Centre. He began to get roles and much of what he has to offer is effectually and other related studies, he has a solid in the process was made to question what a recycling of information and specula- sense of American theatrical history and his homosexuality meant to him in terms tion in standard works. The layman can cogently explains the rise and fall of the of choosing roles and reading plays-not actually learn more from Brockett's His- evanescent revue. figuring out what a play's "statement" tory of the Theatre, if he reads it selective- In some respects, however, his book is was, but listening to that statement him- ly to isolate the material on theatres. not entirely satisfying. In comparing his self. He joined various other companies, Nonetheless, this book does have a discussion of the heyday of the revue with appeared on television, and finally arrived number of photographs and sketches of Baral's, one finds no less than eighteen back at the National, this time in the com- important, historic theatres, as well as shows discussed by Baral not even men- pany. While appearing in Amadeus he also some lesser-known Creek theatres, photo- tioned by Bordman. Some have a thin line performed Shakespeare's Sonnets in a new graphed and analyzed by the author. The of plot which may have disqualified them sequence in early evening performances; prose, even in translation, is labored; the in Bordman's eyes. Others were perhaps his account of this experience is partic- judgments are often obvious conclusions, omitted because they were English in ori- ularly lucid and extremely moving. He ends in some cases, virtually cultural cliches by gin, but since he includes a discussion with a play in the West End, wondering if now. Donald C. Mullin's The Development of the highly influential Charlot's Revue there is more to an English theatrical life of the Playhouse (California, 1970), though (1924) why not include at least a mention than More of the Same. it begins with the Renaissance rather than of Noel Coward's This Year of Grace (1928) The second section grew out of a letter primeval ritual, is more useful as a histor- and Cole Porter's Wake Up and Dream to Edward Bond in which he tries to ex- ical survey of theatre evolution. Unfortu- (19291, both also trans-Atlantic produc- plain what actors go through. It unfolds in nately for Contemporary Theatre's possi- tions? Some other omitted revues such as documentary fashion from unemployment ble appeal, Richard and Helen Leacroft's Walk a Little Faster (1932) and Thumbs Up through rehearsals with all their frustra- Theatre and Playhouse (Methuen, 19841, (1934) qualify for inclusion by any defini- tions and conflicts with cc-workers, to the also a richly illustrated survey of "Theatre tion. Certain figures are slighted as well. exhilarating moment of creating a role on Building from Ancier,t Greece to the Pres- Most surprisingly, Lew Leslie is barely men- stage, to reviews and the run, and back ent Day," has just appeared. Richard Lea- tioned in spite of his notable contributions to unemployment. Callow is objective and croft's isometric reconstructions of the- to the advancement of black artists. entertaining, an articulate and intelligent atres are especially informative, unlike Bordman's book is certainly worthy of writer. many of Athanasopolus' illustrations, a place on the theatrical bookshelf, but This book is part autobiography, part which are reproduced from all-too-famil- it belongs there as a counterbalance to analysis, part manifesto. It exposes all the iar sources. (One oddity: all the photos of Baral's and Mander and Mitchenson's live- pressures, insecurity, and rewards of an the Lincoln Center complex are "Courtesy l~eraccounts acting career. Callow is as brilliant on of the American Embassy in Athens." Had -William W. Appleton paper as he is on the stage, succeeding tc- they come directly from Lincoln Center, tally in his ambition to write for profes- the thoroughness of his research might sionals and amateurs, students and the- seem less questionable.) Being an Actor. By Simon Callow. New atregoers. The amateurs will say "Oh, In recent years, the major work on the York: St Martin's Press, 1986 190 pp. that's what it's like"; the professionals, development of the theatre building has 51 3.95. "Yes, that's what it's like." been George Izenour's Theatre Design -Adele Bellinger (McGraw-Hill, 19771, which has a remark- Great reviews and great controversy ac- able range of cross-sections, elevations, companied the publicat~onof Being an ground-plans, photos, and sketches, illus- Actor in England in 1984. The reviews were Contemporary Theatre: Evolution and De- trating a grand panorama of theatres de- entirely justified, the controversy centered sign By Christos C. Athanasopulos. NY veloping over the ages, as performance around the final four pages of the book, John W~ley& Sons, 1983. 341 pp $60 forms and audience needs also developed in which the author "nails [h~s]colors to or changed. To the irreverent, however, the mast " Appropriately entitled "Mani- Lookmg backward on the long h~story Izenour's impressive survey and analys~s- festo." it pleads for the re-establishment of theatre des~gnand construction, the -given the subsequent attention lavished on modern theatres designed or advised This account ends in 1967 with You est, longest performance was that of the on by lzenour himself-seem but a Know I Can't Hear You When the Water's David Niven he had wanted himself to be. weighty prelude to the advent of the Izen- Running, Schneider's longest-running hit. -Adele Bellinger our theatre. In fact, the author of Contem- Schneider was killed in 1984 in a traffic porary Theatre invokes Izenour's expertise accident, but he left enough notes and and, in return, has received an enthusiastic materials for a second volume which is Peeps at People: A Collection of Skits. By endorsement of his work from Izenour. planned for future publication. Clay Franklin. New York: Samuel French, Almost two-thirds of Contemporary The- -Richard C. Lynch 1985.172 pp. $5. atre, it must be noted, are devoted to the concerns of the 20th century theatre, Three years ago the publication of Frank- documenting trends and changes. Al- The Other Side of the Moon: The Biogra- lin's Anybody We Know?-a collection of though the author insists he doesn't intend phy of David Niven. By Sheridan Morley. monologues-was received with much en- to determine theatre's "ideal form," in out- New York: Harper & Row, 1985. 330 pp. thusiasm in both the theatre and television lining four modern theatre forms, he does $18.95. arenas. Now, his latest work, a compila- indicate which theatre form is best suited tion of twenty-eight skits for teenagers and to the "functional needs of each perform- David Niven's best-selling "autobiogra- adults, is another cause for rejoicing. ing art." His four modern forms are the phies" were really collections of anec- Peeps is a boon for all generations in that proscenium stage, the open stage, the dotes, tales told on others rather than on it provides ideal characterizations for arena stage, and the adaptable or ex- himself. Sheridan Morley, the drama critic classroom presentations, variety shows, perimental stage. The author is, however, and arts editor of Punch, knew Niven for club programs, and amateur entertain- no great admirer of culture centers or 30 years and set out to write a biography ments. Celeste Holm, in her foreword, complexes, which, he suggests, have far which would establish the true life of the sums it up when she says this is a book "to more to do with economics or civil pride last "professional Hollywood Englishman." help actors of all kinds try their wings than with the needs of audiences or per- He had the cooperation of Niven's family in various characters-perhaps give them formers. From this, it may well be inferred and friends, including his lifelong friend, the courage to try new approaches with that the latter parts of the book are exer- actor Michael Trubshawe. Morley has un- this varied material." cises in opinion and speculation. They are earthed facts of Niven's Hollywood life - Louis Rachow not without interest, written, so-to-speak, never mentioned in Niven's own books. in the shadow of the Theatre of Dionysus, The actresses who influenced Niven are Recorded Plays. By Herbert H. Hoffman. but they impair the work's possible value barely mentioned in his writings. Merle Chicago: American Library Association, as a textbook. Oberon was his mistress for two years and 1985. 148 pp. $20. -Glenn Loney helped his career by teaching him how to audition for a role. Niven had a short af- fair with Evelyn Keyes which was never This volume is "designed to guide peo- Entrances. By Alan Schneider. New York: acknowledged in his books- Keyes also ple to performances and readings of plays Viking, 1986. 416 pp. $25. helped him win the role of Fogg in Around that have been recorded on phonodiscs, the World in Eighty Days. Despite his audio cassettes or tapes, video cassettes, . Alan Schneider referred to himself as fame, it was felt that Niven's name alone and 16mm film." It is divided into three "the fellow who did those strange plays on a marquee couldn't sell tickets. In parts: an author index arranged bv play- and sometimes made them work." You Around the World in Eighty Days he shared wrights' names, a title index, and an actor probably have already read the excerpts top billing with Shirley MacLaine and Can- index. There are 1,844 entries for a total of from this book that appeared in The New tinflas. Although he made more than nine- 700 works by 284 playwrights. More than York Times Sunday Magazine concerning ty films, as well as a few disastrous stage 2,500 names are listed in the actor index. Waiting for Godot or the Who's Afraid of appearances, he achieved greater fame on There is no doubt that this will be of Virginia Woolf excerpt published in Amer- television and through his published mem- great help to those in need of such infor- ican Theatre. While they may be highlights oirs and novels. The man who was Niven mation. However, there are omissions. In of this book, please do not stop there. This was more fascinating than the suave gen- the early days of LP recordings, Decca is one of the most fascinating accounts of tleman he acted and presented to the Records issued a series of "cherished mo- the theatre world to be published in a long world. ments of the theatre." These included time. Niven lost his father in the First World Florence Reed in Shanghai Gesture (DL Mr. Schneider devotes the first section War, and his stepfather did not take to 7010), Jane Cowl in Smilin' Through (DL to the usual accounts of being born-in him. He was sent to prep schools and had 7011) and Laurette Taylor in Peg 0' My his case, in Russia-and growing up in a disappointing Army career, which is fic- Heart (DL 7012). These recordings are not various parts of the United States. Some tionalized in his two novels. He never re- listed in this directory. In addition, the list early experiences with the Washington covered from the death of his first wife at of record companies gives the address of Civic Theatre led to a teaching position at a Hollywood party and had a rocky sec- British Decca only, and no indication that Catholic University, with time off during ond marriage. Only a handful of his films the American Decca Record Company is World War I1 to work in the Office of War can claim lasting distinction, and he suf- now part of MCA. Information. In 1951 he began working at fered a deep sense of professional inade- -Richard C. Lynch Washington's Arena Stage. quacy and financial insecurity - although Schneider's first New York directing job he was well-to-do at the time of his final was for A Long Way from Home in 1948, illness, he felt he couldn't afford a nurse. and his early successes include Anastasia Niven got through acting in his final film in 1954. But it is his background informa- because of loyalty, and his voice had be- tion about such famous productions as come so weak that it had to be dubbed by Beckett's Endgame, Krapp's Last Tape and another actor. Happy Days as well as Albee's The Amer- For half a century Niven had seemed ican Dream, Ballad of the Sad Cafe and the most debonair, self-assured, and care- Tiny Alice that make this book so special. free of British actors. With charm and In addition there's Harold Pinter, Joe Orton good humor he came from nowhere through and Tennessee Williams, wonderful stories the ranks into stardom and from the screen about Helen Hayes, Mary Martin and Mar- to the writing desk with ease. His own ac- tha Scott, and an amusing section on mak- count of himself was that of an untalented ing a short Beckett film with Buster Kea- adventurer who lucked into opportunities. ton. Even the chapter headings are fun- Morley's exhaustively researched and illus- Fred Astaire "To Albee or Not to Albee" being one. trated book brings us a man whose great- (The Band Wagon, 1931) THEATRE DESIGN EXHIBITION pany, was voted secretaryltreasurer. ON VIEW IN TORONTO The seven newly elected board mem- bers, whose terms begin July 1, were se- Tanya Moiseiwitsch, Desmond Heeley, lected from hundreds of nominations swb- Brian Jackson and Susan Benson are among mitted by artistic and managing directors the theatre designers represented in Art By of TCG constituent theatres throughout Design, opening June 10 and continuing the country. They succeed retiring board until July 14 at the Metropolitan Toronto members Rosetta LeNoire, Romulus Linney, Library Gallery. The exhibition offers Des McAnuff, Harold Prince, Stanley Sil- visitors an insight into the world of the verman and Daniel Sullivan. theatre designer at work, through costume The newly elected board members join and set designs, drawings and paintings. the following members who are serving Art By Design is mounted by the Asso- continuing terms: Lyn Austin, Colleen ciated Designers of Canada, an alliance of Dewhurst, John Dillon, Charles Fuller, more than one hundred scenic, costume Spalding Gray, john Guare, David Hawk- and lighting designers. It was established anson, John jensen, Mako, Emily Mann, twenty years ago to raise professional Hugo V. Neuhaus, Jr., David Ofner, Robert standards and to address common con- J. Orchard, Sharon Ott, Lloyd Richards, cerns in Canadian theatre design. Design- Barbara Rosoff, Fontaine Syer, Jennifer ers contributing to the exhibition include Tipton, William P. Wingate, Robert Wood- Susan Benson, Bill Chesney, Michael Egan, ruff and Peter Zeisler. Desmond Heeley, Brian Jackson, Jack King, Theatre Communications Group encom- Ed Kotanen, Murray Laufer, Tanya Moisei- passes a constituency of over 250 com- witsch, John Pennoyer, Mary Jo Pollack panies throughout the United States that and Philip Silver. present performances to a combined an- nual audience of 14 million. Founded in 1961 to provide a variety of artistic, administrative and informational services to theatres and independent theatre art- ists, TCG acts as a resource for the profes- sion, the media, funding agencies and the public, and is a leading publisher of per- forming arts books and periodicals, in- cluding American Theatre magazine.

Gertrude Elliott HUMANITIES FELLOWS (Caesar and Cleopatra, 1906) NAMED

v- TCG has also announced the selection of CALL FOR PAPERS the first two fellows under a new Humani- % ties Residency Program, funded by a grant An international symposium, Popular from the Rockefeller Foundation. Begin- Entertainment as a Reflection of National ning residencies in July and next April are Identity, will be held in New York City Lha Margo Jefferson and Colette Brooks. from October 9 through October 12,1987. Jefferson is a critic and contributing Papers will be welcomed on four major Dolores, Ziegfeld's Peacock Girl editor to Vogue, and has been affiliated topics: Entertainments (variety, popular with New York University and Newsweek theatre, indigenous forms, etc.); Documen- ~agazine.Her writings have appeared in tation of entertainment environments (ar- THEATRECOMMUNICATIONS TheNewYorkTimesBookReview,Har~er's, chitecture,designandtechnologyofpop- GROUP NEWS The Nation and The Washington Post. She uIar entertainments); Iconography; and plans a research project titled "Essays into Methodology and Resources. Papers should ~h~~~~~ communications Croup, lnc., American Performance Traditions." last no longer than twenty minutes, and the national organization for the nonprofit Brooks, a writer, editor. dramaturg and should be submitted in duplicate, typed professionaltheatre, has the teacher, is an adjunct professor of theatre and double-spaced, with a one-page ab- electionof seven new members to serve at Columbia University. She has been a stract. Appropriate notes and bibliography on the TCC Board of Directors. Those contributing editor to Theater and an artis- should be included. electedare Betsy Bolding, chairmanof the tic associate at both The Production Com- Videotapes of performances may be board of trustees of the Arizona Theatre PanY and Interart Theatre in New Yo&. submitted for showings during the sym- c~~~~~~,T~~~~~;ping thong, artistic di- Her research will center on "The Impact posium. They must be available in Amer- rector of New york!s Fiji company;play- of 20th Century Technologies on the The- ican format VHS. Please submit abstracts wright Maria Irene Fornes; actor Kevin and/or narrations in advance. Kline; Anthony Taccone, artistic director The deadline for submission of papers is of the Eureka Theatre Company, San Fran- - January 1, 1987. Notifications will be sent by May 1,1987. All papers will be read by cisco; costume designer Jennifer von We are eager to publish relevant news at least two members of the program com- MWrhausW and Garland Wright, newly and items of interest from around the m ittee. appointed artistic director of The Guthrie world. In addition, we require book re- All papers and abstracts should be sent Theater, Minneapolis. The board re-elected viewers in various sub-specialties of the- to David Gild, School of the Arts, Long IS- Lloyd Richards, artistic director of the Yale atre. please write to: land University, Brooklyn Center, Univer- Repertory Theatre and the O'Neill Theater Alan J. Pally, Editor sity Plaza, Brooklyn, New York 11201-5372. Center's National Playwrights Conference, Broadside The symposium is sponsored by the Amer- to a second two-year term as president. Theatre Library Association Playwright John Guare was elected vice 111 Amsterdam Avenue ican Society for Theatre Research, the president, and David Hawkanson, manag- New York, N.Y. 10023 Theatre Library Association, and the Soci- ing director of the Hartford Stage Com- ety of Dance History Scholars. Richard Mansf ield (The Misanthrope, 1905) THEATRE LIBRARY ASSOCIATION OFFICERS President: Mary Ann Jensen, Curator, Willlam Seymour Theatre Collectipn, Princeton University Library. Princeton, NJ 08544 (609) 452-3223 Vice-president: Martha Mahard, Assistant Curator, Harvard Theatre Collection, Harvard University Library, Cambridge, MA 02138 (617) 495-2445 Secretary-Treasurer: Richard M. Buck, Assistant to the Chief, Performing Arts Research Center, The New York Public Library at Lincoln Center, 111 Amsterdam Avenue, New York. NY 10023 (212) 870-1644 Recording Secretary: Lois E. McDonald, Associate Curator, The Eugene O'Neill Theater Center. 305 Great Neck Road, Waterford, CT 06385 (203) 443-0051 EXECUTIVE BOARD Elizabeth Burdick, Librarian, lnternatlonal Theatre Institute of the US, 220 W. 42nd St.. New York, NY 10036 (212) 944-1490 Maryann Chach, Performing Arts Librarian, Bobst Llbrary. New York Universlty, 70 Washington Square South, New York, NY 10012 (212) 598-3601 Geraldine Duclow, Librarian, Theatre Collection, Free Library of Phdadelphla, Logan Square, Philadelphia. PA 19103 (212) 686-5427 John W. Frick, Ass~stantProfessor, Department of Communication Arts. Unlversity of Wisconsin Center. Fond Du Lac, WI 54935 (414) 929-3600 Gerald Kahan, Department of Drama and Theatre. Universlty of Georgia, Athens, GA 30602 Brigitte Kueppers, Archivist. Shubert Archive, Lyceum Theatre, 149 West 45th Street, New York, NY 10036 (212) 944-3895 Audree MaIkin, Theatre Arts Librarian, University of California Libraries, Los Angeles, CA 90024 (213) 825-4880 James Poteat, Manager, Research Services, Television Information Office, 745 Fifth Avenue, New York, NY 10151 (212) 759-6800 Louis A. Rachow. Libranan-Curator, Hampden-Booth Theatre Library, The Players, 16 Gramercy Park, New York, NY 10003 (212) 228-7610 Anne G. Schlosser, Director, Louis B Mayer Library, American Film Instltute, 2021 North Western Avenue, Los Angeles, CA 90027 (213) 856-7600 Don Stowell, Jr.. School of Theatre, Fine Arts Building, Florida State University, Tallahassee, FL Wendy Warnken, formerly Associate Curator. Theatre Collection. Museum of the City of New York; present address. 23 Durham Street, Guelph. Ontario, Canada N1 H 2Y1 (519) 763-0264 EX OFFlClO Alan J. Pally. General Library and Museum, The New York Public Llbrary at Llncoln Center, 111 Amsterdam Avenue, New York, NY 10023. Editor, BROADSIDE (212) 870-1614 Barbara Naomi Cohen Stratyner. 265 Riverside Drive, 7C. New York City, NY 10025. Co-Editor, PERFORMING ARTS RESOURCES (212) 222-2172 Ginnine Cocuzza, 115 Willow Street, Brooklyn. NY 11201. Co-Editor, PERFORMING ARTS RESOURCES

Officers of the Theatre Library Association (founded 1937). President. Mary Ann Broadside ISSN: 0068-2748. publ~shedquarterly by the Theatre L~braryAssociation. jensen. Curator, the Wlll~amSeymour Collection. Prmceton University Library. 111 Amsterdam Avenue. New York. N Y 10023. 1s sent to all members ~ngood stand- Prmceton, New jersey, V~ce-Pres~dent,Martha Mahard. Ass~stantCurator, Theatre ~ngEditor: Alan 1. Pally, Theatre Library Association, 111 Amsterdam Avenue, New Collect~on, Harvard University, Cambridge. Massachusetts, Secretary-Treasurer. York. N.Y. 10023 TLA membership (annual dues $20 personal. $25 inst~tutional)also R~chardM Buck. Ass~stantto the Ch~ef.Performmg Arts Research Center. The New ~ncludesPerforming Arts Resources, published annually Current members may York Public Library at L~ncolnCenter. New York City, Recording Secretary, LOISE purchase past Issues of Performmg Arts Resources. $10 prepa~d,and Broadside, $2 McDonald. Assoc~ateCurator. the O'Ne~llTheater Center. Waterford. Connect~cut prepa~d

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