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University Microfilms 300 North Zeeb Road Ann Arbor, Michigan 48106 A Xerox Education Company I 73-11,519 LAMING, Dorothy Wise, 1917- ELLIS RABB: A MAN OF REPERTORY. The Ohio State University, Ph.D., 1972 Theater University Microfilms, A XEROX Company, Ann Arbor, Michigan © 1973 DOROTHY WISE LAMING ALL RIGHTS RESERVED THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED. ELLIS RABB: A MAN OF REPERTORY DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Gradvate School of The Ohio State University By Dorothy W. Laming, B.A., M.A, ****** The Ohio State University 197? Approved by Advisor Division of Theatre PLEASE NOTE: Some pages may have indistinct print. Filmed as received. University Microfilms, A Xerox Education Company PROLOGUE A little toy of six stood alone on the great oak staircase that led down to his Grandmother's Victorian living room. It was just dawn on Christmas Day, 1939* The big grandfather clock ticked loudly. The room below was filled with wondrous objects; the unlit Christmas tree stood like a dark green shadow in one corner, and reached to the ceiling; the familiar room seemed invaded by strange things. The child advanced down the stairs towards the center of the large, old fashioned room as the sun cast odd glints of light on the many packages. The boy slowly revolved, absorbing the gift-packed floor around the tree. He approached each package separately, retreating when he saw his name. They all had his name on them, all the packages. All the gifts would be his as soon as the clock struck the next hour and the family arose to enjoy the child's delight. Slowly he moved back to the en^iy area in the middle of the room and sat down on the floor, listening to the ticking in the stillness and watching the sun glisten ever brighter on the walls. The little boy began to cry. The little boy was me. As the clock struck the early morning hour in Helena, Arkansas, Mother came down the stairs. She was a Leo, whose especially bri^it, clear, blue eyes illuminated a face which was always pretty. Tall and slender with dark hair, her looks were dominated by the energy and determination of her personality. She was without any sense of defeat. ii She must have been astonished to see me so early in tears, choking on the silver spoon of the only-child. I was the only child on either side of the family. They now gathered as the winter southern sun glistened on all my presents. Great Gran smiled down from her chair with the carved lion-head arms. Her pale, print gingham gown flowed over considerable bulk. She was an Illinois'Smith who married a very successful Mississippi lumber-business McCoy and her hearing was always turned off at family gatherings. % six foot four, country doctor grandfather was charming and humorous. His six foot three son. Mother's brother, had a young Lincoln good looks, blurred by an alcoholic smile. His wife, a professional southern beauty, looked lovely as usual, smiling calmly, careful not to ruffle a hair at such an hour. My father's nickname was 'Happy', It has stayed with him since childhood because it suits him con^letely. The rest of the group stood around waiting in anticipation: Emma, my big black nurse in a white dress, smiled down; Ed White, the black house-man laughed above me in his white starched coat; even Alberta, the unsmiling cook cracked a smerk at me as she placed the old silver coffee pot before Mama Zip, mother's mother, the head of the family, the Victorian child, and an only child, too. It was her kind look that made me realize ny duty. Christmas Day was my day. I believe there was a lot of cheering for me to open the sled first. It seemed futile as the day was autumnal. But I had to begit. somewhere. At the far end of the room, throu^ the double-doored ill archway was îfema Zip's player piano. In front of it sat a red velvet box. Through the opening in the box I could see puppets hanging from strings. Slowly I moved toward it. The noise of the family laughter was behind me as I crawled into the little puppet stage and it collapsed around me in a heap. I had finally begun to inspect niy presents. I had also begun a career. No member of my known family has ever been in the theatre before. % mother's people were doctors, land-owners, lumbermen. % father's side of the family were in insurance and real-estate. Except for Mama Zip's player piano and my great aunt Florence's religious paintings, no member of my family is known to have had any artistic interests. The fall within the little stage among the puppets was the beginning of a new era. There followed a long series of back- porch presentations in front of discarded parlor draperies, with Ed T'Oit te flashing old lang>s for light. It is perhaps significant that the porch dramas that followed were always for pay. I never charged less than a nickel even in the mid-thirties. % first experience with the black market came before the age of ten when my grandfather bought his way out of a performance by offering me a quarter not to attend. I accepted. Ellis Babb undated iv ACKN0I-7LEDGMENTS I wish to express my appreciation to Mr. Ellis Rahb for his permission to undertake this study. Mr. Rabh offered both the official 6ind also his personal files of APA for extensive research. Without his generosity and good faith, this exploration and documentation of his career would not have been possible. For their support and interest in this work, I wish to thank the following individuals: Mr. T. Edward Hambleton, producer of the Phoenix Theatre; Conrad Susa; Keene Curtis; Norman Kean; Arthur Lithgow; Sidney Walker; Jack O'Brien; Edith Skinner and Jim Tilton. Their contributions to this study have been invaluable. To the members of ny committee I give my most heartfelt appreciation; Dr. George Crepeau, Dr. John Morrow and Dr. Roy Bowen. Their critical appraisal, scholarship and unflagging interest have made the completion of this work a reality. v i m June 5, 1 9 1 7 ............ Born - Springfield, Ohio 1952-1962 .... ......... Professional actress 1 9 6 7............... B.A., Wittenberg University, Springfield, Ohio 1970 ............. M.A., The Ohio State University, Columhus, Ohio 1968-1972 ... Teaching Associate, Division of Theatre, The Ohio State University, Columbus, Ohio FIELDS OF STUDY Major Field: Theatre Studies in Theatre History. Professors John H. McDowell and John C. Morrow (The Ohio State University). Studies in Dramatic Literature. Professors Roy H. Bowen and John C. Morrow (The Ohio State University). Studies in Advanced Acting, Directing. Professors John C. Morrow and Roy H. Bowen (The Ohio State University). vl TABLE OP CONTENTS Page PROLOGUE................................................... ii ACKNOWLEDCmNTS .............................................. v VITA ....................................................... Vi LIST OF ILLUSTRATIONS ■ . ix INTRODUCTION ................................................ 1 Chapter I. THE ANTIOCH YEARS ..................................... 8 The Birth of the Festival The Festival Company The General Staging The Nature of the Festival Audiences Finances The Graeco-Roman Cycle of 1953 The 195^ Season 1955, The Fourth Season The Lear and Hamlet Companies The Goal is Achieved II. THE BEGINNING Y E A R S ........... .................... From 1957 to 1960 Pre-APA The Year of Birth, 1960 The First Repertory Engagement Repertory in Summer Stock The First "In-Residence" Engagement A Personal Commitment A Compilation of Critical Comments on the i960 Season A Summary The Year of Survival, I96I The Year of Definition, 1962 A Regional Repertory Company, 1963 III. THE MATURE COMMITMENT, I96U-I9 6 9 ................... 90 A Point of View: T.