Newsletter of the Theatre Library Association
2010 George Freedley Memorial Award Special Jury Prize Winner Marc Robinson and 2010 Distinguished Service in Performing Arts Librarianship Award Winner Kevin Winkler
Inside this issue
President’s Book TLA Plenary at Broadside Book/Media Report Awards ASTR/CORD/TLA News Reviews Network
INSIDE THIS ISSUE
4 President‘s Report BROADSIDE (ISSN: 0068-2748) is published three times a year and distributed to all members in good standing. Contents ©Theatre Library Association 5 Election Results Access via login—Members contact [email protected] ([email protected])
19 BROADSIDE News Network Editor: Angela Weaver ([email protected]), University of Washington
22 Book/Media Reviews Book Review Editor: Catherine Ritchie ([email protected]), Dallas Public Library
7 Upcoming Events Regional News Editor: Robert W. Melton ([email protected]), University of California, San Diego 3 TLA Board
3 TLA Mission Statement BROADSIDE PUBLICATION GUIDELINES
BROADSIDE is the principal medium through which the Theatre Library Association 1 Front Cover communicates news, activities, policies, and procedures. Collectively, past issues also provide historical information about the organization and the profession of performing arts librarianship. BROADSIDE has no ambition to serve as a scholarly journal. Scholarly and other articles or monographs may be considered for TLA‘s other principal publication, Performing Arts Resources.
In addition, BROADSIDE serves as a means for the exchange among members of information that advances the mission of the organization. Examples of this include short news items about recent activities of both individual and institutional members; short reviews of relevant books and other resources; news of relevant exhibits, conferences, and other developments in performing arts librarianship, collections, and scholarship.
In keeping with the aims of a newsletter, and to help the Editor and the TLA Publications Committee to maintain fair and consistent editorial policies, the PHOTO CREDITS: Publications Committee has developed the following guidelines.
1. Priority in the publication of articles will be given to the Association‘s officers, Page 4, Kenneth Schlesinger; Susan members of the Board, and chairs of committees. These articles provide the most Cole, photographer. important means by which the leadership of the Association communicates recent Board decisions, upcoming TLA-sponsored events, appeals for member Page 8, Andrew Stott; Bronwen involvement, etc. Densmore, photographer. 2. TLA members in good standing are encouraged to submit news items that are in keeping with the statement above. All submissions are subject to editing for length, Page 9, Rob King; Marti LoMonaco and clarity, and factual confirmation. Kevin Winkler; Andrew Stott and ; 3. Letters to the Editor are encouraged, but must be limited to 200 words, due to Bronwen Densmore, photographer. space considerations. 4. Reviews of books or other resources are an excellent way for members to Page 10, Marc Robinson; Bronwen contribute to TLA and the profession. Reviews should be limited to 500 words and Densmore, photographer. should include a concise summary of the resource, a comparison of it to similar resources, and a brief evaluation. Suggestions and unsolicited reviews should be Page 12: Kevin Winkler; Bronwen sent to the Book Review Editor. Densmore, photographer. 5. The copyright of all articles published in BROADSIDE will be owned by TLA. Permission to republish an article may be requested from the Editor. Page 13: Tonia N. Sutherland, Ilana 6. Ideas for articles – other than brief news items, book reviews, or submissions from Turner, Olivia Sabee, Carolyne Clare, officers and committee chairs – should be submitted to the Editor in advance in Doug Reside, and Susan Brady; Megan order to allow sufficient time to plan layout, provide constructive suggestions, and Smithling, photographer. occasionally seek guidance from the Publications Committee. Articles should relate to performing arts libraries, library resources, or related topics in performing arts Page 18: Tennessee Williams; Frank scholarship, rather than to general performing arts topics. Armstrong, photographer.
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ABOUT TLA
EXECUTIVE BOARD MISSION STATEMENT
Officers Founded in 1937, the Theatre Kenneth Schlesinger (President, 2009-2010) Library Association supports librarians and archivists affiliated [email protected] with theatre, dance, performance Susan Brady (Vice President, 2009-2010) [email protected] studies, popular entertainment, David Nochimson (Executive Secretary, 2008-2010) [email protected] motion picture and broadcasting Colleen Reilly (Treasurer, 2010-2012) [email protected] collections. TLA promotes professional best practices in Martha S. LoMonaco (Past President) [email protected] acquisition, organization, access and preservation of performing arts Board Members resources in libraries, archives, William Boatman (2008-2010) [email protected] museums, private collections, and Phyllis Dircks (2010-2012) [email protected] the digital environment. By producing publications, John Frick (2009-2011) [email protected] conferences, panels, and public Nancy Friedland (2009-2011) [email protected] events, TLA fosters creative and Stephen Johnson (2009-2011) [email protected] ethical use of performing arts Beth Kattelman (2010-2012) [email protected] materials to enhance research, live performance, and scholarly Stephen Kuehler (2010-2012) [email protected] communication. Francesca Marini (2009-2011) [email protected] Karen Nickeson (2008-2010) [email protected] Brook Stowe (2010-2012) [email protected] Angela Weaver (2010-2012) [email protected] Sarah Zimmerman (2010-2012) [email protected]
Ex-Officio Georgia Harper (Legal Counsel) [email protected] Brook Stowe (Freedley-Wall Book Awards Chair) [email protected] David Nochimson (Webmaster) [email protected] John Wagstaff (TLA listserv) [email protected] Marian Seldes (Honorary Member) Louis Rachow (Honorary Member/TLA Historian)
Theatre Library Association JOIN US! c/o The New York Public Library for the Performing Arts Membership 40 Lincoln Center Plaza
New York, New York 10023 (Annual dues: $30 personal, $40 institutional; $20 student/non- TLA website: http://www.tla-online.org/ salaried members. In order to defray the rising costs of international
postage, members with non-U.S. TLA listserv: To Subscribe: mailing addresses are now required 1) Send email (nothing in the subject) to: [email protected] to pay a $10 surcharge.) Includes 2) in the body of the email message type the following line: Performing Arts Resources, SUBSCRIBE TLA-L your name published occasionally. For availability and prices of past issues of PAR and BROADSIDE, contact [email protected]
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PRESIDENT’S REPORT
PRESIDENT’S ANNUAL REPORT
Good evening and welcome to Theatre Library Association‘s Book Awards and Annual Business Meeting. I‘m Kenneth Schlesinger, TLA President.
As usual, TLA has had a banner year. In large part due to our hardworking Board and, primarily, our dedicated officers:
Vice President Susan Brady Executive Secretary David Nochimson Treasurer Colleen Reilly
I‘d like to share with you a summary of some of our primary achievements:
Kenneth Schlesinger in Munich
Publications PAR 29: John Calhoun‘s of the strong programming we‘ve Documenting: Scenic Design, been offering in recent years. Under the leadership of Chair completing the Holy Trinity of Rob Melton, the Publications this series Please attend our celebration of Committee stewarded production Shakespeare‘s birthday next of one of our finest issues of BROADSIDE, edited by Angela year, April 22, 2011, at our third Performing Arts Resources to Weaver and transformed into an Symposium: Holding Up the date: PAR 27: Documenting: online publication, is in the most Mirror: Authenticity and Costume Design. Of course, the attractive form we‘ve ever seen. Adaptation in Shakespeare real credit goes to Editor Nancy And I hope you‘re enjoying our Today. In characteristic TLA Friedland, who toiled tirelessly for recently launched, redesigned fashion, we‘re partnering with nearly two years to produce this website, diligently maintained by American Shakespeare Center lavishly illustrated, content-rich, David Nochimson. and Theatre for a New Audience, definitive work on costume with featured presentations from collections. Conference Planning Diane Paulus and Oskar Eustis. As usual, Stephen Kuehler and In the pipeline are several Hope you can join us in Seattle his Planning Committee will put upcoming volumes: November 18-21 for the ASTR/ on a good show. Where will it CORD/TLA Conference. TLA‘s be? Right here in the Bruno PAR 28: Stephen Johnson‘s Plenary, Harnessing the Power of Walter Auditorium! Please pick A Tyranny of Documents: The Performance: Documentation up a registration form on the Performance Historian as Film Strategies for Theater and Dance, tables outside. Noir Detective organized by Susan Brady, promises to deliver in the tradition
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PRESIDENT’S REPORT
And if that isn‘t enough, TLA will colleague. Current Book Awards TLA Executive Board be partnering with SIBMAS to Chair Brook Stowe is continuing Election Results co-produce a Conference in June Dick‘s fine traditions. 2012 in Austin, Texas, hosted by Five Board members were the Harry Ransom Center. We Brooks McNamara Performing elected at TLA‘s Annual Business last collaborated with SIBMAS in Arts Librarian Scholarship meeting on October 8th. Susan New York in 1982; I was in Brady, John Calhoun, Charlotte elementary school. The tentative Another tribute to a valued friend is Cubbage and Karen Nickeson will theme is Reimagining the Brooks McNamara Performing serve three-year terms from 2011 Collections: Building Community. Arts Librarian Scholarship, which -2013. Nancy Friedland was Keep in mind that Austin has the will support a library school student elected Vice President for 2011- best margaritas in the U.S.! with an interest in performing arts 2012, with Diana King elected to librarianship. We‘re committed to fill Nancy‘s remaining one-year
75th Anniversary promoting the next generation of term. Kenneth Schlesinger was theatre librarians, archivists, reelected as President from 2011 2012 is another milestone for curators and scholars. Nancy -2012, and David Nochimson TLA—we turn 75! We have Friedland is helming this new reelected as Executive Secretary begun discussions about a 75th initiative, which we‘ll introduce at from 2011-2013. Their bios Anniversary Celebration, most next year‘s Awards. appear below. likely held here at the Bruno Walter in connection with the You Are TLA TLA President Kenneth Book Awards. Expect stars, live Schlesinger welcomes our new performance, music—and Past- Before I turn the floor over to Officers and Board members, as President Marti LoMonaco Colleen Reilly and David well as Brady and Nickeson, who costumed as Pocahontas! In Nochimson for the Treasurer‘s and are returning. He gives special fact, Marti and David Nochimson Membership Reports, I just want to thanks for the service and are co-chairing this auspicious acknowledge your support as contributions of departing Board event. members. We depend on your member William Boatman. ideas, creativity, hard work and Book Awards volunteer efforts to keep this SUSAN BRADY is an archivist at organization going. the Beinecke Rare Book and Speaking of the Book Awards— Manuscript Library, Yale which will begin once I stop Like the rest of us, you‘re here University, currently processing talking—we‘ve made some tonight because you‘re passionate the Theatre Guild Archive. She changes to support a more about live theatre. You‘re equally has held librarian/archivist comprehensive and festive event. committed to its documentation and positions at Yale in the Arts TLA‘s Executive Board voted to preservation, which engenders the Library, Yale Center for British reinstate the Special Jury Prizes, outstanding scholarship we‘re Art, and Department of so more fine books and about to celebrate. Manuscripts and Archives, and at publications can be honored. Harvard Theatre Collection. Thank you. Susan has served as a Board Most significantly, we resolved to member, Vice President and rename the former Theatre President of Theatre Library Library Association Award in Kenneth Schlesinger Association, and as Co-Chair of honor of our beloved former Book the Performing Arts Roundtable Awards Chair Richard Wall. Remarks made at of Society of American Archivists. Tonight I‘m pleased to announce TLA's Annual Business meeting She edited volume 21 of we‘re inaugurating the first on October 8, 2010 Performing Arts Resources, After Richard Wall Memorial Award, a the Dance: Documents of Ruth wonderful tribute to our friend and St. Denis and Ted Shawn, and co
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ELECTION RESULTS
-edited volume 25 of PAR, CHARLOTTE CUBBAGE is Documenting: Costume Design, Documenting: Lighting Design, Humanities Coordinator and TLA‘s most recent volume of published in 2007. Susan has subject specialist for Dance, Performing Arts Resources presented papers and planned English Literatures, Performance (2010). She was a contributor to and chaired programs at annual Studies, Radio-TV-Film, and the Core Collection in Dance meetings of ASTR-TLA, ALA and Theatre at Northwestern University (2001), and is currently a member SAA, and has served on Library. She currently oversees of the Executive Board of Theatre numerous committees focusing library collections in the humanities Library Association. Nancy has on performing arts at Northwestern, manages the served on various ALA documentation, cataloging and English literature and performing committees, presented on access. She holds graduate arts collections, provides research performing arts resources and degrees in Theatre History and assistance to faculty and students, bibliographic methods, and most Criticism and library science from and instructs students in research recently agreed to serve on the University of Texas at Austin. techniques. She also serves as a task force charged with reviewing Fellow for Northwestern‘s Fine and the ACRL Guidelines for Media JOHN CALHOUN is a librarian in Performing Arts Residential Resources in Academic Libraries. the Billy Rose Theatre Division College and is an adjunct professor She received an MA from New and the Circulating Drama in the Department of English. For York University and MLS from Collection of the New York Public the 2009 TLA at ALA program, she Rutgers University. Library for the Performing Arts. helped plan ―The Play‘s the Thing: His other positions with the New From Page to Stage to Archive in DIANA KING currently serves as York Public Library have included Chicago Theatres.‖ Charlotte Librarian for Film, Television, project archivist in the Theatre serves as a Juror for TLA‘s Book Theater and Dance at UCLA Division, project cataloger in the Awards Committee. Her Library, as well as for Women‘s Jerome Robbins Dance Division, educational background includes Studies. Prior to this and librarian in the former Donnell Master‘s degrees in English appointment, she held the same Media Center. Prior to his library Literature and library science. She position at University of career, John worked in magazine is a drama alumna of Fiorello H. California, Davis. She received publishing as an editor at Theatre LaGuardia High School of both her MLS and MA degree in Crafts and Lighting Dimensions Performing Arts (before its merger English at University of Illinois, magazines, and he has written into LaGuardia Arts). Urbana-Champaign. A TLA many articles about film, theatre member since 2003, she and the other arts for such NANCY FRIEDLAND has been contributed a chapter on publications as Cineaste, with Columbia University Libraries researching costume to the American Cinematographer, for 15 years, where she is currently recent Performing Arts Interiors, Lighting & Sound Librarian for Media, Film Studies Resources (Vol. 27) on America, and Architectural and Performing Arts. She is a Documenting: Costume Design. Record. John‘s advanced member of the University Senate Diana is a member of the ACRL degrees include a BA in and has been actively involved with Arts Section and Society for Journalism, Drama and English a Senate task force on eReaders Cinema and Media Studies. She from University of Arizona, an MA and academic support. She is is also the current Convener of in Cinema Studies from New York Visiting Associate Professor at University of California University, and MLS from Pratt Pratt‘s School of Information and Performing Arts bibliographers Institute. For the past two years, Library Science and Long Island and editor for Theater and Dance John has been a Juror for University‘s Palmer School of in the ACRL Women‘s Studies Theatre Library Association‘s Information Science, where she Section Core Books database. Richard Wall Memorial Award teaches courses in Film and Media (formerly known as the TLA Collections, Advanced Reference KAREN NICKESON is currently Award) for books about recorded and Humanities Resources. She Curator of the Billy Rose Theatre performance. served as editor and contributor to Division at the New York Public
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ELECTION RESULTS
Library for the Performing Arts. helped introduce a new member collections of Thirteen/WNET and She joined the Theatre Division in database, new website, and two Time Inc. He is Board President 2009 as Assistant Curator, where new communication tools: TLA of Independent Media Arts she directed digital projects and PROMPTBOOK, an e-mail alert Preservation (IMAP), which seeks represented the Performing Arts sent to members, as well as a TLA innovative solutions to Library in helping plan the page on Facebook. David has also preservation of artists' videotapes integrated library system. Karen served on the planning committees and digital works. Professor has also served the Library in the for two TLA Symposia – Schlesinger has an MLS in Dance Division as archivist and Performance Reclamation: Information and Library Science cataloger. In those roles, she Research, Discovery and from Pratt Institute, an MFA in participated in the consortial Interpretation in 2008, and next Dramaturgy and Dramatic activities of Dance Heritage year‘s Holding Up the Mirror: Criticism from Yale School of Coalition in developing standards Authenticity and Adaptation in Drama, and BA in Dramatic Art for processing, cataloging and Shakespeare Today. With Marti from University of California, maintaining authority control in LoMonaco, he is heading the Berkeley. His research and performing arts collections. She planning efforts for TLA‘s 75th publication interests include holds an MLS from University of Anniversary in 2012. He is revising performing arts collections, digital North Carolina at Chapel Hill and his Master‘s thesis, The Theatre preservation, and international a BA in French Literature from Library Association on the World librarianship. A longtime TLA George Washington University. Stage: Building an International Board member, Mr. Schlesinger She continues to practice dance Community of Performing Arts served as President from 2008- as an avocation. Collections, 1937-1969, for 2010. He co-chaired TLA's first inclusion in a future volume of two Symposia, editing their DAVID NOCHIMSON is a Senior Performing Arts Resources. Proceedings in issues of PAR. Librarian at the New York Public Library and the current Executive KENNETH SCHLESINGER has Secretary of Theatre Library been Chief Librarian of Lehman Association. He has an MLS College since 2007. Previously he from Queens College and BA in was Director of Media Services at Drama/Dance from Bard College. LaGuardia Community College, As Executive Secretary, he has and worked in the archival
UPCOMING EVENTS
April 2011 23 Winter TLA Board Meeting 22 TLA‘s Symposium III: "Holding Up Columbia University - Butler the Mirror: Library Authenticity and 10:00am-4:00pm Adaptation in Shakespeare Today" 29 Deadline for submissions to New York Public Library for the BROADSIDE Performing Arts’ Bruno Walter Auditorium June 2011 9:00am-5:00pm Summer TLA Board Meeting New York Public Library for the Performing Arts
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BOOK AWARDS
42ND ANNUAL THEATRE LIBRARY ASSOCIATION BOOK AWARDS
On October 8, 2010, the close examination of original Theatre Library Association scripts and related ephemera celebrated its 42nd Annual as allowing for an inclusive Book Awards in the Bruno and interdisciplinary Walter Auditorium of the New discussion of the history of York Public Library for the American playwriting and the Performing Arts. The George visual culture that has been Freedley Memorial Award, an intrinsic element in established in 1968 to honor staging and meaning exemplary works written in the throughout. By way of scholarship of live theater or illustration, Robinson performance, was given to discussed the relationship Andrew McConnell Stott for his between Tennessee book The Pantomime Life of Williams and Joseph Cornell Joseph Grimaldi: Laughter, and the preoccupation with Madness and the Story of kitsch and miniature that is Britain’s Greatest Comedian central to Williams‘ Glass Menagerie (Canongate, 2009). Marc Claudia Gorbman and Michel Choin, TLA Book . A Professor of Robinson received a Special Awards Ceremony, 2010 Theater Studies, English and Jury Prize for his work, The American Studies at Yale American Play: 1787-2000 University, Robinson is also (Yale University Press, 2010). Scholars and Writers at the New a Professor Adjunct of The Richard Wall Memorial York Public Library, where his Dramaturgy and Dramatic Award (formerly the Theatre research delves into notions of Criticism at the Yale School of Library Association Award), celebrity and Romanticism. In The Drama. established in 1973, recognizes Pantomime Life of Joseph an outstanding book in the area Grimaldi: Laughter, Madness and The 2010 Richard Wall Memorial of film or broadcasting. The 2010 the Story of Britain's Greatest Award winner, Michel Chion, is a award recipient was Michel Chion Comedian, Stott describes filmmaker, composer and for his book Film, A Sound Art Grimaldi‘s place in history as a theoretician; he holds posts at (Columbia University Press, celebrated clown in the 18th and several universities, including the 2009), translated from the French 19th centuries and as an individual Université de Paris. Choin, in his by Claudia Gorbman. The Special living in public eye during the first book Film, A Sound Art, Jury Prize was awarded to Rob real wave of popular celebrity assembles what he describes as King for his book The Fun culture. Stott posits Grimaldi as the ―portrait-like‖ readings on the Factory: The Keystone Film proto ―sad clown;‖ a public figure as history of audio technique and Company and the Emergence of well known for his personal life and artistry in film. In his remarks, he Mass Culture (University of problems as for his stage spoke about the notion of ―audio- California Press, 2008). presence. vision‖, a process by which a film‘s composers and sound Andrew McConnell Stott, the Accepting his award for The engineers make use of both 2010 George Freedley Memorial American Play: 1787-2000, Marc visual and aural elements to Award winner, is an Associate Robinson shared with the audience construct an audio landscape that Professor of English at the some of his experiences becoming is implied rather than fully or University at Buffalo. He is also ―enamored of the archive‖ while faithfully reproduced. the current Mrs. Giles Whiting performing research for his book. Fellow at the Cullman Center for He described his engagement in a
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BOOK AWARDS
In The Fun Factory: The Following the Book Awards, the Keystone Film Company and Theater Library Association the Emergence of Mass presented Kevin Winkler, Deputy Culture, Rob King describes Director for Public Service at the Keystone Film Company The New York Public Library, as ―…the most important film with the Theatre Library company in the history of Association‘s Award for American Comedy." King Distinguished Service in spoke about the need to avoid Performing Arts Librarianship. discussing Keystone‘s Kevin Winkler, who worked comedy in terms of extremes: extensively in the performing slapstick simply in terms of arts before coming to the field of nostalgia or as subversive librarianship, is a former action, suggesting each Assistant Director of The New interpretation as being York Public Library for the inadequate. Instead, King Performing Arts, and served as chooses to approach his the TLA president from 2001- subject as a more holistic 2004. ―history of social patterns that support or produce laughter‖ Bronwen Densmore operating from the premise of New York City College of ―understanding laughter as a Technology way of understanding social and cultural change." Rob Rob King, TLA Book Awards Ceremony King is an Assistant Professor Reception, 2010 in Cinema Studies and History at the University of Toronto.
Marti LoMonaco and Kevin Winkler, TLA Book Awards Ceremony Reception, 2010
Andrew McConnell Stott, TLA Book Awards Ceremony, 2010
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BOOK AWARDS
GEORGE FREEDLEY MEMORIAL AWARD SPECIAL JURY PRIZE ACCEPTANCE SPEECH
Editor’s note: In keeping with TLA Awards Ceremony’s renewed focus on the winners of the Book Awards and Distinguished Service in Performing Arts Librarianship Award, BROADSIDE is pleased to offer the printed remarks of two of the award winners.
scenography, I was thinking other such library moments. primarily of stylistic or generic connections—Suzan-Lori Parks' Three powerful encounters interest in minstrelsy; Richard occurred close to home. At the Foreman's in melodrama; Elizabeth old Yale Drama School Library I LeCompte's in mid-20th century consulted the first, 1939 acting American modernism. I suppose edition of Our Town and found a these artists offer more evidence, if minor, but telling, cut Wilder more is needed, that the theater, made before reissuing the play in for all its emphasis on the here-and the now-standard trade edition of -now, is in fact deeply enamored of 1957. After the Stage Manager the archive. discusses the institution of marriage, he asks himself, "Do I Actual archives didn't initially believe it?," and says, "I don't interest me, I confess—I wanted to know.‖ He adds, in the acting Marc Robinson write a work of criticism rather than edition, "I suppose I do." That last history; I thought I could say line's gone by 1957, and with it everything I needed to say by re- goes easy consolation. The My book begins with the 1787 reading the plays and thinking revision helped clarify ideas premiere of The Contrast in lower about them. My book didn't end up about the play's tone. It isn't Manhattan at the John Street being history, per se, but more sentimental (many Wilder Theatre and ends just a few often than not the eureka moments loyalists have already blocks away on William Street, in in my work on it occurred in persuasively argued it isn't), but an abandoned Gilded Age men's archival settings—whether it was at neither is it dark (as the club, where Wallace Shawn's my own university's library looking revisionists insist). It's simply Designated Mourner opened in over a map of Manhattan to make attentive to facts, resisting 2000. I hadn't mapped out this sure that John Street and William irrelevant opinion: the Stage route in advance. But the fact that Street are where I think they are— Manager's question remains I had gone in a circle while writing or in several other collections open. my book nicely confirmed a point where I found (or, more typically, I was trying to make—that the stumbled across) material traces of A glimpse into the thinking of American theater, evanescent like a playwright's labor or a another writer changed my sense all performance, is in fact more production's once startling of another well-known play. When ecological than we usually think— appearance. These visual (and, in I was trying to find a way into that the newest developments in one case, aural) traces almost Long Day's Journey into Night, I our theater return us, literally in always radically changed my sense procrastinated by going to look at this case, to some of the oldest. of a familiar text, or opened up a the manuscript and related When I started thinking about that recalcitrant unfamiliar one. And so, papers at the Beinecke Library. idea, inspired by something since this is a gathering of the Many of you have seen the floor- Robert Wilson had said about his Theater Library Association, I plan O'Neill drew of his New abiding interest in 19th century thought I might talk about a few London house—model, of course,
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BOOK AWARDS for the Tyrone house. What struck historians knew all along—that 19th instance of dramatic realism. me was that O'Neill drew all six century American theater is best Despite the realist's interest in rooms of the first floor—even approached not as dramatic writing character interiority and the though his play unfolds in only (even its partisans have to admit melodramatist's interest in one of them. After you it's often sub-literary) but as visual abstract ideas of good and evil, acknowledge the obvious reason art. Photographs of the first this is a play of sensuous O'Neill created a complete map— production of David Belasco's Girl surfaces, palpable things—and if to bring into the present the past of the Golden West held in the one lavishes enough attention on on which this play depends—it museum's Byron Collection them (the way one might on a discloses other, more suggestive rescued that play for me—turning a work of visual art), then one might meanings. The map suggests that merely satisfying melodrama or conclude that the play anticipates invisible space bears down on the over-earnest attempt at realism the vanguard scenic experiments play's action, or exerts an (depending on your perspective) of the early twentieth century undertow-like pull on the into a sophisticated essay on (something Belasco, who hated characters. It is an image of aesthetics. Several photos show a the New Stagecraft, would have scenic withdrawal that figures been appalled to realize). psychological and narrative recessiveness. My interest in surfaces deepened My third Yale library moment was when I started writing about The at the wonderful Historical Sound Glass Menagerie. Most critics Recordings Collection, where I approach the play (as I did, when was able to hear T. S. Eliot's own I first wrote about it) in terms of its reading of his play Sweeney characters and poignant plot. But Agonistes. It was a performance when I learned that Joseph that convinced me that this Cornell knew Tennessee Williams work—considered unfinished by around the time of Glass Eliot and ignored by most theater Menagerie and later wrote an critics—deserves a secure place unpublished prose piece in the dramatic canon, and that dedicated to him, I allowed myself it's more interesting than Eliot's to ponder ways the artist might other plays and much other have influenced the playwright. American interwar drama. Here, The prose piece is in one of as in Long Day's Journey, Cornell's diaries, collected along inaccessible spaces are with his other writing at the magnetically attractive— Smithsonian Archives of emanating power that becomes American Art and viewable palpable in Eliot's half-jaunty, half set filled with articles of taxidermy online. On its own, the short -creepy recitation, nowhere more and other animal remains—a full- piece doesn't unlock any so than in the silences Eliot sized bear standing at the saloon's mysteries in Williams, but the carefully spaced and somehow bar, a fawn carcass hanging over discovery of this kinship gives managed to make thick with the door, buck horns used as coat new emphasis to The Glass meaning. hooks, bearskin rugs and fur- Menagerie's stage design. It isn't covered earmuffs—all of which (I just that the nested playing The last three library moments I'll imagined) might prompt a spectator spaces—an image of "enclosure," describe were off-campus, to think about the relationship as one critic has said—recall the actually and virtually. In the between animate and inanimate life boxes within boxes in Cornell. theater collection at the Museum on Belasco's stage; the tense Even more compelling, the of the City of New York, I negotiation between actors and visually dense decor—glamour belatedly realized what the objects in this or (I argued) any magazine covers, pictures of a
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BOOK AWARDS crescent moon and a bouquet of whose own valuable book on own—attention to attention—that roses, and fragments of text all temperance drama discusses this I would practice in all my book's projected on the walls—can seem film), the 12-minute work tells the chapters. My book ended up like a theatrical version of a story of an alcoholic who sobers up being about seeing—and, when I Cornell box. I didn't end up after he goes to the theater and was faced with O'Neill's offstage making much of the two rooms, Eliot's silent men's acquaintanceship in abysses, and Wilder's my book—there's isn't withheld enough information to go reassurances—about on—but I did allow myself not seeing, or not to think about how The hearing...all thanks to Glass Menagerie's decor what I saw and heard in complicates and even the archive. subverts its sentiment— how it creates a parallel lyricism. In particular, Marc Robinson Cornell helped me get over George Freedley my allergy to the figurines Memorial Award named in the play's title. If Special Jury Prize Cornell recovered kitsch for Winner, 2010 serious artistic repurposing, The American Play: perhaps Williams did too— 1787-2000 saying something about (Yale University kitsch rather than merely Press) committing it. Finally, I was fascinated by the fact that Remarks made at Cornell and Williams had TLA’s Awards met at the offices of the Ceremony magazine Dance Index, on October 8, 2010 where Cornell worked and Williams' friend Donald Windham was editor. This news prompted me to see if the other prominent art-form Marc Robinson, TLA Book Awards Ceremony, 2010. of the period—the dance of Balanchine—might cast light on sees a temperance drama. Griffith the era's drama. roused me, too, prodding me to value an aspect of theater I had That interdisciplinary linking was been ignoring in my intoxication something I also tried to do in my with stage imagery, objects, and first chapter, and with this I'll spaces. The audience is the crucial conclude, coming full circle here other half of the theatrical diptych, as I did in my journey from John and in the Griffith film it is the site of Street to William Street. In drama more complex than what researching temperance drama, I happens onstage. The drunk's made a trip to the film library of eyes, framed in expressive black the Museum of Modern Art and makeup, trace a pattern of watched D. W. Griffith's identification, fear, self-loathing, Drunkard's Reformation. As many and self-judgment. Following it, I of you know (not least John Frick, learned a mode of attention of my
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DISTINGUISHED SERVICE
DISTINGUISHED SERVICE IN PERFORMING ARTS LIBRARIANSHIP 2010 AWARD ACCEPTANCE SPEECH
two organizations. The first is the seems as if my entire very building we‘re in tonight. I had professional career has been the pleasure—indeed the defined by my association with privilege—of working here at The TLA. I was invited to my first TLA New York Public Library for the meeting at the Shubert Archive Performing Arts for 17 years in a by our dear Richard Wall—Dick variety of roles. LPA gave me a Wall—during my first semester in platform to work with students, library school, where I was scholars, writers, and artists of all instantly welcomed and made to types, and to write, teach, curate, feel part of this special group. and mostly importantly, learn from Over the years, TLA has given the LPA staff. I want to me the opportunity to sharpen my acknowledge the LPA colleagues leadership skills, organize who were a key part of my programs and conferences, and successes, starting with Susan write and edit publications. Sommer—Suki, as she was known to everyone—my instructor at I was fortunate to become Columbia University‘s library involved with TLA at a time of Kevin Winkler school, and a mentor to me and transition, when we were able to many, many others. She loomed take a fresh look at the very large to me as a performing organization and revitalize it. It When I learned that I would be arts librarian, and it never occurred was an exciting time that gave receiving this award, I was to me that I would actually replace me a chance to work with people honored, truly humbled. But I her, as I did when I took over the like Susan Brady, whose vision always thought of this as TLA‘s Circulating Collections here at LPA. and leadership continue to guide ―lifetime achievement award,‖ and I thank Kristen Shuman, Mildred TLA; Maryann Chach, the go-to having been privy to the selection Graham, Don Baldini, Sharon Rork, person for all things TLA; and process over the years, I knew Susan Chute, and all the Louis Rachow, who bridged the that in most cases the award is Circulating Collections staff. The eras with elegance and given to people at, or near, the Billy Rose Theatre Division is the diplomacy. end of their careers. And I mecca for performing arts thought, ―Gee, I‘m a little young, scholarship, and from that staff I TLA also provided me the aren‘t I? Maybe they‘re trying to want to acknowledge Mary Ellen opportunity to join forces with my tell me something.‖ Fortunately, I Rogan, my classmate at Columbia partner in crime, Marti LoMonaco, was talking to my mother the and a treasured colleague for many whose collaboration was so other day, telling her about the years, and Bob Taylor, and Karen critically important during my award, and she very helpfully Nickeson for their leadership. terms as President. We made a reminded me, ―No, you‘re really Finally I must thank my old boss, particularly effective President- not too young to receive this Jackie Davis, LPA‘s Executive and-Vice-President team, and we award.‖ Director, who has always been the had tons of fun traveling and most supportive and encouraging rooming together at conferences. I will leave it to others to person imaginable. I was very TLA also gave me the opportunity determine what my contribution fortunate to be able to work with all to work with Kenneth has been to performing arts the staff at LPA for so many years. Schlesinger—always the librarianship. But if I have designated adult in the room— contributed in any way, it‘s The other group I must thank is the whose leadership has taken TLA because of my association with one that honors me tonight. It beyond our expectations; and
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DISTINGUISHED SERVICE
Kevin Winkler, TLA Book Awards Ceremony, 2010. other wonderful colleagues: was going to library school. That‘s library career. I have a writing Phyllis Dircks, Camille Dee, when the fun started. He didn‘t project I‘m immersed in. I‘m still Nancy Friedland, Rob Melton, know what he was getting himself teaching. And I feel as if I have a David Nochimson, Brook Stowe, into as he proceeded to put up with lot more to look forward to. So and many more. It‘s been my my nuttiness through two graduate I‘m going to accept this wonderful pleasure to work with all of you degrees. He thought he was honor with humility and for all these years. It‘s not only marrying an uncomplicated dancer. gratitude—and think of it as a been rewarding, but it‘s been Little did he know! Richard has down payment on all that I hope great fun—and I‘ve always felt patiently waited countless hours for to accomplish in the next phase that if there‘s not an element of me while I‘ve been in meetings, of my career. Thank you very fun in what you‘re doing, why teaching, or locked in the bedroom much. bother? working on one project or another—and it goes on! I‘m very Finally, I want to thank someone fortunate in my personal life, as Kevin Winkler who doesn‘t have anything to do well. Distinguished Service in with libraries—although he now Performing Arts Librarianship knows more about them than he I have always felt like a perpetual Award Winner, 2010 ever thought he would—and graduate student—as if I‘m just that‘s my partner Richard, who starting out, excited about what I‘m Remarks made at didn‘t blink when I came home going to do next. And that‘s the TLA’s Awards Ceremony twenty-some years ago and way I feel now. I‘ve started a on October 8, 2010 announced out-of-the-blue that I challenging new chapter of my
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TLA PLENARY
HARNESSING THE POWER OF PERFORMANCE: DOCUMENTATION STRATEGIES FOR THEATER AND DANCE
Left to right: Tonia N. Sutherland, Ilana Turner, Olivia Sabee, Carolyne Clare, Doug Reside, and Susan Brady, TLA Plenary, 2010.
The 2010 joint ASTR/CORD/TLA performance. She reiterated TLA‘s Reside examined the born-digital conference, ―Embodying Power: continued interest in exploring archives of Jonathan Larson, a Work over Time,‖ described performance preservation and series of floppy disks donated to theatre and dance as ―fellow documentation strategies for the Library of Congress after his travelers...[sometimes] insisting theatre and dance, particularly the death. Using these artifacts, on their own visions of aesthetic ways in which the methods of Reside could essentially merit, concepts of time, space documentation affect their use. In reconstruct the development of and body, and relationship to line with the diversity of interests the musical. However, Reside history and culture.‖ The TLA held by attendees from maintained that he was fortunate Plenary, ―Harnessing the Power ASTR,CORD and TLA, the panel to be able to make use of this of Performance: Documentation consisted of presenters from material. The disks had not been Strategies for Theater and theatre, dance, and digitized, and their age made it Dance,‖ sought to assess past, multidisciplinary backgrounds. difficult to access the content. current, and future methodologies Reside‘s technical skills made it used to capture these varied Doug Reside, Assistant Director of possible for him to access the performance types, and the the Maryland Institute of data, but that data could easily extent to which these approaches Technology in the Humanities have decayed and been lost. might support or impede (MITH) at the University of research. Aptly, the session Maryland, discussed issues of However, Reside posed, can it convened in the Compass digital preservation and discovery really be the responsibility of the Ballroom, a poetic symbol for this in ―Preserving the Born-Digital librarian to stay apace of the intersection of diverse paths. Musical,‖ a case study of the digital technology required to access all gleanings from Jonathan Larson‘s types of technology? ―Library Susan Brady, the plenary chair, RENT. As an ephemeral art form, procedures are ill-equipped to opened the panel by reminding the study of theatre is truly ―the respond to changes in digital attendees that this event was a study of what is left.‖ And in an media,‖ he concluded. And, he continuation of a conversation increasingly digital age, what is left quipped, if we expect a scholar begun in 2008, engaging issues often takes the form of bits and studying Aeschylus to know of mapping the body in bytes. Over a period of three years, ancient Greek, perhaps ―a
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TLA PLENARY scholar who wants to study RENT serve to enlighten: Clare involve the original should know about 1990 demonstrated this first-hand by choreographer and/or dancers, Macintosh computers.‖ What the teaching a group of archivists to there are multiple ways to remain library can and should do, then, is dance Perrault‘s choreography in faithful to an original work. to remain flexible, developing the physically imposing space of Reconstructions involving formal access policies that allow the BAnQ‘s archival vault! notation can be ―faithful,‖ but collaborative stewardship of these sterile. In contrast, a new version uniquely rich, yet uniquely Following Clare‘s exploration of the of a piece can embody the spirit endangered, born-digital body as a documenting force, a of a work while sharing little but resources. second dance scholar, Olivia the text and plot, as in the case of Sabee (Johns Hopkins University), Les Maries de la Tour Eiffel. Carolyne Clare, an independent explored the question of researcher and dance cataloger, documenting variant productions in The panel concluded with a joint presented on ―A Micropolitics of ―Les Maries de la Tour Eiffel: presentation from archivist Tonia Archiving and Activating Dancing Staging and Restaging Dance.‖ Les N. Sutherland, University of Bodies.‖ Her elegant and witty Maries de la Tour Eiffel is a ballet Pittsburgh, and Ilana Turner, an paper delved deeply into the that defies description, combining actress and independent politics of the Bibliothèque et dance, scripted movement, and researcher, on ―Madame Sans Archives Nationales du Québec, actors reading text. First performed Genre: A Unique Collaboration in the BAnQ, as it related to her in the 1920s,with an original libretto the Process of Theatre and Its experiences working with by Jean Cocteau and Documentation‖. Sutherland and archivists and dancers to recreate choreography by Jean Börlin, Turner celebrated the role of the the work of Quebec‘s premier myriad subsequent versions exist, archive in fueling the creation of choreographer, Jean Pierre often with different scores and original theatrical work. The pair Perrault. Clare questioned how different choreography. How then, acknowledged that the power of an archive relates to bodies, can one document the evolution of the archivist and their archive is initially characterizing the BAnQ the ballet over time? What often limited, because of an as a disciplinary, restrictive force documentation strategies can be oversimplified view of what that asserts control over behavior used effectively to remount, archivists do. An archive is and movement. In contrast, restage, or re-envision it? perceived as contrary to live Perrault‘s choreography could be performance. But while the seen as empowering. Sabee acknowledged the modern archive itself is fixed, the purpose trend towards copyrighting stagings of the archive is not to change Clare explored the ways in which of dance works, making less theater into a fixed form, but to recreating Perrault‘s interpretation possible. Dance provide context. As archivist, choreography with some of his today is moving away from its oral Sutherland served as dramaturg former dancers could combat the traditions and, through on Turner‘s original work on politics of the nationalist archive. documentation strategies such as Gabrielle Réjane, the famous Her recreation of the video and formal notation, is French comedienne. Through choreography was made possible becoming a more fixed form. examining countless letters, by the videos of rehearsals and However, while modern tools of photos, diaries, newspapers and performances held by the archive, documentation are useful, Sabee film footage, Turner was able to contextualized by former dancers, cautioned that one should not create a play about a complete, who held memory in their bodies. discount more historical methods of three-dimensional character; While the archive was a state reconstruction and restyling. Sabee without these primary materials, institution with a nationalist called attention to the strengths of Turner maintained, the play manifesto, the materials in the more traditional restaging would have misrepresented the archive were not seen as having techniques, where a balance is true nature of the protagonist. a political purpose, or as being struck between spirit and style. The partnership of archivist and repressive. In contrast, they could While an ideal restaging would author allowed for a filter of
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TLA PLENARY
―archival awareness,‖ creating a question was raised as to the educated as to what they are richer, more truthful creative nature of the tension between really giving when handing over product. More on the project, wanting or not wanting to use born-digital documentation? including a full version of the archival video in re-staging dance. Consensus from those archivists paper, can be found at Was, perhaps, a critical distance in attendance was that, http://www.rejaneproject.com. from the original material preferred, regardless of the medium, ethics in order to create new art? Doug and privacy policies always apply. The session wrapped up with a Reside fielded several questions brief Q and A. Carolyne Clare regarding issue of privacy in Megan Smithling was complimented on her fine relation to a digital archive. For MLIS Candidate 2011 writing and presentational style. instance, what material is fair University of Washington For the dance scholars, a game, and are artists being
ANNOUNCEMENTS
TLA DISTINGUISHED SERVICE AWARD
PLEASE TAKE A MOMENT to think of one person who has made a difference in your professional life— either by his or her vast knowledge, or creative vision or brisk energy or professionalism or whatever combination of qualities— that has expanded your own view of the possibilities of our field. Then nominate this person for the Distinguished Service Award so that TLA can formally recognize and celebrate his or her achievements.
Nominees may come from any sector of the profession; historically, the awardees have included performing arts librarians, curators, archivists, and scholars. Submit the nominees‘ name by January 31, 2011, accompanied by a short bio and related documentation. Nominations may be sent to [email protected]. We thank you in advance for your part in bringing renown to a deserving individual and enhancing the state of the performing arts professions.
Our distinguished awardees from previous years are listed below.
2010: Kevin Winkler 2009: Robert Taylor 2008: Richard Wall 2006: Maryann Chach, Mary C. Henderson, Madeline Fitzgerald Matz 2004: Annette Fern, Don Wilmeth 2002: Betty L. Corwin, Richard M. Buck 2000: Rod Bladell, Don Fowle, Maryann Jensen, Louis Rachow 1996: Dorothy Swerdlove 1994: Paul Myers
Awards Committee
Phyllis Dircks, Chair Maryann Chach Don Wilmeth
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ANNOUNCEMENTS
SYMPOSIUM III
http://www.tla-online.org/events/symposiumthree/
Join Theatre Library Association on April 22, 2011 for a fascinating day of presentations by the leaders of four of America's most celebrated theatre organizations:
Oskar Eustis, The Public Theater Ralph Alan Cohen, Paul Menzer and Colleen Kelly, American Shakespeare Center Jeffrey Horowitz, Theatre for a New Audience Diane Paulus, American Repertory Theater
All these artists are renowned for the originality of their approaches to staging Shakespeare‗s works. But whether they seek to recreate historical performance conditions or adapt Shakespeare's plays in terms of contemporary culture and politics, these theatre practitioners all make use of the kind of documents and artifacts held in libraries and archives. Using performance excerpts, both live and on film, our presenters will show how theatre libraries and special collections can enrich the continuing vitality of Shakespeare on the 21st century stage.
The entrance to the Bruno Walter Auditorium in The New York Public Library for the Performing Arts is at 111 Amsterdam Avenue, near West 65th Street. Click here for directions.
Holding Up the Mirror: Authenticity and Adaptation in Shakespeare Today is made possible by the gener- ous support of:
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NEWS
THE BROADSIDE NEWS NETWORK myloc.gov/Exhibitions/ hopeforamerica/Pages/ architect and the Artist in default.aspx Please send news items relating Residence at UCM, the newest campus in the UC system. New Hampshire: Keene to new collections, exhibits, staff transitions, etc. at your institution, A second exhibit featuring the TLA member and former Board or news of TLA members’ costume designs of Dunya member Don Wilmeth‘s review of professional activities and Ramicova for a recent production the book Walter Hampden: Dean publications, to your regional of Igor Stravinsky‘s opera-oratorio of the American Theatre by reporter: Oedipus Rex, along with his Gedden Smith (Fairleigh Symphony of Psalms at the Los Dickinson UP, 2008) appeared in Stephen Kuehler (Northeast, Angeles Philharmonic (2009) and the Winter 2010 issue of TD&T [email protected]) Sydney Festival (2010). The exhibit (Theatre Design & Technology included both designs and some (46:1, pp. 101-103). Phyllis Dircks (Mid-Atlantic, costumes. Ramicova (MFA, Yale) is Professor of Art at UCM. New York: New York [email protected])
Catherine Ritchie (South & Connecticut: New Haven The exhibit ―Alwin Nikolais‘ Total Theater of Motion‖ was unveiled Southwest, TLA member and former Board in the Vincent Astor Gallery of [email protected]) member Tobin Nellhaus, Librarian The New York Public Library for for Performing Arts, Media, and the Performing Arts on October Sarah Zimmerman (Midwest & Philosophy at Yale University, has 21 and will remain on view Plains, [email protected]) had the book Theatre, through January 15. It celebrates Communication, Critical Realism the centennial of the birth of the Rob Melton (West Coast & published in 2010 by Palgrave choreographer and master stage Rockies, [email protected]) Macmillan. Noted theater historian illusionist. Gallery visitors will (and 2003 Freedley Award finalist) experience amazing lighting David Krasner calls Tobin ―the most effects that Nikolais created, hear formidable and articulate sound he composed, examine California: Merced spokesperson for critical realism in costumes he designed, and see theater studies. … This work is videos of his stage dances and Two exhibits in the Kolligan astute, provocative, and groundbreaking works for Library at the University of absorbing.‖ television. California, Merced this past summer featured theatrical District of Columbia: Continuing in NYPLPA‘s Donald designers. One exhibit, on view Washington and Mary Oenslager Gallery between July 15 and September through January 11 is the exhibit 15, featured the work of prolific ―Hope for America: Performers, ―On Stage in Fashion,‖ which set designer Dipu Gupta for opera Politics, and Pop Culture‖ is the celebrates the collaborations of and theater companies name of a virtual exhibit that performers with fashion throughout the world, including debuted on June 11 from the designers, who together brought the Santa Fe, St. Louis, Library of Congress‘ ―My LoC‖ contemporary clothing style to Berkshire, Wolf Trap, Gotham website. The exhibit draws from the theater, opera, and dance. More Chamber and Opera Africa opera personal papers, joke files, films, about both exhibits, including companies and the New Jersey radio and television broadcasts, downloadable brochures, can be Shakespeare Festival, San Jose and other materials donated to LC found at http://www.nypl.org/ Rep, and GEVA theater by Bob Hope and his family. The events/exhibitions/. companies. Gupta is also an exhibit may be viewed at http://
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NEWS
Texas: Austin information on the upcoming North Carolina: Greensboro exhibition is available at The Harry Ransom Center at the www.hrc.utexas.edu. TLA member James Fisher‘s University of Texas-Austin, will review of the book Lady in the soon celebrate the 100th HRC also announced on Dark: Biography of a Musical by anniversary of Tennessee Williams‘ November 8 that it has acquired Bruce D. McClung (Oxford birth with the exhibition ―Becoming the archive of actor, author, and University Press, 2007) appeared Tennessee Williams,‖ running monologist Spalding Gray (1941- in the May 2010 issue of Theatre February 1-July 31, 2011. 2004). Dating back to the 1970s, Survey (51:1, pp. 161-63). The Featuring more than 250 items, the the archive contains more than book was a finalist for that year‘s exhibit will draw on the Center‘s Freedley Award.
Ohio: Columbus
The Jerome Lawrence and Robert E. Lee Theatre Research Institute at Ohio State University has announced a new fellowship opportunity for scholars who need extensive access to the Institute‘s collections. Stipends of $3000 are available. Brief descriptions of the Institute‘s collections can be seen at the Institute‘s website (http://library.osu.edu/sites/tri). For further information, or to request an application form, please contact TLA member and Board member Beth Kattelman at Tennessee Williams signing the Ransom Center's author door during a visit, 1973. [email protected], phone 614 -688-3305, or fax 614-688-8417. extensive collection of Williams‘ 90 performance notebooks and manuscripts, correspondence, more than 100 diaries that Beth published the article ―Magic, photographs and artwork, focusing chronicle the development of Monsters, and Movies: America‘s on the process of artistic creation Gray's performance pieces. It Midnight Ghost Shows‖ in the exemplified by the career of also includes many tapes of March 2010 issue of Theatre Thomas Lanier Williams, as he performances Gray gave. Helen Journal (62:1, pp. 23-29). (She became the world-renowned Adair, the associate curator of has been researching ―spookers‖ ―Tennessee‖. The Ransom Center performing arts at the Ransom for over a decade!) She also had acquired Williams‘ own papers Center, reports that the archive a review of Hostile Takeover: On between 1962 and 1969, and has included dozens if not hundreds Violence and Media (ed. become one of the primary more tapes of Gray's Friedemann Krueder and repositories of his work. The performances. Constanze Schuler; Marburg: collection expanded further in the Tectum, 2008) appear in the mid-1960s with a portion of the Compiled by Rob Melton with March issue of Theatre Research Williams‘ family personal assistance from International (35:1, pp. 86-87). correspondence. A recent addition Beth Kattelman and to the collection is an extensively Catherine Ritchie revised first draft screenplay of A Streetcar Named Desire. Further
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EXHIBITION REVIEW
HOT OFF THE PRESSES: THE CURTISS SHOW PRINT COLLECTION
From June 7 through August 31, the number and quality of show and traveling minstrel shows. 2010 the Jerome Lawrence and prints from this period of theatrical Minstrel show material is Robert E. Lee Theatre Research history in the American Midwest. especially valuable for providing Institute (TRI) of Ohio State Some of the featured materials rare historical information and University presented the included a collection of posters, documentation on African exhibition Hot off the Presses: American performers in the The Curtiss Show Print early parts of the twentieth Collection. The materials were century. This unique shown in the Exhibition Gallery exhibition offered an of the newly-renovated Willliam interesting look into a vibrant, Oxley Thompson Memorial yet often overlooked, period Library on OSU‘s main campus of American and Midwestern in Columbus, Ohio. The show theatrical history. featured items from Curtiss Show Print, a company that specialized in letterpress Pamela Decker printing for touring theatrical Ohio State University entertainments from the early 20th century to shortly after World War II. Bill Curtiss began his show printing business in Kalida, Ohio in 1905, but then moved to Continental, Ohio a few years later. Nyle Stateler, who currently owns and runs the print shop, donated the show print collection to the Theatre Research Institute. programs and ticket stubs for the Ginnivan Dramatic Company, a Nena Couch (Curator, TRI) and traveling tent theatre company Beth Kattelman (Associate specializing in popular melodramas Curator, TRI ) were co-curators of the day, which toured throughout for the exhibition, which included the Midwest in the 1920s and a number of theatrical posters, 1930s. Also of interest are the programs, playbills, tickets, and materials printed for various other printed material from showboats that toured along the approximately the early-to-mid- Ohio River Valley in the early 20th century. In addition to the twentieth century, including The printed materials themselves, the James Adams Original Floating exhibition featured many of the Theater, where Edna Ferber stayed printing plates, printing blocks, while she wrote the novel stereotype matrices and one of Showboat. The exhibition also the linotype typewriters used to included material from other create copy for the printed items. theatrical entertainments such as The exhibition was remarkable for circuses, comedy acts, magicians,
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BOOK/MEDIA REVIEWS
Wong, Yutian. process and reception is to come through, resulting in an Choreographing Asian interspersed with incisive engaging work that is as America. Middletown, Ct.: investigations into the role of Asian- enjoyable as it is informative. Wesleyan University Press, American performance ensembles She fully acknowledges her own 2010. 268 pp. within American society, experiences with stereotypes, ISBN-13: 978-0819567031. contemporary reception of Asian- and her anecdotes highlight how American performances, and biting Asian-American performers may criticism of Miss Saigon, the struggle with the balance popular musical set in Vietnam between aesthetic and political during the Vietnam War. decisions, as well as the expectations of critics and A particular strength of this book is mainstream American audiences. Wong‘s methodology, an approach She offers wonderfully sharp she terms ―performative cultural critiques such as this, in autoethnography.‖ Switching response to a museum among all of the angles from which employee‘s suggestion that Club
“What exactly is it about a performance that explicitly addresses war, death, poverty and racism that prompts a viewer to think about spring rolls?”
she studies Club ‗O Noodles, as ‗O Noodles perform Laughter in audience member, ethnographic conjunction with an Asian food observer, rehearsal participant, and fair, ―What exactly is it about a performer, Wong illuminates the performance that explicitly ways in which stereotypes of race addresses war, death, poverty C horeographing Asian and gender shape the creation and and racism that prompts a viewer America fills a significant gap in perception of the group‘s works. to think about spring rolls?‖ (10) existing dance scholarship, For example, Wong describes a bringing together Asian-American rehearsal for an upcoming In her closing chapter, Wong studies, dance, and theatre to performance of the Club ‗O observes that ―writing about explore the ways in which politics, Noodles piece Laughter from the Asian-American dance involves racism, and sexism play into the Children of War, in which a negotiating two fields [i.e., dance creation and interpretation of particular fight scene was to be history and Asian-American contemporary Asian-American performed by both men and studies] that do not register with dance. women. The group struggled to each other, such that an Asian- create a choreographic sequence American critique of dance Wong centers her research for the fight that would not be read history is like holding two around California-based Club ‗O in a gendered way. As both a simultaneous but separate Noodles, the first Vietnamese- participant and an observer, Wong conversations.‖ (223) Wong has American performance ensemble is keenly attuned to the constant deftly handled this challenge, established in the United States. artistic and political compromises creating a significant new In her work with the group, she is that the group negotiates as they contribution that will be of great both an observer/researcher and anticipate ways in which audiences interest to scholars of dance, an active participant, performing may interpret their performances. Asian-American studies, theatre in numerous shows and creating and women‘s studies. choreography for one of their Wong‘s participant/observer pieces, Stories from a Nail Salon. approach to her research also Erin Conor Analysis of the group‘s creative allows her strong, personable voice Performing Arts Library Reed College
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BOOK/MEDIA REVIEWS
Cockin, Katharine, ed. The Sarah Bernhardt and Eleonora painting, but at the time it Collected Letters of Ellen Terry. Duse, Terry‘s name became disturbed some critics who chose Volume I: 1865-1888. London: synonymous with the art of acting to believe their romantic heroine Pickering & Chatto, 2010. 241 at its pinnacle. incapable of playing a pp. ISBN 9781851961450 manipulative virago, while a few This welcome first volume of felt she admirably rose to the Terry‘s letters begins when she occasion. Shaw found this was 18 and emerging as an adult performance, despite his dislike actress (she had been onstage of Shakespeare‘s play, a since she was a toddler), following confirmation of Terry‘s untapped an ill-advised marriage to the potential to immortalize the painter G. F. Watts and a complex women of his plays, and passionate liaison with architect those of Ibsen. Only much later, Edward Godwin, which produced and past her prime, did Terry
The result is a fascinating immersion in Victorian theatre, literary culture, and politics, not to mention Terry’s engaging personality and complicated private life.
scandal and two children. The first finally appear in Shaw‘s Captain of an eventual eight volumes of Brassbound’s Conversion, which Terry‘s correspondence to include he wrote for her. But in 1888, as 3,000 unpublished letters, this set this volume ends, Terry was is intended to enhance previously entering a decade in which she ―E llen Terry is the most published letters, including a confirmed her acting beautiful name in the world; it lengthy correspondence with Shaw predominance and stardom while rings like a chime through the last published after Terry‘s death. struggling with a turbulent quarter of the nineteenth Cockin‘s admirable editing personal life marked by the century,‖ wrote George Bernard preserves Terry‘s idiosyncratic pressures of fame, friends, and Shaw, though he was not blind to writing style while providing finances, and problems with her her dilemma as an actress: ―it copious notes identifying people, difficult children, Edward Gordon was the same old story, born places, and events associated with Craig and Edith Craig, both of actress of real women‘s parts Terry. The result is a fascinating whom ultimately carved out highly condemned to figure as a mere immersion in Victorian theatre, individual theatrical careers. artist‘s model in costume plays.‖ literary culture, and politics, not to Idolized by audiences who mention Terry‘s engaging Handsomely bound for library preferred her in this romantic, personality and complicated private shelves and well-indexed, this is decorative mode–Oscar Wilde life. an essential volume for any famously dubbed her ―Our Lady serious theatre collection, as of the Lyceum‖–Terry was both The letters illuminate an era in certainly the entire eight-volume guided and held back by her which the aforementioned set will prove to be. longtime co-star, Henry Irving. contradictions of Terry‘s career His steadfast resistance to the came into full focus. Cockin rising tide of modernist drama, concludes in 1888 as Terry represented by Shaw, kept Terry approaches with trepidation the from challenges she was more most controversial role of her than capable of meeting, yet she career: Lady Macbeth. Her emerged as one of the signal performance is immortalized in James Fisher actresses of her era. Along with John Singer Sargent‘s 1889 University of North Carolina-Greensboro
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BOOK/MEDIA REVIEWS
Dircks, Phyllis T. Edward The volume first presents a work with helpful references for Albee: A Literary Companion. chronology of Albee‘s personal and the researcher. McFarland Literary professional life that foreshadows Companions, 7. McFarland & and frames the concerns An appendix of excerpts from Company: Jefferson, North addressed in the body of the Albee interviews on ―Plays and Carolina, 2010. 173 pp. companion. Dircks eschews the Playmaking‖ is another valuable ISBN 978-0-786434015. overly concise style found in so addition. The quotes are many of these efforts in favor of a arranged by subject matter and more substantial and at the same present another important avenue time efficient examination of these to the study of his works. Albee milestones. Of additional aid to both scholar The center of the text is the and teacher is an appendix companion itself. Here one delineating ―Writing and encounters synopses of each of Research Topics.‖ The questions Albee‘s works. The style of most of are sophisticated, provocative, these plays does not lend itself to and useful in compiling lesson
Phyllis Dircks’ Edward Albee: A Literary Companion serves as an admirable clearinghouse for this field of study.
this treatment. However, Dircks plans or exams. They cover such describes The Sandbox as artfully simple yet perplexing questions as anyone can as the following as determining the protagonist of sentence will attest: ―After a night Who’s Afraid of Virginia Woolf?, long vigil, several thunder-like as well as inventive exercises rumbles are heard, and Mommy, such as selecting the proper believing Grandma dead, simulates Albee work to present to a middle sorrow and she and Daddy leave.‖ school audience. E dward Albee is arguably Included in the entries of each play the preeminent playwright of his is its production history and This volume is a tasteful and generation. His works have insightful critical analysis as well as discerning guide to all things popularized the Theatre of the references to significant writings on Albee. It deserves a place in the Absurd in America as no other the work in question. collection of any college library writer save perhaps Samuel with a literature or drama Beckett. His most accessible Also among the entries are department. work, Who’s Afraid of Virginia examinations of major characters Woolf?, permanently expanded from his canon with detailed the vocabulary (both literal and accounts of their significance and thematic) of the popular yet again a treasure trove of American Theatre. From the references to critical writings beginning of his career his specifically dealing with these works have attracted a great characters. deal of scholarly attention. Phyllis Dircks‘ Edward Albee: A Entries covering important people Literary Companion serves as in Albee‘s personal and an admirable clearinghouse for professional life help fill out the this field of study. companion. Each mini-biography is tied to the major themes of Albee‘s John Frank Los Angeles Public Library
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BOOK/MEDIA REVIEWS
Stempel, Larry. Showtime: A introduction accurately states: expectations.‖ We are witness to History of the Broadway ―Showtime tells the story of a the ―almost too rich,‖ amazing, Musical Theater. New York & category of show over the course sad, humorous and forgotten but London: W.W. Norton & of time: the kind of show we now retrieved happenings on the way Company, 2010. 812 pp. call the Broadway musical as it to the current aspect of the ISBN 978-0-393-06715-6. changes historically in form, in Broadway musical theater. style, in content, in context, in Stempel expertly navigates us purpose, and in meaning.‖ In through complex twists and turns, covering this broader range, so by book‘s end we feel we have Stempel‘s book supersedes other been inside an historical novel— extant titles that are more narrowly or even better, ―a novel history.‖ focused. Stempel meets the challenge The Introduction‘s review of extant faced by a cultural historian literature shows Showtime building whose goal is to build upon
Stempel’s chronological approach is tempered with cyclical flashbacks connecting preceding forms with current expectations.
upon and exceeding previous Lehman Engel‘s benchmark, ―The scholarship. Part One: Out of the American Musical Theater: A Nineteenth Century, illuminates Consideration‖ (1967), ―the first class and racial factors in theater book to analyze the working spaces and content in the form of principles of a core repertoire of Minstrelsy to Vaudeville to Operetta Broadway shows he held up as to American Light Opera. Part models of excellence,‖ succinctly Two: Into the Twentieth Century, presenting ―what distinguishes spans Cohan and the birth of musical theater as a genre.‖ Times Square through merging of ―Analysis‖ is the operative word music and script and of for Engel‘s contribution. He is S howtime—a book to savor, entertainment with social issues. showing history in context, not not skim—grew out of Stempel‘s Part Three: Toward the New merely itemizing historic events. desire in the late 1970s ―to Millennium, takes us away from become more familiar with the Broadway through early alternative traditions in which I was working musicals, the Off Broadway [as a songwriter]. I thought I renaissance, farther ―off‖ and might take a more scholarly coming back to ever-changing approach than that of the few content and context on Broadway. books on the subject then available.‖ It is not back cover Stempel‘s chronological approach hype to claim some 30 years later is tempered with cyclical flashbacks Showtime grew into ―the definitive connecting preceding forms with history of the Broadway musical: current expectations. The text the shows, the stars, the movers, progresses across the 19th and 20th and the shakers.‖ Stempel‘s centuries and into the 21st, assuring pristine scholarship is rendered us that transpositions into ever into accessible prose style, newer expectations is the making this seemingly dense constancy driving talent in musical tome a page-turner. The theater: ―Definitions change, as do Rita Kohn Arts critic, Playwright
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Barranger, Milly S. A Gambler’s an industry dominated by men. these producing triumverates, Instinct: The Story of Barranger‘s admiring yet balanced these idealistically-driven, non- Broadway Producer Cheryl appraisal of Crawford‘s life and commercial ventures were built Crawford. Southern Illinois work positions her at the center of and sustained by Crawford‘s University Press, 2010. 243 pp. a burgeoning new American considerable managerial and ISBN 9780809329588. theatre that was equally focused on administrative skills. She was a artistic and monetary success. selfless, dedicated worker, who Crawford was a relentless sublimated her artistic advocate of new work and the ambitions—she originally wanted playwrights, actors, and directors to direct—to the less glamorous who would bring it to fruition. role of business manager. Crawford‘s penchant for ―counting Barranger characterizes Crawford pennies and turning off lights‖ as a fiscally conservative was instrumental in keeping businesswoman—she even brands these operations afloat. her a ―legend of economy‖ and provides juicy anecdotes to prove Barranger‘s well-researched, her point—who nevertheless had ―a engaging study, which is suitable gambler‘s instinct‖ for turning for all readers, fills an important
Crawford’s friend, Thornton Wilder, characterized her as “a doer, a builder, and a maker” and Barranger’s astute study certainly proves him right.
artistically risky productions into gap in the history of American box office hits. Notable examples theatre, particularly in heralding are major works by Tennessee the critical role of theatre women A t long last, a serious, Williams, including The Rose who appeared off-stage. engaging study of Cheryl Tattoo, Camino Real, and Sweet Crawford was not always Crawford, one of the great figures Bird of Youth, and the musicals successful and the list of now- of the 20th century American Brigadoon, One Touch of Venus, famous shows she turned down, theatre, has been published. and Paint Your Wagon, which were which includes Death of a Crawford was a major Broadway all off-beat ventures for their time. Salesman, Cat on a Hot Tin Roof, producer in an era when and West Side Story, is professional theatre women, Crawford employed the same legendary. She was equally other than actresses, were an business acumen that afforded her legendary, however, for stoically anomaly. She also was an commercial success to running the accepting her failures and moving anomaly among producers since most vital American theatre on to the next project. Crawford‘s she devoted her sixty-plus years collectives of the twentieth century, friend, Thornton Wilder, in the business to proving that all of which she co-founded with characterized her as ―a doer, a serious works of art could be more famous collaborators: the builder, and a maker,‖ and commercially successful. Milly S. Group Theatre with Harold Clurman Barranger‘s astute study certainly Barranger, a pioneering and Lee Strasberg; the American proves him right. This book academic and woman producer Repertory Theatre with Eva Le enriches our understanding of the herself, is the perfect scholar to Gallienne and Margaret Webster; business of show business and assess Crawford‘s struggle, and the Actors Studio with Elia the remarkable woman who complicated by her ―unspoken Kazan and Robert Lewis. Although made that business her own. lesbianism,‖ to forge a Crawford is the least celebrated, successful, respected career in and often forgotten, member of Marti LoMonaco Fairfield University
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Dominic, Magie and Michael While some of the artists who got the truth, and the stories, told by Smith, eds. H.M. Koutoukas their start in the off-off-Broadway the well-known and less well- 1937-2010: Remembered by His theatre of the 1960s left to achieve known artists H.M. touched, Friends. Silverton, OR: Fast mainstream success (including confounded, and exasperated, Books, 2010. 79pp. ISBN writers Sam Shepard, Lanford provide a great deal of the book‘s 9780979473661. Wilson, and John Guare—and later entertainment. And while the Harvey Fierstein, who, as a young, interviews with Koutoukas show budding off-off-Broadway writer, him as clearly being ―on‖ all the had the unenviable chore of time, he gives often insightful (as cleaning Koutoukas‘ apartment), well as campy) analysis of the there was a wild, inventive, theatre world in the 1980s and
“What kind of theatre was that?”
distinctively and defiantly gay 1990s. underground theatrical world that did not and could not receive the In more recent years, Magie same mainstream attention. In this Dominic, the book‘s co-editor and world, Koutoukas, frequently longtime friend of Koutoukas, dressed in a cape and sporting a once complained that as books stuffed parrot, was perhaps the began to appear about the lively quintessential practitioner. A off-off-Broadway years, the student of off-off-Broadway theatre inaccuracies were would do well to begin with this overwhelming—dates, places, slender collection of well-observed conversations were all misplaced reminiscences by friends and and mismatched. Koutoukas cohorts, many of whom had a hand replied that it would be Dominic‘s in either performing, costuming, job to get it right. Since lighting, and otherwise helping Koutoukas did not keep specific ―W hat kind of theatre was Koutoukas‘ plays (he referred to records or programs of that?‖ asks one of the friends who them as ―camps‖) come to life. performances of his plays (by remember the flamboyant and Koutoukas‘ count, there were mercurial off-off-Broadway While strict chronology is not the over 150; Dominic has managed playwright, poet, and performer book‘s dominant organizational to identify 52), many of which H.M. Koutoukas. Given that plan, the reader can follow many of were designed to be done only Koutoukas, on various occasions the highlights of Koutoukas‘ career once, the challenge of getting the throughout his years as a from the overlapping heyday of story right is a daunting one to downtown NYC theatre mainstay Cino and LaMama in the 1960s say the least. Editors Dominic at Caffe Cino, created plays with and 1970s to his later resurgence and Smith provide a promising comic books as in-hand scripts, as a supporting player in the start to filling an important gap in threw together outrageous productions of the Ridiculous New York theatre history, as well costumes in the minutes before Theatrical Company—a return that as some great stories about a show time, created his own one friend compares to Gloria true theatre character. theatre ―School of Gargoyles,‖ Swanson‘s comeback in Sunset and once cut himself onstage (on Boulevard, a comparison purpose) for the sake of his over- Koutoukas probably would have the-top campy visions, the appreciated. As anecdotes and question is a valid one. interviews reveal, Koutoukas was a figure for whom the legend became Michael Schwartz Independent scholar
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Simon, Joan, ed. Alice Guy support her mother. In 1894 Léon seducers and corrupters. Blaché: Cinema Pioneer. New Gaumont hired her as his secretary Haven, [Conn.]: Yale University at the Comptoir Géneral de Jane Gaines' essay concentrates Press. 2009. 147 pp. Photographie. When Gaumont on a single two-minute film, ISBN: 9780300152500. made the transition from ―Madame Blaché's Maternal manufacturing still photography Melodrama: New Love and the equipment to projectors and, Old‖ (1912); whereas the final ultimately, to film production, Guy chapter, by Kim Tomadjoglou, Blaché asked him for permission to ―Wonderment - Seeing the World pursue filmmaking. His approval Through the Eyes of Alice Guy led to a highly productive period Blaché,‖ discusses the
This volume confirms that a re-evaluation of Guy Blaché’s bi- national contribution to the film industry is long overdue.
between 1896 and 1920 when she preservation and restoration of wrote, directed, supervised, and/or the Solax films at the Library of produced more than 1,000 short Congress. and full-length films. Estrangement from her husband and mounting financial troubles T his book is an illustrated Simon‘s opening chapter, ―The culminated in the sale of Solax in companion catalogue to the first Great Adventure,‖ centers on Guy 1920, divorce in 1922, and the comprehensive film retrospective Blaché‘s time at Gaumont between end of Guy Blaché‘s career. of Alice Guy Blaché, a pivotal 1902 and 1906 and her work on figure of early cinema. Guy phonoscènes, early attempts to This volume confirms that a re- Blaché, who participated in every synchronize sound with image. evaluation of Guy Blaché‘s bi- aspect of film production and Alan Williams‘ ―Sage Femme of national contribution to the film worked in a variety of genres, Early Cinema‖ explores the evident industry is long overdue. It was the subject of a 2009 comedic talent in Guy Blaché‘s includes a selected bibliography, Whitney Museum exhibition early films and her gift for key events and dates compiled organized by Joan Simon. sophisticated storytelling. by McMahan, and a list of extant films. Film historians interested in Alice Guy Blaché (1873-1968) McMahan‘s ―Madame Blaché in more in-depth research of Guy was the cinematic renaissance America‖ and Charles Musser‘s Blaché‘s film work would be best woman of her time. She was ―The Wages of Feminism‖ both served by McMahan‘s earlier possibly cinema‘s first female focus on Guy Blaché‘s Solax years Alice Guy Blaché: Lost Visionary director and was certainly the first and her professional/personal of the Cinema, which is to successfully manage her own relationship with husband Herbert referenced heavily throughout. studio and production company, Blaché. McMahan describes Guy Despite its function as an Solax. Her prolific filmmaking is Blaché‘s formation of Solax in 1910 exhibition companion catalogue, outshone only by her fascinating and its subsequent films. In 1913 scholars will find this book‘s life story. she merged with her husband's enhanced appreciation of Guy company, Blaché Features, where Blaché‘s early narrative films Born in France, she grew up in they took turns directing. Musser beneficial to their research. Chile where her father had a examines how Guy Blaché used successful book publishing the three surviving films they made business. After his bankruptcy together as a means to deal with and death in 1886, Guy Blaché her husband‘s philandering: male worked as a stenographer to characters are portrayed as Cynthia Tobar CUNY Graduate Center
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Brockett, Oscar G., Margaret Scene is an ambitious and much- The strengths of this study are Mitchell, and Linda Hardberger. needed contribution to the field of not merely in the extensive Making the Scene: A History of theatre history textbooks. compilation of images or in the Stage Design and Technology in foregrounding of design in the Europe and the United States. Understandably, Making the Scene historical narratives crafted by the San Antonio: Tobin Theatre Arts was several years in its own authors. Brockett, Mitchell, and Fund, 2010. 377 pp. making. The project was begun by Hardberger do not merely present ISBN 978029722736. the late designer and collector the history of design as fixed and Robert L. B. Tobin and the book objective. Instead, they was thus created in honor of his continuously pose work. Many of the hundreds of historiographical questions that images (which include thumbnail draw attention to the challenges sketches, renderings, diagrams inherent in writing any history. and photographs of models, One of the most compelling realized designs, and architectural examples of this is a brief spaces) came from the Tobin explication of the debates
Brockett, Mitchell, and Hardberger do not merely present the history of design as fixed and objective. Instead, they continuously pose historiographical questions that draw attention to the challenges inherent in writing any history.
Collection of Theatre Arts at the surrounding hand-drawing versus McNay Art Museum in San Antonio. computer-assisted drawing. Yet the illustrations are not Additionally, the authors integrate restricted to the collection, vast and developments in art and I n this book‘s preface, the varied as it may be. Given the technology, often supplementing authors write: ―To understand the sheer number of illustrations, the chapters with companion design in any given era, we must cost of the book seems surprisingly timelines or sidebars that help to be aware of what the designers affordable, and is, in fact, less situate theatrical innovation in a and the people they designed for expensive than Brockett and broader context. Making the thought about the universe they Franklin Hildy‘s well-established Scene is accessible to lived in at that time‖ (x). Oscar G. History of the Theatre. Similar to undergraduate students yet Brockett, Margaret Mitchell, and History of the Theatre, the book is delves into enough depth that it Linda Hardberger approach initially organized by geographic can be equally useful for design as an entity that both region and historical moment graduate students and faculty. shapes and is shaped by the (Ancient Greece and Rome, Italian Anyone wishing to teach a class historical and geographical Renaissance, etc.) and soon in the history of design (or looking contexts from which it emerges. moves into a movement-based to pay more heed to design in a Each chapter of this extensive structure (Neoclassicism and broader theatre history survey) history is crafted in a somewhat Romanticism, Realism and would be well-advised to adopt circular manner, addressing the Naturalism, etc.). The later this book for their course. contexts of a specific culture or chapters are then once again movement, explicating the trends organized chronologically with in design, and moving back to the subsections addressing iconic context vis-à-vis a discussion of designers and movements, those who witnessed theatre and occasionally focusing on specific the myriad complexities of countries. Christine Woodworth audience reception. Making the University of North Carolina- Greensboro
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