NEWSLETTER OF THE THEATRE LIBRARY ASSOCIATION

Vo1.26, No. 1 TLA's 61"' Anniversary Year Summer 1998

TLA-FREEDLEY AWARDS 30thAnniversary of the George Freedley Memorial Award 25thAnniversary of the Theatre Library Association Award

Master of Ceremonies Kevin years with productions of A portrayal of Hamlet ("we've seen all Winkler welcomed an enthusiastic Midsummer Night's Dream in the pieces of Hamlet but not the throng of TLA members and guests presenting the Freedley Award to whole Hamlet") and noted that to the 30th anniversary celebration Gary Jay Williams for Our Morrison had given us the "whole of the George Freedley Memorial Moonlight Revels: '3 Midsummer Barrymore." Morrison in his Award for distinguished Night's Dream" in the Theatre acceptance graciously thanked contribution to the literature on (University of Iowa Press). archivists and theatre historians for theatre or live performance and the Williams was very appreciative and the help they had given him with a

25th anniversary of the Theatre thanked theatre librarians who over special thanks to the Research . - Library Association Award for the years had responded very Collections of NYPL. outstanding book in the area of film generously to his requests. or broadcasting. He introduced The Theatre Library Association's Richard Wall (Queens College), Awards went to two books whose Chair of the Awards Committee, themes dovetailed. who thanked the publishers for submitting so many outstanding books on the arts and making the work of the jurors so difficult. Wall also thanked the jurors for their hard work. The Freedley Award Jurors were James Fisher (Wabash Gary Jay Williams (Freedley College), Jason Rubin (Washington winner) with actorldirector Alvin Col1ege)and Don B. Wilmeth Epstein (Brown University). The TLA jurors Playwrightlperformer Betty Comden were Steven Higgins (Museum of In presenting the honorable mention with TLA winner Cari Beauchamp Modern Art), Madeline Matz to Freedley nominee Michael A. (Library of Congress) and Stephen Morrison for his John Bmrymore, Betty Comden, performer, M. Vallillo (former Chair, Awards Shakespearean Actor (Cambridge playwright and co-author of Singing Committee). University Press), John Simon, in the Rain, the famous movie theatre critic for New York send-up of the silent to sound Alvin Epstein, who most recently Magazine, called the author a transition, was honored to present played Lee Strasberg in the "savior" saying that "he saves Cari Beauchamp with the TLA American Repertory Theatre's Barrymore from the frivolity of his Award for Without Lying Down: production of Robert Brustein's life and restores him to his art." Frances Marion and the Powerjd play Nobody Dies on Friday, Simon quoted Kenneth Tynan's Women of Ear& Holl'ood(Charles recounted his involvement over the reaction to Donald Wolfit's Scribner's Sons). Marion, one of the powerful women pioneers in champagne reception across the TLA at ALA Hollywood, began by writing hall. continuities in 19 12- 13 and became Let's Do it! Is it Legal? a screenwriter for Mary Pickford. The honorable mention was given Her career transcended the sound to Donald Crafton's The Talkies: On Monday morning, June 29th, era and she won Academy Awards American Cinema's Transition to 1998, the Theatre Library for her screenplays for The Big Sound, 1926-1931 (Charles Association presented Let's Do it! Is House in 1930 and The Champ in Scribner's Sons). Quoting Charles it Legal?, a panel discussion that 1932. Marion became part of a Chaplin who said "motion pictures examined copyright issues and the support group of early women need dialogue as much as Web, with emphasis on issues pioneers. The title of the biography Beethoven needs lyrics," Ron specific to performing arts comes from her description of the Hutchinson, the founder of the collections. TLA's program type of man she wanted; she wanted Vitaphone Project, credited Crafton committee (Susan Peters, Susan "a man she could look up to without with dispelling many of the myths Brady and Rosemary Cullen) lying down." Cari Beauchamp that have grown up around the organized the panel which was described her quest to take Francis transition from silent to sound films chaired by Paul Newman, TLA Marion and her friends "out of the and noted that from 1926 to 1930 board member and an attorney from footnotes of history." In proposing everything changed in the movie San Francisco. Rosemary Cullen the book to publishers, Beauchamp business. Popcorn even replaced (Brown University), Madeleine said Marion's address book read like peanuts because it was a "quieter Nichols (The New York Public a who's who of Hollywood. When snack." When Warner Bros. Library for the Performing Arts) and she actually finally saw Marion's released Don Juan, the first full Gayle T. Harris (retired from the address book, lo and behold it was length movie with synchronized Copyright Office and currently true. It did read like a who's who of sound effects, the film was President of Research Unlimited) Hollywood. Beauchamp thanked accompanied by sound shorts, each presented cogent papers on the the 30 libraries across the country canned moments of vaudeville and dilemmas and pitfalls that await and the librarians who helped her. acting performances." The disks librarians mounting websites on the She said she would get citations to for these shorts have recently been internet. sources from librarians that were discovered and the shorts are being like love notes: "Saw this, thought restored as the Vitaphone project. Ms. Cullen, Curator of the Harris of you." She said it was like a In his book, Crafton documents the Collection (The John Hay Library, chorus of support. Through impact of these shorts and other Brown University) described persistence, she finally got into the early sound films on the film Brown's African-American Sheet TurnerIMGM archives on the 94th industry. In his comments, Crafton Music Digitizing Project. Brown try ("If I had taken any of the first 93 said in Hollywood there was much University Library received one of "no's" as anything but a maybe..."). confusion over the new medium ten grants awarded in the Library of Her journey through the biography, ["talkies"] and what to do with it. Congress's National Digital Library while a labor of love, was also a Crafton also thanked archivists for Competition "to enable public, tricky bit of detective work as she their help in making his book research, and academic libraries, pieced together the puzzle of possible and gave a special thanks museums, historical societies and Marion's life. Beauchamp ended by to Joseph Yranski (Donnell archival institutions ...to create warmly thanking her husband "who Library) for his help with in digital collections of primary never made a condescending remark providing him with illustrations. resource material for distribution on about the paltry advance." With the Internet." The John Hay Library laughter and applause the winners has one of the largest sheet music and audience adjourned to a collections of any library in the

Vo1.26, No.1 Summer 1998 2 United States and the permissions page. Worried that Congress shall have Power ... To African-American collection is one performance rights might still be in promote the Progress of Science and of the most important and heavily effect, Brown added a proviso useful Arts, by securing for limited used categories in the collection. warning that if there are Times to Authors and Inventors the performance rights involved, the exclusive Right to their respective The African-American Sheet Music user must obtain them. Brown Writings and Discoveries;" and, collection consists of approximately wanted to "transmit materials "To make all Laws which shall be 6,000 items of music, by and appropriately" so they chose to necessary and proper for carrying relating to African-Americans, from make high resolution images into Execution the foregoing the 1820s to the present day. Of that available over the net (650 pixels, Powers, and all the Powers vested number, 1,700 titles are fully 300 dpi). While Brown was by this Constitution in the cataloged in MARC format and are worried about images from the Government of the United States. or the basis for this digitizing project. collection being downloaded and in any Department or Officer The sheet music includes: Songs used improperly, they didn't want to thereof." She took the audience from the heyday of antebellum be unduly restrictive. They wanted through the sections of the blackface minstrelsy in the 1850s to provide access but also retain the Copyright Act of 1976 (1 7 U.S.C.A: and from the abolitionist movement integrity of the image. On every 106) which outline the exclusive of the same period; Numerous titles page of the internet document. rights of the copyright owner and associated with the novel and play, Brown included a statement of what constitutes fair use (Section Uncle Tom's Cabin; Civil War ownership and copyright and 107). music about African-American information on how to obtain soldiers and the plight of the newly permission to copy, publish or Then Nichols cited a number of emancipated slave; Post-Civil War otherwise use the materials was court cases that were both readable music reflecting the problems of made readily available. Cullen and relevant to copyright and fair Reconstruction, the beginnings of pointed out that there are methods use issues. In Horgan v. Macmillan. urbanization and the northern to tracking how images are Inc. 789 F2d 157 (2d Cir. 1986). migration of African-Americans downloaded and used; one George Balanchine's estate sued (notably in the music associated commercial method is Digimark Macmillan for infringing with the Harrigan & Hart shows of which changes one or two bits in Balanchine's choreography of The the 1880s) and the emergence of the image and uses those bits to Nutcracker; the book that Macmillan African-American performers and track the image on the Web. The was about to publish was a photo musical troupes (blackface African-American Sheet Music essay of Balanchine's version of The minstrelsy and later the beginnings project is due to be mounted on the Nutcracker and the suit alleged that of the African American musical American Memory Website within Macmillan used so much detail from theatre in the late 1890s). the next year ( 1998- 1999). the ballet that it was a violation of ( http://memory.loc.gov/ammem/) Balanchine's right to his In choosing items to include in the choreography. project, Ms. Cullen said the aim was Madeleine Nichols, Curator of the to choose materials over 75 years Dance Collection, The New York The pre-publication publicity for old so as not to violate anyone's Public Library for the Performing Pres. Gerald Ford's memoirs by copyright. Although fairly certain Arts, and an attorney, began her Harper & Row prompted another that everything chosen for inclusion discussion with the origins of fair use case. Prior to publication, is in the public domain, Brown copyright in the U.S. -- The Harper & Row sold to Time decided to add LC's disclaimer from Constitution of the U.S. (Article I, magazine the rights to publish an the "The American Variety Stage" Section 8, Clauses 8 and 18) in excerpt from the memoirs. Before project to its copyright and which it is stated that "The Time could publish the excerpt

Vo1.26, No. 1 Summer 1998 3 which focused on Ford's pardon of sparse over the years and that he worked over the years. U.S. Pres. Nixon. Nation obtained an had maintained his reclusive habits. copyright records have been kept unauthorized copy ofthe galleys and ruled that Salinger was entitled to since 1790 but were not always in scooped Time. Time now refused to benefit economically and one central location. Sometimes pa) Harper & Row for the rights. artisticall) from the first they were stored in the Federal Harper & ROLVPublishers sued publication of his letters and denied district courts in the region in which Nation Enterprises (Harper & Row Hamilton's argument. Two other they originated. As an example. Publishers Inc. v. Nation cases that have implications for Harris cited the court in Sari Enterprises. 47 1 US 539. 1985) for libraries and librarians were: Neu Francisco \\here local records c iolation ofcopyright: Nation which Era Publications International c. covering a period from 1852 until had used approximately 300 words Henry Holt & Co.. 873 Fl d 576 (2d 1870 were stored and pro\.ide an of text from the memoirs claimed Cir). petition for rehearing denied. inkaluable history of the culture ot fair use. The court ruled in favor of 884 F2d 659 (2d Cir. 1989). cert. the post-Gold Rilsli era of that cit). Harper & Ro~cbecause the memoirs denied 1 10 S. Ct. 1 168 ( 1990) San Francisco play\\ rights and \\ere not qet published at the time v\hich involved the publicat~onof a authors registered their \+orb in the the excerpt \+as used. biography of L. Ron Hubbard. and. local office. In 1870. there was a Community for Creati~e general revision of the patent and Another case focusing on fair use Non-Violence v. Reid. 109 S. Ct. copq,right 1an.s. As a result A. R. and unpublished manuscripts which 2 166 (1 989) covered issues \\liicli Spofford of the Library of Congress Nichols cited involved Ian dealt with independent contractor managed to establish a centralized Hamilton's biographj, of reclusive vs employee, work for hire. Copyright Office at LC and all the I\ riter J.D. Salinger (Salinger v. freelance creators. etc. and regional offices \\ere closed and Random House. Inc. 8 l 1 F2d 90 (2d specifically whether the copqriglit their records were transferred to I,C. Cir). petition for rehearing denied. in a piece of sculpture bas owned From 1870 to 1978 a copyight card 8 18. F2d 252 (2d Cir.). cert.denied, by the nonprofit group that file of some 4 1 million cards greu 1 I0 S. Ct. 1 168 ( 1990). Friends of commissioned the artwork OR the and documented copyright. After Salinger had donated personal sculptor. Nichols urged libraries the "new" copyright lau of 1978 letters he had ~crittenthem to several and librarians to be auare of \\as enacted. the cop! right records libraries. In researching his copyright and how fair use issues were automated (See biograph! of Salinger, Hamilton had may differ for published and Iittp://www.lc\ceb.loc.go~). Ms. access to these letters but he had unpublished ~orks.She also Harris described ho\\ 4011 might also signed librarq restriction forms emphasized that the la\\ for search for copyright information b) agreeing NOT to quote from any "unpublished works" and for taking the number on one of the 3 1 unpublished material vkithout the "works for hire" is especiall) million cards (\vhich have \ er! permission of the author. Hamilton pertinent to performing arts brief. incomplete information) and sent a cop). of the galleys of his resource materials. going to the basement to look at book to Salinger requesting record books that will have more permission to quote from the The final speaker was Gayle T. data 011 the copq,righted item and its unpublished letters. Salinger Harris who had been a copyright autlior(s). refused him and sought an examiner in the Copyright Office injunction to prevent publication. from 1963 to 1995 and now is the Nowadays Ms. Harris is back Hamilton and his publisher argued President of her own company. working as a consultant for LC's that the quotes constituted fair use Research Unlimited, Inc. which American Memory project working and furthered critical study of an specializes in copyright research. on assessing copyright status for the important author. The courts, noting Ms. Harris gave us an overview of works of political cartoonists. Her that Salinger's output had been the Copyright Office and how it's searches have included Miguel

- Vo1.26, No. 1 Summer 1998 4 Covarrubias, a caricaturistlartist, A question and answer period and control of multiple projects by \vho began contributing to Frank followed. After the stimulating eliminating delays and duplications. Crowninshield's Vanity Fair in presentations, it was clear that Several speakers stressed. however. 1924: Clifford Berryman, a political libraries and librarians should that technology has no intrinsic cartoonist for the Washington proceed with caution. if not value but is only a supportive tool. Evening Star whose early cartoons trepidation. when mounting Moreover. theatre staffs (and others) fell into the public domain because anything on the Web. -- Maryann are not being trained fast enough or neither he nor the b'~~shiiigto~i Chach (Shubert Archive) thoroughly enough to realize the El>eningSltrr used the copyright potential offered by technolog>,. notice until 1962; and. David Levine who has apparentlq been meticulous CONFERENCE Video recording and digitization for about registration and assignment educational and research use have requirements and consequentlq. REPORTS gi\,en rise to programs and pilot controls the rights to most of his SIBMAS Conference: projects in man). countries. S OI\ 11 \\orbs. London The 22"" Conference of computerized multi-media pro-ject is the International Association of being de~eloped cooperati\ el> b! She told an anecdote about Performing Arts Libraries and Ital).. France and Spain mith a grant "perpetual" cop! rights that invol~ed Museums (SIBMAS) was hosted b! from the European Union. and I'c~lerJ'tr~l. Sir James Barric had left SlBMAS UK (Theatre Information speakers described other pro, rams 11 is Pc~ler /'rill cop\,right to the Group) and the Theatre Museum of that ha\e been undertaken in C'llildren's Hospital in London. The London, Julb 1-4. 1998. Claire Belgium. Australia. France. Finland. \\orb fell into the public domain 50 Hudson and her staff at the Theatre and the United Kingdom. The! are \ears nfier Barrie's death. just long Museum arranged an informati\ e designed to deliver a ~arietof enough for Ste\,e~lSpielberg's Hook and entertaining program of multimedia materials to the desktop to open in the theatres. M'herl meetings. tours and social e\ents. user. and many of them have links to p,'11 -1.lament \\as apprired of the sekeral data bases. One speaker situation. the\. rushed tl~rougha la\\ The theme of the conference \\as cautioned that \\bile digitization has that granted the Children's Hospital Perforlui~ig.4rt.v C'ollecrio~is: become ,fushio~iuhle.and often a perpetual cop),rigl~t-- and the I'irtzl~~I.De~rd of' Ali~.c~.'.and attracts start-up funding. there are resulting ro)alties -- ill Pcjler Pm. presentations considered the impact man! problems to be considered in of information techno lo^ on deciding \\hat to digitize. These Ms. Harris urged the audience to be theatrical productions and on the include cop! right clearance. cautious about using copyiglited records of such productions condition of the originals - some are material but also noted that it can maintained b!, \ arious libraries. too fragile. even for a scanner - and sonietimes be established that a museum and archi~es.as \\ell as also. \\hether a digital version is \\ark might be "legall\," safe to use educational possibilities offered b? ak'ailable else\\here. Other despite the fact that it does not ha\e the ne\\ de\,elopments. considerations are staff and user 75 years of age. Finall!. libraries training. long-term costs and and librarians should be a\\are that The opening session dealt \\ it11 the marketing problems if the aim is to Congressional action on the use of use of computers in the planning of sell the final product - it is easier to intellectual property on the internet productions. encompassing make money with CD-ROMs than is not likel). to come an\ time soon. everything from scenic design to with digitization. For those and thus it is ever\.one's ticket sales. Computers pro\,ide a interested in digitization. To~,urrr's responsibilit) to proceed \\ it11 care. means of instantaneous the Digital Library. edited b) L. communication among various Carpenter. S. Sham and A Prescott offices in order to enhance planning was recommended.

Vo1.26, No.1 Summer 1998 5 Problems of preserving digitized of material economically. Only 180 contacts with colleagues from other resources are already being copies ofthe first edition were sold, countries and discuss matters of addressed. Continued maintenance and many organizations that did but mutual concern. As Richard Buck will be necessary to prevent it said that they would prefer to reported after the Helsinki meeting deterioration, and there is always the have the Directory on the Internet. in 1996, iti s important the TLA possibility that the technology can members take and active part in become obsolete. In this context, In addition to the presentation of SIBMAS activities. The next the final speaker, (from SONY UK) papers, several site visits had been Congress is scheduled for Paris in said that in the next five years there arranged. A 2-day pre-conference 2000. -- Dorothy L. Swerdlove may be several different (June 29-30) offered visits to the technologies to choose from. British Library in its new location IFTR CONFERENCE: Manufacturers want to develop at St. Pancras the British Film Canterbury The 13"' quadrennial standards and trans-coding analysis Institute, a tour of the Royal Opera World Congress of the International in order to upgrade their systems House which is being enlarged and Federation for Theatre Research kvhile still in general use. remodeled, and a backstage tour of (IFTRIFIRT) was hosted by the Networking is a key factor. Many the Drury Lane Theatre. The University of Kent at Canterbury, systems are being tested, and second day was spent at Stratford- July 6-1 2. 1998. The conference manufacturers are eager to begin a on-Avon for a visit to the theme was Theulre md T~CLI~~C dialogue with users as soon as Shakespeare Center Library, where Re,tearch: E.~plor.irigthe Li111it.t. possible. members viewed some of the Center's rare holdings, and then to Keynote addresses at various Tuo SIBMAS commissions also the Royal Shakespeare Company sessions considered the gap between made reports. Rosabel Wang Collection to view costumes, props. performance research - interaction reported that the International paintings and similar objects. between the audience and the actor Bibliography of Theatre (IBR). During the conference itself, there (and his/her collaborators) in a sponsored since 1985 by SIBMAS. was a half-day visit to the Globe variety of venues - and the more now covers 1982- 1996. There are Theatre for a tour and a reception. traditional approach to theatre 54.000 annotated entries on theatre and an evening performance of A.c research as the study of earlier books and articles published around You Like It, where most of the theatre practice in order to enrich the \\orld. with 245,000 subject SIBMAS members sat in the our current theatre. With so man) references and 50,0000 galleries, but a few adventurous factors - gender. race, politics. peographical-chronological souls elected to be groundlings. At societal values. etc. - influencing the references. In spite of steady grodi the closing reception in the Theatre theatre today, and so many different in subscriptions. revenue still does Museum, stall members presented types of performance, the limits not cover costs, and they are two hilarious skits - mini Hunilet. seem to be wherever we put them. considering a move to CD-ROM, and a capsule melodrama, ending especially now that interdisciplinary ~hichis much cheaper than paper the conference in a highlq studies are more prevalent. While cop). entertaining note. the opening up of theatre research to cross-fertilization from other The lnternational Directory of These biennial conferences address disciplines has been beneficial in Performing Arts Collections faces problems of interest to the library many respects, caveats were issued similar problems. Paul Ulrich world. Some of the speakers are on the dangers of pushing the limits reported that he now has 7,5000 outside experts who can alert the so far that theatre scholars try to entries from about 150 countries audience to current and future study the whole world. If the ready for the second edition, and developments. In addition, absence of boundaries means the there is no way to print this amount members can establish valuable absence ofdiscipline, it may be time

Vo1.26, No. 1 Summer 1998 6 to set limits again. Papers were also as we trudged the cobbled streets. exhibitions during our two-year stay delivered concerning the history of A small group embarked on a 3-day at the interim locations. The Library theatre in Argentina and China post-conference trip to Bath and for the Performing Arts (LPA) will under various regimes which Cardiff, where we visited two reopen at its Lincoln Center home in illustrated some of these arguments. performing arts centers (one housed the fall of 2000. in Leeds Caste, once owned by In an effort to foster continuity William Randolph Hearst), and the TEMPORARY HOMES FOR between congresses and to new Dockside development which THE COLLECTIONS encourage wider participation in the is being planned as a Welsh The New York Public Library for Federation, several years ago IFTR conference center and cultural the Performing Arts at the Annex instituted a system of working complex. 521 W. 43rd Street (between 10th groups, whose members meet at and I 1 th Avenues) Neu York. NY least once a year to discuss ongoing Future IFTR meetings are planned 10036-4396 will house the LPA research. Much of the conference form New Dehli (1999 - although Research Collections: 1 ) Dance was devoted to simultaneous because of the summer heat in Collection (including the Jerome uorking group sessions, which India, it may be pushed back to Robbins Archive of the Recorded included choreography. community January 2000). Lyon (summer Moving Image);2) Music Division: plays, feminist research, 2000), Sydney (200 1 ), with the next 3) Rodgers & Hammerstein historiography, iconography, quadrennial Congress scheduled for Archives of Recorded Sound; 4) performance analysis. Samuel Cape Town in 2002. -- Dorothy L. Billy Rose Theatre Collection Bechett. scenography, etc. Other ud Swerdlove (including the Theatre on Film and hoc groups discussed Greek tragedy, Tape Archive) British theatre, Shakespeare, critical NYPL TEMPORARY analjsis, performance and theory, The New York Public LPA at the national stages. contesting cultures. QUARTERS Annex will also house the LPA and similar topics. One of these ud The New York Public Library for Circulating Orchestra Collections. hoc groups was concerned with the Performing Arts &ill MOVE to archives, and complemented the TEMPORARY quarters this LPA Administrative Offices at the SIBMAS sessions of the preceding summer to make way for an Annex uill include the General neek. The printed program for the extensive, two-year renovation of Administrative Offices. Public Congress contained abstracts of the its Lincoln Center facility. Programs, and Exhibitions. papers offered at all of these smaller Ten/ci/ivelj-.the Research meetings. Collections (currently on floor 3 at The New Yorh Public Librarj for Lincoln Center) will close for three the Perforrn~ngArts at the Two evening performances were weeks beginning on Monday, Jul) Mid-Manhattan Librar) 455 Fifth offered during the week: a Swedish 20, 1998, and reopen at The Neu Avenue, fourth floor (at 30th Street) language production of lonesco's York Public Library Annex on Nem Yorh. NY 10016-0132 will The Chairs. and Noh: Thonlcis Monday, August 10. The house the LPA Circulat~ng Beckel, a play in the Noh tradition Circulating Collections (currently Collections for: 1) Drama1 inspired bj T.S. Eliot's Murder in on floors 1 and 2 at Lincoln Center) DanceIArts Administration: 2) /he C'u/hechciI. In addition to the will close for two weeks beginning Music; 3) Video and Sound formal meetings, one-day outings on Monday, August 10. and reopen Recordings. The Circulating were scheduled to London and to at the Mid-Manhattan Library on Collection Administrative Offices of Rye, home of Henry James and Monday, August 24. There will be LPA will also be at the other literary celebrities, where a changes to public services, hours of Mid-Manhattan Libra9 . downpour failed to dampen spirits operation, public programs, and

Vo1.26, No. 1 Summer 1998 7 TENTATIVE RELOCATION The details of which materials will 1 SOTHANNIVERSARY DATES have limited or no access at the In October 1998, New York City's RESEARCH COLLECTIONS (floor interim locations will be announced Episcopal Church of the 3 of the Lincoln Center facility) as soon as possible. Transfiguration will celebrate its Service suspended: Mon. July 20 Sesquicentennial. To many around Service resumed: Mon. August 10 HOURS the world it is know as the Little CIRCULATING COLLECTIONS RESEARCH COLLECTIONS AT Churclr Around the Corner, and (floors 1 and 2 of the Lincoln Center THE ANNEX has long been renowned as tlie facility) Monday: Noon-7:45pm church of tlie American theatre and Service suspended: Mon. August 10 Tuesday: Noon-5:45pm acting profession. Service resumed: Mon. August 24 Wednesday: Noon-5:45pm Thursday: Noon-7:45pn1 In 1870. famed actor Joseph The LPA Research Collections will Friday: Noon-5:45pm Jefferson was rebuffed at a nearbj be closed to the public for three Saturday: Noon-5:45pm church ~vlientrying to arrange tlie ~eehsand the Circulating Sunday: Closed funeral of his friend and colleague Collections will be closed for two George Holland, because of the neeks during the relocation. To CIRCULATING COLLECTIONS stigma against the acting profession. minimize service disruptions, the AT THE MID-MANHATTAN Asked \\here he might arrange a Research Collections M. ill reopen at LIBRARY service for his friend. the prin pries1 tlie Annex BEFORE the Circulating Monday: 9am-9pm off-handedlq I-eplied."011. there's a Collections are closed. Portions of Tuesday: I l am-7pm little church around the corner that the LPA collections WILL BE Wednesday: 9am-9pm does tliat sort of thing." Whereupon AVAILABLE AT ALL TIMES Thursday: I I am-7pm Jefferson replied, "God bless tlie during the relocation. Friday: I Oam-6pm little cliurch around the corner." Saturday: 1 Oam-6pm The name stuck after the incident PLEASE NOTE: The dates for Sunday: Closed was reported in the press around the closing. mo\ ing. and reopening the country. LPA collections are TENTATIVE. Consult the NYPL, website. Consult the web site and the printed w\\~v.n\pl.or~,for updates. Having plaq,ed so large a part ill information to be made available at Questions may be directed to: removing the stigma from the acting New Yorh Public Library facilities performi~~garts~u'~~)p1.org profession. The parish \\as adopted for updates. Finalized dates will be by the theatre. and becamc Ilie announced as soon they are spiritual Iiomc to a host ill tliat determined. TLA WEBSITE www. brown .edulFacilitiesl calling. Most collections and services of the University-LibrarylbeyondITLAl TLA.html The year long celebratio11 will Nen Yorh Public LPA will be culminate on Foundation Dab available at the interim locations. Weekend. October 3-4 with a Ho~eber.public areas \\ill be TLA NEW ADDRESS number of special events. This year smaller; deliverj time for research Theatre Library Association also marks that 75"' anniversary of materials will be longer; some C/OThe Schubert Archive the Episcopal Actor's Guild. which materials will be available by 149 W. 4Sh St. from its founding has been appointment only; and a limited New York, NY 10036 associated with the parish. Shortly amount of materials will be Telephone: 2 12-944-3895 after his arrival in 1923, Dr. J.H. unavailable until the Lincoln Center FAX: 2 12-944-41 39 Randolph Ray joined with Rev. facilitj reopens in the fall of 2000. Walter Bentley and Deaconess Jane

Vo1.26, No.1 Summer 1998 8 Hall to found the Episcopal Actors' MINUTES of the TLA panel). The program will focus on Guild of America, an association the legal issues surrounding the use formed to foster the work of the BOARD MEETING of performing arts materials on the church among people of the theatre May 29,1998 Web. Forthcoming ASTR and to express the needs of theater conferences: 1999 will be in people to the church. Walter President Geraldine Duclow Minneapolis, and the 2000 Bentley, a priest who had been a (Philadelphia Free Library) opened conference will be in New York Shakespearian actor, had founded the annual business meeting at City. Louis Rachow. the chair ofthe the Actors' Church Alliance in 5: 10PM and recapped the nominations committee. asked TLA 1893. Deaconess Jane Hall had proceedings ofthe Executive Board members to submit nominations to established the Rehearsal Club, a meeting held earlier that day. Ms. him for the offices of President. residence for young actresses newly Duclow summarized TreasurerJane Vice-president and four board arrived in New York City. It Suda's Mid-Year Treasurer's report: members. Deadline for nominations seemed natural for the Cl~urchofthe TLA had a total of 333 paid is July 5th. The date for next year's Transfiguration to become the home members (1 61 Institutional. 135 TLA-Freedley Awards has been set of the organization formed to link Personal, 30 Non-salaried). Second for Friday. May 28. 1999 (location cllurch and theatre. Dr. Ray \\as notices would be going out this and time to be announced). The made the Actors' Guild's first summer. The checking account meeting adjourned at 5:40PM. warden b\. virtue of his office as current balance \vas $19.888.68, In rector of the church. and all addition. TLA members had NEW EDITOR FOR succeeding rectors have been O.Y donated $905 tomards the officio warden of the guild ever TLA-Freedley awards ceremoy.. BROADSIDE since. Maryann Chach. editor of We extend an official TLA welcome Broadside. announced that ~ol.35. to Nancy L. Stokes. the new editor J'lle noted actor George Arliss was no. 3-4 (Winter/Spring 1998) \\as of Br~ndssid~.Nancy is Associate elected first president of the in the mail and that Ste\,e Vallillo. Professor of Bibliograph! : Episcopal Actor's Guild. Such the editor of Performing Arts Performing and Visual Arts at the theatrical greats as Otis Skinner. Resources. vol. 2 1. which \\ill be University of Akron(0H) and is Basil Rathbone Walter Hampden. dewted to Pleasure Gardens. Itas responsible for collection Vinton Freedley. Tallulal~ four essays on the topic that are development and management in Bankhead. Pegg!. Wood. Cornelia almost completel\~edited. theatre. dance. music and art. An Otis Skinner. Walter Abel. Sidnej Publication is planned for the fall. active member of the American l3lackmer. Charlton I lcston. Joan Marti LoMonaco (Fairfield Library Associatiori (ALA). Nancq, 1:ountain. Rex 1-larrison. and University), T1,A board member \vas Chair of the ARTS Section of Barnard Hughes 11al.e graced the and liaison to the American Societ! American College and Research annals of the guild as an officer. or for Theatre Research (ASTR) Libraries (ACRL) during 1996- as a member of its council. reported on ASTR-TLA events. The 1997. Trained as a singer. she ASTR annual conference \\ it11 TLA studied conducting with Robert Information about upcoming ebents will be in Washington. DC from Page. and has been a free-lance can be found at the cllurcll's nebsite November 20 to 2nd. 1998. TLA conductor since the earl!. 1980's. \\\I\\ .Iittlechurch.o~~cor b calling will present a program called "If I Nanc) has norlied in a \ariet\ of 2 12-684-6770. The Church of the do it, will they sue me?" -- a folio\\ venues including choral repertoire. Transfiguration is located at 1 East up to last year's TLA program at cI~oral/orchestralmorks. dance. and 29''' St. NYC. ASTR (The program committee. musical theatre -- emphasis on an Susan Peters. Susan Brad! and extensive involvement \\it11 musical Rosemary Cullen are organizing the theatre. She has performed. worked

Vo1.26, No. 1 Summer 1998 9 as a lighting designer, built scenery "Neutrality is neither always The only people that I would and costumes, and served as props possible nor always desirable to recommend this book to are scholars mistress. Nancy has a real love of achieve" he argues "My general that need to be abreast of all the musical theatre and has discovered intent, however, is to articulate the literature in the field. While there is that she prefers to be and is most at merits as well as the flaws of some information that could be of home "in the pit." She has been a opposing arguments" (xvii-xviii), use to undergraduates, Block would member of TLA since 1992 and also indicating that he is free of bias and serve as a poor introduction to holds memberships in ASTR and can fairly represent both sides. musicals due to his mediocre use of ATHE. Welcome aboard, Nancy! language, and his boring analysis Block's choice of shows is which could easily turn a student off BOOK REVIEWS particularly troubling. No matter to musical theatre altogether. Block, Geoffry. Enchanted what term he chooses to call it , he -- Alisa Roost Evenings: The Broadway Musical is arguing for a cannon in musical from "Showboat" to Sondheim. theatre. While Block claims that he Frank, Sam. Ronulcf C'olmtm: A (NY: Oxford University Press, picked musicals that "pose Bio-Bibliogrciphj~(Westport. CT: 1997) intriguing critical, analytical, Greenwood Press. 1997) Geoffrey Block's Enchanted aesthetic, and political musicals" he In his book Ror?uld C'olmm: '4 Bio- Evenings. The Broadwav Musical seems to rely on popular acclaim Bib/iogrup11y, Sam Frank contends fiom Showboat to Sondheim reads (measured by length of run and box that actor Ronald Colman has been like a series of undergraduate papers office receipts) to chose the shons. denied his proper due in recent rather than a coherent. unified While he includes a few sho~csthat studies of stars from the he\.day of argument. Block works to tell us did not make it into his lists of the the Hollywood studio system. Thus. e~erythinghe knows about each top ten shows of each decade and his book purports to recognize she\\. but is not selective in picking top 40 from 1920-1959, he sticks Colman's achievements and serve as specific points to make an argument. exclusively to shows that ha~e a recovery project of sorts by Block also seems confused about his already received considerable documenting his career in detail. It audience: he gives detailed scholarship. is organized into twelve chapters. descriptions of the narrative of some several of which record and e\.aluate songs and the history of which songs This book would have been the actor's entire oeuvre. The uere included. but touches on so adequate if it had come out 20 years greater portion of the book. many issues that it would confuse ago. However. the use of the male however. consists of \,arious readers unfamiliar mith the source nomenclature (for example, the reference lists in relation to all material. The superficial analysis chapter on Lady in (he Dark and aspects of Colman's career: stage merely reiterates obvious points. One Touch of Venus, both shows work; filmography; radiography: that center on female protagonists. television shows; discography: Block is deeply caught in a cultural is called "The Broadway Stranger awards, honors, and nolninatio~is; Darwinist idea that musicals moved and His American Dreams"). the and an annotated bibliography of from the silly books and strong lack of theoretical grounding and other works about Colman. scores of pre-Rodgers and the ability to reduce SLC~wonderful It is in this latter area that the book Hammerstein shows, to the source material to dry, boring "integrated" musicals in the essays all makes me wonder why offers its major contribution, in that Frank has done an impressive job of Oklahoma.' model to the "concept" Oxford University Press, after compiling a step-by-step accounting- musicals of Stephen Sondheim. publishing Ethan Mordden's -complete with his own insightful Block employs only enough theory Broadway Babies and Philip Furia's to dismiss theoretical concerns: The Poets of Tin Pan Alley, would annotations--of the actor's work in a variety of entertainment media. In while he acknowledges that think this book could fill a need.

Vo1.26, No. 1 Summer 1998 10 this regard, it stands as a very useful post-World War Two era as his important service for teachers of guide for further study on Colman as romantic persona of "noblesse performance and performance well as the various historical periods oblige" fell out of favor with scholars by culling these key of studio production (i.e, c. 1920-- audiences, which in turn sources that document, as she notes. 1960) which encompassed his film contributed to the general lack of "one of the paths feminist theatre work. awareness of his contributions to took in the pages of one decisive film history in recent years. journal" (xvii).The principal However, Frank's biographical strength of Martin's collection is its essays also provide a succinct Overall, Frank's straightforward organization into sections on summary and analysis of the arc of evaluation of both the pros and cons History. Theory, Interviews. and Colman's career from his early stage of Colman's career choices and Texts which resound with one work in London and New York acting style is informative and another in fruitful and engaging through his film successes in a provocative. He makes a strong ways. The Sourcebook contains number of major pictures from both case for his argument that Colman several pivotal essays in the history the silent and "talkie" eras (e.g.. is indeed a figure worthy of further and rediscovery of women in theatre Becrzi Ge.stc, Lost Horizon. A Tole of recognition and critical study. while and in postmodern critical and Tttv ('irk,\.. The Pvixoner ofZemkr ). also providing a wide range of theoretical approaches to In evaluating Colman's legacy. the references and resources to help performance analysis. (Two essays author argues convincingly that his facilitate such future work.--David not originally published in TDR are screen image as a romantic. cultured Callaghan (CUNY Graduate Misha Berson's on women in gentleman who typically embodied Center) regional theatre and Carol Martin's high ideals (or frequently on Anna Deavere Smith.) The championed righteous causes) Martin, Carol. ed. A Sourcehook History section opens with Helen greatly influenced successive on Feniinist Theatre: 011 atltl Krich Chinoy on women in generations of actors such as Beyond the Rage London and hi.11. American theatre (which was Laurence Olivier. Charles Boyer. York. (NY: Routledge, 1996.) excerpted from her pioneering ~vork Rex Harrison. and David Niven. A Sourcebook on Feniinist Theatre Wonien in Anlerican Theatre. edited While Frank is unabashed in his and Performance: On ~ndBeyond with Linda Walsh Jenkins); works admiration for Colman, he avoids the Stage. an imaginative and by Jill Dolan. Lynda Hart. Elin hagiography and openly discusses intelligently organized work. Diamond, Kate Davy, Peggy Phelan. the actor's failures as well as his reminds us that feminist and Carol Martin, drawing on successes. In doing so, he astutelj performance can claim a history of psychoanalytic and various notes Colman's tendency to "plaj, it its own. The Sourcehook is a poststructuralist methods. comprise safe" and accept offers which compendium of essays. interviews. the Theory section. The dialogic reinforced his identifiable leading and performance scripts most of nature of the test is reflected in the man persona. This led to Colman's them published in TDR: A Jowntrl way the essays analyze man) of the rejection of a number of character of Perforinance Studies over an performers also interviewed in the roles throughout his career (e.g., the approximate twenty-year period. collection--Karen Finley. Hall), lead in David Lean's Thr Bvi~r'geon from the late 1970s to the earl) Hughes, Anna Deavere Smith. and the River KWLI~)whicli might have 1990s. This was an estremel) Robbie McCauley. Likewise. the demonstrated his impressive range fertile era in feminist performance two performance scripts. Hughes' as an actor to a far greater degree on marked by the intersection of new Dress Suits to Hire and Finley's The screen. Frank contends that such and bold feminist theatrical Constant of Desire deepen readings professional conservatism also expression combined with a of the essays and interviews. Jill contributed to thedeclining numbers burgeoning critical and theoretical Dolan's Introductory Essay written of films made by Colman in the discourse. Martin has done an for the collection ("Fathom

Vo1.26, No. 1 Summer 1998 11 Languages: Feminist Performance graduate classes in feminist and Theaterwissenschaft, 35 Jg. 1989, Theory, Pedagogy, and Practice"), gender and performance, Vol. IV. Vienna, Cologne, Weimar provides an excellent grounding for contemporary theatre, theatrical (Bohlau Verlag) 1994. the book setting the contents within theory, as well as playwriting and German theater almanacs, modeled the history of New York feminist solo and autobiographical on French theater almanacs. first performance and the theoretical performance. Combining, for appeared in the second half of the landscape ofthe past two decades. A instance. Rebecca Schneider's 1 8lh century. Ever), theater which positive and encouraging outcome interview with Holly Hughes. Kate considered itselfto be important has ofthe combination andjuxtaposition Davy's essay ("Reading Past the its own almanac \\hich contained a of material documented in the Heterosexual 1mperatiL.e: Dress calendar for the coming >car and Sourcebook is in helping dislodge Suits to Hire") and Hughes' script. listings of actors. directors. the kind of "eitherlor" thinking that an instructor can hope to elicit a productions and information about has. over the years. created some rich, multi-faceted discussion. the repertory of the preceding year: unfortunate methodological splits Although the Sourcehook is most of the nere short-li\,ed. When among both feminist academics and limited, by necessit),. to the \\or]\ agents \\ere the prompters at one of between theorists and practitioners. published bj, TDRand therefore not the major theaters (especially in Man) feminist pla\w-ights. for inclusive of the range of other mqjor cities such a Vienna. Berlin. instance, sau a cruel irony that as feminist scholarship (focused on or Budapest). their almanacs their work began to be validated and dramatic literature. for instance) contained inti)rmation about other made \.isible in the public sphere. Martin makes clear that her aim theaters about \\ Iio as engaged feminist poststructuralist critics \\as not to chart a "progression of \\here. and about \\ Ilo \\as seeking a

nere espousing the impossibilit). of scholarship" as it \\as to "document nc\\ C: 3it~.:~ct.Actorb \\ere charged the coherentl? constituted author. discussions and changing points of for he111gput in cont;~~\\ it11 theaterc But b placing essa\.s of different \ ie\v" (svi). Indeed. the tra.jector) offering engagements. Ilo\\e\ cr. strategies and of multiple of theoretical and critical concerns theaters \\ere not charged fi)r this "positionings" side-bq,-side and b) presented here as well as the historq serk ice. Similar ser\ ices \\ere putting theory and performance text of fetnii~isttheatre pro\.ided (from provided for pla? \\ rights, Agents in partnership. Martin lets several feminist and lesbian theatre actkit) recei~ed fees 1.01- Sincling all koices speak. Her wish is for readers of the early 1980s. in essajs bj engagement for an actor: additional to see ho~different critical Charlotte Rea and Emilj, Sislej,. to fees \+ere cllarycd I'or guest strategies ma) be profitably applied the postmodern practices of the performances. In I8O;.for example. to feminist performance. yet also to WOW Cafe) provides crucial 490 stages \\ it11 approximatel) note their limitations. Martin states background for students. The 70.000 persons \\ere listed in the in her introduction that Sourcebook illustrates \\ell ho~ most successful almanac produced "[e]xamination of these flaws will theory and practice can illulninate bj. theater agents. the .~/IIILIIILIC./I fur help eradicate the binary \\ay of one another in a mutually engaged Freurlde der Sc~l~u~i.v/)ielkli~i.~/. thinking that has compartmentalized dialogue of criticism and creativitj.. published bq. Lud\iig Wolff in these positions into seemingly -- Julie Malnig (Gallatin School, Berlin. discrete perspectives and practices," New York University) (xvi) and points to ~vorkin queer Paul S. Ulrich's seminal theor). and race theory that has Ulrich, Paul S.. A Prelituinurj. bibliography of German-language already challenged some of these Bibliograph of Gerniuti-Lcrnguuge theater almanacs not on14 pro\ ides entrenched beliefs. This is an Theatre Alamuncs. Yearbooks, valuable information on European extremely useful and valuable Calendars, md Journu1.s ofthe 18"' theater life in the late 18"' and earl) collection adaptable for both and 19"' Centuries. Maske und 19'" centuries, it offers valuable advanced undergraduate and Kothurn Internationale Beirrage zur insights in the German theater ofthe

Vo1.26, No.1 Summer 1998 12 epoque ivhich \\as a much more bourgeois share-holders' theater) Kevin Winkler complex organism than is generally within monarchist Europe. Other Book Reviews Editor recognized. In his introduction. listing remind us ofa lively German NYPL for the Performing Arts Ulrich points out that in the years theater tradition that was destroyed 40 Lincoln Center Plaza 3853-1 892. German-language irrevocably bj World War 11: Neu York, NY 10023 theater was performed in over 1500 Szegedin (3 entries). St. Petersburg Tel. 202-870- 1620 locations all over the world, between (3 entries). Riga (I 6 entries). Re\ a1 FAX: 2 12-870-1 704 Moscow and San Francisco. where (1 entr))). Prag (I3 entries). E-mail: k\\ inkler@n\ v1.or.g the German-speaking population Lemberg (14 entries), Krahau (6 \{as often larger than in most entries). Budapest (7 1 entries). and MEMBER NEWS German cities. This \\as particularly Zagreb (55 entries). James Fisher (Wabash College) true in America, \\here se\jeral cities has two upcoming book such as St. Louis and Milwaukee Ulrich's bibliographj is not onlj a publications: Stephen Soudheitn: A (both represented 1% ith one almanac fascinating guide through a centur! Research arid Productiorl in Ulrich's bibliography) had a of German theater. it also draus Sourcebook. (Green~koodPress. (jerman population exceeding attention to the theater almanac as a 1998) and Eugene 0 'L\.eill: .3 100.000. nhereas most cities in new and unusual source of Research aud Prodrrclion German?, still had populations less information for historians and .Tourcebook (Greenu ood Press. than that number. theater specialists alike. Hopefull!. 1999).0ther recent publications lilrich's research \\ill be continued include three articles: "Beheen A glance at the places listed in to cover the theater almanacs of our Tn.0 Worlds: Anskj"s The Dubbuk Ulrich's bibliographj raises several century. -- Rolf Kieser (Queens and Kushner's A Dybbuk. " in So~ie! questions. According to the number College, CUNY) and Eusr Europeun Perforn~uuce. of listings. Vienna (I 3 I) clearlj.nas Spring 1998: "Troubling the b'aters: the German-speaking theater capital BOOK REVIEW Visions of Apocalypse in Wilder's of the ~corld.But wh?. are some GUIDELINES FOR The Skin o-f Our Teeth and to\\ns. not necessarilj, the largest Kushner's Angels in America." in ones. represented extensivelj, \\hi le BROADSIDE Thoruton M'ilder C'crsebook. 1998: others are on1> sporadicall). Book reviews submitted for and the entry "Camino Real." in nient ioned? For example, why does publication in Broudsrtlr should Tennessee It'illi~t~is..3 a ton11 such a Weimar \\hose follou these general guidelines. Bihliograj~hicGuide 10 [he Plq.s JIO~I/WCIIC~I~was the center of the The review should focus on the edited by Philip C. Kolin German theater norld hax onlj one book's usefulness as a scholarlj or (Greenwood Press. 1998). He has entr?? WII! on the other hand. do reference tool for librarian's. also published 6 book reviews. 6 insignificant towns such students. and academics. and should recording review.^. 1 theatre revien. as Odenburg (35 entries) or higlllight its contribution to the and participated in the b'abash Meiningen (40 entries) cast such a broadening of hnou ledge in its College Theatre production of tall shadow,? A possible atwver is particular subject area. The re\ ie\4 C'hurle~,'s Au~il. that the latter two court theaters should be no longer than 500 words created a particularlj dynamic in length and be submitted in hard William Green (Queen's College) theater life and became farnous bj, copj. as well as on 3 '/2" disc (DOS. presented a paper. "Directorial Uses their tours throughout Europe. Wordperfect 5.1 or ASCII format). of Farce in Shakespeare's The Some entries (as the theaters in ,Merry Wives of Windsor," at the 1 3Ih Aarau. St. Gallen. and Zurich) For more information. including a World Congress of the International indicate the presence of a republican list of current books received bj Federation for Theatre Research. German-speaking theatre (the TLA, contact: Canterbury. England. July 8, 1998.

Vo1.26, No. 1 Summer 1998 13 He served as a delegate from TLA to University; in July he began a term LETTER FROM THE the 22nd International SIBMAS as Chair of the Department of "NEW" EDITOR Congress, London, England, July 1 - Theatre, Speech and Dance. Don As I begin as editor of Broadside, I 4, 1998. He has had three reviews was selected as recipient of the would like to encourage everyone to published in the Shakespeare 1998 Special Achievement Award participate in its publication. If you Bulletin. Dr. Green was chosen as for his contribution to the theatre have any information at all about one of the "100 Alumni Stars" in profession on the national level your collections, your projects, your celebration of the 60thAnniversary which is to be presented in publications or awards, or of Queens CollegefCUNY November by the New England information about the awards. ceremony, May 2. 1998. Theatre Conference. He was also publications. or projects of other reelected for a second term as members of the TLA, please let me Ruth Ann Phimister is a narrator Secretary of the American Society know about them. Any information for Recorded Books. Inc. unabridged for Theatre Research. Don you might be able to send will be books. Her recordings include: continues as editor of "Cambridge greatly appreciated. Kaye Gibbons' Ellen Foster, Anna Studies in American Theatre and Quindlen's Black and Blue, Mary Drama" and is eager for If you would like to write an article McGarry Morris' A Dangerous submission of manuscripts of about a theatre related topic. I am Woman, and Luis Duncan's Summer proposals. Contact him for more sure you will find many interested of Fear. She is also featured on Lee details. readers through the newsletter. Smith's The Devil's Dream, and Articles and information notes do Willaim Lashner's Veritas. CONTRIBUTIONS not lieid to be long -- even just a NEEDED few pd, L.graphscan be sufficient to Laurence Senelick (Tufts share a great deal of information. University) attended two Gary Jay Williams (Catholic conferences this summer: the 50th University), editor of Theatre Perhaps you have an idea about a anniversary of the International Survey, invites any TLA column. A new "Internet Federation for Theatre Research in memberstlibrarians to send Resources" colunln appears in this Canterbury. and the first formal proposals for short essays on issue. Susan Peters provided a meeting of the group on European elements of their theatre collections handout at ALA this past June Theatre Iconography in Mainz. His which might be of interest to the which will appear in the next issue. play The Interview was a finalist in primarily theatre historian readership. A regular section of Any and all ideas are welcome. the Actors Theatre of Louisville Theatre Survey is Sources" National Ten-Minute Play Contest, "Re: provides a brief characterization of Please think about the next from among 1950 submissions. collections and news of theatre- newsletter and how you can related exhibitions. Contact Gary contribute to make it valuable and Don Wilmeth (Brown University) by e-mail at wilIiagj~cua.edu. informative to all TLA members. I has had two books published: look forward to hearing from. and Staging the Nation: Plays Pom the meeting, many of you in the future. American Theatre 1787-1909 1999 TLA-FREEDLEY Cheers! -- nls (Bedford Books, 1998), and with co- Nancy L. Stokes editor Christopher Bigsby, The AWARDS NEEDS A PO Box 367 Cambridge History of American NEW SPACE Hudson, OH 44236 Theatre: Beginnings to 18 70. Vol. 1. If you know of any available spaces, contact: Maryann Chach, at the TLA Telephone: 330-972-60 1 1 Spring of 1998, Dr. Wilmeth was FAX: 330-972-7225 named the Asa Messer address, or Kevin Winkler at the address listed for book reviews. [email protected] Distinguished Professor at Brown

Vo1.26, No.1 Summer 1998 14 INTERNET profit resources, off Broadway, Playbill Online RESOURCES opera, players theatres, playhouses, http://www.~lavbill.com playwrights, production, schedules, Shakespeare, talent agencies and Partner of Theatre-Central, provides Here are some basic sites that are ticket resources hot links to current news articles. good starting points for exploring Previews of the upcoming 98-99 the Internet in Arts. Since the Theatre Central Broadway season. Listing of current Internet changes constantly, I've http:l/wwv.theatre-central .com performances in New York, the rest focused on what I hope are ofthe USA (by city), and throughout relatively stable "gateway" sites Provides many links to the world: order tickets online. which will lead you to many theatre-related pages from all over additional resources. the world. It covers news, listings NATIONAL ARTS for Broadway, Off Broadway, Yahoo Arts Section ORGANIZATIONS Regional, national tours, London, http://wvw.vahoo.com/Arts/ and summer stock, industry Arts USA announcements, multimedia, The venerable and popular site that on-line magazines, on-line ticket http://w\.vw.artsusa.ord indexes Internet sites by topic. purchases, Broadway grosses, Broken down into many subtopics, The home page for the American casting and jobs, and a who's who. such as cinema, dance, drama, Council for the Arts. An excellent music, performing arts, etc. One of starting point for information on Scott's Theatre Links my favorite sites. funding, arts policy, health and legal http://mv.theatre-1ink.com issues, arts education. and political World Wide Web Virtual Library (by advocacy. A searchable database which Subject) gathers together hundreds of http:l/vlib.orrr/Overview.html Arts Wire theatre-related sites under such http://\w.artswire.orrr/ categories as Academic Programs, Some people think this is better than Broadway, CastingIContact Yahoo as a subject index to the Launched in June 1992, is the NY Services, Goods & Services, News, Foundation for the Arts' national Internet; I think it's different. See Shakespeare, Shows, Theatres and computer-based communications section on Humanities- theatre and Venues, Resources, and Groups network designed to enable artists. drama. and Organizations. arts organizations and communities across the country to better THEATRE Jogle 's Favorite Theatre Related communicate, share information and Resources coordinate their activities. ArtsWire World Wide Arts Resources http://artsnet.heinz.cmu.edu/ provides access to current arts news http://w\var.cotn/theater/' OnBroadway/l inks/ and information, discussion of arts-related issues, the latest listings A theatre resources index page Links to resources for education of grants and jobs in the arts and a which will lead you to thousands of and theatre; theatre listings, tickets forum for creating and experiencing theatre related resources. Includes and reviews; newsgroups and chat online art. Includes a weekly arts resources for: academic, actors, rooms; people in the industry; news update, Web tours, a database auditions, cabarets, choreographers, professional resources; sites for accessing other arts sites, and civic theatres, comedy, company, dedicated to individual shows, home pages for subscribers. costume, festivals, guilds, journals, stagecraft; home pages of -- Nancy L. Stokes lighting, multimedia, musicals, non- individual companies and theatres.

Vo1.26, No.1 Summer 1998 15 CALENDAR November 20-22, 1998: The American Society for Theatre Research (ASTR) annual conference with the Theatre Library Association (TLA) in Washington, DC. TLA panel: If1Do It, Will They Sue Me? The ASTR plenary session will be Playing By the Rules: Theatrical Regines, Regimens and Regulations. Conference papers will address the theme of rules for the theatre - interpreted in a broad sense. Topics will include theatrical self-regulation, external control, restraint and constraint, aesthetic and civil rules, and theatrical modalities that appear to regiment as much as they transform. January 29-February 3,1999: American Library Association (ALA) midwinter conference in Philadelphia. May 28,1999. TLA-Freedley Awards Time and place TBA. June 24-July 1,1999: American Library Association (ALA) annual conference in New Orleans.

Officers ofthe Theatre Library Association (founded 1937): President, Geraldine Duclow, Head, Theatre Collection, Free Library of Philadelphia; Vice President, Susan Brady, Yale University; Executive Secretary, Maryann Chach, Shubert Archive; Acting Treasurer, Jane Suda, The New York Public Library for the Performing Arts. Broadside ISSN: 0068-2748, published quarterly by the Theatre Library Association, c/o Shubert Archive, 149 West 45th St., New York, NY 10036, is sent to all members in good standing. Editor: Nancy L. Stokes, University of Akron. TLA membership (annual dues: $20 personal, $25 institutional) also includes Performing Arts Resources, published annually. Current members may purchase past issues of PAR, $1 0 prepaid, and Broadside, $2 prepaid.

THEATRE LIBRARY ASSOCIATION NONPROFIT ORG. c/o Shubert Archive U.S POSTAGE 149 West 45th St. PA1D New York, NY 10036 NEW YORK. N.Y. PERMIT NO. 2632

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