"Othello.". Janet Barton Carroll Louisiana State University and Agricultural & Mechanical College
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Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1977 A Promptbook Study of Margaret Webster's Production of "Othello.". Janet Barton Carroll Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Carroll, Janet Barton, "A Promptbook Study of Margaret Webster's Production of "Othello."." (1977). LSU Historical Dissertations and Theses. 3100. https://digitalcommons.lsu.edu/gradschool_disstheses/3100 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This material was produced from a microfilm copy of the original document. 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Filmed as University Microfilms international 300 North Zeeb Road Ann Arbor, Michigan 48106 USA St. John's Road, Tyler’s Green High Wycombe, Bucks. England HP10 8HR Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 77-28,665 CARROLL, Janet Barton, 1947- A PROMPTBOOK STUDY OF MARGARET WEBSTER'S PRODUCTION OP -OTHELLO. Louisiana State University and Agricultural and Mechanical College, Ph.D., 1977 Theater I Xerox University Microfilms,Ann Arbor, Michigan 48106 0 1977 JANET BARTON CARROLL ALL RIGHTS RESERVED Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. A PROMPTBOOK STUDY OF MARGARET WEBSTER'S PRODUCTION OF OTHELLO A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy The Department of Speech by Janet Barton Carroll M.A., Southwest Te3cas State University, 1972 August, 1977 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. EXAMINATION AND THESIS REPORT Janet Barton Carroll Major Field: Speech Title of Thesis: "A Promptbook Study of Margaret Webster's Production of Othello" Approved: M ajor ProfAsaor and Chairman Dean of the Graduate School EXAMINING COMMITTEE: Date of Examination: June 1^. 1977 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. To Donovan and Barton Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. PREFACE This study of Margaret Webster ? s direction of Paul Robeson in Othello will be presented in two parts. The first chapter of Part I will discuss the production histor ically, revealing the backgrounds of director,,Margaret Webster and actor Paul Robeson, then proceed to a chrono-^ logical progression of events. Chapter two of Part I pro vides an examination of theories of the production through the following sources: (1) Margaret Webster; (2) critics who reviewed Othello in various newspapers, books and peri odicals* (3) company members who performed in the produc tion. Part II is a promptbook study consisting of an anno tated version of the Othello script as it was staged by Miss Webster. Notes from the director’s promptscript are interspersed, revealing throughout the t%ct the actors' movements, scenery, lighting, costumes and music. These notes will be further augmented by the thoughts of review ers and company members on the various scenes as they were staged. Therefore, this important production will be dis cussed not only historically and theoretically, but in a step by step account as it was presented to an audience. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ACKNOWLEDGEMENTS I will always be grateful to Hazel and James Barton, and to Vernon Carroll for their support both in this project and in all others. I would also like to express my apprecia tion to Armina Marshall who gave me permission to study the Theatre Guild Documents; to the Actors' Equity Association who went beyond traditional duties to assist me in locating actors who participated in Othello t and to Jose Ferrer who offered enlightening information and encouragement, I would like to express my gratitude to Gresdna Doty, Fabian Gudas, John Pennybacker, Francine Merritt, and Mary Frances Hopkins for their editorial %cpertise; and especially to Bill Harbin whose academic excellence and moral support made this re search project a rewarding experience. I would also like to thank William Olive who, although he did not see the final project, was responsible for my interest in Paul Robeson's Othello. A great debt is also owed to Robinson Stone whose marvelous memory richly supplemented this work, and whose encouragement will always be appreciated. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. TABLE OF CONTENTS Page PREFACE.................................. iii ACKNOWLEDGEMENTS.......................... iv ABSTRACT.................................. vi PART I CHAPTER ONE (History)................... 2 Footnotes (History)................... 75 CHAPTER TWO (Analysis)................... 95 Footnotes (Analysis) ....... ..... 1?0 PART II INTRODUCTION............. 193 PROMPTBOOK STUDY.................... 205 Footnotes (Promptbook Study)............ 346 CONCLUSION ......................... 359 APPENDIX........... 363 BIBLIOGRAPHY............................ 379 VITA . ........................ 393 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. DISSERTATION ABSTRACT The evening of October 20, 1943, marked the Broadway premiere of Margaret Webster's production of Othello. star ring Paul Robeson in the title role, Uta Hagen as Desdemona, and Jose Ferrer as lago. Critical reviews in major news papers and periodicals were overwhelmingly favorable, and subsequent audience attendance consistently strong. Othello ran for 296 performances in New York, enjoyed a well-received tour across the United States, and eventually was revived successfully in New York in May of 1945 for twelve perform ances. The tragedy had a longer run than any other Shake spearean production in theatrical history. This event demonstrated the talents of several sig nificant theatre persons. Paul Robeson, a black singer/actor, was determined that he would only perform in dramas where the Negro was portrayed honestly, and not as a stereotype or car icature. His rendition of Othello revealed to the American audiences that a black man is capable of performing a diffi cult, complex role such as Shakespeare’s Moor of Venice. Furthermore, Robeson demonstrated that it is a valid inter pretation for Othello to be "sooty black," rather than mu latto or oriental as the character had been portrayed in years past. vi Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Another significant figure was director Margaret Webster who faced the challenge of producing this contro versial Othello in times when such an interpretation was not traditional. A successful Shakespearean director, Webster brought her talents to the play and was largely responsible for its historic long run. Two other figures, Uta Hagen and Jose Ferrer emerged from this event. Both were young performers who became out standing figures in theatre. This study of Margaret Webster's direction of Paul Robeson in Othello is presented in two parts. In the first chapter of Part I, the production is discussed historically, revealing the backgrounds of director Margaret Webster