NEWSLETTER OF THE THEATRE LIBRARY ASSOCIATION

------Volume 12, Number 2 Fall 1984 New Series

THE CAFFE ClNO AND ITS LEGACY: OFF-OFF BROADWAY IS FOCUS OF EXHIBITION

Richard M. Buck, the Theatre Library Association's tireless and dedicated Secre- tary-Treasurer, has put together an extraor- dinary exhibition detailing the history and heyday of the Caffce Cino, m Qff-Off Broadway playhouse which was the inspir- ation for a new movement in the theatre. The exhibition, which will be on view in the Vincent Astor Gallery of The New York Public Library at Lincoln Center until May 15, follows former TLA board member William Appleton's splendid exhibition on the life and career of composer Richard Rodgers. The Caffe Cino flourished at 31 Cornelia Street in Greenwich Village, New York City, from 1959 to 1968. Beginning with the earliest days when the Cino was a poetry- reading cafe, the exhibition carries the story of the Cino to its end, when after founder Joe Cino's tragic death in 1967, a loyal group of followers tried to continue the tradition. Along the way, the viewer will discover many names and titles that have become landmarks in theatre history: Lanford Wilson, Tom Eyen, John Guare, Sam Shepard, Robert Patrick, Dames at Stewart, Robert Patrick, Robert Heide, Hoffman will discuss the impact of the Sea, This is the Rill Speaking, The White Robert Dahdah, Shirley Stoler, and many Cino on theatre that followed. The pro- Whore and the Bit Player, and many, many others who have first-hand memories of grams, which will begin at 6:30 p.m., will more. One will also discover others who, one of the most important and exciting last approximately 40 minutes and will be though never well known in the world of t'imes in the history of American theatre. followed by a question and answer period. "legit" theatre, were important in the Adwission is free. experimental theatre movement. Among these pioneers were Harry (H.M.) Koutou- kas, Doric Wilson, Robert Heide, Ronald Tavel, Ondine, and Jeff Weiss. Many of the items on display have not been on view since the Cino closed. Be- REMEMBERING THE ClNO cause the Library was given a wealth of memorabilia, much of it literally pulled Five symposia have been arranged from the collage-covered walls of the which will enable the general public to Cino, the curator has been able to re- discuss the Caffe Cino legacy with many create the ambience of the place which of those who helped create it. Richard M. Robert Patrick said "produced the most Buck will moderate the programs, which extensive and influential surge of the- begin on March 21 with Joseph C. Davies, atrical experimentation since Euripides." Charles Loubier and Larry Loonin who will On March 5, at the opening of the exhi- discuss the beginnings of the Cino and the bition, several hundred guests drank cap- earliest days; on March 28, Robert Heide pucino made by the same machine which and Robert Patrick will talk about their made the cappucino many of them drank experiences as playwrights at the Cino; the a quarter of a century earlier; they ate April 4 topic will be directing, creating and designing at the Cino, with Robert Dahdah Italian pastries made by the same bakery Joe Cino whose pastries they ate all through the and Kenneth Burgess; on April 11, Mar- '60s; and they listened to reminiscences shall Mason and Lanford Wilson will dis- and tributes to the great Joe Cino made by cuss working together at the Cino; and on Charles Loubier, Joseph C. Davies, Ellen April 18, Joseph Le Sueur and William M. ~hotosby Timothy P. Bissell elected by the Board at the February outstanding victims of her time. She was a TLA ANNUAL MEETING meeting. victim of the men she loved, a victim of -Brigitte Kueppers her repertory (which was influenced by the Recording Secretary men she loved), and a victim of delicate The annual business meeting of the The- health and nerves (also resulting from the atre Library Association was held on Fri- *Richard Bennett, who spoke about the men she loved). William Weaver lets Duse day, October 19, 1984, in the Shubert legal aspect of copyright, sent a copy of speak for herself through the voluminous Archive in New York. President Dorothy the outline of his talk to Dorothy Swerd- correspondence she maintained with Swerdlove welcomed the assembled mem- love. Anyone who attended the October those closest to her. As one of our finest bers and introduced the Executive Board 19 panel discussion and would like a copy translators f rom the Italian, Weaver can- and ex-officio representatives. of the outline should contact Ms. Swerd- not be held responsible if Duse's letters Richard M. Buck summarized his three- love, Theatre Collection, New York Public often strike the reader as treacle. page financial report for 1983/1984 and Library at Lincoln Center, 111 Amsterdam Born into a theatrical family, Duse reported that the working balance is Avenue, New York, NY 10023. made her stage debut while still a child. At 53,231.58, a large sum when compared 21 her heart was broken for the first time with the figures of the recent past. How- by the man who fathered her illegitimate ever, total membership figures are lower child. The child did not survive and Duse than last year's in both the personal and WE BELONG almost didn't either, suffering her first institutional categories. If the 70 unpaid grave illness. Later she made a loveless members for 1984 are not paid up with the TLA is a member of the American Li- marriage with fellow actor Tebaldo Chec- 1985 dues notice, a 51,600 loss for the brary Association, the American Theatre ci. Overall he was not a really bad sort and 198411985 budget will result. The member- Association, the Council of National Li- with him Duse had a daughter. Duse loved ship approved Mr. Buck's suggestion to brary and Information Associations, and her daughter very much and would feel a increase the TLA bank certificate from the International Federation for Theatre lifelong guilt for neglecting her in favor of 51,000 to $2,000. Copies of the financial Research. In addition, we recently joined her career. After separating from Checci, report may be obtained from the TLA of- the Association for Canadian Theatre His- Duse fell in love with Arrigo Boito, the fice at Lincoln Center. tory and will soon join SIBMAS. composer and librettist. Their passionate In 1983/1984 the Theatre Library Asso- affair often was carried on over great dis- ciation participated in many conferences. tances through the Italian mail, which was

During the ASTRITLA joint meeting in No- 1 apparently a lot more reliable than it is vember 1983, a lecturetour offered mem- today. Boito kept Duse at arm's length bers a look behind the scenes at Radic NEW OFFICERS while allowing her to engage in fantasies City Music Hall. In June 1984, at the ALA of retirement and living as a family with convention in Dallas, TLA and the Cinema Mary Ann Jensen, Princeton University him as father to her beloved daughter. Librarians Discussion Group co-sponsored Library, was elected President of the The Since Duse had no talent for keeping the an all-day panel which included presenta- atre Library Association at the February money she earned her fantasy remained a tions on recently acquired film collections meeting of the Executive Board. Martha fantasy. Seeking to have a hand in her and visits to four Dallas theatres. A de- Mahard of Harvard University was elected career, Boito translated Shakespeare's An- tailed report by Dorothy Swerdlove may Vice President and Lois E. McDonald of tony and Cleopatra for Duse. Not knowing be found in Broadside 12:l. TLA was also the O'Neill Theater Center was chosen as English, however, he was forced to rely on represented at the Society of American Recording Secretary. Richard M. Buck of an inferior French version and the play Archivists' meeting, where a roundtable the Performing Arts Research Center at was a failure, except for Duse's own per- was held to discuss the previous year's The New York Public Library will continue formance. In speaking of Boito in later proposals regarding special problems to serve as Secretary-Treasurer. The Execu- years, she would refer to him as "il Santo." related to performing arts collections. tive Board passed a unanimous and enthu- Surely his beatification could only have TLA plans several programs for 19841 siastic resolution, thanking President Dor- come as a result of her experience with her 1985. At the ASTR meeting in Blooming- othy Swerdlove and Recording Secretary next lover, Gabriele D'Annunzio. ton, Indiana, there will be a recap of the Brigitte Kueppers for their dedicated ser- By all accounts (as well as by the mir- TLA panel, "Current practices of various vice. They will continue to serve as TLA acle of photography), we know that D'An- picture archives regarding production board members. nunzio was an incredibly unattractive rights, procedures and copyright," origin- man. Yet he apparently drove women wild, ally presented at the TLA annual meeting having both a wife and a mistress when he in October*; an all-day program will be ar- met Duse. With an ego the size of Italy, ranged for the ALA conference in Chicago; HOLD THIS DATE D'Annunzio was to Duse a genius. She September events include SIBMAS and willingly dropped her repertory of Dumas IFTR participation, in Great Britain; The FreedleyITLA book awards presen- fils and lbsen to become a missionary in ASTRITLA will again meet jointly in No- tation will take place on Thursday eve the church of D'Annunzio. And a lot of vember, at the Milford Plaza Hotel in New ning, May 9, 1985, in the Vincent Astor thanks she got for it. When his plays York City; other events include the SAA Gallery of The New York Public Library at proved to be less than audience favorites, meeting and the Conference on Black Lincoln Center. Further information, in- she was forced to do a few performances American Protest Drama and Theatre, to cluding announcement of the winners, will of Dame aux Camelias to pay the bills and be held at Morgan State University in be sent to all members as it becomes to support D'Annunzio in the style to Baltimore. available. which he was becoming accustomed. For The papers of the Conference on Preser- that he accused her of disloyalty. But his vation Management for Performing Arts most unforgivable act was in writing 11 Collections are being edited and will be FUOCO.His novel told the story of an aging published in 1985. A new series, Perforrn- BOOK REVIEWS woman (Duse was now 41) and her passion ing Arts Documents, is planned for 19861 for a younger man. His graphic description 1987. Consult Broadside 12:l for details. Duse: A Biography. By William Weaver. of her aging body dogged her steps in Italy Geraldine Duclow, Anthony Ibbotson, New York: Harcourt, Brace, Jovanovich, as well as her tours abroad, even to Amer- Anne C. Schlosser and Wendy Warnken 1984. 383 pp. $19.95. ica. have been elected to the TLA Board of Di- Constantly forced to tour to earn money, rectors; Vice-president Mary Ann Jensen Poor Eleanora Duse. After reading this constantly cancelling performances as a has agreed to chair the FreedleyITLA book well-researched biography of the Italian result of ill health or nervous prostration, awards committees,New officials will be actress, one can only pity her as one of the constantly forced by her public to die yet one more time in Dame aux Camelias, the compiler adds still more detailed infor- major outcries against integrating a black Duse kept struggling. Her affair with D'An- mation on production staffs and useful tragedian into a white company. In 1865 nunzio left her on the brink of bankruptcy references to contemporary reviews. The he could play Othello to Madge Kendal's and suicide. But she survived and was sus- sheer bulk of the information is daunting, Desdemona in Britain, but it would be al- tained by her relationship with her daugh- but the most minor details can sometimes most a century before Paul Robeson could ter, now married and a mother. be illuminating. In glancing over the data do the same opposite Uta Hagen on D.W. Criffith wanted Duse to make a on Lilian Baylis' famous productions at Broadway. film with him but World War I interfered. the Old Vic, one is struck, for example, by The large-spirited talent of Henrietta We can only regret that the great Criffith the extent to which that formidable lady Vinton Davis, whose career spanned the was never able to work with the actress of extracted full value from the members of nineteenth and twentieth centuries, was whom Anton Chekhov wrote: "I do not her company who often not only doubled denied the fullness of expression and the know Italian, but she acted so well that I and tripled roles but functioned backstage proper stages it deserved. Professor Hill felt I was understanding every word. What as well. A further bonus is the data on makes it quite clear that the reasons for a marvelous actress! Never before have I opera and ballet performances. One can that were the prejudices and traditions seen anything like it." only marvel at the vigor of the theatre dur- which had infected the American theatre William Weaver scoured the archives in ing this decade before radio, film and tele- and its audiences, discouraging integrated writing this book. He cannot be blamed, if vision had decimated audiences, but one casts and relegating black performers to after reading it, however, we feel more marvels as well at the patience and care stereotypical roles and shows in many in- pity for the woman, than admiration for with which Professor Wearing has assem- stances. Hill does not write of those cus- the actress. bled this vast body of information. toms and events in the full flush of a -Ruth Carr -William W. Appleton polemic, but more in sorrow than anger about what was lost to our theatre and to those performers who were denied the Shakespeare in Sable: A History of Black Fast and Furious; the story of American arenas, roles and fellow players to which Shakespearean Actors. By Errol Hill. Am- International Pictures. By Mark Thomas their talents entitled them, and lost to herst: University of Massachusetts Press, McGee. Jefferson, NC: McFarland, 1984. audiences who instead saw black perform- 1984. 224 pp. $20. 264 pp. $1 7.95. ers not at all or in productions unworthy of them and their race. Recently an entire front page of the Founded by James Nicholson and Sam Fortunately this fine chronicle does not newsletter of British Equity was devoted Arkoff, American lnternational Pictures brood on the injustices and losses of the to a very large reproduction of the distin- (AIP) produced and/or distributed some past, though it certainly does not overlook guished American actor, Ira Aldridge, in 500 mostly low-budget movies from 1954 or excuse them. Rather, the bulk of the one of his memorable Shakespearean to 1980. AIP was the first film company to narrative recounts the gradual gains for roles. At the same time the British group's identity the emerging youth market and black performers, notably in Shakespeare's American counterpart. Actors' Equity, made films almost solely to satisfy it, ini- dramas, on the twentieth-century Ameri- seemed more interested in saving the tiating genres the major studios later imi- can stage, and in foreign triumphs as well Broadway theatres. The concern of New tated: 50's western, horror and SF pictures; It looks to the future, saluting the efforts York-based performers for preserving juvenile-delinquent and motorcycle-gang of such producers as Joseph Papp who places where they can show their talents films; beach-party movies; Italian-made help black players win the right to play far certainly understandable. Their British sword-and-sandal epics; the (comparative- is more than the original four black roles in cousins, however, have thrown the spot- ly) well-mounted Poe adaptations; black the Shakespearean canon. Aaron. Othello, light on the almost forgotten career of the exploitation fare; and assorted psyche- the Prince of Morocco, and Cleopatra. New York-born Ira Aldridge (1807-1 867) in delic, protest and urbanlrural action pic- Because the Federal Theatre, during its an effort to arouse Equity members to the tures. all-toebrief tenure, did so much to open lack of opportunities in casting not only In recent years, AIP has rightfully been stage doors to black performers, it is en- for British blacks, but for Asians and other studied as a kind of mirror of American tirely appropriate that John Houseman talents from minority groups as well. Hav- popular culture, reflecting the changing should contribute the foreword to this in- ing stages for shows is of course necessary, social/sexual/political values of American formation-packed volume. After all, he but it's also important to see that talented life. McGee's book is not such a study. It is and Orson Welles helped gifted black performers, regardless of race, creed, or made up of interviews with AIP directors, thespians create the WPA "Voodoo" Mac- sex, l~avrLireir fa~rshdre of the ava~labie writers, producers and stars and is not an beth. Errol Hill is not such a purist, how- work. exhaustive study, nor is it well-written, ever, that he can resist sharing with his In his fascinating and thoroughly docu- often ironically (one hopes unconsciously) readers an evocation of that 1939 jazzed- mented study, Errol Hill, a theatre profes- reflecting the beloved shoddy quality of up version of A Midsummer Night's sor at Dartmouth, has chronicled the ca- the films under discussion. It is aimed at Dream, called Swingin' the Dream, star- reers of outstanding-and a few not so fans (like myself) but ultimately unsatis- ring Louis Armstrong as Bottom, Butterfly outstanding-black performers in Shake- fying. So if names like Roger Corman, Her- McQueen as Puck, and "Moms" Mabley spearean roles in the United States and man Cohen, Dick Miller, Chuck Griffith as Quince. abroad. He notes four Shakespearean and Sid Pink don't wreathe you with nos- The focus, as the title indicates, is pri- characters perceived as black, which of- talgia, pass it by. marily on black performers interpreting fered scope for black tragedians in the -David Bartholomew Shakespeare, but Hill thoughtfully uses nineteenth century, when slavery and its this as the occasion to demonstrate how aftermath made it extremely difficult for playing the Bard's works has opened other The London Stage 192e1929: A Calendar talented blacks to find any kind of role, doors in the American theatre as well. In of Plays and Players. Vol. 1: 1920-1924; Vol. even in demeaning farces and minstrel documenting the work of black theatre en- 11: 1925-1929; Vol. Ill: Indexes. Compiled shows. Ira Aldridge, for example, was sembles, he also raises some cautionary by J.P. Wearing. Metuchen, NJ:Scarecrow forced to make his great career in Europe, questions about the future, especially in Press, 1984. $89.50. where he was much admired and sincerely light of Joseph Papp's efforts to create a respected for his art and his character. "Third World" troupe at the Public The- J.P. Wearing's calendar of the London He died on tour in Poland. In Europe he atre. This is a most rewarding book, both stage between 1920-1929 is an extremely was able to play the most demanding of for its fund of information as well as for useful guide to a decade of extraordinary Shakespearean roles, such as King Lear, in its effective evocation of the black expe- theatrical activity. In addition to the con- his native tongue with ensembles from rience with Shakespeare on stage. ventional data provided to us in such vol- other nations speaking other languages. umes as Burns Mantle's Best Plays series. His genius was such that there were no -Glenn Loney BOOKS RECEIVED ter for Contemporary Arts and Letters, the PERFORMING ARTS Archive will now be located in the Bryan. George B. Stage Lives: A Bibliography RESOURCES Library's Department of Special Collec- and an Index to Theatrical Biographies in tions. The Yeats Archive is the most com- English. Westport, CT. Creenwood Press. Volume 10 of Performing Arts Re- plete collection of Yeats materials outside 1985. 386 pp $49.95 sources, now at the printer, includes es- Ireland. Heys, Sandra. Contemporary Stage Roles for says on institutional archives. Featured are Women: A Descriptive Catalogue. Westport, articles on the Warner Brothers' Collec- CT: Creenwood Press, 1985 195 pp $35 Laughlin, Haller and Randy Wheeler. Producing tions at USC and Princeton, the Twentieth the Musical: A Guide for School, College, Century-Fox Collection at UCLA, the J.W and Community Theatre. Westport. CT. Thompson Company Archives, as well as Greenwood Press, 1984 151 pp 827 95 information on collections of lighting Milhous, Judith and Robert Hume. Producible equipment in the United States, Canada Interpretation: Eight English Plays, 1675- and the United Kingdom. 1707 Carbondale: Southern Illinois Univer- PAR 11 will include two translations by sity Press, 1985 336 pp. $30 C. Thomas Ault of late 18th-century docu- QUERIES Ranald. Margaret Loftus. The Eugene O'Neill ments on Baroque theatre machinery and Companion. Westport, CT Greenwood The Committee for the Eugene O'Neill Press. 1984. 827 pp $65 design. TLA is also planning to publish Centennial Exhibition is interested in Rowell. George and Anthony Jackson The Rep notes of the Conference on Preservation ertory Movement: A History of Regional Management for Performing Arts Collec- locating unique documents and objects Theatre in Brrtain. New York: Carnbr~dgeUnl- tions, held in 1982. relating to the career and work of the play- versity Press, 1985 234 pp. $39 50 wright. If any person or institution has any- Thornson. Peter, ed Plays by Dion Boucicault: thing which could be lent for the exhibi- Used Up. Old Heads and Young Hearts. tion, please write or phone Mary Hender- lessie Brown, The Octoroon. The Shau- COLLECTIONS son, Curator, O'Neill Centennial Exhibi- ghraun. New York. Cambridge University tion, Museum of the City of New York, 5th Press. 1984 238 pp $44 50. An outstanding collection of film Avenue at 103rd Street, New York, NY scripts has been acquired by Indiana Uni- ld029 (21 2-534-1672). versity Library, Bloomington. Originally The Societe Jersiaise on the Island of brought together by Ira Wolff of Larch- Jersey in Great Britain seeks information mont, New York, the collection consists of about a collection of correspondence be- 2,400 scripts ranging in date from the tween Lillie Langtry (the Jersey Lily) and 1920s to the 1980s. Many contain annota- Arthur Jones which, they believe, was pur- tions by technicians, actors and directors. chased by an American collector a few Approximately 650 scripts, including Casa- years ago. They would like to obtain some blanca, Rear Window and The Wizard of idea of the contents of this collection and WORK IN PROGRESS Oz, are original; others are photocopies possibly secure copies for their archives. made from originals in other collections. Anyone with information about this collec- Charleston Theatre Management of Charles Gil- The William Butler Yeats Archive is now tion is asked to contact Mr. H.T. Porter, fert (1817-18251 Ph D. Candidate University of housed in the main library of the State Springbank Nursing Home, Vallee des Nebraska Nan L. Stephenson, 420 Bancroft University of New York at Stony Brook. Vaux, Jersey, Channel Islands, Great Way, Baton Rouge, Louisiana 70808. Formerly located in the University's Cen- Britain.

~ -- - - Officers of the Theatre Library Association (founded 1937) Pres~dent.Dorothy L Broadside ISSN: 0068-2748, publ~shedquarterly by the Theatre L~braryAssoc~at~on Swerdlove. Curator, the Billy Rose Theatre Collect~on.The New York Publ~cL~brary 111 Amsterdam Avenue, New York N Y 10023. IS send to all members In good stand- at Llncoln Center. New York C~ty.V~ce-President. Mary Ann lensen. Curator, the Ing Editor: Alan 1. Pally, Theatre Library Association, 111 Amsterdam Avenue, New Wdllarn Seymour Collect~on.Princeton Unfvers~tyLlbrary. Prmceton. New Jersey. York, N.Y. 10023 TLA membersh~p(annual dues $20 personal. $25 ~nst~tut~onal)also Secretary-Treasurer. Richard M Buck. Ass~stant to the Ch~ef.Perforrn~ng Arts ~ncludesPerforming Arts Resources, publ~shedannually Current members may Research Center, The New York Publ~cL~brary at Lincoln Center. New York C~ty, purchase past lssues of Performrng Arts Resources, $10 prepa~d,and Broadsrde. $2 Record~ngSecretary. Brig~tteKueppers. Archlv~st.Shubert Archwe, Lyceum The- prepa~d atre. New York City \

Theatre Library Association NONPROFIT ORG. 11 1 Amsterdam Avenue U.S. POSTAGE New York, N.Y. 10023 NEW YORK, N.Y. PERMIT NO. 2632