Newsletter of the Theatre Library Association
Elly Eisenberg, Lisa Schwartzbaum, Tony Kushner, Mark Harris, and Linda Emond at the Book Awards Ceremony
Inside this issue
President’s TLA Plenary at Broadside Book/Media Report ASTR-TLA News Network Reviews
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 David Nochimson ([email protected]) 7 Book Awards Ceremony Editor: Angela Weaver ([email protected]), University of Washington
11 TLA Plenary at ASTR-TLA Book Review Editor: Catherine Ritchie ([email protected]), Dallas Public Library 14 TLA at ALA Regional News Editor: Robert W. Melton ([email protected]), 16 BROADSIDE News Network University of California, San Diego
18 Book/Media Reviews BROADSIDE PUBLICATION GUIDELINES
BROADSIDE is the principal medium through which the Theatre Library Association 29 Upcoming Events 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. 3 TLA Board Scholarly and other articles or monographs may be considered for TLA’s other principal publication, Performing Arts Resources.
3 TLA Mission Statement 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; 1 Front Cover 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.
Front cover, left to right: Elly Eisenberg, 1. Priority in the publication of articles will be given to the Association’s officers, Lisa Schwartzbaum, Tony Kushner, Mark members of the Board, and chairs of committees. These articles provide the most Harris, and Linda Emond; Angela important means by which the leadership of the Association communicates recent Weaver, photographer. Board decisions, upcoming TLA-sponsored events, appeals for member involvement, etc. Page 3, Mephisto, University of 2. TLA members in good standing are encouraged to submit news items that are in Washington School of Drama production; keeping with the statement above. All submissions are subject to editing for length, Frank Rosenthein, photographer. clarity, and factual confirmation. 3. Letters to the Editor are encouraged, but must be limited to 200 words, due to Page 4, Kenneth Schlesinger; Susan space considerations. Brady, photographer. 4. Reviews of books or other resources are an excellent way for members to contribute to TLA and the profession. Reviews should be limited to 500 words and Page 7, left to right: Kenneth should include a concise summary of the resource, a comparison of it to similar Schlesinger, Mark Harris, and Kevin resources, and a brief evaluation. Suggestions and unsolicited reviews should be Winkler; Angela Weaver, photographer. sent to the Book Review Editor. 5. The copyright of all articles published in BROADSIDE will be owned by TLA. Page 8, Marian Seldes, Marti LoMonaco, Permission to republish an article may be requested from the Editor. and Louis Rachow; Angela Weaver, 6. Ideas for articles – other than brief news items, book reviews, or submissions from photographer. officers and committee chairs – should be submitted to the Editor in advance in order to allow sufficient time to plan layout, provide constructive suggestions, and Page 13, Tour Participants at the occasionally seek guidance from the Publications Committee. Articles should relate University of Puerto Rico Theatre; Susan to performing arts libraries, library resources, or related topics in performing arts Brady, photographer. scholarship, rather than to general performing arts topics.
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ABOUT TLA
EXECUTIVE BOARD MISSION STATEMENT
Officers Founded in 1937, the Theatre Kenneth Schlesinger (President, 2009) [email protected] Library Association supports librarians and archivists affiliated Susan Brady (Vice President, 2009) [email protected] with theatre, dance, performance David Nochimson (Executive Secretary, 2009) [email protected] studies, popular entertainment, Angela Weaver (Treasurer, Interim) [email protected] motion picture and broadcasting Martha S. LoMonaco (Past-President) [email protected] collections. TLA promotes professional best practices in
acquisition, organization, access Board Members and preservation of performing arts William Boatman (2008-2010) [email protected] resources in libraries, archives, Phyllis Dircks (2007-2009) [email protected] museums, private collections, and John Frick (2009-2011) [email protected] the digital environment. By producing publications, Nancy Friedland (2009-2011) [email protected] conferences, panels, and public Stephen Johnson (2009-2011) [email protected] events, TLA fosters creative and Beth Kerr (2007-2009) [email protected] ethical use of performing arts Stephen Kuehler (2007-2009) [email protected] materials to enhance research, live performance, and scholarly Francesca Marini (2009-2011) [email protected] communication. Tobin Nellhaus (2007-2009) [email protected] Karen Nickeson (2008-2010) [email protected] Ellen Truax (2007-2009) [email protected] Angela Weaver (2008-2010) [email protected]
Ex-Officio Georgia Harper (Legal Counsel) [email protected] Brook Stowe (TLA/Freedley Book Awards Chair) [email protected] Ellen Truax (Webmaster) [email protected] John Wagstaff (TLA listserv) [email protected]
Theatre Library Association c/o The New York Public Library for the Performing Arts 40 Lincoln Center Plaza JOIN US! New York, New York 10023 Membership TLA website: http://tla.library.unt.edu (Annual dues: $30 personal, $40 institutional; $20 student/non-salaried TLA listerv: To Subscribe: members) includes Performing Arts 1) Send email (nothing in the subject) to: [email protected] Resources, published occasionally. For 2) in the body of the email message type the following line: availability and prices of past issues of SUBSCRIBE TLA-L your name PAR and BROADSIDE, contact the Executive Secretary ([email protected])
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PRESIDENT’S REPORT
my friend and mentor, Bob Taylor, ongoing leadership and vision of Curator emeritus of the Billy Rose Chair Rob Melton. Rob has Theatre Division; and thrilling for us assembled a strong Committee all to extend Honorary Membership who now solicits and reviews to Louis Rachow, affectionately PAR Proposals, has developed known as ―Mr. TLA.‖ an Author’s Agreement, and is beginning to explore the One of the appealing aspects of possibility of migrating to an open TLA and its members is that we are access format in a few years. equally cognizant and respectful of our distinguished legacy, while One of Rob’s chief achievements simultaneously interested in cutting over the last quarter was to -edge digital technologies as a successfully have erroneous and means to preserve access to this misleading TLA copyright notices special heritage. Hearing Dr. removed from a major performing Bladell speak of our founder arts database. Try to imagine George Freedley and 44 years of how many e-mails this took! service in the Theatre Division, it inspired me to consider instituting Society of American Archivists’ an oral history program to both Publications Department has engage our legendary senior accepted Susan Brady and Nena members, as well as maintain a Couch’s PAR 25, Documenting: record of performing arts Lighting Design, for inclusion in scholarship in the latter half of the its upcoming catalog. Nancy 20th century. We have begun Friedland has nearly completed discussions of a 75th Anniversary editing its successor volume, issue of Performing Arts Resources Documenting: Costume Design, for 2012. which contains some extraordinary essays and visual I do want to express special kudos resources. to Book Awards Chair [and newly elected Board member] Brook Based on Publications’ Stowe, who stepped into the role recommendation, the Board last year. We thought that approved Stephen Johnson’s Kenneth Schlesinger in Puerto succeeding longtime Awards Chair proposal for PAR 28, which will Rico Dick Wall would be an impossible be dedicated to Brooks task—and Brook made it look McNamara. Tentatively titled, A easy—so I’m afraid he’s Tyranny of Documents: The The Book Awards are always the condemned to staying in this Performing Arts Historian as Film highpoint of TLA’s ―season.‖ This position for awhile! Brook has Noir Detective, it will examine year we were treated to the already made several interesting those troublesome archival pleasure of Mark Harris proposals to make the Awards documents that intrigue and discussing his fascinating work, Ceremony even more stimulating bewilder us. Pictures at a Revolution, as well and meaningful to the audience. as the debt he owes to creative Conference Planning and non-judgemental performing Publications arts librarians. It was a particular We’re looking forward to Colleen honor for me to present the Similar to Brook Stowe, the Reilly’s Plenary at the ASTR-TLA Distinguished Service Award to strength of the Publications Conference in San Juan, Committee is attributable to the “Playing” the Pilgrim: Scholars,
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PRESIDENT’S REPORT
Collections, and Archival Website, Membership and TLA Board Election Results DestiNations, which considers the Treasurer’s Report research journey, both literally Six Board members were elected and figuratively. ASTR member Through the efforts of TLA at TLA’s Annual Business Lowell Fiet has organized a tour Secretary David Nochimson, we meeting on October 9. Phyllis of Special Collections at have located a student at Queens Dircks, Beth Kattelman, Stephen University of Puerto Rico’s Rio College library school, Iris Lee, who Kuehler, Brook Stowe, Angela Piedras campus. has agreed to redesign our website Weaver, and Sarah Zimmerman during the fall. We hope [fingers will serve three-year terms from Conference Planning Chair crossed!] to have something new to 2010-2012. Colleen Reilly was Susan Brady is putting finishing show our patient members in early elected Treasurer for the same touches on her TLA Plenary for 2010. three-year term. Their Bios the 2010 Conference in Seattle. appear below. Harnessing the Power of In these uncertain economic times, Performance will continue our TLA’s treasury is holding steady TLA President Kenneth ongoing quest to explore and with a balance of $48,980.76. This Schlesinger welcomes our new evaluate documentation includes a savings certificate [read: Board members, as well as strategies, past and present, for Endowment] for $5,162. Under the Dircks, Kuehler and Weaver, who theatre and dance. circumstances, we feel fairly are returning. He gives special confident about our current thanks for the service and Stephen Kuehler presented his financial health. contributions of departing revised proposal, Holding Up the members Beth Kerr, Tobin Mirror, which discusses However, this should still Nellhaus, and Ellen Truax. He authenticity and adaptation in encourage you to renew your would also like to acknowledge contemporary Shakespeare membership for 2010 if you haven’t the generosity of Interim production for our Symposium III. already done so: Treasurer Angela Weaver, who Consisting of three case studies http://tla.library.unt.edu/ agreed to stay on one additional ranging from traditional membership.html year. reconstruction to radical deconstruction, it guarantees to Membership currently stands at offer the combination of live 305—down from last year’s high of COLLEEN REILLY joined the performance, archival best 339. With your support, we’re theatre faculty at Slippery Rock practices, and scholarly confident we can surpass last University in Fall 2009, where she commentary you’ve come to year’s total. teaches Theatre History and expect from our unique Dramatic Literature in addition to Symposia. We’re excited about developing an Arts Management what Steve and his Planning Volunteers minor for the College of Committee have in store for us, Humanities, Fine, and Performing slated for Spring 2011. Lastly, an appeal: Theatre Library Arts. Colleen served as Archivist Association survives due to the for the Arts Library at Yale Further, we’re developing TLA’s commitment and creativity of a core University from 2007-2009. She panel presentation at the 2010 of volunteer Board members, earned her Ph.D in Theatre ALA Conference, and are Officers, and interested History and Performance Studies considering possible joint regional participants. We encourage you to at University of Pittsburgh, where conferences with American join the club: you’ll discover a she also completed her MLIS in Theatre and Drama Society. group of—yes—eccentric Archival Studies. Additionally, theateromanes passionate about she holds an MA in Theatre Arts both research and live from University of South Carolina. performance. C’mon down! Colleen combines her interests in theatre, instruction and archives
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PRESIDENT’S REPORT through her research in urban STEPHEN KUEHLER is a Performing Arts Librarian at American performing arts Reference Librarian at Lamont George Mason University. festivals, primary source Library, Harvard University's library Previously, she worked as Library pedagogy, and performing arts for undergraduate humanities and Instruction Coordinator and archives advocacy. social sciences. He recently Theatre and Dance Bibliographer completed an MA in Theatre at University of Mississippi. She PHYLLIS DIRCKS, Professor of History at Tufts University, and he received her MLS from Rutgers English at Long Island University, also holds Master's degrees in University, an MFA in Playwriting chairs TLA’s Distinguished library and information studies and from University of California, San Achievement Award Committee Theology. Steve has been a Diego, and an AB in Psychology and serves on the Publications member of TLA’s Board since from Duke University. Committee. She previously 2006, and serves on the served as TLA liaison to ASTR. Publications Committee as a For the past five years SARAH V. Professor Dircks edited Volume correspondent for Broadside. He ZIMMERMAN has served as 23 of the Performing Arts has written book reviews and other librarian and archivist in charge of Resources series, American contributions for Broadside, as well the Chicago Theater Collection, Puppetry: Collections, History as for The Gay and Lesbian located in Chicago Public and Performance, and has written Review and Bay Windows. Library’s Special Collections and widely on English and American Currently, Steve is leading the Preservation Division. She drama. Among her books are planning for TLA’s next oversees acquisitions and David Garrick; Two Burlettas of Symposium, which will focus on processing of this rich collection, Kane O’Hara; The English issues of authenticity and which documents Chicago’s Burletta in the Eighteenth accessibility in contemporary theater history from the mid-19th Century, and the forthcoming productions of Shakespeare. century to present day. A TLA Edward Albee: A Literary member since 2005, Sarah Companion. BROOK STOWE is Chair of the currently serves on the TLA Book Awards and TLA’s Publications Committee, as BETH KATTELMAN is Associate liaison to American Library Broadside stringer for the Curator of the Jerome Lawrence Association. He is Editor of New Midwest and Upper Mountain/ and Robert E. Lee Theatre York Theater Review (New York: Plains region, and has given Research Institute and Assistant Black Wave Press), an annual print presentations at several TLA- and Professor of Libraries and anthology chronicling downtown SAA-sponsored events. She Theatre at Ohio State University. theater and performance in New holds an MSLIS from University She has been actively involved in York City. He is founding director of Illinois, Urbana-Champaign, performing and directing theatre of New York Theater Project, a not- and BA in English, French and for over three decades. A Board for-profit dedicated to the discovery Women’s Studies from Western member of the National Gay and and support of underrepresented Michigan University. Lesbian Theatre Festival, she is and/or marginalized theater and co-founder of Madcap performance artists working in New Productions Puppet Theatre, Inc. York City. By day, Brook is Best wishes, Kattelman holds a Ph.D. in Assistant Professor at Long Island Theatre from Ohio State and a University Library, Brooklyn Master of Library and Information Campus, where he is Coordinator Kenneth Schlesinger Science degree from Kent State. of Instruction. President She conducts research in the history of popular entertainments, ANGELA WEAVER is currently magic and conjuring. Head of the Drama Library and Acting Head of the Art Library at University of Washington. Prior to her appointment, she was Fine and
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BOOK AWARDS
TLA CELEBRATES 41ST ANNUAL BOOK AWARDS
The mood was celebratory at the 41st Annual Theatre Library Association Book Awards ceremony on October 9th, 2009 as two groundbreaking studies in performance arts copped top prizes. Jayna Brown’s Babylon Girls: Black Women Performers and the Shaping of the Modern received the George Freedley Memorial Award for the year's outstanding book in the area of live performance while the Theatre Library Association prize was awarded to Mark Harris for his Pictures at a Revolution: Five Movies and the Birth of the New Hollywood, the year's outstanding book in film.
Kevin Winkler of the New York Publc Library at Lincoln Center and Past President of the Pictured left to right: Kenneth Schlesinger, Mark Harris, and Theatre Library Association Kevin Winkler welcomed the audience and emceed the evening, introducing burlesque, she describes cleverly written study of five Brook Stowe, editor of New York performers during the years from films nominated for best picture Theater Review and Chair of the 1890 to 1945, situating them in in 1968, five films that told the Book Awards, who wittily their complex sociopolitical story of a crucial era in described the process contexts. Jayna Brown's work has Hollywood history. Harris views of coordinating, as well been praised by critics for its the five films against the as reading and judging, the many meticulous research and brilliantly background of the demise of the book submissions. theorized cultural history. Production Code and of Hollywood's on-again, off- In accepting the Freedley via a Mark Harris, in accepting his again relationship with the Civil written statement, Jayna Brown award, humorously referred to the Rights movement, thus capturing spoke of her indebtedness to "incredible capacity" of librarians to some of the volatility of the social many librarians, especially draw upon their boundless and political forces of that archivists, and of her patience in helping library novices moment. dependence on numerous like him. He explained that in his archives for the material usual writing life as a journalist, his The Theatre Library Association's for Babylon Girls. Writing on concerns were more immediate Special Lifetime Membership black female performers in and time-driven than they were in Award was presented to Louis A. music, dance and theatrical writing Pictures at a Revolution, a Rachow, who has been a performance that included variety book that emerged as a member of TLA for fifty shows, female minstrelsy and painstakingly researched and years. Louis served as president
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BOOK AWARDS
Mark Harris’ Acceptance Speech
Thank you. I’m tremendously honored to be recognized by library professionals for many reasons. Pictures at a Revolution is my first book. I’m not, by trade or by training, an author or a historian. I’m a journalist—I had worked for fifteen years as a writer, but mostly as an editor, at a weekly magazine, and when I Pictured left to right: Marian Seldes, decided to try to write a book Marti LoMonaco, and Louis Rachow about the changing currents in American film in the mid-1960s, a book the intention of which was to of TLA from 1967 to 1972 and received the award for him. Dr. explain to myself, and thus to again from 1981 to 1983. In his Bladell spoke warmly, both of the readers, how we all went from distinguished career, he served professional accomplishments of The Sound of Music in 1965 to as curator/librarian of the Bob Taylor and of his personal Midnight Cowboy in 1969, I went Hampden-Booth Theatre Library impact on his staff. He also gave into it knowing that I would have of the Players from 1962 to 1988 personal insights into the work to teach myself how to conduct and later as Library Director of habits of Bob's predecessors, historical as opposed to topical the International Theatre Institute namely George Freedley, who interviews, how to use an archive, of the United States. In addition, worked painstakingly from his how to structure a long text, how Louis Rachow was editor of the wheelchair, and Paul Myers, whose to footnote, how to find Gale Information Guide efficiency was the result of his information, how to find people, Performing Arts Series and distinctive and unique how to do everything it takes to the Theatre and Performing Arts methodology. write a book. Collections of Hayworth
Press. He is currently vice Before the audience left the You probably all know the president of the Episcopal Actors auditorium, special thanks were expression, ―Journalism is the Guild and co-chair of its Archives given to the Freedley Award jurors: first rough draft of history.‖ Every Committee. Robert Melton, Susan Peters and journalist I know loves that Jason Rubin and to the TLA Award expression because it gives us Bob Taylor, who recently retired jurors: John Calhoun, Madeline such grand permission to get as Curator of the Billy Rose Matz and Catherine Ritchie. The things wrong because someone Theatre Division of the New York evening concluded with will fix it later. In fact, really, even Public Library of the Performing the signature TLA champagne that quote is wrong. The first Arts at Lincoln Center, received reception and book signing by the rough draft of history sounds bad. the TLA Award for Distinguished authors. It should be ―the first draft of Service in Performing Arts history‖, or perhaps ―the rough Librarianship. Since Bob Phyllis Dircks draft of history,‖ but ―first rough was unavoidably absent, Dr. Rod Long Island University draft‖ sounds like…something Bladell of the New York Public you’d write in a first draft. In any Library, a longtime colleague of case, I was very aware that that Bob, and himself a recipient of was exactly what a book is NOT the Distinguished Service Award,
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BOOK AWARDS supposed to be. In a book, you’re So I didn’t find myself in the library made under that set of supposed to get it right, because until 2004, when I realized that constricting guidelines, started eventually, if you’re lucky, it will more than anything else, I wanted becoming more and more popular be sitting on a shelf in crinkly to write a book—in particular, a in the U.S. library plastic in a building like book about movies and movie this, and someone will read it, history and how movie history I decided to concentrate on five and if it’s wrong about everything, relates to American history and movies, the five Academy Award you can’t fall back on the excuse politics and culture. I was drawn to nominees for Best Picture of that you were on a deadline that the early and mid-1960s over and 1967, which were Bonnie and week or that you didn’t have time over again. In part that’s because it Clyde, The Graduate, Guess to check your facts. was, I think, a fascinating moment Who’s Coming To Dinner, In The in the history of American movies, a Heat of the Night, and Doctor I had to give myself a crash moment of great tumult and Dolittle. And I am not course in everything, and in order dissatisfaction and frustration and exaggerating when I say that I to do that—and this is one reason creative foment among people who learned how to write my book in that I’m not just thrilled to be here were making or wanted to make this building. The first advice I today, but thrilled to be HERE, in movies, and also a moment of received to ―Go to the library‖ this particular auditorium—I came great disagreement about what the came from a friend who had to this building. I’m embarrassed future of American movies was written several books and told me to tell you that when I walked in going to be. Studios were turning when I was feeling uncertain here almost five years ago to out the same kind of films— about my abilities, ―Go to the begin research for this book, it westerns, war movies, big library.‖ was probably the first time I’d musicals, Rat Pack comedies— been in a library in almost fifteen over and over again, as they had What he really said was years. If you’re a journalist, been for twenty years, and not ―Whenever I’m working on a book especially on a weekly deadline, paying much attention to the fact and I feel stuck in my writing or you almost never see the inside that the genres were aging, the depressed, I just go to the library of a library—because the things audience that they were catering to and use the electronic card that libraries are so good for— was aging, and that the movies catalogue and find the books reflection, exploration, obsession, they were making had less than about my subject matter, and allowing something you find in nothing to do with the changing then I go to that section and one book to lead you to another world in which everyone found thumb through the books until I and another and another, going themselves living. In fact, because find one that’s so badly written deep, discovering context, getting of the restrictions of the Production that I know I can’t possibly do help from people who understand Code, before it was abolished and worse than that guy did, and then how writers and researchers think replaced by the ratings system, I feel better and I leave.‖ and understand perhaps better movies couldn’t reflect the than anyone what it takes to contemporary world—there was On behalf of my friend, I’d like to make a book, even daydreaming still, in the early 1960s a long list of apologize for the fact that a and letting your mind wander, subjects, from prostitution to library was used that way, and I’d which I think all writers would homosexuality to abortion, that also like to apologize for the fact agree is an essential part of their movies weren’t supposed to depict, that I took his advice, and I’d also process—all of those library- or were allowed to depict but only if like to apologize for the fact that I related benefits are things that they were clearly shown to be am apparently such a small and journalism, which is so often aberrant—a set of rules that petty person that his advice about right now rather than about American filmmakers hated, and worked and actually did make me context, sometimes fails to make that were one big reason that, in feel better. But in my defense, I room for. the late 1950s and early 1960s, will say that the one piece of his films from Italy and France and advice I didn’t take was that after Sweden and Japan, which were not I felt better, I didn’t leave.
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BOOK AWARDS
I stayed, and I started looking at celebrate the opening of The over so many years that they good books, not bad ones. I Graduate is somewhere, in some could no longer remember that it became an obsessive reader of carefully maintained file, probably wasn’t strictly true, and that it had endnotes because I wanted to not more than 100 feet from where in fact gotten less true with each start to understand how good I’m standing. Microfilms for Daily embellishment and writers did what they did, and Variety, which I spent so much time ornamentation over the decades. when I realized that, without even spooling through that I think I have Libraries, to put it simply, helped thinking about it, I had picked an the New York Public Library to me find truth where honesty and era to write about that turned out thank for the fact that I now have to memory had occasionally failed to be just about the last moment wear trifocals, are in this building. my very human subjects. in film history when business was In this building, from a piece of conducted on paper—in wires, in newspaper so delicate I was afraid This morning, I signed a contract cables, in long dictated memos, to touch it, I learned of the cross for my second book. The contract in telegrams, in letters, and in that was burned on Sidney Poitier’s came about as a result of a typed minutes of meetings—it lawn in the mid-1960s, not in the proposal that I wrote, and the was as if the heavens had deep South but in Pleasantville, proposal came about as the opened. Then I looked around New York. result of a very happy July that I and saw that since the last time spent in this building, researching I’d been in a library in the 1980s, But beyond even that value, the and reading and feeling incredibly you all had put in sockets and second reason my library life delighted to be surrounded by people were now bringing laptops became so important to me was young Juilliard students reading with them! The heavens opened because of something that one of play scripts for scene study again! the subjects of my book said to me. classes and nervous obsessive I had just spent two hours pasty-looking types like me who Yes, I probably sound like an idiot interviewing him, and he had been sat there beavering away on who didn’t know the first thing marvelously forthcoming and some unknown idea and happy about what libraries are good for, detailed in his memories, and after readers whiling away their but one of the things I really love the interview was done he asked afternoons with a book and, let’s about libraries is that by and me who I was scheduled to be honest, the two or three large, the people who work in interview next. I told him that it was benign lunatics without whom no them have an uncanny ability someone he had worked with library is complete. All presided never to look surprised or closely on the movie…and he sort over by people with seemingly appalled when you ask them for of laughed and shrugged and said, inexhaustible patience, help and demonstrate the depths ―Oh, well, you know he’ll lie to you. thoughtfulness, good ideas, and of your ignorance. Not even when Just like I lied to you. But they’ll be bottomless reserves of smart and someone approaches your desk, different lies, and maybe imaginative guidance. People as I recently witnessed, and says, somewhere in between, you’ll find who are invested in helping ―I need to find the complete works the truth.‖ people like me try to get it right. I of Neil Simon and other 19th- can’t wait to spend a large portion century writers.‖ You people just Well, people do lie. Especially in of the next two or three years don’t bat an eye. So I asked for the movie business. And not taxing everyone with my inquiries, help—a lot of help, in this library always, in fact, not even usually, digging, gently of course, through and many many others—and I with malicious intent. They lie to files, and discovering new buried got it. I found things in libraries, flatter themselves, they lie to flatter treasures. I can’t wait to come particularly in their blessedly well- someone else, they lie to assign here and learn more. So thank maintained and indexed archives, blame elsewhere or to take it on you all for the vote of confidence, that I would never have been able themselves, and, in the case of my and for all the help you don’t even to find anywhere else. The book, most often they lied just know yet that you’re going to give seating chart for the New York because they had told the same me, here and around the country. dinner dance that was thrown to story so often to so many people
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TLA PLENARY
Playing the Pilgrim: Scholars, Collections, and Archival Destinations
The theme of this year’s joint to their archives and collections, (juanadino) kings into more Santa conference of the American the idea of the repository as a -like figures broadcast through Society for Theatre Research and DestiNations, and the mappings contemporary media and print. the Theatre Library Association, that scholars and practitioners Carnicke emphasized the ―Theatre, Performance, and create in navigating archives and embodied practices of the festival DestiNations,‖ provided multiple collections. The panel itself was actors in contrast to this opportunities for dialogue comprised of emerging and documentation. These practices between theatre scholars, seasoned scholars and become complicated, she argued, practitioners, and custodians of practitioners with research interests by the layering of the quotidian archival materials and library as broad as ―local‖ performances of identity of the participants. collections. Participants were the Puerto Rican Three Kings of Carnicke also traced her own invited to consider the Juana Diaz festival, medieval journey from spectator to interconnectedness of theatre staging practices, and documentary participant to documentarian, and travel. ASTR Program theatre. playing on the notion of ―pilgrim.‖ Coordinators Tamara Underiner and Sonja Kuftinec framed this Sharon M. Carnicke of the The second plenary participant, relationship as ―a discovery and University of Southern California Lofton Durham of Western encounter, a reprieve from the presented the first paper of the Michigan University, continued quotidian, and a longing for panel, ―Hispanic Performance and this examination of the research return.‖ the Politics of Statehood: The process as a journey. Durham Three Kings of Juana Diaz, Puerto recounted his study of archival The conference embraced this Rico.‖ This festival celebrates manuscripts of Jacques Milet’s theme by convening in San Juan, Hispanic identity in Puerto Rico fifteenth century Destruction de Puerto Rico, a place rich in with processions around the island. Troie, mapping his personal circum-Atlantic discourse and Participating towns perform an travel across four repositories on formations of island culture. The adoration of a local baby ―Jesus,‖ two continents: Penn Library, the Theatre Library Association panel and conclude the festival in the Beinecke Rare Book and took the notion of ―pilgrimage‖ as town central plaza. The plaza, Manuscript Library, the Bodleian, its starting place, and offered a decorated with flags of all nations, and the Bibliothèque Nationale de session that explored the invokes an imagined ―Bethlehem,‖ France. His paper, ―Researching research process as a journey. located at the world’s center. As Jacques Milet’s Destruction de The plenary, ―Playing the Pilgrim: Carnicke described, the elaborate Troie: Historiographic and Scholars, Collections, and festival includes a Catholic mass, Archival Vectors of Late Medieval Archival Destinations‖, proposed the staging of a twelfth century Theatre and Drama,‖ outlined the an examination of the experience mystery play, and the recitation of challenges of navigating not only of the scholar who travels to an operatic dialogue from 1884. the medieval manuscripts but archival destinations and how also the best practices unique to they negotiate the tensions of Carnicke discussed the each institution. local practices, cultural implications of the religious transmission, and the documents celebration of Hispanic identity and Durham first examined the themselves. the political directive towards a historiographical frame that had more secular statehood. She marginalized Milet’s text, which Colleen Reilly, the session chair, identified the Three Kings Festival represents the largest single opened the panel by re-stating as a site where these conflicts are group of extant play texts (13 the field of inquiry: the journeys negotiated. She noted the manuscripts). Durham asserted that the records themselves take transformation of the biblical that the text’s omission is due, in
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TLA PLENARY part, to the division between Throughout the presentation Fuchs theatrical collections: the archive sacred and secular drama in the weaved historical fact with is immutable. medieval period and the strict anecdotal evidence, bringing the categorization of genre and fluidity of historical truth into relief. performance that emerged in the Fuchs argued that the conception th Tour of the University of historiography of the 19 century. of the play in 1973 and its recent re Puerto Rico He aligned this movement with -emergence in New York speaks the rise of national libraries in the directly to the agency of the theatre 19th century, suggesting that the to bring history into the present Through the generous efforts of contemporary access policies tense. Her biographical account of Lowell Fiet and his colleagues at and archival practices that protect mediating that exchange resonated the University of Puerto Rico, the the archival sources reinforce with the deliberate staging of the Theatre Library Association was secondary critical discourse at conference in Puerto Rico, a thrilled to include a tour of the the expense of direct subject of her documentary play. UPR campus, theatres, and engagement of archival materials. Fuchs emphasized the relevancy of libraries as a Brown Bag Session However, rather than criticizing the subject, and the role of scholars at the ASTR-TLA conference in archival policies, Durham noted and practitioners to comment on San Juan. Participants received the interdependence of scholars the historical record. complimentary transportation and archives and the need for a from the conference site at the continuing dialogue between An enthusiastic discussion followed Condado Plaza Hotel to the them. the panel. Carnicke was asked to University where faculty, staff, describe the rehearsal process for and students generously donated Elinor Fuchs of the Yale School the Three Kings Festival; in her their time for a whirlwind tour of of Drama concluded the panel account of the preparations for the the graduate performance and with her paper, ―From Historical performance she commended the research facilities. Archive to Theatrical efforts of local archives to Interpretation, Or How We Got document the pageant. A question The tour began at the Julia de Puerto Rico, Hawaii, and the was posed to Durham regarding Burgos Theatre, a black box Philippines.‖ Fuchs reflected on the provenance of the Milet space devoted to experimental the creation of her documentary manuscripts. Durham responded performance. From there play on the subject of American that not only was the work Mariana Monclova, the student imperialism, Year One of the commissioned by the Duke of guide, led us to the second floor Empire, published in 1973. Co- Burgundy, but also lesser nobility, where we encountered the José authored by Joyce Antler of clergy, and clerks circulated copies. Emilio González Interdisciplinary Brandeis University, the play was He noted the multiple printed Seminar Room, the Center for conceived as a Vietnam War editions and the added prologues Historical Research, the protest play depicting the which he asserted placed the work Frederico de Onís (Hispanic acquisition of Puerto Rico, in later political contexts. Fuchs Studies) Seminar Room, and the Hawaii, Guam, Wake Island, and was approached with a question Richardson (Graduate English) the Philippines by the United regarding the relationship between Seminar Room. Currently the States in the early 20th century. the repertoire and the archive, to University is leading the charge to The play was performed in Los which she responded that she is become the graduate research Angeles in 1980 and revived in haunted by the repetition of the center in Puerto Rico. One of the New York in 2008. Fuchs political activities that her protest challenges facing research at the outlined her navigation through play criticizes. She concluded the University is the the primary sources informing the panel with a provocative statement departmentalization of academic play and its subsequent reception that may continue to inform the resources. Departments acquire by scholars as a key historical dialogue between scholars, and maintain their own individual text. practitioners, and custodians of research collections. Both the Frederico de Onís (Hispanic
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TLA PLENARY
Lowell Fiet (in white shirt) with tour group at the University of Puerto Rico Theatre
Studies) Seminar Room and the reluctant to interrupt this rare documents, letters, and first José Emilio González experience, but moved on to its editions of the Nobel laureate. Interdisciplinary Seminar Room intended destination of the These bibliophiles might still be at are currently undertaking digital exceptional collections of the the Lázaro Library were it not for initiatives to address access Lázaro Library. the gracious assistance of Lowell issues to archival and reserve Fiet in returning them to the materials. The Lázaro Library contains the conference hotel in due time for Caribbean Regional Library, the the next conference session. In After pausing for an al fresco Latin American Studies Collection, all, the tour served as a lunch from a local kiosk on the the Puerto Rican Collection, the complement to the conference University grounds, the tour Josefina del Toro Fulladosa theme of ―DestiNations‖ and a moved on to the University Collection, and the Alfred Nemours reminder of the urgent need for Theatre. The 1939 theatre was Collection of Haitian History. The scholars, practitioners, archivists, closed for renovations from 1998- scope of the collections in the and librarians to serve as 2006. Allegedly, however, this did Lázaro Library, facing many of the custodians of the archival record. not prevent students from staging environmental and budgetary guerilla performances in the concerns of libraries nationwide, Colleen Reilly scaffolding. Performance artist was barely revealed in the time Plenary Chair Guillermo Gomez Pena created allotted for the tour. While some Slippery Rock University an installation for the space in tour participants moved on to view 1999. The tour enjoyed an Francisco Oller’s El Velorio at the impromptu concert by Andres UPR Museum, others lingered in Mojica with the pipe organ initially the Zenobia and Juan Ramón intended for the theatre but not Jiménez Room which contained the installed until 2009. The tour was breathtaking personal effects,
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TLA at ALA
The Play’s the Thing: From Page to Stage to Archive in Chicago Theatres
On Monday, July 13, 2009, Brook Stowe chaired a wonderful panel entitled: ―The Play’s the Thing: From Page to Stage to Archive in Chicago Theatres.‖ Neena Arndt, Literary Associate, Goodman Theatre (http://ww.goodmantheatre.org) , Joy Meads, Literary Manager, Steppenwolf Theatre (http://www.steppenwolf.org ), and Carolyn Defrin, Director of Community Programs, House Theatre (http://www.thehousetheatre.com), participated in the session which was held in the amazing Harold Washington Library Center, the main branch of the Chicago Public Library.
Each panelist described her theatre’s process for developing a production and how they documented each step. We learned that the age of each company seemed to directly correlate to production development and documentation. The older Goodman Theatre company used more traditional methods such as script revisions and long rehearsals; and documented work by keeping the various versions of the scripts, programs, photos, reviews, etc. Meanwhile, at the other end of the spectrum, the newest theatre on the panel, House Theatre, utilized blogs for the participants and audience of the production of The Sparrow. Much of this material is still available on their website. In terms of production and documentation methodologies, the Steppenwolf Theatre fell somewhere in between.
Showing a program from one of the first Goodman Theatre productions, Heir Apparent (1925), Neena outlined the archiving relationship that they had with the Chicago Public Library. She also spoke about the development of 2009 Pulitzer Prize winner, Lynn Nottage's Ruined. Among the documentation for the production, they had workshop videos, photographs, oral histories, script revisions, and other materials.
Joy discussed the Steppenwolf’s history and its ensemble driven production process, concentrating on the workshopping used for developing Tracy Letts’ 2008 Pulitzer Drama Prize winning play, August: Osage County. Their website retains some of the blog, photos, and PR materials for the play, such as the video of Letts’ Tony Award acceptance speech (http://tiny.cc/WsFM5), in a section called Explore Production.
Finally, Carolyn talked about the many innovative ways the House Theatre documented their process of creating The Sparrow (written by Chris Mathews, Jake Minton, Nathan Allen). Among other things, the director, co-creators, cast, and crew all blogged about their ideas and experiences as they created the piece.
At the end of the panel discussion, staff of the Harold Washington Library Center offered a tour of the public visual art works (http://tiny.cc/lEGh7) on display throughout the building.
Beth Kerr University of Texas, Austin
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ANNOUNCMENTS
TLA Plenary - Call for Papers
2010 Annual Conference of the American Society for Theatre Research-Theatre Library Association- Congress on Research in Dance Seattle, Washington November 18-21, 2010
Harnessing the Power of Performance: Documentation Strategies for Theater and Dance
Throughout history, capturing performance through various media has been challenging. Performance histo- rians have based their work on archeological artifacts, paper records, oral history and memory, audio re- cordings, and film documentation of dance and theater performances. Each method – in itself ephemeral – presents challenges due in part to limitations inherent in its physical characteristics: images fade, paper crumbles, and memory fails.
This session will address and assess past, current, and future methodologies for harnessing the power of per- formance – and the extent to which these approaches and strategies support or impede research. We invite papers addressing the many forms of documentation – from depictions of Athenian performances on vases to computer-generated dance notation/animation.
Papers might consider:
• How do documentation strategies negotiate, undermine, or emphasize power? • How do developments and changes in technology impact performance studies? • How do cultural politics and the power of societal perceptions of theater and dance affect performance docu- mentation? • How do documentation strategies or models strengthen or undermine our understanding and appreciation of performance? • How have theater and dance practitioners, librarians and scholars collaborated to develop effective docu- mentation strategies? • What are the limitations and drawbacks of video and film documentation of performance? • How will the proliferation of born-digital objects impact documentation of theater and dance? • Do artists have the ethical right to resolve that their work may perish with them?
Please submit one-page Proposal as e-mail attachment by February 15, 2010 to:
Susan Brady, Chair TLA Plenary Program Committee Beinecke Rare Book and Manuscript Library Yale University [email protected]
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NEWS
THE BROADSIDE NEWS NETWORK cataloger Bonnie B. Salt. These papers join a wealth of Laboratories. According to the Tennessee Williams material at Clark’s director, Bruce Whiteman, Please send your brief news item the Houghton Library and the with just a couple of exceptions, the Harvard Theatre Collection, most to one of the following collection only contains books that notably the Tennessee Williams BROADSIDE News Network Shakespeare read or could have papers, 1932-1983 (MS Thr 397 stringers: read. The Clark Library specializes at http://nrs.harvard.edu/urn- in English literature of the Civil War, 3:FHCL.Hough:hou01891) Stephen Kuehler (Northeast, Restoration, and Eighteenth –From the Houghton Library blog [email protected]) Century (1641-1800). MASSACHUSETTS: Boston TLA member Diana King, Film & Phyllis Dircks (Mid-Atlantic, Theater Librarian in UCLA’s Arts [email protected]) The Boston Museum of Fine Arts Library, is the new convener of the is presenting ―Patterns of Long University of California Performing Catherine Ritchie (South & Ago: Reflections of China in Arts Bibliographers Group. She Japanese No Costume,‖ an Southwest, succeeds TLA member Rob exhibit of No robes from the 18th [email protected]) Melton, Theater & Dance Librarian to early 20th centuries in the at UC San Diego. MFA's collection, some of which Sarah Zimmerman (Midwest & have never before been Plains, [email protected]) Gordon Theil, Head of the Arts exhibited. It explores how Library, Music Library and ―Chinese‖ designs and weaves Rob Melton (West Coast & Performing Arts Special Collections have been employed, adapted, Rockies, [email protected]) at UCLA, retired on November 1, and combined with ―native‖ 2009, after 29 years of service to Japanese motifs in No costume the UCLA Libraries. CALIFORNIA: Irvine over the centuries, along with the
dramatic and symbolically MASSACHUSETTS: Cambridge Yvonne Wilson is the new meaningful role such robes would selector/liaison for theater at the play in the context of a No TLA Board member Stephen University of California, Irvine’s performance. The exhibit runs Kuehler, Reference Librarian at Langson Library, replacing Erin through May 31, 2010. For more Harvard’s Lamont Library, has Conor (see Oregon: Portland). information, see http:// been appointed the Harvard www.mfa.org/exhibitions/ College Library’s liaison for theatre CALIFORNIA: Los Angeles sub.asp?key=15&subkey=9376 studies. As liaison, Steve will
UCLA's William Andrews Clark provide research consultation and Also at the MFA in Boston, ―Café Memorial Library will receive a instruction for students in theatre and Cabaret: Toulouse-Lautrec’s collection of 72 books related to and drama courses. He will also Paris‖ features posters, prints, Shakespeare that includes a select performing arts materials for and paintings of café, cabaret, 1685 fourth folio of his works, two Lamont’s collection. and other urban amusements by histories that formed the basis of Toulouse-Lautrec and his his plays, and a 1603 book by Cataloging has recently been contemporaries, including Montaigne that introduced the completed on the Harvard Theatre Bonnard, Vuillard, and Steinlen playwright to the words Collection’s Tennessee Williams (1859-1923). The exhibit runs "adulterous," "miraculous," Additional Papers, 1946-1983 (MS from November 21, 2009, through "depraved" and "scandalous." Thr 550). Details can be found in August 8, 2010. For additional The books, published between the finding aid (http:// information, see http:// 1479 and 1731, were collected by nrs.harvard.edu/urn- www.mfa.org/exhibitions/ Paul Chrzanowski, a physicist at 3:FHCL.Hough:hou02044) sub.asp?key=15&subkey=9069 Lawrence Livermore National created by senior manuscripts
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NEWS
NEW JERSEY: Princeton annotated script for Sunset Boulevard; and items from the The Cotsen Children’s Library at recently-acquired Robert De Niro Princeton University has greatly collection. The exhibition will also improved access to its depict the history of unprocessed Skelt & Webb cinematography from silent films to Collection of Juvenile Theater by the present day. More information creating digital photographic is available at http:// surrogates of all the non-print www.hrc.utexas.edu materials in the collection, which include lithographic stones, TEXAS: Dallas copper plates, 10‖ metal dies, and the heavy metal tools from TLA member Catherine Ritchie has one of the last publishers of transitioned from the Dallas Public juvenile theaters, W. G. Webb, Library’s Fine Arts Department to a which ceased business in the selector position in its Acquisitions 1880s. Juvenile, or toy, theaters Department, effective November contained a condensed play 17. She gratefully reports that she script, scenery, and figures with will be able to remain active on costumes of the characters. TLA’s Publications Committee and Highlights from the collection will on its TLA Book Award jury. go on display in Firestone Library’s main gallery in July WASHINGTON: Seattle 2011 in an exhibition entitled ―The Paper Proscenium.‖—From Effective June 15, TLA Board Princeton University Annual Member Angela Weaver, Head of Library Bulletin (Fall 2009). the Drama Library at the University of Washington, assumed additional OREGON: Portland duties as the Acting Head of the Art Library. Erin Conor is the new Performing Arts Librarian at Reed College in Portland, OR. She was previously the subject librarian for music, theater, and dance at the University of California, Irvine.
TEXAS: Austin
The Harry Ransom Center at the University of Texas at Austin will offer the exhibition ―Making Movies‖ from February 2 though August 1, 2010. The display will feature materials from the Center’s extensive film holdings, including glamour photographs of Hollywood stars; storyboards and costumes from Gone With The Wind; Gloria Swanson’s
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BOOK/MEDIA REVIEWS
Helen Mirren. In the Frame: My revolution. The section on the Mirren calls her performance as Life in Words and Pictures. background of her father’s family is Christine Mannon in the 2003 New York: Atria Books, 2008. illustrated by late 19th and early 20th National Theatre revival of 272 pp. ISBN: 1416567607. century images that could have Mourning Becomes Electra ―one come straight from a stage setting of the best experiences of my for Chekhov or Gorky. The images professional life‖. She says that continue to complement the text as her favorite film performance is the beginning sections take the the title role in 1999’s rather reader through Mirren’s childhood poorly-received Teaching Mrs. and early years with such stage Tingle. companies as the Royal Shakespeare Company. A note on the volume itself. A bit of research revealed that Atria Her large photograph collection Books, an imprint of Simon & continues to thread through the Schuster, purchased the rights story of her career on the English from the 2007 English publisher
The section on the background of her father’s family is illustrated by late 19th- and early 20th-century images that could have come straight from a stage setting for Chekhov or Gorky.
stage, as a film and television Weidenfeld & Nicolson and used actress, and her personal life and the plates from the English loves. She is by turns intense, edition. For design purposes, the funny, thoughtful and seemingly information usually on the verso T o anyone who knows Helen very honest. The year that she of the title page is placed at the Mirren only from the role of Jane spent with Peter Brook’s very end of the volume but Tennison in Prime Suspect and experimental theatre in 1972-3 without any Library of Congress as Elizabeth I on the small shows her to be a fearless cataloging information. The screen, or as Elizabeth II in The professional in many extreme handsomely-designed book was Queen on the big screen, this circumstances. manufactured in Hong Kong on beautifully produced volume will heavyweight high gloss paper come as quite a revelation. Even She appeared with Liam Neeson in producing a striking result. those who have followed her Excalibur in 1981 and reveals that career in stage, film, and she spent four happy years living It is highly recommended for all television will find such detail of with him but, while filming White performing arts and biography personal information that they will Nights in 1985, she met the director collections in all types of libraries. be left with the feeling that they Taylor Hackford with whom she know her almost from the inside began living in 1986. They finally out. married in 1997; it was his third marriage, her first. He brought two The decision to make this memoir children to the marriage; she says a heavily illustrated volume came that she wants none of her own partly from the discovery of a because she is in no way maternal. cache of letters and photographs In the final section of this volume, left by her paternal grandfather, a Mirren shows the large assemblage Russian nobleman and diplomat of relatives surrounding this Richard M. Buck stranded in London at the marriage, with which she appears New York Public Library for the outbreak of the Russian to be supremely happy. Performing Arts Retired
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BOOK/MEDIA REVIEWS
William W. Demastes. Comedy and deconstruction of its stylistic This slim, unadorned hard-bound Matters: From Shakespeare to properties – provides an essential volume is priced at $74.95 and, Stoppard. New York: Palgrave addition to the canon of scholarship as such, its estimable publisher Macmillan, 2008. 203 pp. on comedy stretching back to Palgrave Macmillan assumes its ISBN 978-0-230-60471-1. Aristotle. only market is libraries. This is a typically unfortunate In seven tightly-constructed, well- miscalculation made by many of reasoned chapters, Demastes our major scholarly presses – breaks down the myriad ways in Demastes’s excellent study would which comedy, particularly of the be a fine primary or literary variety, assaults the supplementary text for a course rigidities of culture and serves as a on comedy, but its exorbitant political weapon, as a pin to prick price tag precludes its use and both societal and individual hubris, will similarly prevent it finding its
...a genre study of major significance which goes some distance in defining this deceptively complex form and in providing comedy with a greater level of respect.
and as a much-needed escape way to the shelves of theatre from reality for suffering humanity. scholars who would otherwise As a response to the darker welcome it. Palgrave Macmillan impulses of human interaction and and similar presses, including the losses inherent in the Greenwood, Mellen, and experience of living, comedy, as numerous university presses, Demastes insists, is ―the chaos that typically misjudge their I n this valuable examination of disrupts orthodox stasis and readership and the potential of its the nature and significance of negativity, and comedy undermines publications with prohibitively comedy, that oft-maligned and the tyranny of rigid consciousness. priced books, preventing a wider undervalued genre, prolific It goes without saying that the dissemination of the research of theatre scholar William W. world has lots of room for their authors. Many scholars and Demastes offers a no-nonsense improvement. Less obvious is the students would add a book like study of the ways in which point that without comedy the world this to their personal collections if comedy can, and often does, would very likely not have come the price was right – or if a serve as a forceful weapon along as far as it has‖ (p. 184). paperback version accompanied against negative cultural impulses Illustrating this palliative and the library-bound version. In this throughout the ages, from progressive nature of comedy, form and at this price, theatre’s origins to the present. Demastes focuses centrally on Demastes’s excellent work will be Demastes’s economically-written such comic masters as slow to find the receptive yet wide-ranging survey of Shakespeare and Tom Stoppard, audience it richly deserves. cultural difference and diversity is but interjects a breathtakingly wide at its best when parsing the range of references to playwrights, complex nature of comedy and, philosophers, critics, and as in his second chapter, performers. The result is a genre exploring the ―razor’s edge‖ study of major significance which between tragedy and comedy. goes some distance in defining this Demastes’s embrace of comedy deceptively complex form and in in its many guises – and his providing comedy with a greater James Fisher cogent theorizing on its values level of respect. University of North Carolina- Greensboro
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BOOK/MEDIA REVIEWS
Geddeth Smith. Walter diverse as Hamlet and Cyrano de extraordinary era (1900-1950) to Hampden: Dean of the Bergerac, his most acclaimed which Hampden largely, if American Theatre. Madison, performance. As he aged, somewhat reluctantly, adapted. New Jersey: Fairleigh Hampden made a graceful Unlike many actors, Hampden Dickinson University Press, transition into character roles, was, as Smith describes him, ―a 2008. 430 pp. including his unforgettable final scholarly and reflective man‖ for ISBN-13: 978-0838641668. appearance as Danforth in the whom theatre was a high calling, original Broadway production of almost a religion. He knew and Arthur Miller’s The Crucible in worked with many of the greats of 1953. Miller described Hampden as his time – Eva Le Gallienne, ―magnificent‖ in the role. Margaret Anglin, Ethel Barrymore, H. B. Irving, Charles Geddeth Smith’s engaging Coburn – and Smith positions biography of Hampden, the first Hampden as their equal. and long overdue, goes some distance in restoring the actor’s Hampden’s largely exemplary legacy. Many of Hampden’s personal life is also revealed. He contemporaries, including John was married to actress Mabel
...succeeds simultaneously in illuminating Hampden’s achievements while creating a vivid portrait of the evolving American stage of an extraordinary era...
Barrymore, gained immortality as Moore for fifty years and his film stars, a route Hampden did not pleasures were simple: books, choose. His screen performances Brooklyn Dodgers baseball, and W hen even the most were rare and the most memorable practicing the cello. The major learned theatre historians came late in his career in heartbreak of his life came when discuss great American stage supporting roles, including a cameo his daughter, Mary, was stricken actors of the first half of the as the old actor presenting Eve with cerebral palsy. Other than twentieth century, the name of Harrington with her Sarah Siddons his family (including a son, Paul), Walter Hampden (1879-1955) is Award in All About Eve (1950) and Hampden devoted himself to the rarely mentioned. This is an as Humphrey Bogart’s theatre. The respect of his fellow unfortunate omission; in his cantankerous father in Sabrina thespians led to Hampden’s time, Hampden was a highly (1954). These are the only tangible selection as fourth president of respected and serious actor, evidence of his acting skill (aside the Players Club, following three the logical successor to Edwin from some excellent character legendary predecessors: Booth, Booth, a theatrical icon photographs reproduced in the Joseph Jefferson, and John Hampden emulated by playing book), but Smith rightly focuses on Drew. Without question, many roles associated with him. Hampden’s stage career. Hampden’s memory is well- Hampden’s long career began served by this meticulously in Shakespearean productions Smith reconstructs Hampden’s researched and highly readable in 1901 in support of the likes of performances in breathtaking biography, a necessary volume Ellen Terry and Frank Benson detail, making the ephemeral seem for any theatre collection or in England, although he was an corporal. He succeeds scholar of the American stage. American born in Brooklyn, NY. simultaneously in illuminating Hampden won stardom on Hampden’s achievements while Broadway (and on the road) creating a vivid portrait of the James Fisher from the 1910s in roles as evolving American stage of an University of North Carolina- Greensboro
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BOOK/MEDIA REVIEWS
Cari Beauchamp. Joseph P. He is described as, ―The first and hires and consoles her husband; Kennedy Presents His only outsider ever to fleece and, to hear Swanson tell it, Hollywood Years. New York: Hollywood.‖ Beauchamp makes a makes love with the same Alfred A. Knopf, 2009. 506 pp. strong case for Kennedy’s film lightning speed efficiency that he ISBN 978-1-4000-4000-1. industry earnings (and not merges companies. bootlegging) as the bedrock of his fortune. He meets his Waterloo in the form of the Erich Von Stroheim- The book deals more with math directed, Gloria Swanson-starring than movie stars. For every Tom vehicle Queen Kelly. The penny Mix anecdote there are three pinching mogul sinks millions into breakdowns of common stock a never to be completed mélange offerings and shell corporations. of prostitution and
...Beauchamp’s breakdown of Kennedy’s financial manipulations are where the book’s real value lies...
While the gossip is delicious and sadomasochism that starts off in larded with royalty, captains of a Swiss convent and ends up in industry and oval office occupants, an African brothel. In the middle Beauchamp’s breakdown of of filming, The Jazz Singer opens Kennedy’s financial manipulations and the task of adding sound is where the book’s real value lies makes things go from bad to making it the perfect pick for the worse. Kennedy, true to his Sammy Glick on your Christmas character, walks away with a list. profit. Gloria Swanson is left as I n the decade covered by the destitute as when she first met bulk of Cari Beauchamp’s book Kennedy’s motivations for his Kennedy, richer only by a newly (1927-1938), Joseph P. Kennedy titanic whirlwind siege of learned determination to runs four movie studios Hollywood—ego and greed—are scrutinize with a fine tooth comb simultaneously; pursues, beds, clearly delineated. He grows up every contract she signs from swindles, and abandons Gloria with a nice sized chip on shoulder then on. Swanson; invents product nurtured by prejudice (no Irish placement; fires Cecil B. De Mille; Catholics allowed in the elite This book is highly recommended drives cowboy star Fred Harvard clubs) and his future for any library with a film Thomson to an early grave with father-in-law John Fitzgerald’s collection. The scholarship, questionable business dealings; insistence that Kennedy was not particularly in regard to revolutionizes film financing and good enough for Fitzgerald’s Kennedy’s financial dealings, is accounting; kills vaudeville; and daughter Rose. Kennedy clear and precise. Beauchamp’s that’s not the half of it. compensates by not only piling up storytelling skills add warmth and a mammoth tower of cash, but also dimension to a central subject Beauchamp introduces us to the becoming such an influential public who, in lesser hands, could have Joseph P. Kennedy of the figure that he considers running devolved into a reptilian twenties and thirties, a virile multi- against FDR. stereotype. tasking go-getter far removed from the frail patriarch he was to Kennedy’s affair with Gloria become in the sixties. Kennedy Swanson is depicted with enters the film industry for the compassion and candor. He takes John Frank glamour and stays for the profits. over Swanson’s failing finances; Los Angeles Public Library
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BOOK/MEDIA REVIEWS
Ann Elizabeth Armstrong, Kelli The material is presented in four A case in point is Diane Glancy’s Lyon Johnson, William A. sections. Section I, ―Looking Back, ―Pushing the Bear,‖ which Wortman, eds. Performing Looking Forward,‖ argues for the dramatizes the Cherokee Trail of Worlds Into Being: Native performability of Native art and Tears. Learning how Glancy American Women’s Theater. illustrates the consequences of its ―listened to the voices of the Oxford, Ohio: Miami University appropriation. Articulating the wide land,‖ brought to mind the Press, 2009. 193pp + DVD. range of the Native literary tradition dramatization by Tom Topash of ISBN 978-142433112-2. of performance, the authors bring the Potawatomi Trail of Death, in into focus ―the themes that appear which he too began at an throughout the rest of the volume: ancestral place and followed the transformation, creation, forced footsteps away, showing community, participation, healing, survival as victorious over and hope‖. decimation.
Section II, ―Honoring Spiderwoman Section IV, ―Collaboration and Theater,‖ is the book’s fulcrum with Community,‖ contains four the script and DVD containing the perspectives on bringing the page
Articulating the wide range of the Native literary tradition of performance, the authors bring into focus “the themes that appear throughout the rest of the volume: transformation, creation, community, participation, healing, and hope”.
Theater’s performance of to stage and makes a case for all Persistence of Memory by Lisa theatre artists to work together Mayo, Gloria Miguel, and Muriel and against marginalization. P erforming Worlds Into Being Miguel, who also directed. Equally contains an inspiring and heightening the experience is the One can read straight through or essential sharing of scripts and public interview of the actors, meander. Whatever path one production histories, academic coordinated by Ann Haugo. takes, it’s a journey from which articles, personal narratives, one emerges transformed. Not stories, poems, and interviews Section III, ―Voices,‖ provides five since the Minnesota Humanities referencing Native American short, diverse scripts, illustrating Commission’s multi-cultural women’s theater. The seventeen that while Native playwrights Braided Lives project and book contributions were originally develop work that is distinctive from (1991) has this reviewer been so presented at a conference white mainstream dramatic thoroughly engaged by the entitled ―Honoring Spiderwoman literature, Native theatre is by no energy of the written word, with Theater/Celebrating Native means homogeneous. Stories of memory at the cutting edge of American Theater.‖ Revised for relationships, connectivity and observation. publication, the volume will entice confrontation vary from tribe to a broad readership, from the tribe; comedy grows organically browser at a library or bookstore, through the situation and memory to the theatre professional, to the circles into and out of ancestral academic. It can serve as a experience. Each playwright has textbook, supplemental reader, developed a vision and a mission and kitchen-table-conversation to bring forward the genre while Rita Kohn starter. maintaining a personal voice. Freelance Writer, Author, Playwright, Director
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Prentki, Tim and Sheila It is beautiful to see how a form of when it discusses how difficult it Preston, eds. The Applied artistic and human expression such can be to get a ―too well- Theatre Reader. London/New as theatre can be applied in ways behaved‖ audience to take part in York: Routledge, 2008. 380 pp. that include fighting social injustice, performance events that require ISBN-13: 978-0415428866. promoting social inclusion, audience participation. Jonathan educating youth, and restoring Fox’s application of playback people’s self-esteem. The marriage theatre in Burundi—in which of activism and theatre’s healing audiences see their thoughts and and transformative power is an feelings immediately enacted by ideal one. A section of Prentki’s performers—is a further example and Preston’s useful Introduction of how a theatre method guides us through the history of developed in one culture can be applied theatre and reminds us of usefully employed by another. how true theatre has always been Michael Etherton’s ―Child Rights linked to transformation and action. Theatre‖ presents not only the meeting of different national cultures, but also the meeting/
The marriage of activism and theatre’s healing and transformative power is an ideal one.
The book presents new writings by opposition of child/adult cultures 26 contemporary scholars, artists and dominant/unrepresented and practitioners from around the cultures. world, alongside classic theorists, writers and activists such as Dario The book opens up many new T he Applied Theatre Reader Fo, bell hooks, Mikhail Bakhtin, directions to those who have offers an effective introduction to Augusto Boal, Antonio Gramsci, never used theatre for social how theatre can be used as a tool Paulo Freire, and Noam Chomsky change, and provides useful to improve people’s lives in a among others. The writings examples and reflections for variety of situations and to raise complement and illuminate each those already engaged in social awareness of social and world other throughout the parts of the practice. It is great for scholars, issues. Tim Prentki and Sheila book. educators, students, artists, Preston have collected new practitioners, and even the writings and excerpts from the The chapters present a range of general public because it work of almost 50 authors, examples of applied theatre, some balances theoretical pieces with addressing themes related to more successful than others. It is more practical ones, and uses a fields such as theatre in fascinating to see how the variety of writing styles that can educational settings, theatre in encounter of cultures plays out. For be accessible at different levels. It prison, community performance, example, Lois Weaver’s ―Doing is worth reading and interventionist theatre, theatre Time‖ shows how working with recommending to others. used in conflict resolution, and women in prison took on very much more. The many points of different connotations in the United view and applications discussed Kingdom and in Brazil. To some provide the reader with a great degree, Adrian Jackson’s overview of this fascinating ―Provoking Intervention‖ also approach to theatre practice. speaks to cultural interaction, within Francesca Marini the framework of Boal’s approach, University of British Columbia
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Stephen Tropiano. Obscene, to ―protect‖ the public from the films prove especially worth Indecent, Immoral, and possible harm embodied in all reading. Epics like The Outlaw, Offensive: 100 Years of those flickering screen images, and The Moon Is Blue, Ecstasy, Baby Censored, Banned, and Tropiano offers an entertaining Doll, Natural Born Killers, The Controversial Films. New York: overview of the decades-long War Game, A Clockwork Limelight Editions, 2009. 364 campaign for cinema purity and Orange, The Connection, and pp + illus. goodness. For both the historians even Betty Boop are recalled, ISBN 978-0-87910-369-0 and nostalgia buffs among us, he often with the authorial tongue (paperback) also examines individual films firmly in cheek, for their meriting special attention in this importance in cinema censorship area. history.
As entertaining as Obscene, Indecent, Immoral, and Offensive will be for the general reader, scholars will also welcome its detailed, behind-the-scenes survey of film censorship.
In plentiful but well-written detail, Tropiano traces the censorship As entertaining as Obscene, movement from 1896’s infamous Indecent, Immoral, and Offensive A s a late 1960s teenager, I trailblazing ―flicker‖ The May Irwin will be for the general reader, remember being intrigued and Kiss through the seemingly never- scholars will also welcome its slightly titillated by the phrase ending controversy surrounding detailed, behind-the-scenes often appearing in movie religion on screen, as embodied in survey of film censorship. advertising at the time: ―This film 2004’s The Passion of the Christ. Tropiano offers nearly ten is suggested for mature appendices beyond his main text, audiences‖. These magic words In between, he closely examines including verbatim versions of were used to prevent children the creation and inner workings of: 1921’s ―Thirteen Points‖ of and other impressionable young the Production Code behavior not to be allowed on people from inadvertently Administration, the industry’s chief film; the 1930 Production Code, stumbling onto potentially censor mechanism through the plus its later supplements and inappropriate movies, and early 1960s; its sister revisions; the official description foreshadowed Jack Valenti’s organizations, the National League of 1968’s Motion Picture Ratings famous letter-based rating of Decency and the Classification System, and several others. system, lurking just around the and Ratings Administration; and These ―extras‖ may be skimmed bend. the birth of the Motion Picture or bypassed, but they offer much Rating System, which introduced for the interested reader. As I contemplated just how ―G,‖ ―PG,‖ and ―X‖ into our culture ―mature‖ I really was at that age, for all time. Obscene, Indecent, Immoral, and little did I know what a long and Offensive is recommended for winding road had preceded those He also discusses film content and film and culture buffs interested in words, i.e., the history of those eternal themes bringing just how far America has attempted, and sometimes consistent challenges to those who progressed, censorship-wise, in successful, film censorship. would determine what the rest of us the last 100 years—and in how Stephen Tropiano’s latest effort can/not view----profanity, sex, ―mature‖ we’ve really become. tells an engrossing tale. violence, religion, nudity, and politics, to name a few. For more than a century, (usually) well-meaning public servants and Along the way, Tropiano’s brief Catherine Ritchie other authorities have attempted profiles of individually notorious Fine Arts Division Dallas (TX) Public Library
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Wheeler Winston Dixon & of thoroughness and conciseness, But arguably just as valuable as Gwendolyn Audrey Foster. A but it also encourages meaningful the book’s content are the Short History of Film. New browsing, as readers are ―supplements‖ provided therein. Brunswick, NJ: Rutgers encouraged to stop, start, pick and These include a ―timeline‖ from University Press, 2008. 440 pp choose their topic of particular 1832 to 2006 delineating + illus. ISBN 978-0-8135-4270-4. interest and then move on as important developments both (paperback) desired. In other words, the book cinematic and world-historic; and rewards both cover-to-cover a glossary of film terms. Perhaps reading and more sporadic ―as time most significant are permits‖ perusal. bibliographies divided by ―Director,‖ ―General History,‖ ―Genre,‖ and ―Regional/National
A Short History of Film is the best “one-stop shopping” volume on cinema history I have seen in my nearly ten years as a fine arts librarian.
The authors’ major chapters focus Cinema,‖ then subcategorized by on: the invention of moving names and nations as applicable. pictures, the birth of the film Thus, if/when a reader’s appetite industry, the Hollywood studio is whetted for additional system and concurrent information on a particular developments in international director or individual country’s moviemaking, the influence of film output, more recommended World War II and other historical titles are close at hand. Such lists events on subsequent decades of add immeasurably to this book’s filmmaking, ―world cinema‖ from the already considerable worth. 1970s to the present, and the ―new Hollywood‖. A Short History of Film is highly A s a public librarian recommended for high school specializing in the performing Within each chapter are numerous and college cinema history, fine arts, I’m often asked to subdivisions, including: thumbnail arts, and humanities courses. It recommend a book on ―movie discussions of individual directors will also gift general readers with history‖. Surprisingly enough, and their seminal films; thematic an expansive and entertaining finding a single volume topics such as ―escapism‖ and journey through an ever-evolving adequately encompassing the ―woman and film noir‖; and art form brought to fruition by a complete development of such a international developments in world century’s worth of dedicated wide-ranging artistic genre has politics affecting the arts, e.g., craftspeople. ―One-stop been more difficult than one ―Germany and the Cold War‖. shopping‖ was never so might expect. But thanks to Major emphasis throughout the text enjoyable. Wheeler Dixon and Gwendolyn rests on important directors and Foster, my quest has ended and significant examples of their work, in glorious fashion. described in precise yet engaging prose. A Short History of Film is the best ―one-stop shopping‖ volume on The book is well-illustrated with cinema history I have seen in my historic black/white movie stills, nearly ten years as a fine arts along with color photography from Catherine Ritchie librarian. It offers not only a blend recent decades. Fine Arts Division Dallas (TX) Public Library
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Eli Rozik. Generating Theatre disciplines ranging from the difficult ideas from previous Meaning: a Theory and obvious (aesthetics and semiotics) chapters. Methodology of Performance to the unexpected (phenomenology Analysis. Eastbourne, East and neurobiology). He manages to While the performance examples Sussex, U.K., Sussex present these difficult offer a great illustration of Rozik’s Academic Press, 2008. 292 pp. interdisciplinary subjects in a methodology, it also reveals the ISBN 978-1845192525. manner that avoids becoming difficulty in analyzing a unique bogged down in jargon. live event. An analytical focus on the written text itself is certainly Part One appropriately focuses on not an adequate representation of
...attempts to address these issues and construct an effective methodology of performance analysis; while his execution is not flawless, Rozik impressively accomplishes this goal.
semiotics, a field traditionally used a multifaceted event like a by theatre scholars to support a theatrical performance; however, text-based approach. Rozik deftly it does have the immense benefit critiques prior research while of accessibility. People may not repositioning theatre semiotics as a be able to see a particular A sea change has occurred in nonverbal field. The second part of production of a dramatic text, but the last few decades of theatre the book goes further towards they can typically read it without scholarship, from a textual focus establishing his methodology. any difficulty. Rozik claims this to an increasing critical Rozik’s discussion of the role impediment can be overcome awareness of the important role directors and spectators play in through a combination of a of performance. Although its constructing a performance text is detailed written description of the importance seems obvious, particularly interesting. His event and video documentation. performance considerations distinction between ―implied‖ and The author acknowledges the continue to be neglected in ―real‖ directors and spectators limits of these approaches but theatre research, primarily due to cleverly addresses the problem of correctly argues that even with the inherent difficulty of analyzing interpretation for both parties. these limits, criticism that an ephemeral object, such as Rozik argues that while each script includes the performance performance, in a concrete has ―implied‖ directorial actions, element is a much stronger manner. In Generating Theatre they are far outweighed by the alternative to an entirely text- Meaning, Eli Rozik attempts to many gaps which necessitate a based approach. address these issues and ―real‖ director’s creative construct an effective intervention, therefore making a Generating Theatre Meaning is a methodology of performance faithful interpretation of a crucial step in the evolution of analysis; while his execution is performance-text impossible. His dramatic analysis and creates a not flawless, Rozik impressively notions of ―implied‖ and ―real‖ firm foundation upon which to accomplishes this goal. spectators allow for performance- build future performance analytic texts to have specific and techniques. Rozik’s book is The scientific tone Rozik employs achievable aesthetic goals without essential for anyone interested in may appear at odds with a topic ignoring the reality of individual critiquing, creating, or as abstract as performance. In perspectives. The author closes appreciating live theatre actuality, this is the book’s with a series of actual examples of performance. greatest strength. Rozik performance-text analyses effectively supports his argument illustrating the methodology at work through a variety of academic and elucidating some of the more Michael Saar Lamar University
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Paul Firestone. The Pulitzer mindedness and flexibility, and performance aspect, but Prize Plays: The First Fifty then ultimately devolving into a Firestone remains an engaging Years 1917-1967: A Dramatic simple ―best American play‖ prize. guide. Reflection of American Life. He makes a strong case that the New York: Limelight Editions, American drama might be missing Unfortunately, Firestone’s 2008. 341 pp. something by no longer having an authority is sometimes marred by ISBN 978-0-87910-355-2. award that consciously recognizes typos and outright errors. Pulitzer’s stated values—nor does Typographical glitches, for Firestone miss the irony that example, place scenes from Pulitzer himself would often Robert Sherwood’s Abe Lincoln sacrifice such values to sell his in Illinois in the 1880s rather than papers. the 1860s. More seriously, in his
Unfortunately, Firestone’s authority is sometimes marred by typos and outright errors.
The book proceeds not appendix evaluating the Pulitzer chronologically, but rather in choices, he questions the P aul Firestone’s ambitious and groupings by cultural themes: omission of O’Neill’s The Iceman comprehensive book brings ―Family Life,‖ ―Social Protest,‖ Cometh for the 1946-47 season, together summaries and analyses ―Political Heroes,‖ ―Morality and citing Jason Robards’s brilliant of the 42 Pulitzer Prize-winning Survival in a Materialistic Society,‖ performance as Hickey—a plays first produced in New York and ―The Spiritual Condition of performance he didn’t give until between 1917 and 1967. As a Humankind‖. Firestone thus the 1956 off-Broadway revival. ―lifelong…theater aficionado,‖ provides the reader the opportunity Later, he correctly notes that Firestone infuses considerable to compare masterpieces with Clifford Odets’ The Flowering love and enthusiasm in his curiosities (Hell Bent for Heaven, Peach was in fact chosen by the overview, frequently ending for example, is paired with A Pulitzer jury, but passed over in observations or explanations of Streetcar Named Desire) as he 1955—but he incorrectly plot twists with exclamation points illustrates just how these prize- identifies the winning play as The as he invites us to share and winning plays, often varying wildly Diary of Anne Frank, which won appreciate the forthright emotions in style and quality, dramatically the following year. (The 1955 and theatrical excitement these reflect American life. Pulitzer Prize-winning play was plays provided their first Cat on a Hot Tin Roof.) audiences. Firestone’s analyses also vary considerably, from straightforward Despite these blemishes, Firestone opens with a sketch of summaries to disparaging critiques. however, Firestone’s the life and intentions of This strategy encourages and achievement provides the theatre newspaper publisher Joseph revisits arguments concerning the researcher with an invaluable tool Pulitzer, whose original criteria for validity of the Pulitzer choices, with which to explore the first 50 the prize included plays that including the famous Harvey years of one of American drama’s demonstrated good manners, versus The Glass Menagerie most significant awards, and of good morals, and the educational decision—a choice that still rankles the plays that would ultimately be power of American drama. A some theatre fans. His take on called Pulitzer Prize winners. major thread of Firestone’s book plays also ranges from literary Michael Schwartz concerns the evolution of the explorations of symbols and Adjunct Instructor original Pulitzer criteria, at first classical allusions to analyses that Widener University allowing for more open- emphasize the plays from a Neumann University
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D'Monté, Rebecca and Graham 1990s British theatre is viewed as Although the essays in this Saunders, Eds. Cool Britannia? definitive. The collection is collection are fairly divergent in British Political Drama in the organized into three parts, terms of theoretical 1990s. Houndsmills, beginning with a useful underpinnings and playwrights Basingstoke, Hampshire: reassessment of In-Yer-Face and genres explored, there are a Palgrave Macmillan, 2008. 240 Theatre as well as an few points regarding political pp. ISBN 13: 978-1403988133 acknowledgement of the writers theatre in Britain in the 1990s on and styles that fall outside the which the authors agree. First, purview of that designation yet 1990s political theatre did not were also instrumental in shaping utilize the tactics employed by the theatrical and political discourses in socialist and/or feminist the 1990s. playwrights of the 1970s and 1980s. Second, the influence of The second section specifically Thatcherism and the subsequent addresses the work of women resistance to it could be seen writers who have largely been left throughout the UK into the mid- out of discussions of a period in 1990s. Third, New Labour
...1990s political theatre did not utilize the tactics employed by the socialist and/or feminist playwrights of the 1970s and 1980s. N arratives of British theatre in the 1990s are dominated by discussions of the shocking and, British theatrical history known for attempts to rebrand the UK as by some accounts, apolitical its "laddism." The exception is "Cool Britannia" resulted in a sensibilities of a handful of young Sarah Kane, notorious especially profound dis-identification with writers variously labeled as New for her work with the Royal Court. that label on the part of many Brutalists, New British Nihilists, Although the editors specifically left artists who devised critiques of and In-Yer-Face Theatre. out essays that address her writing consumer capitalism, Rebecca D'Monté and Graham exclusively, many articles in the globalization, and even Saunders have compiled a collection invoke her work. The postmodernism. collection of essays which third section explores work by acknowledges the profound writers in Scotland, Ireland, and The specificity of this collection in impact of these writers while Wales, examining fraught terms of geography, chronology, simultaneously reframing their constructions of nationhood. and pointed textual analysis may political significance and offering incline some readers to view this a broader examination of 1990s The two concluding articles by work as appropriate only for a British theatre that moves beyond Rebellato and Greig, respectively, niche of specialized scholars. this coterie of playwrights and do not fit tidily within this section However, the continuing outside the confines of London. but do serve as excellent popularity of the In-Yer-Face Cool Britannia? British Political concluding pieces. Rebellato writers and their contemporaries Drama in the 1990s offers an artfully connects to some of the as well as the newfound assortment of essays that larger themes running throughout possibilities for what constitutes emerged from the "In-Yer-Face? the collection: challenges to political theatre, make this British Drama in the 1990s" monolithic conceptions of identity, collection appealing to a wider Conference held at the University displacement, and disconnection. audience. of West England, Bristol in 2002. Greig's essay functions as a manifesto that encourages theatre D'Monté and Saunders' text artists to redefine political theatre in Christine Woodworth features essays by several the twenty-first century. University of North Carolina- prominent figures whose work on Greensboro
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BOOKS RECEIVED
Auge, Mark. Casablanca: Movies and Memory. Minneapolis: University of Minnesota Press, 2009.
Constantinidis, Stratos. Text & Presentation, 2008: The Comparative Drama Conference Series, 5. Jefferson, NC: McFarland & Company, Inc., 2009.
Mortimer, Lorraine. Terror and Joy: The Films of Dusan Makavejev. Minneapolis: University of Minnesota Press, 2009.
Schwartz, Michael. Broadway and Corporate Capitalism: The Rise of the Professional-Managerial Class, 1900-1920. Palgrave Macmillan, 2009.
UPCOMING EVENTS
February 2010
12 TLA Board Meeting John Jay College of Criminal Justice New York, NY
15 Deadline for proposal submissions for the TLA Plenary at ASTR-TLA
26 Deadline for the March 2010 issue of BROADSIDE
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