THE UNIV ERSITY OF NORTH CAROLINA SESQUICENTENNIAL PUB LI CAT IONS

L s Wilson Direc tor oui R. ,

CHRONICLES OF T H E SESQ UICENTENNIAL

1 8 - THE UNIVERSITY OF NORTH CAROLINA, 7 9 1 8 3 5 A Documentary History

THE CAM PUS OF THE FIRST STATE UNIVERSITY

THE GRADUATE SCHOOL : RESEARCH AND PUBLICATIONS

THE GRADUATE SCHOOL : DISSERTATIONS AND T HESES STUDIES IN SCIENCE STUDIES IN LANGUAGE AND LITERATURE

A HUNDRED YEARS OF LEGAL EDUCATION A STATE UNIVERSITY SURVEYS THE HUMANITIES SECONDARY EDUCATION IN THE SOUTH

IN SEARCH OF THE REGIONAL BALANCE OF AMERICA STUDIES IN HISTORY AND POLITICAL SCIENCE

LIBRARY RESOURCES OF THE UNIVERSITY OF NORTH CAROLINA RESEARCH AND REGIONAL W ELFARE ’ PIONEERING A PEOPLE S THEATRE

UNIVERSITY EXTENSION IN ACTION

BOOKS FROM CHAPEL HILL PION E E R IN G

A PE OPL E ’S TH E AT R E

Edited with a Foreword bf

QAR CH IBA L D H EN D E R SON K E N A N P R O F E S S O R OF M AT H E M A T I C S

CHAPEL HILL THE UNIV ERSITY OF NORTH CAROLINA PRESS 1 945

F o r e w o r d

By' ARCHIBALD HENDERSON

V ER than of a period of somewhat more a quarter a century, an organization for the furtherance of the arts Of the drama and the The C theatre, known as arolina Playmakers, has flourished here its under the leadership of founder, the late Frederick Henry 1 9 1 9 - 1 945 of Koch . During this period, , upwards four thousand students have joined the organization and participated in its activities ; and hundreds of thousands Of people have attended the indoor and outdoor productions

i , , i and listened in on the rad o broadcasts Of plays original and classic, l ght ' - and serious, farce, comedy, tragedy, tragi comedy, pageants, and historical The of dramas . stimulating influence this preoccupation with the drama and C the theatre, which rapidly pervaded North arolina and the Southeastern area, eventually spread throughout the entire country and into Canada, and focused attention upon Chapel Hill as a radiating center of inspiration and as a beacon light to the younger generation . ’ ee Peo le T eatre X N 1 T e Pion rin a s h has V ol . V I I O. h g p appeared as , , Of Pl - Boo is Carolina ay le. It singularly appropriate that a volume which m serves both as a memorial to Koch and as a survey, sum ary, and appraisal of The C a Of the labors and accomplishments arolina Playmakers, should p pear during the culminating year Of the Sesquicentennial Celebration of the ’ University of North Carolina and be included in the Sesquicentennial Pub i a ion Of l c t s Of the University. It follows soon upon the passing that vivid and perennially youthful spirit—reminiscent Of Milton’s friend drowned in 1 63 7 :

For is Lycidas dead, dead ere his prime,

c not . Young Ly idas, and hath left his peer

T or his volume, without pretension to be either formal history complete The C record, presents a cross section Of the life and growth Of arolina Play makers . Here are highlights, actors, interpreters, scenery, background i the essent als of a true drama in the educational history Of the Nation . Koch of Of presents the ideology folk playmaking ; Selden, the able new leader,

1 9 3 8 5 U PIONEERING A PEOPLE’S THEATRE

fers a thoughtful appraisal and lucid estimate, both of Koch the personality, of of a of player, and sower dreams, and the pl ce dramatic arts in the Univer i s ty curriculum . In vivid strokes are portrayed the original and authentically American contributions Of Koch to the American drama and theatre : the “ ” meaning and inspiration of the folkplay and the democratic technic Of critically moulding the creative product . In his inimitable individual way,

'

Green . the la wri ht to Paul , most notable p y g emerge from this aura, describes ' birth an s o R COflman of the p g of dramatic creation , and Ge rge aleigh , head E the nglish Department, sanely reviews the past and constructively outlines i 1 3 Hei a prom sing course for the future . In ample detail described by Kai berg-Jurgensen the remarkable spread of popular interest in the drama fos tered through extension activities ; and practical plans for a d ramatic art E building are clearly drawn by Selden . special gratitude for highly compe tent cooperation is tendered the members Of the editorial staff : Samuel c Selden, for comprehensive contributions and wise riticism ; Marion Fitz r t i i Simons, for a se ies of vivid vignettes of the s afi ; Virg n a Spencer, for

painstaking help in making the records available .

C/ m el H l N i l . c p , ; C O N T E N T S

FOREW ORD H KO — TH E M AN H IS W FREDERICK . CH AND ORK Associate Pro essor o Dramatic Art Samuel Selden, f f TW ENTY-Si x YEARS OF TH E CAROLINA PLAYMAKERS Samuel Selden DRAMA IN T H E SOUTH H Ke P o e o o D matic A t . nan r ss r ra r Frederick Koch , f f SCHOLIUM SC RIBENDI H Kenan Pro essor o M athematics Archibald enderson, f f FIRST STAGE AND FIRST THEATRE H Frederick . Koch FROM SCRI PT T O STAGE E Journalist dward Muschamp, DRAMATIC ART IN A UNIVERSITY PROGRAM Samuel Selden TH E LYRIC LA! Y SOUTH Pro essor o Dramatic Art Paul Green, f f DRAMA IN EXTENSION - V isitin Lecturer i Dramatic Art Kai Heiberg Jurgensen, g n PRESENCE BY T H E RIVER Paul Green A DRAMATIC ART BUILDING Samuel Selden M IRACLE AT MANTEO ’ F - F or e I structor n En lish Woman s Marion itz Simons, m r n i g , College of the University of North Carolina RETROSPECT AND PROSPECT R Coifman Ke e . nan Prof ssor o En lish George , f g TH E STAFF OF TH E CAROLINA PLAYMAKERS Mari on Fi tz-Simons

P P BY TH E L P 1 1 8 - 4 LAYS RODUCED CARO INA LAYMAKERS, 9 4 Vi i i Assistant in Dramatic Art rg n a Page Spencer, CAROLINA FOLK PLAYS PUBLISHED IN BOOKS Vi rgi ni a Page Spencer

m ag V“ F rederic k Hen ry K oc h

Ke a o e o o Dramatic Art oun der o The Caro P n n Pr f ss r , f lina la makers f f y , ather o folk drama in America teacher o Paul Green Tom Wol e f f , f f , o atha Daniels H oward Richardson Geor e Denn a d othe c eat ve J n n , , g y n r r i mi ds Ins irer o la s ex ressin the lives o tenant armers indu trial n . p f p y p g f f , s workers Ne roes eo le o the mountain coves the Piedmont the ine , g , p p f , , p ba e s a d he t de wa er — la s o all the eo l e H e was the cham io rr n n t i t s p y f p p . p n o the democratic s irit and o the ree and oble ima ination H e inst lled f p f f n g . i in all the eternal uest o the human s irit or a reer and better world The q f p f f . ma becam de the dea beca e a moveme t a d he o e e t be n e an i a, i m n , n t m v m n came a national in titutio — the olk drama o America s n f f .

We shall miss him his i e his do and his au nt ste down the villa e , p p , g j y p g streets his c onstant enthusiasm as resh as the rst mornin o his reat , f fi g f g h o es n ow and orever a art o the li e service and traditions o the Uni p , f p f f , f versit o North Carolina We bow our heads in sorrow and a reciation y f . pp or th e reat l oss which has c ome o his wi e and so s and to the Universit f g t f n , y an the Natio We li t our hearts n exceedin o or the noble li e—work d n . f i g j y f f of Frederick H enry Koch immortal in the plays of the people to be carried o oved n in his name at the University of the people in the village he l .

To the reverent care of all who love him we n ow entrust hi s blessed c om memo ation n the hall al o e o H ll H e lives on in r i s w ks and r sts Cha el i . , f f p the creative s irit o outh walkin their wa s writin their la s and p f y , g y , g p y kee in li hted his ire ro e e t o o e on p g g f s f m g n ra i n unt g nerati . m P Graha . . F r e d e r i c k H e n r y K o c h ( Ghe M a n and His Work

By‘ SAMUEL SELDEN

N the concluding part of his commemorative tribute to Professor c T - A Frederick H . Ko h on the occasion Of the wenty First nni ver ar Th l A s y of e Carolina P aymakers, rchibald Henderson read ’ Of V C some verses achel Lindsay s describing John hapman, famil “ ” A on iarly known as Johnny ppleseed, and then remarked the similarities

The . between two personalities . resemblance is striking The Johnny Appleseed Of a century ago moved as a young man from his home in the East to the new land along the western frontier and there began He a unique life work . raised young apple trees for the pleasure and benefit

Of other people . Keeping ever a little in advance Of civilization, he used to a and clear a place in the forest, pl nt his precious seeds, fence in the patch, T wait for the settlers to establish themselves around him . hen he would “ ” i fi enn i for d spose Of the shoots for a pp y bit apiece, or g ve them away B nothing, and move on to prepare another nursery . efore his death he had dotted the countryside with his fruit trees . “ ” A - Johnny ppleseed has been described as a bright eyed, kindly, simple a he rted little man who loved children, animals and all growing things who took delight in the woods through which he walked endlessly; and who was fond of expounding to everyone who would listen to him his philosophy of goodness. of In this century, Mr . Koch reversed the pilgrimage his prototype by W E too moving from the est to the ast . He was a man with a kindly phil osophy Of human goodness who found a passionate pleasure in the beauty Of a the woods, in anim ls and flowers, but particularly in children, and in those grown people who still possess the hearts of children . He too carried with hima bag of magical seeds which he planted in many fertile places . II

H on Frederick enry Koch was born at Covington, Kentucky, September 1 1 1 9 00 2 8 77 . O W y , , He was graduated from hio esleyan Universit in

“ El l is" PIONEERING A PEOPLE’S THEATRE

’ 1 and received his Master s degree from Harvard in 9 0 9 . In 1 9 0 5 he ac cepted an appointment as instructor in English at the University of North of r A a Dakota . Here he began his long career pionee ing for an meric n ’ people s theatre . Starting at a time when any kind of scholastic theatre was generally

frowned upon by university authorities, on a campus which did not boast a or theatre building even a formal stage, Frederick Koch immediately went

to work to organize the interest and participation of the Dakota students . During the thirteen strenuous years he spent at that university he produced c com classi al plays, both ancient and modern, conducted experiments in unal m playwriting, and initiated the composition by students of original - a The one act dramas dr wn from native prairie materials . He founded Da k y i of ota Pla makers, and d rected their productions new plays both at home d on an tours around the state . When the experiments in original playmaking in the West attracted the of E attention Dr . dwin Greenlaw and Frederick Koch was persuaded through 1 9 1 8 r of C him in to come to the Unive sity North arolina, he extended his la writ pioneering to the South . He organized his now famous course in p y The C B Of Com ing, founded arolina Playmakers , established the ureau set r munity Drama, up a circulating libra y, helped to organize a statewide C A k of arolina Dramatic ssociation , and too the student plays the Playmakers

on tour to scores of big and little commun ities in the surrounding regions . At the same time Professor Koch stimulated groups in various parts of North Carolina into starting experimental work in communal drama ; and ’ of A he lectured in all sections the country on his favorite theme, People s

T . C heatre His summer lecture and playwriting classes at olumbia, New of C York and Northwestern Universities and the Universities alifornia, C C T Al C Southern alifornia, olorado, oledo, and berta and Manitoba, anada, stirred into creative action individuals and groups far beyond the borders Of

the home state . Throughout his career at North Dakota and North Carolina and in the k many other centers he touched in this country and in Canada, Frederic Koch was k A . , like the former Johnny ppleseed, a persistent planter He too a boyish delight in each Opportunity to journey to some spot where he had A . ri never been before lways he car ed with him his precious seed, and never “ ” of did he return without sowing some it . Preaching the Gospel, he c ll a ed his labors.

“ EN E" FREDERICK HENRY K OCH III ’ The historian who wishes to arrive at an understanding of Professor Koch s working philosophy must recognize four motive forces which gave vitality T he . to everything he did . first was his dynamic faith in young people Himself the embodiment of youth with all its enthusiastic optimism and its Of love of fresh adventure, he was drawn inevitably to the company those

of . who view life constantly with the eyes hope In the alert, unwearied, - saw ever searching faces Of young people, Professor Koch , with never a Of A a shadow doubt, the future Of meric The second force lay in his belief that every man alive possesses some k where within him the creative spar , and that this needs only a little tending T his to be made into a flame . his faith moved through all work with his students, especially those laboring to compose plays . More than anything of he imparted to them by way technical advice, it led them to accomplish ments which were Often surprising even to them . Proof to support Mr . ’ Koch s belief in the natural talents of men and women lies in the eleven vol umes of folk plays which represent the work in most part Of people who had never attempted to write even short passages Of dialogue before they had come into contact with their teacher . It lies also in the more mature work of as Tom W B such writers olfe, Paul Green, Jonathan Daniels, etty Smith,

Ni li rs. Bernice Kelly Harris, Josephina gg , Noel Houston, and othe ’ The third drive in Professor Koch s work may be found in his conviction that the most dramatic things in life are usually those which may be asso ciat d of e with common experience . Out this belief developed his long pre “ ” E r occupation with subject matter he termed folk . very man, he Obse ved, is of his E n a product environment . very you g writer, therefore, works most Off out of of successfully with materials which he sees, not afar , range his - — personal every day feeling, but near at hand those which touch him most f A intimately at every turn O his existence . Since nearly all young mericans are by training first regional in outlook rather than cosmopolitan, they are wise when they focus their beginning writing frankly on regional models . Out of a faithful study Of individuals in their home communities the authors “A gradually acquire an understanding Of men and women everywhere . ” “ of s knowledge the universal, Professor Koch remarked frequently, spring ” of H e from an investigation the specific . had little patience with smart young dramatists who persist in trying to make plays about such glamorous E but misty subjects as the court of ighteenth Century Spain, or the super

“ SU B PIONEERING A PEOPLE’S THEATRE

sophisticated manners of a much-imagined but never experienced Park

Avenue . ’ his of The fourth spur in Professor Koch s life was love the dramatic .

W . hen he was a boy, he wanted very much to be an actor Because his emi u i . a ently respectable parents were horrified at that dea, Mr Koch bec me a But teacher . , although he clothed himself with the gown Of academic dig m y his i i a i it , he actually had way ; for the pos t on he made and the org nizat on he built around himself were designed and maintained with showmanship wa to the end . His life s motivated ever by a desire to shape his particular — part of the world into a beautiful play a play full of laughing young people among whom he would have his role of the grand old man with his pipe and his dog. As a s not wise showman, Profe sor Koch saw clearly that fine plays are out of - out of made false faces and tinseled gadgets, but simple materials m viewed with love and modeled with i agination into living forms of action . “ ” And so he devoted his energy and enthusiasm to promoting folk subject a But matter. M ny Of the young people in his classes disagreed with him .

kn was . so was in the end they ew he right Later they told him , and then he happy. IV

As k k y i i , i a t p cal p oneer Freder c Koch was an explorer, a brea er Of new

of to was . ground, a planter seed ; only a limited extent he a husbandman Much Of the practical cultivation of the orchards he started he left to other

. out of hands His colleagues worked the details academic curricula, drafted of Th of the yearly calendar e Carolina Playmakers, managed the routine E i E ac xperimental Product ons, and handled the development of xtension tivities T . hey also served as guides and consultants in the planning Of new A k projects . lthough he was all his life a vigorous initiator Of creative wor ,

Mr . Koch was not himself primarily a creator . However, he had an enor

T . . . i i mous power his sprang from two great gifts First, his ability to nsp re NO one his His words were magnetic . They were compelling. in presence

. of y ever went to sleep Possessed boundless energ , Professor Koch stirred

the people about him into activity through the sheer force of his propinquity . His t T i second great gift was his ability o dramatize . hroughout his l fe E r he was essentially an actor, a trouper, a showman, a natural publicist . ve y thing he touched was interesting to him and he made it a point to see that r eve yone around him should know about it and be stirred up about it . In this

"A 4 19” FREDERICK HENRY KOCH W W ’ as f . he eminently success ul . ithout Mr Koch s talent for dramatizing Th k and publicizing, e Carolina Playma ers and the other projects he initiated h ri might, quite conceivably, ave lapsed into plodding activities, pedest an and

conventional . He sang to his work and about it, and his song made it dance

with life . l Of of Friend and champion of youth, apost e drama in the lives simple men — , y A and women actor, showman and prophet and ever Johnn ppleseed Frederick Henry Koch was a unique figure in the theatre and in the literary d an A a is l . educational world Of meric . His influence already incalcu able It doubtless increase on will as the years go .

sa m e» Tw enty-Six Y ears Of Th e Carolina Playmak ers

- ro essor och tau ht at Universit of orth D a ota. Initiated 1 90 5 1 9 1 8 . P f K g y N k work in folk a w ritin an d oun ded The a ota a ma e s pl y g, f D k Pl y k r . - rofessor och oin ed the ac u t of D e artment of n ish a n v 1 9 1 8 1 9 1 9 . P K j f l y p E gl t U i ersity of

orth Caro ina. sta ished his n ow amous course n ish 3 1 n a w tin N l E bl f , E gl , i Pl y ri g, d h a m s and foun ed T e Carolin a Pl y aker .

1 9 1 9 arch 1 4 The a ma ers roduced their first i of ri in a a s. (M , Pl y k p bll O g l Pl y

h a d t n 1 9 1 9 (July First F orest T e tre Pro uc io .

a Ral e h 20 O . 1 8 ro essor och roduced his a e nt i the Sh e herd o th e O ean 1 9 ( ct P f K p p g , g , p f c , in con

n ection with Ra ei h erc enten ar Ce e ration at Ra ei h orth a ina. l g T y l b , l g , N C rol

a m m ad h s The Carolina Pl y akers e t eir fir t tour.

u ic ati n of Caroli n a Folk Pl a s First Series. P bl o y ,

The a ma ers heatre resen t home of The Caro ina a ma ers dedi at d Pl y k T , p l Pl y k , c e by

d W od urn Chase. P resi ent Harry o b ’ ’ au Green s a In Abraham s Bo om roduced at he rovi et w a h 1 926 a . s t nc o n ouse (F ll) P l pl y, , p P Pl y ,

w W on Pu itzer rize. Ne York . l P

a amue e den oin ed acu t as n structor in n ish an d echni c a irector of 1 927 (F ll) . S l S l j f l y I E gl T l D a ma s The Carolin a Pl y ker .

irst issue of Th e Carolin a Pla -Book u ished The Caro ina a a e F y p bl by l Pl ym k rs.

Southern Re ional Con eren ce on th e Dram a he d in a ma ers heatre g f l Pl y k T .

haw- en derson estiva he d in a ma ers heat e S H F l l Pl y k T r . Playmakers p roduc ed their first Op eretta in c oll ab oration with the Dep artmen t of s M u ic . - ma ers resented three a s at the firs ati n a v a 2 a o ou . 1 934 (Ap ril 29 M y ) Pl y k p pl y t N l Folk Festi al in St. L is

ramatic curricu um se arated rom n ish an d set u in a n ew e a tme 1 936 (Sp rin g) . D l p f E gl p D p r nt of Dra ma A h ad ed r ss h A u raduat r dev d tic rt e o e or oc . m e o e . , by P f K f ll g e p ogra l p ’ 1 9 7-1 941 ive summer roduc tion s of au Green s historic a a with music Th e Lost 3 . F p P l l pl y ,

Col on sta ed an d directed amue e den on Roano e s an d orth Caro ina. y, g by S l S l k I l , N l esen ted R ano e s an d st i a s at Pr by o k I l Hi or c l A soci ion . Drama n the outh c on erenc he d n a ma at i S f e l i Pl y kers The re.

n t ati n w ad d de a I i i o of ork in R io P ro uction un r E rl Wynn . ’ Two a roductions of au Green s cottish istorica rama Th e Hi hl and f ll p P l S H l D , g

Call directed ohn W . ar er for the Ca e ear V a e cottish estiva at , by J P k p F ll y S F l

a ettevi e orth Caro ina. F y ll , N l - 1 41 Oct. Dec . our o f the Re ertor Com an of The Caro in a a ma ers esentin au 9 ( ) T p y p y l Pl y k , p r g P l ’ G reen s Th e House o Con n ell directed amue e den an d mana ed arr f y, by S l S l g by H y av D is. a The rem de ed orest heat ded d es de a ah 1 943 (M y o l F T re icate by Pr i nt Fr nk Porter Gr am. ’ 1 943 (Dec . ro essor och ave in emoria a his 39th annua readin of ic en s A P f K g , M l H ll, l g D k

Christmas Carol .

r ess d m ea r da 1 944 Au . o or och die at ia i B ch o i . ( g P f K M , Fl D The a ma ers resented th e l o0 th er ormance n i x e imental eries of 1 944 ( ec . Pl y k p p f i the r E p r S N w a e Pl ys.

“ El “? Drama In Th e South

‘ F R K H K By EDERIC . OCH

ODAY The Playmakers Of Carolina welcome you to our home of C H town hapel ill, to our historic little theatre building, the first state owned theatre in America to be dedicated to the making We are hi i of of its own native drama . t nk ng today the simple beginnings Of The Carolina Playmakers on the improvised stage in our vil - And lage high school auditorium twenty one years ago. the little homespun B B plays that found an eager and lusty response . efore this, arrett Clark was m i avers that North Carolina regarded by Sa uel French, leading publ sher “ ” E — SO k Of plays in the United States and ngland, as a dead state lac ing in dramatic interest that the entire state had been stricken from their mailing list as not being worth the price Of postage to carry their catalogues ! The imme diate success Of the first little CAROLINA FOLK PLAYS suggested to us here the “ H L The hope for a possible oasis in the South, dubbed by . . Mencken then, ” z Sahara Of the Bo art. DAKOTA FOLK PLAYS And of our i C H in thinking adventure in native playwr ting in hapel ill , i of now com ng age, we remember too the twelve years Of pioneer experiment at the frontier University of North Dakota before that time— when the T was A L . ittle heatre movement still to come Maxwell nderson, now dis A on Of our tinguished merican playwright, was e the founders Of first dra matic society there and out of the group Of which he was a charter member The P P re came Dakota Playmakers and the first RAIRIE FOLK LAYS . On ceiving a playbill Of the first original Dakota plays young Anderson wrote “ C : from alifornia, where he was then engaged in teaching If there is any Old sod is thing that would bring me back to the , it a dramatic revival ; and u ma honestly, it seems to me that if the interest and enthusiasm keep p we yyet one have comparable to the recent flowering in Ireland . I would be willing to ” And walk all the way back to the Dakota prairie to get in on that . when Y ou White later he went to New ork the first play he wrote, y remember, was

(1 An address de ivered rede h aro in a ric H. och in The a ma ers heatre at Cha e i ort C l by F k K Pl y k T p l Hll, N l , - on ri 5 1 940 for th e outher Re i a h ndin of The Caro ina Ap l , , S n g on l T eatre Festival commemoratin g the fou g l a ma ers in 1 9 1 8 -1 9 Pl y k . PIONEERING A PEOPLE’S THEATRE — — Desert of i ai of its a i , a play the vast w nter pl n Dakota loneliness nat ve H e . play of the prairie . had made a beginning Of a The plays Dakot were Often crude, but they were honest . Simple folk - — a plays, near to the good, strong, wind swept soil pl ys telling Of long, bitter d But so . winters in the little shanty plays singing, too, of the prairie spring Of unflected y of time, sunshine, Of the wilderness ga with wild roses, the of fenceless fields welling Over with lark song. Plays the travail and achieve ment of a pioneer peOpl e !

TH E BEGINNINGS IN CAROLINA The only male member Of the first playwriting course at Chapel Hill in “ ” of 1 1 8 T Tom - -a— the fall 9 was homas Wolfe, to us, a lanky six and half The foot tall mountain lad with burning eyes . other twelve members Of the - A l cO . y c ass were eds fter the meeting of the class that first da he said, by ‘ ’ ’ Profi ou Aid way Of apology, , I don t want y to think that this Ladies We l ot h - Society represents Carolina . have a Of e men seriously interested i w to no . in writing here, but they are all d sguised in army uniforms I tried ’ one for get into myself but they didn t have one long enough me . His — his — The Return o Buck Gavin first play and first published work f , a u C OL a tragedy Of a mount in outlaw, included in the second vol me Of AR INA P Of our LK S . FO LAY , was one the plays in initial production that first season ’ y “ ’ We couldn t find an one to play the part and I said to him, I guess you ll Tom Y ou y y , . y y have to pla it ourself may not know it, but ou reall wrote ” that part for yourself ! “ ’ ‘ ’ Prolf But I can t act, , I ve never acted . “ ’ ” “ r ou are B . You re a bo n actor, I assured him, and y uck Gavin his o W I shall never forget first perf rmance . ith free mountain stride, his T k y of . dar e es blazing, he became the hunted outlaw the Great Smokies here — was something uncanny in his acting of the part something Of the pent-up hi fury of s highland forbears . In his foreword to The Return of Buck Gavin Tom wrote for all beginners “ It is the fallacy of the young writer to picture the dramatic as unusual and

. The is not l . remote dramatic unusua . It is happening daily in our lives “ wr Of his playwriting that first year he ote . I have written about people k T su I have nown and concerning whom I feel qualified to write . hey have g i Is Of l gested a train Of thought that intensely nterests me, and , I believe, vita i mportance to me . My writing, I feel sure, has been made easier and better

by their production .

’ PIONEERING A PEOPLE S THEATRE

f a O considerable range and v riety, presenting scenes from the remote coves of Of C the Great Smoky Mountains to the dangerous shoals ape Hatteras . A K P th Our recent volume, MERICAN FOL LAYS, marks e extension Of our C of k A North arolina idea folk playma ing to other merican states, to Canada and . to Mexico It represents the work Of twenty new playwrights, eighteen from the United States—all the way from California and the Rocky Moun a En landm and one W C tain regions to Florid and New g from estern anada, Rio The and one from beyond the Grande in Mexico . plays included were selected from hundreds of scripts written and produced by students in play writing at Chapel Hill and in summer courses it has been my privilege to con n : C Y duct in some Of our leading u iversities olumbia, New ork, Northwest ern C C B Los A , olorado, alifornia (both erkeley and ngeles) , Southern Cali i forn a A C . , and lberta, anada In writing Of this anthology (in Th e Saturday Review of Literature Of “ ” 1 1 a The T 9 3 9 ) , e V July , under the c ption Native heatre, Steph n incent “ Benet notes : Each Playmaker has honestly tried to get to grips with some or one aspect of American life . It may be Davy Crockett a farm woman of — the North Dakota prairies it may be a cowboy comedy or an Oklahoma tragedy— the same desire to work with native materials and make something

i . , Of them s Obvious in them all It is an interesting and, in many respects a ” And E iterar Su le remarkable achievement . the nglish reviewer Of the L y pp “ ment Of The London Times 9 1 9 3 9 : T wrote on September , hose who are of - i tired thrillers, drawing room comed es and film fantasies will find these

i , . traged es farces, and sketches from real life refreshing It would be ‘ ’ worthwhile seeing whether similar folk plays could not still be evoked from ” our English scene and so bring to the drama a fertilizing influence . FOLK DRAMA DEFINED “ ” h do T e term folk, as we use it, has nothing to with the folk play of : medieval times . But rather is it concerned with folk subject matter with the difierences legends, superstitions, customs, environmental , and the ver nacul a o hu r f the common people . For the most part they are realistic and man ; sometimes they are imaginative and poetic . ’ The chief concern of the folk dramatist is man s conflict with the forces The not of nature and his simple pleasure in being alive . conflict may be apparent on the surface in the immediate action on the stage . But the ulti “ ” mate cause Of all dramatic action we classify as folk, whether it be phy ’ sical or i i sp r tual, may be found in man s desperate struggle for existence and

“ A m i?“ DRAMA IN THE SOUTH Th “ ” in his enjoyment Of the world of nature . e term folk with us applies to that form of drama which is earth-rooted in the life Of our common hu i man ty. — For many years our playwrights Of the South indeed of all America were imitative content with reproducing the outlived formulas Of the Old , W was native . world . There nothing really about them henever they did

of A . write merican life, the treatment was superficial and innocuous

TH E NEGRO DRAMA When Augustus Thomas wrote Alabama and In M izzoura optimistic her “ ” alds announced the arrival Of the great American drama ; but the play Of His wright barely skimmed the surfaces these colorful states . next play, The Witchin H our of of g , had something the jessamine perfume Kentucky romance but the ghost of the Old well-made melodrama was lugged in to re , ’ T Uncle Tom s Cabin solve the plot . hen there was , a grand Old theatre piece,

of . but its treatment the southern Negro, though sincere, was sentimental Four native North Carolinians have contributed authentic drama Of the Sou m to r : ther scene the contempora y theatre Paul Green, a challenging tragedy ’ of In Abraham s Bosom H H the Negro race , Lulu Vollmer and atcher ughes, a Sun U H ell Bent or H eaven Ann dr mas of the mountain people, p and f , and B - o uette C . Preston ridgers, domestic tragedy in a small town, g Following DuBose Por Paul Green came Dorothy and Heyward with gy, Of a Negro ’ neighborhood in Charleston ; and Roark Bradford s stories of the Green Pas tures L for A . from ouisiana, to go singing along five years all over merica And R Ed this week andolph monds, talented Negro playwright, brings to our s of Breeders Festival tage a tragedy his own people, , to be enacted by a The group Of Negro players from Dillard University in New Orleans . ’ - Negro theatre has come a long way in twenty one years . I recall Paul Green s C White first Negro play written for the playwriting group at hapel Hill, “ D esses Of M cL an— a k r , a lovely Mulatto girl, Mary e tragedy in blac and ” white, he calls it . “ ” ou E Eli Paul said, I have written that part for y , lizabeth, referring to zabeth Taylor who later played important roles in Brock Pemberton’s pro ductions B for a s on roadway five ye r . “I would love to do it ! ” But the time was not ripe, although North Carolina was a leader among We the Southern states in Negro education and in friendly race relationships . t had o wait . It was with great satisfaction in later years that this same play

W i l l i?“ ’ PIONEERING A PEOPLE S THEATRE ’ was brought to our Playmakers stage by a visiting group Of Negro players ’ And A C R . from St . ugustine s ollege in aleigh now we have flourishing Negro inter- collegiate and inter- high school dramatic tournaments each spring in The C i North Carolina . Jim row sent ment Of the Old South is gone and an our R audience crowded big Memorial Hall to the rafters when ichard B . H arrison, formerly a teacher in Greensboro, North Carolina, came to Chapel The Green Pastures Hill with . TENANT FARM DRAMA

- W l Twenty one years ago Harold i liamson, a student in the playwriting C class from nearby arthage, brought to our makeshift stage in the high school — the first play Of the Southern sharecropper hitherto undiscovered by the as American theatre as far is known . It was a little tragedy about a tenant Pe The farm girl, ggy. drab cabin that was her home which we had passed a

thousand times as a dull sight, on the stage became suddenly something new,

. n something interesting, something wonderful Here the jaded farm woma , ' wi snuflstick Mag, th protruding from the corner of her mouth, getting sup a b per Of corn bre d and fat back, singing the while snatches of an Old allad, r was no longer a commonplace figure . She had been t ansformed by the a The a -won magic Of the the tre . tragic fact Of her h rd existence had become — — a reality to us life itself that moves and feels a gripping drama ! A our neglected chapter Of the Southern scene had come to life on stage . A little later came Paul and Erma Green’s little drama Of the grinding ’ ’ poverty Of the sharecropper s life in Fixin s in which the pent fury of the - L R work driven wife, illy obinson, is portrayed with grim and terrible real “ ’ ” ’ fixin s But r . ity . She c aves a little beauty, purty her husband s eyes can t d The no see beyond the so he plows . scene is a bare cabin home in Harnett C C is — of ounty, North arolina, but the theme universal the pitiful conflict two natures which are irreconcilable . ’ ’ The next morning after our Playmakers tour performance of Fiain s in A d tlanta, before a sophisticated audience in evening ress, a man came to me ' “ t ou y Of eflec y, and said, I think I Owe it to y to tell ou the that little pla ’ ’ F xi n — i n s o . I , had me last night come from New York, and I ve been seeing or But the best shows in the theatre there f thirty years . that little play last ot SO to W night g me much that, before I went bed, I went to the estern Union ” Office and telegraphed some flowers to my wife in New York ! And after a performance in western North Carolina, the reviewer in the “ ’ Greensboro Daily News wrote : Finin s presented a scene Of such stark and

w i n s DRAMA IN THE SOUTH

terrible reality as to make at least one person in the audience want to rise up ‘ ’ d T has ot to . The be an say, his thing g be stopped little play had gone

yond the theatre into life itself . Today the plight Of this forgotten class Of country people has been vividly — — ’ portrayed for better or for worse in Jack Kirkland s sensational treat ’ ment Of Erskine Caldwell s story of the degenerate poor white sharecropper c o And - Of the backlands Of Georgia in Toba c Road . the tragi comic figure Of an irrepressible Jeeter Lester has held the stage for more than five seasons ow n . TROUPING From the first TheCarolina Playmakers have been interested in the mak

ing Of a native theatre throughout the state and beyond their own borders . T - Bus of raveling in their Show , with three sets homemade scenery atop, and er s p ortable lighting equipment, costumes, stage prop tie , they have C - and played all over North arolina, in cross roads villages in the mountains “ ” - in neighborhoods by the sea in school auditoriums, Old time opera

houses, and outlived town halls . ’ ' The Playmakers present trouping facilities Ofier a striking contrast to the first tour of The Dakota Playmakers over 8 0 0 miles Of treeless plains when it was necessary to spend several hours at a junction point sometimes wait “ ” ing for an accommodation train to take them to a little prairie town at the T see end of a branch line . hen the players drew lots to who would peddle Now The the handbills to advertise their arrival in town . Playmakers ride Of B R in royal fashion over the hills and through the valleys the lue idge , blossoming with dogwood and flaming with the judas trees Of a Carolina r - sp ing ; now announced in three sheet posters in gay colors, and by high

praise in the newspapers, their coming is like a triumphal entry. The thirty- six tours of The Playmakers have not been confined to North W - Carolina . e have played in one hundred and twenty one different towns —all B and cities the way from south Georgia to oston, Massachusetts, and as T as far west the National Folk Festivals at St . Louis and at Dallas, exas, playing three hundred and twenty- two performances to a total audience of — The C more than three hundred thousand . In their thirty Six tours arolina Playmakers have played forty- five Of the folk plays written and produced C H T originally at hapel ill . hey have played in the beautiful University T on heatre at Yale, three successive tours at Columbia University in New C Y y, ice at A T s o e ork it and tw the Fine rts heatre in Bo t n, where the troup

” El m ir PIONEERING A PEOPLE’S THEATRE was A greeted by Governor Frank llen at the Massachusetts State House . On W to . C. our first visit ashington, D , we were cordially received at the White C C so House by President alvin oolidge, who actually went far as to say he “ ” thought our work was very interesting . ’ Of The Playmakers first appearance in New York the reviewer of the “ Theatre M agazine wrote : The rare characters and the homely qualities Of ’ these plays linger in one s memory long after some Of the more Sophisticated f B o . plays roadway have been forgotten In fact, each time we witness a pro Of C O LK P S gram the AR LINA FO LAY , we feel for the moment that we, too, are ‘ ’ — on just folks along with those other folks the other side of the footlights, who transport us for a brief but happy period back to their hill country, with ” its rich traditions, legends, and folklore . DRAMA IN EXTENSION Simul taneous with the organization of The Carolina Playmakers at the University twenty- one years ago was that Of the Bureau of Community At Drama as a unit Of the Extension Division . first the work was conducted

- by correspondence and by a play lending and bulletin service . Later the demand was such that a traveling Field Director was provided to assist of schools and rural communities in the writing and production plays, pag — A a . 1 c nts, and festivals In 9 2 5 the state wide Carolina Dramatic ssociation W our was formed which, under the aegis Of John . Parker Of Department ’ Of ti Art its A T Drama c , is holding Seventeenth nnual Festival and State our me t The na n here this week as a part Of the anniversary celebration . member Of A on one ship the ssociation now includes e hundred and college, high r C school, and count y theatres from all parts of North arolina from the

Great Smoky Mountains to the shoals Of Hatteras . A remarkable development Of the North Carolina state organization is the now annual National Folk Festival held in this , the seventh year, in Wash

in on . r t C. Th g , D e founder Of the National Folk Festival, Sa ah Gertrude K as C nott, resigned State Representative Of the Bureau of ommunity Drama in North Carolina to become the founder and director of the nation- wide “ ” C can A . on celebration Of merican folk arts If e state, North arolina, do it, “ ” no Miss Knott asked, why t the United States? She has succeeded beyond all expectations . PLAYS OF A COUNTRY NEIGHBORHOOD In this connection it is interesting to note the achievement of Bernice Kelly i Purslane of LK P S OF E S Harr s, author of and of a recent volume FO LAY A TERN

m a n s» DRAMA IN THE SOUTH

CA O Of own i C R LINA, her country neighborhood n Northampton ounty, R R . T North Carolina, not far from the oanoke iver hese plays Of the simple lives and homely ways of her neighbors and friends were produced original ly in her home town Of Seaboard and brought in successive years to the an A C H B nual festivals Of the Carolina Dramatic ssociation at hapel ill . ernice E of Harris, as a teacher Of nglish in a rural high school, was a member the H - n first summer playwriting group in Chapel ill twenty o e years ago . She was so captivated by her first adventure in playwriting that she was impelled to pass On to her boys and girls the new wonder she had found in folk p lay “ ” saw Of Of she has of making. I the beauty a new sort humanism, written that first summer .

M EX ICAN FOLK PLAYS Since publishing five volumes of Carolina plays and a book Of twenty The 1 3 of M X American folk plays, Playmakers issued in 9 8 a volume E ICAN P H Ni f FOLK LAYS written at Chapel ill by Josephina ggli o Monterrey, The T Nuevo Leon, Mexico, and produced originally in Playmakers heatre Of here . Plays the humble lives of her own people, their restless history, their legends and the childlike wonder of their folkways . These Mexican C plays have been widely produced throughout the United States and anada, and many times abroad . CAROLINA AND CANADA Sometimes our home- grown plays Of Chapel Hill are transplanted to far

. A Of C Still Stands the H ouse places play the anadian frontier, , which Gwen of A C 1 9 3 8 dolyn Pharis Magrath, lberta, anada, wrote here in , was last year 1 0 0 C awarded the first prize Of $ , as the best native anadian play entered in 1 the annual Dominion Drama Festival in 9 3 9 . An . Funeral Fl owers or the Bride The other case f , written for Playmakers 1 93 7 B DuBo C in by everley se Hamer Of Eastover, South arolina (who “ ’ ” vowed at the first that she couldn t write a play ) won first place in England in the International One Act Play Competition of 1 93 8 over one hundred t - six and six y plays entered . It was produced in London at the Duchess T on 2 7 heatre November Of that year. A CHINESE PLAYMAKER — A Chinese boy came to Chapel Hill for playwriting : Cheng Chin Hsiung of n C Na chang, hina . “H ” I “ ” siung, inquired, what kind of play do you want to write? PIONEERING A PEOPLE’S THEATRE

“ — I want to write a play about the Chinese- American problem a mixed A ” marriage of a Chinese boy and an merican girl . “ ’ t —We A i . i i of good idea, but you can t do should l ke to have you wr te Old your own people . You have a marvelous store Of legend in China . We ‘ ’ are interested here in what we call the folk play . I wish you would write ” for us a Chinese folk play. “ i C -Am ic a If you let me wr te this hinese er an m rriage play first, then I will write for you a Chinese folk play . “ ” “ ’ ou k Hsiung, I said, y now that you can t understand the mind Of an

American girl . “ W n a . ell, I have been in this cou try five ye rs “ ! i ! Five years Some Of us have lived here fifty years, and we cannot do t t ” Bu y C . go ahead, write your problem pla first ; then write a real hinese play — SO he wrote a play called Poor Polly and it was well named ! T C hen he went to the storehouse of Old hina and wrote a charming play, The Thrice Promised Br de of C — a i , in the manner the hinese stage play of SO romance, Of comedy, Of poetry. We were much impressed with it that I “ eatre Arts i t SO sent it to the editor Of Th , who wrote back, I like much that I ” T for want to publish It in our next issue . here Frank Shay saw it and wrote l Twent -Five Short Pla s Inter-w permission to inc ude it in his anthology y y , T national as i n C . , the only play the volume representing hina here Henry

o 1 . for , Golden Bo k i $ 0 5 0 0 Lanier editor Of the , saw t and paid permission to reprint it . O P e B e T S oor Polly passed and The Thrice Promis d rid arrived . hen he C The M arvel ous Romance o Wen Chun- Chin wrote another hinese play, f , Poet Lore which was published in . ’ Our Chinese Playmaker s plays have been favorites not only in the United States but especially in England ; and we sent him a royalty check for a per formance a t . not long ago in far away Kuala Lumpur, Str its Se tlements

TH E CAROLINA PLAY-BOOK

Besides publishing plays The Playmakers have issued twelve volumes of P - to i TH E C O BOOK, i a unique l ttle quarterly, AR LINA LAY devoted the mak ng TH E P - of Of a native theatre . LAY BOOK has the distinction being included for two seasons in the International Exhibit of Periodicals at the Century of Progress Exposition in Chicago as one Of only three American theatre j our h — e t ta e A t als the other two being Th a re Arts and S g . valuable supplemen to

“ TH E PL -BOOK is TH E C O S G i i m AY AR LINA TA E, an attract ve publicat on in mi eo

“ t w ir

’ PIONEERING A PEOPLE S THEATRE

In November of the present year Mr . Green wrote a second drama for the ’ Th e H i hland Call bicen American people s theatre, g , commemorating the tennial Of Scotch settlement in the Cape Fear River valley of southeastern i R North Carolina, the st rring events of evolutionary times and the heroic E leadership Of bonnie Flora Macdonald . xtending the idea Of communal Th e Lost Col on The H ighland Call p playmaking in y, was roduced in Fay etteville by The Carolina Playmakers in collaboration with the citizens of

that historic town . It evoked such enthusiasm there that plans have been com

pleted for its annual production . on Of of Now Mr. Green is at work the third drama his trilogy early r Old W American history . It is to be given for the fi st time in illiamsburg, V sum irginia, beginning early in June and closing before the Opening of the

- mer long run Of The Lost Col ony on Roanoke Island . Mr . Green holds that — America was regarded by the under privileged classes in the Old world as a “ ” land Of opportunity, and that this was the compelling motive and promise which brought all classes to our shores and which America must fulfill to i validate her beg nnings . Brooks Atkinson Observes further in the above- mentioned article that we “ are just coming to realize that our country is rich in folklore and should of yield an abundant harvest drama, and a national theatre that will serve the i to entire country, should develop reg onal plays and contribute a deeper na ” tional Of an understanding . I know no better way toward imaginative, a

spiritual expression Of our tradition Of democracy . COMING OF AGE From the first we have thought Of our Playmakers as a fellowship Of — young people working happily together toward a single ideal the making Of ’ A W W a communal, a people s theatre in merica . alt hitman happily expresses “ ” An Of it, institution the dear love of comrades . Important as the individual to is in the theatre, it is well for us remind ourselves constantly that the dra W The matic is essentially a social art . hatever Playmakers have achieved is t v W due primarily to their holding fast together to such an Obj ec i e . hatever

we have done, we have done together. We - B have come a long way in twenty one years . eginning traditionally in the Department of English as a one- man theatre we now have a separate Art - tafi Of Department of Dramatic with a full time theatre s ; and, in lieu E the traditional research thesis in nglish for the Master of Arts degree, a

student may submit an original play . A a year ago the Dep rtment entered the field Of cinema and radio . Films

“ El 1 8 He DRAMA IN THE SOUTH from the Museum of Modern Art library are shown regularly in The Play ’ T The s makers heatre, and Old favorites from Playmaker repertory (and m new scripts, too) are now being broadcast fro the University radio studio over a network Of the Mutual Broadcasting System every Saturday after “ ” noon at The production this week is the first Carolina Folk Play of — When Witches Ride E y , L . twent one years ago, by lizabeth ay (now Mrs

Paul Green) . NOw we are wondering how long it will be before we take on television !

THOSE W H O COME AFTER

T ff for or Of ime alone can tell what will be the e ect, good bad, our folk ’ A to Of H olla d s Th e M a z e o the . n a in playmaking ccording the editor , g f “ South The C , the influence Of arolina Playmakers has spread indubitably of into the associated fields the novel, the short story, and even nonfiction works . From the basic idea underlying their work and philosophy stem such C H B writings as those Of aldwell, eyward, Miller, radford, Faulkner,

Stribling, and other and younger novelists . Not that many more influences have not impinged sharply and deeply on Southern wri ters and on Southern thought generally ; but The Carolina Playmakers and their example have r been a cent alizing, crystallizing, and Vitalizing force unequaled in Southern ” literature to date .

From the first we have believed in the South, we have held that the South A had something rich and strange to contribute to merica, something Of na Of A Of i tive honesty and beauty . Dr . lbert Shaw in writing the beg nnings in Dakota and in Carolina interpreted our hope in an editorial article in The “ American Review of Reviews Of September 1 9 1 9 : When every community has its own native group Of plays and producers, we shall have a national A T n Of merican heatre that will give a richly varied, authentic expressio A W e — — Of merican life . shall be aware which we are only dimly at present the actual pulse of the people by the expression in folk plays of their c OOrdi d i nate . s minds It this common vision, this collective striving that determines nationalism, and remains throughout the ages, the one and only touchstone ” Of the future . In thinking Of the next twenty- one years I go back to a conversation Of my ’ his high school days with one Of Walt Whitman s friends . On last visit to the Singer Of America he remembered Old Walt standing in the door Of his little “ C out r E i m gs home in amden and calling in fa ewell, xpect ng the ain thin ” from those who come after . Sc h o li u m S c rib e n d i

By: ARCHIBALD HENDERSON

I

E live in an age of calculated advance : projected undertakings for the improvement Of the present and for enhanced benefit and ’ - ot o prosperity in the future . Post war planning is the m d rdre Of 0 or is u - - or ro the hour . N state institution deemed to date res p — p g sive which does not outline constructive plans for the coming day five year construc plans, ten year plans, and the like, and attempt to implement them The - and tively. blue printer is the potential educator, statesman, leader of the future . A - six y a fter twenty years of stead adv nce, under the leadership of the The C late Frederick H . Koch and a corps Of able colleagues, arolinya Play makers face the future, under new leadership, and confronted by man thorny At and complex problems . this moment of transition, careful inventory and realistic assessment Of tangible assets are clearly indicated as both desirable not ro and imperative . It is necessary to retrogress in order the better to p Th reculer our mieux sauter . e gress p , as the French have it imperative is a need to bal nce losses and gains, and to assess the basic values and calculable gains upon which to build a more stable and beautiful structure . Such a a of efiect structure, to withst nd the pressure competition and some adjust t ment o changing conditions, must be supported in part by idealism and i to y dream ; but n order survive, this fabric Of idealistic dream must be firml woven upon the loom of the real . II The Carolina Playmakers is an educational organization primarily devoted its con to giving instruction in the arts of the drama and the theater, with i temporary adj uncts Of the film and the radio . It s an educational organiza tion for enhancing the qualities and values of cul tural phenomena which are s themselves educational in character . It is buttres ed upon two extraordinary : can and r i postulates that anyone write a play, that eve yone should wr te a T s of . i play i hese po tulates, based upon faith n a certain human modicum esthet c talent and creative power, are, like all postulates, incapable Of philo

-«s{ 20 1s» SCHOLIUM SCRIBENDI T sophic and critical demonstration . hey can only be judged in terms of their “ consequences ; and it is the consequences of twenty- Six years of pl aymak ” ing upon which attention should be focused .

One may concede, at the outset, that any person Of normal intelligence, by sufliciently prolonged and intensive study of the history and technic Of the v drama and the arts of the theatre, may acquire under careful super ision and The meticulous instruction a certain facility in casting story in dramatic form . many scores of plays written by Carolina Playmakers and produced with moderate and in some cases more than moderate success appear, on prelim of inary consideration, to validate the soundness the postulates mentioned not s above . But it does follow that the authors Of these plays are playwright in the professional sense or will succeed in the grilling competition along “ W ” the Great White ays Of the world . on i Indeed, we shall find, reference to capable practit oners and eminent Of r critics the a ts Of drama and the theatre, that to the two postulates men tioned above must be added a third : no candidate need apply who has not a r , i . natural aptitude an instinctive capac ty, for casting sto y in dramatic form This postulate has been firmly supported by two conspicuous examples of successful practicing playwright and dramatic critic respectively : Bernard

Shaw and Brander Matthews . In a measure, this third requirement is met - be of in the case Of would playmakers, both here and in similar schools play writing elsewhere ; and the number of candidates who fall by the wayside is surprisingly small . It is also noteworthy that, Of those plays written by stu The C dents and produced by arolina Playmakers, an appreciable number are found to be worthy of unsubsidized publication in collections Of plays issued T y . he Of b reputable publishing firms eleven volumes plays, published under f o . Of the directorship Dr Koch, while containing a certain amount duplica tion, constitute not unimpressive testimony to the success Of this idealistic and pragmatic experiment in pedagogy. The school for playwrights at Chapel Hill, it should be realized, is not primarily designed to provide specific preparation and immediate training “ ” o W f r Broadway . ith the large number of original plays constantly press for no ing production, time does t permit Of that slick finish and streamlined t Bu perfection indispensable o metropolitan production . t for ambitious and aspiring youth there are always, agleam on the horizon, the glamour and allure Of T Of the great prizes the drama and the theatre . here are always room and encouragement for talent and genius—although it is well recognized that the Paul Greens and the Tom Wolfes are few and far between . Yet there

“ 43 2 1 19“ ’ PIONEERING A PEOPLE S THEATRE

The C — is always among arolina Playmakers, an electric thrill in the expecta , — tion Of the arrival of a new star whether dramatist, novelist poet actor , ’ , , . T A dancer, or stage director here is always the feeling, to use rnold s phrase, that the future of the theatre is immense . The avowed purposes Of the school are cultural study and dramatic reflec tion, through stage representation, Of certain restricted segments of Ameri can society, the manners, customs, folkways, traditions, peculiarities Of speech, dialects and all other manifestations Of strata Of population living “ Of close to the soil . Plays this character, dealing with the legends, super titions ff m s , customs, environmental di erences, and the vernacular of the co ” ’ “ ” own a - mon people, to quote Koch s words, are c lled folk plays ; and the “ ” “ — term folk is said to apply to that form Of drama which is earth rooted in ” Of ur Th e on i i the life o common humanity . term has taken historic s gn fi a a c nce, in that, in this speci lized connotation, it is believed to have been first used in the American theatre on the playbill of the initial production Of plays h H 1 1 T o by T e Carolina Playmakers at Chapel ill in 9 9 . his form f art is — ’ distinctively novel and authentically American a wide demarche from the a of classic l meaning folk literature, as works Of communal inspiration and The E . S n gradual popular evolution Punch and Judy how, the traditional g “ ” - f k o . one lish fol play St George and the Dragon, for examples , stand at end Of the scale ; the mystery and miracle plays of the Middle Ages suffice ’ “ ” H its to serve as mean ; and the mighty narrative of omer s Iliad, with for almost infinite richness Of human interest stories dramatic representation, or marks the apex Of popular story, whether history, legend, tradition, sheer w f invention, slowly filtered do n through the Sieve O native record and com m a un l transmission . III

of The C In looking towards the future policy arolina Playmakers, the question of enlargement Of the scope and widening Of the aims of the or anization Th o g naturally arises . e comparatively brief period f apprentice as at ship here argues conclusively that, present constituted, the organization as cannot aspire, even if this were its aim, to serve a school Of direct training “ ” for B T roadway. here be some who regard Thomas Wolfe as a gifted “ ” A inten playwright lost to the merican theatre, although he engaged in O ix W sive preparation for the profession f playwriting for some s years . alter Prichard Eaton has expressed the firm conviction that at least ten years Of

“ i f 22 SCHOLIUM SCRIBENDI academic and theater study are indispensable as a preliminary to Broadway competition . The of The C i enlargement the scope and aims Of arolina Playmakers, t Of B would appear, does not lie in the direction specific training for roadway . Th . e of New vistas, however, open in other directions domination the folk has play idea, useful as this been because Of a natural and untapped reservoir A to . Of material ready hand, cannot continue indefinitely point of satura tion for any soil is ultimately reached ; and the necessity arises for the ex “ ” The i pl oitation Of new and virgin areas . na ve wonder which made the early Carolina folk play so effective has lost much Of its poignancy for the - be H more sophisticated drama students and would playwrights Of Chapel ill . out W Student dramatic authors Of the future, as pointed by illiam Peery in Carolina Pla makin E A his essay on y g, which won the Gray ssay ward Of the ’A 1 9 3 9 “ Dramatists lliance at Stanford University in , will have to face prob lems typical Of today or lose that creative power Of native materials which ” largely accounts for the success Of folk movements in the past .

Surely the lesson to be learned and the moral to be drawn are clear . Sub c e j t matter however quaint ; vernacular however autochthonous ; myth, or Of legend, tradition, however bizarre, cannot take the place authentic dra matic inspiration ; nor can stories bearing these features dispense with es f “ ’ O . To thetic forms interpretation and universalization hold, as twere, the ” u as of whimsicali mirror p to nature, a means reflecting the eccentricities, ties, and bizarreries of peculiar and isolated segments Of population, usually ’ ’ i remote from civilization s contagion and culture s impact, s not enough SO is neces even on the authority Of supreme a dramatist as Shakespeare . It out i S , Of s nifi sary to ift from the heterogeneous stream sentient life, the g Of cant features human experience ; and to give those features, in dramatic

- form, the sequential collocation Of self interpretation, and to impart to Of them the enduring investiture art . IV In focusing attenti on upon local folk- materials and revealing to other sections the particular features of North Carolina character and the South milieu The C eastern , arolina Playmakers have rendered yeoman service in the pioneer period Of their activities . From the social, industrial, sociologi is cal, and religious Viewpoints, it highly important that the conditions under which various underprivileged classes live and suffer and survive should be

. The as c brought to light South, regarded by a liberal President, is economi

w "61 23 1?“ PIONEERING A PEOPLE’S THEATRE problem Number 1 ; and various remedial measures have been proposed and ff But some even put into e ect . it is one thing to regard the South as an eco of nomic ward the Nation, and quite another to proceed upon the assumption that the only materials suitable for dramatic treatment which the South af “ ” - - fords are the share croppers, the crackers, the mud eaters, the pallid vic w u tims Of the hook orm, the tenant farmers, the nderpaid and exploited mill workers, the Negro . The not l drama is a universal, a particu aristic, art . It takes all humanity ff ul in its scope . In any e ort towards advance, f l recognition should be taken Of this universal quality of dramatic literature and Of the drama as theatric A representation . clearer picture Of the people and a wider perspective Of the entire region will be Obtained if all phases Of life be taken into dramatic C is survey . North arolina history rich to overflowing in materials well T e . h i for adapted to dramatic treatment novels Of Ingl s Fletcher, example, for Of clearly point the way in this direction . the treatment literary purposes of historical materials Vivid human interest and romantic appeal . Paul ’ “ ” Green s The Lost Colony affords a conspicuous example of the pageant out Of Th Of drama quarried historic materials . e thrilling stories the early colonists, the wanderings Of the Palatines, the contributions of the Mora C H vians, the Scotch ovenanters, and the uguenot refugees, the pioneering B s B of Daniel oone and his companion , the founding Of oonesborough and f W W o of R. A Nashville, the opening the est, the careers illiam Davie, ndrew T H B A Jackson, homas art enton, ndrew Johnson, James K . Polk, Nathaniel R H R o H R ochester, Sam ouston, John Sevier, James oberts n, inton owan H B H elper, and enjamin Sherwood edrick ; the glories and the tragedies Of ’ “ ” R k en the brothers war, the horrors of econstruction and the grim, dar deavors Of Ku — l the Klux Klan these are topics which, from among count ess d others, come rea ily to mind . Of In this proposal Of a broader treatment regional themes and individual, political, and social problems, Of all classes Of the population and all strata Of is society, there no suggestion that, in preoccupation with the universal, the dramas Of the future to be written here should ignore or neglect the dis tin uishin mores Weltanschauun g g and characteristic qualities, speech, and g of the people Of this region . Koch always rightly laid stress upon writing “ ” — n ow And about the life and the people we live with and know here and . the injunction has never been better expressed than by Bernard Shaw “ ‘ The writer who aims at producing the platitudes which are not for an ’ age, but for all time has his reward i n being unreadable i n all ages ; whilst

M ag 24

PIONEERING A PEOPLE’S THEATRE

“ ” f The T of Air h C y O , as y it , and founder own Hall the which been signall successful . In the contribution of The Carolina Playmakers to the field of literature of may it is suggested, be found the germs future development in the fields , — Of creative and critical writing drama, novel, short story, essay, journal i m s and magazine writing, translation, and adaptation for stage and film, and Of the writing Of radio plays and script . Foremost in the list those who have achieved success in varying degrees in these fields stand : Paul Green emi — , nent as dramatist, novelist and short story and film script writer ; the late “ ” W to as n Thomas olfe, who failed register playwright, but achieved a se ti na B sa o l success as novelist and short story writer ; and etty Smith who, after long and pertinacious study and practice in playwriting, rang the bell , “A T nationally, with the resounding success Of the novel, ree Grows in ” C B l . Not rook yn a few arolina Playmakers have achieved distinction , in : The varying degrees, as authors Jonathan Daniels, sometime editor Of Observe for F ortune - News and r i , , spec al writer author Of several well writ one of R ten books, and Of the confidential secretaries President oosevelt ; L C oretto arroll Bailey, with marked gifts as playwright, whose most ambi “ ” was . tious work Strike Song, written in collaboration with her husband, J Of E B e H O . , Bailey, professor nglish here ; ernic Kelly arris author Of a number Of folk- plays and Of two novels Of rural life in North Carolina which “ ” “ ” H suc won considerable acclaim, Purslane and Portulaca ; Noel ouston, cessful s e W W profes ional writ r for national magazines ; illiam oods, whose “ ” The A e Of W l interesting novel, g Darkness, was recently filmed, with a ter H R uston in the leading role ; Howard ichardson, whose promising play “ ” The Dark of the Moon is now playing in New York ; and not a few

ifts xas others Of varying g writers in various fields, including Gwen Pharis R won ingwood whose plays have praise, prizes, andS productions ; Frances Gray, talented as actress and poet ; Joseph Mitchell, ophisticated writer for “ ’ ” The New Yorker Of M cSorle S W W and author y onderful Saloon, ilbur S C Stout, director Of the college theatre at Mississippi outhern ollege, H B Of Of R C c oward ailey, member the faculty ollins ollege, and Frederi k H r t i . . Koch, J . , director Of college drama ics at Miami Un versity —five W H Somewhat more than thirty years ago, the late alter ines Page, A C distinguished writer and editor, and later to become mbassador at the ourt ’ of E of St . James s, urged dwin Mims, who had just come here as professor “ E efiective nglish, to grow a crop Of writers, start a new, great educational i The movement, g ve literary studies a new meaning and a new vitality “ basic principle was thus stated by Page : The way to teach literature is to

26 SCHOLIUM SCRIBENDI

” ’ not teach men to write and to talk . It is too late to take Page s advice and “ ” so- b - to follow his counsel of perfection . If the called y products of the The C instruction Of arolina Playmakers have been measurably conspicuous, e f as just indicated, there is r ason to surmise that the time has come or the Of establishment a school Of creative and critical writing, expression, speech, E and diction, in which the departments Of nglish, dramatic art and literature, co- Th j ournalism and expression might operatively unite . e fulfilment Of ’ Page s dream is clamoring for realization . VI T The C of hus far, arolina Playmakers, under the leadership Koch , Green, cO- ad utors Selden, and their able j , have been creatively influential and na tionally pervasive in directing attention to sources of native inspiration in the fields Of folk literature and Afro—American social and sociological con ’“ ” H H H B for H ditions . R and phenomena atcher ughes ell ent eaven, oark Bradford’s “Green Pastures” and innumerable short stories Of Negro life “ ” r of and cha acter, Porgy and other successful dramas and stories Dorothy ’ DuBose H C C E C and eyward, the writings Of arl armer, rskine aldwell s “ ” ’“ T R as L R obacco oad dramatized by Jack Kirkland, ynn iggs Green Grow “ ” its L , O the ilacs in smashingly successful adaptation klahoma, Maxwell ’ “ ” ’ “ A W R Abe nderson s interset, obert Sherwood s Lincoln in Illinois, ’ “ ” ’ ’ “ ’ - U E O Neill s All Chill un Got Lulu Vollmer s Sun p, and ugene God s ” W - influ ings, as arresting examples, testify to the vitality and far reaching ence of the thrust toward native sources of fictive and dramatic inspiration . C H In this creative illumination of fecund origins and sources, hapel ill has T been a radiating center Of high voltage . hese words from an editorial in ’ H olland s M a azine g (July, which may slightly transgress the of to bounds realistic critical appraisal, nevertheless testify eloquently the opinion entertained by not a few competent judges Of the value of the work and influence Of the late Frederick Henry Koch : — — His wide influence not for a long time yet to be fully assayed has of spread indubitably into the associated fields the novel, the short story, and —fiction even non works . From the basic idea underlying his work and phil as Of H B Osophy stem such writings those Caldwell, eyward, Miller, rad Not ford, Faulkner, Stribling, and other and younger novelists . that many more influences have not impinged sharply and deeply on Southern writers and on Southern thought generally ; but Frederick Koch and his example have been a centralizing, crystallizing, and Vitalizing force unequaled in ” Southern literature to date . F irst Stage a nd First Theatre

( ( Of Th e C a r o l i n a Pl a y m a k e r s

’ By F REDERICK KOC H

EFORE the coming of The Carolina Playmakers there was no stage designed for dramatic performance at the University Of

l Each North Carolina . year the dramatic club put on a play in H Of Gerrard all, one the Oldest buildings on the campus . But

Gerrard Hall had no stage, only a lecture platform about eight inches above the floor . ” “ to How did you manage stage plays here? I inquired . W ell, we built a temporary platform over the front row Of seats and A C. strung a curtain across ; the actors dressed in the Y . M . building across the way and got onto the stage through the window there .

I gasped . IS this the only way you have of staging plays?H ow do you manage rehearsals when Gerrard Hall is used for chapel exercises every day? You ’ ” r ou can t very well leave your fu niture and properties around, can y ? L k ooking bac now, I salute those pioneering players who produced plays — on this makeshift stage with all - male casts for there were no coeds then a to on i and who even c rried their productions neighboring towns occas on . I investigated all the buildings on the campus but none afiorded even a f r f r . o platform suitable o dramatic purposes I was discouraged . But only a As to moment . so many other desperate directors who have had nothing to An on d e. begin with, an idea came . it proved to be a good A Ofi new public school building, several blocks the campus unfortunately, had just been completed ; and it contained a comfortable auditorium with a — fairly good platform stage . “ ” d And ffi T o . his will , I said the village O cials agreed . SO we extended the apron stage into the auditorium and designed an at tractive proscenium arch, a canop y over the stage, and a matching curtain of lovely brown rep bearing the newly- designed mask of The Carolina Play makers . Fortunately my early experimentation with the same problem at the

“ i f FIRST STAGE AND FIRST THEATRE

Of frontier University North Dakota served admirably as a model . With of of t the collaboration various departments the Universi y, as in Dakota, the C i - new arolina stage was equipped with homemade footl ght troughs, tin can W a k for . e spots, and a stationary fr mewor hanging the scenery got the cheap est kind Of cotton sheeting we could buy and sewed the strips together to set for When W t e make the three walls Of the log cabin the first play, i ch s ' Th on Ride by Elizabeth Lay . e walls were mounted battens and hung like “ ” At two—b —f window shades . the corners, the canvases were tacked to the y our The supports . tacking and hammering, and the bumping and hoisting of the heavy rollers in the change of sets prolonged the intermissions to such an t E extent that I was called upon o talk to fill in the time . lizabeth Lay says this got me into the bad habit of long curtain speeches on tour to help the audience forget those distracting sounds and the long intermissions .

The Of our whole enterprise in the making first stage, aspiringly dubbed ” h - H AS T e ff . Play ouse, was entirely a communal a air I write this I have before me the playbill of the original production Of our first Carolina Folk st fl for Plays, and I note that the executive a the opening production included the names Of twenty- eight volunteer workers Of the University staE and of “ was — an i c the village community . It a happy gang nstitution Of the lear ” “ o The love f comrades In the inimitable phrase Of Walt Whitman . Play House” was designed to make Chapel Hill a creative center of folk play in for making North Carolina . It served seven years in those brave new days as a temporary home for The Playmakers .

not i n Of course, there were many problems and a few headaches those B first years . oys and girls shouting and playing i n the halls at recess time and - i broad jump ng overhead were distracting enough . But the problem Of fur — niture and properties was the limit ! They were constantly out of place or i ’ t It on . Bu even m ssing altogether . s a wonder we ever got a Show somehow we did, and survived . Al l manner Of strange parcels arrived in the village Post Office : scenic i pa nts, gelatine color sheets, electrical switches and plugs, etc . , etc . I shall “ never forget an express parcel of gelatine color sheets addressed to Miss Caroline Playmaker” ! I wish I could pass on to you the thrill Of the moment when the new plays T came to life . he initial playbill Of the Opening curtain on that memorable ’ first night Of March included Thomas Wolfe s first play and first i k The Return o Buck Gavin Tom m i n publ shed wor , i i i f , w th h self the t tle

“ if ” lit : PIONEERING A PEOPLE’S THEATRE

l was rOe Of a mountain outlaw. Here something new and strange and won

derful ! Life itself that moves and feels . T The Last of The Lowries of H C hen came by Paul Green arnett ounty, H Of C C , B L a story the arolina roatan outlaw enry erry owrie, who carried on seventy pounds Of firearms his person, and on whose head there was a reward of Pe Of Soon followed in the first year a little play called ggy, a tragedy H W tenant farm life by arold illiamson Of Carthage in eastern Carolina . Here the drab tenant cabin we had passed a thousand times as a dull Sight for of revealed the first time the stark tragedy the forgotten sharecropper . ’ It was the forerun ner Of Erskine Caldwell s Tobacc o Road ! Then came ’ W In ilbur Stout s little comedy Of a country courtship in the piedmont, ’ K e Dixon s itch n . , which everybody loved

Al ways there was an expectant and eager audience for the new plays . On the little homemade stage the earliest Carolina Folk Plays were first re T - fiv vealed . hat was twenty e years ago now as time runs II

Th on e work grew . Still the Playmakers had no home the campus . On “ out every side we heard, Get your plays into the State and the people will ” ou see that y get a theatre . O our S we toured . In the first seven years we carried little homespun plays “ The to every corner Of North Carolina . One editor wrote, homefolks took to the homemade drama as to homemade sausage and corn cakes on a frosty ” The Th . morning . e plays found an eager audience wherever we went

people knew them for their own . ’ That s how in 1 9 2 5 the University Trustees voted unanimously to give The Playmakers one Of the Oldest and most cherished buildings on the cam H . O , , pus, Smith Hall f historic tradition and classic design Smith all 1 8 5 0 Th B erected in as e allroom of the University, was the scene Of many Of festive occasions . It was renamed Smith Hall because the public senti 1 ment against dancing . In 8 8 5 the building was taken over by the Library, the basement serving as the chemistry laboratory and the University bath 1 2 5 house ! Later it was occupied by the College of Law . In 9 the lawyers occupied a new building just completed for them and Smith Hall became The Playmakers Theatre ; the first building in America to be dedicated to it the making Of s own native drama . The University Trustees appropriated to remodel Smith Hall

“ El 3 0 13» FIRST STAGE AND FIRST THEATRE Th a . e as theatre little building lent itself admirably to the reconstruction . fli i n W But the appropriation was not su c e t to furnish the theatre . e found it would take still to supply seating, lighting, and stage equipment . Remembering the enthusiasm for our work of the veteran American dra m ti t A a s T , Y , ugustus homas I went to New ork to place the problem before H e C him . introduced me to Frederick Keppel , President Of the arnegie our Corporation . Mr . Keppel listened with interest to the story Of folk playmaking and said that he would place the matter before his Board of

T . Directors . Discouraged, I went back to Mr . homas ’ ’ “ i t o do . I m afraid I failed ; Mr . Keppel d dn t promise anything ’ ” “ ’ ou a I guess y didn t f il, in a kindly voice, we ll just have to wait and

see.

The following spring while I was on tour with The Playmakers in Char C “ HE K FOR RE lotte, came a telegram from President hase , C C CEIV ED FROM CARNEGIE CORPORATI ON FOR PLAYM AK E ERS TH ATRE.

23 1 25 The T On November , 9 Playmakers heatre was dedicated with the C l T e Sixteenth Series of arolina Folk P ays . h great crystal chandelier A sparkled . ppropriately the opening curtains revealed a romance Of college ’ 1 O t o Th e P b 6 u ast R . The r youth in , f y Frances Gray of aleigh play e called the last dance held in the Ballroom before the outbreak Of the W ar Th Old Between the States . e setting was the moonlit portico Of the build Th ing itself . e music Of the waltz and the gay laughter Of the dancers came from within . It was interrupted suddenly by the excited entrance Of an Old “ ” And n Negro slave, with the startling news, Sumter is fired ! the last da ce ended in the historic Ballroom until the University was reopened five years later. That night President Harry Woodburn Chase dedicated the building as “ The Playmakers Theatre in the confidence that it may make possible about our common life a little more Of the stuff that dreams are made of ; that its existence here shall mean a little less monotony, a little more glamor about our days ; that the horizons of imagination shall by its presence here be en larged so that we shall come more steadily and wholly to see the place Of t of its li not its beau y and handmaiden, art, in a civi zation too much given to

. To encouragement such purposes this building, the first permanent pro ” set . vision for any Of the fine arts at the University, is from this night apart The Of The of work Playmakers expanded, and a separate Department PIONEERING A PEOPLE’S THEATRE

t 1 Th Dramatic Ar was created by the University in 9 3 6 . e little Playmakers Theatre has become altogether inadequate for our rapidly widening activi W now Art B on i . e t es are looking forward to a Dramatic uilding the campus, and we a re making definite plans for erecting such a building in the near fu Of . O ture ne the Foundations, which has generously helped in developing for i of the work Of the Department, is holding us a g ft toward this as 45 0 building an endowment, with the condition that the University raise $ , The 0 0 0 . University has undertaken to raise this sum Of money and has t aflirmed i s intention to do so. r Such is ou dream of widening horizons .

Battle Cry Of th e W estern Thea tre

o ea For here onc e walked the men f dr ms, The sons of ho e and a n an d won der p p i , ’ U n the oreheads truth s r ht d adem po ir f b ig i , ' The l i h of sun in the r counten ance g t i , And their lips singing a n ew song A on or a es et unborn s g f g y , For us the children that c ame after them “ ” 0 n ew and mighty world to be ! The san y g, “ ” 0 and ma est c ree un ounded! l j i , f , b

f c of Such a song was never sung by any o the chara ters, or any the choruses Th cr C A E . e created by eschylus, Sophocles or uripides lyrical y in lassical - uE r n Th tragedy was a high lament for intense but will less s e i g . e cry in W for estern Theatre is a battle cry, a hymn celebrating the fighting search OE not — something afar , easily attained maybe never to be attained directly —but something the steady striving for which keeps every muscle taut and the blood surging Victoriously .

- Samuel Selden (quoting from the Prologue to “ The ost Col on The Lost Col ony) . L y and the ” r 1 9 3 9 . . i Greeks Souven r Prog am,

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PIONEERING A PEOPLE’S THEATRE

“ ” T For PrO in the direction of The Playmakers heatre . E Koch and several _ picked groups of his students are putting on one of his now justly-famous “ ” of E al Of evenings xperiment Productions New Plays, wherein the audi ence in a good-natured but very- much-in - earnest way locks horns with the And playwright . every man, woman, and child in the theatre may for the “ ” “ ” speaking up become Mr . First Nighter himself and tell the author just y not what he likes about the pla , and exactly what he does like ; and the it - i , author, in turn, may accept the critic sm or reject as he sees fit, and de

fend himself and his actors accordingly . ’ for ou et But step lively, folks, if y don t g in the theatre early you not ’ R Q only won t get a seat, but all the S . . , will be gone, and so will all the “ ” “ ” choice seats on the steps ! For these evenings Of Experimental Plays Of C have become one of the most intriguing features hapel Hill life, and, is one of what Of even greater consequence, potentially the most important T developments in the cultural and educational life of the nation . rue, they to k cannot yet be counted as a serious rival, in popular appeal, a Du e Carolina football contest ! But it is quite within the realm of the possible ’ not-so- — that in the very distant years to come, when the world s bayonets and

- bombers are again beaten into plow shares and commercial transport planes, and mankind has once more settled down to the enjoyment of the more ProE humane art, what Koch, and his colleagues and students in the of a Art Department Dram tic Of the University are doing today, may have a more beneficial and more lasting eEect on the pleasurable life of the nation than all the football games that have ever been played in Chapel B on , R B i e. i Hill the Yale owl, and the ose owl all rolled nto For t is a conservative statement that the dramatic department Of the University — “ of North Carolina working through these evenings of Experimental ” - k— Plays, which constitute the spear head of its general wor is laying the foundations for a crop of American playwrights and an era Of playwriting that hold infinite possibilities for the future Of the American theatre and all that may mean to the future entertainment and culture of the American

p . Al l of i eople wh ch is based, in a sense, on the assumption that the A is ff y legitimate stage in merica far from dead ; and that, O ered reall good plays well acted and at admission prices that are within the pocket k A boo reach Of the average family, the merican people will again flock to the theatre as they used to do before the advent of that form of pub ” “ ’ - lic entertainment sometimes known as movin pit tures . ’ r you a ou y But hur y must, folks, or as we w rned y , ou won t even get

" i f 34 h” FROM SCRIPT TO STAGE

It T standing space . s only a little after seven and every seat in he Play

k T y . ma ers heatre is alread occupied, and more people are coming in

ENTER PROF F KO C H — Presently the figure of a youngish looking middle- aged man his dark

i , y Nor hair plentifully streaked w th gray, smiling garbed in his customar u — folk suit, and holding his pipe in one hand, stands p down by the foot “ li and We to i 8 oth of Ex ghts, announces, are about beg n the series erimental of s p Productions New Plays, written and directed by student ’ ” r in the Unive sity s playwriting course ; and, with only an occasional ex ce tion C H p , wherein a part is taken by one of the townsfolk Of hapel ill has who been called in to complete the cast, the acting also is done by

University students . H f ’ The of k . O speaker, course, is Frederic Koch, head the University s The dramatic department, and founder and director of Carolina Play — makers one of the best known and most capable of college theatrical or “ nizations E l ga , the sponsoring group through which the xperimenta ” But a SO Plays are given . only on the most form l occasions is he intro d To duce . C the more than students at hapel Hill , and to all the - o thousands who have studied there some twenty Odd years, and in prof s — sioual and amateur circles throughout the nation from Times Square to “ ” aEectionatel ProE the proverbial Podunk, he is simply and y known as — Koch al though there are those who insist that the correct spelling is “ ” “ ” ’ ProE Pro h , others persist in writing it p by way Of proclaiming Koch s “ ” “ ” a But ProE prophetic qu lity along with his other talents“ Prof, , or “ ” Pro h is — p , whichever the genial Koch , he continues as he looks up Over the hill- side of occupied seats that rise tier upon tier to the uppermost reaches — ’ of the Theatre not unlike the seats in a medical students surgical clinic : “ ’ h H s T e our Farn ol Of C . e author Of first play this evening is Barry , hicago ’ ou right here beside me, and he s going to tell y just why he wrote it the way

he did ; and after his play has been performed and the curtain is down, ’ , he ll be back here again to face the music of your criticism and comments ‘ ’ ” to B . which he will be very glad hear . arry, the platform is all yours The Of a young playwright stands up, is greeted by a round friendly p “ ” lause p , makes his brief statement concerning his play, and ducks down for into the pit and to the stage, as it happens in this particular instance, the author is not only directing the production and performance of his play one but is also acting of the parts . A moment later the curtain goes up and

“ SU S IE: ’ PIONEERING A PEOPLE S THEATRE

T SO n i s . the play on wenty minutes or later the last li es have been spoken , is w has a l Pro the curtain do n , the applause come to the last h nd c ap . E i s i an d o Koch again stand ng, smiling lo king up at the audience, and beside “ ” F n l him stands young Mr . ar o ready and anxious to take his medicine for is his i eEorts n it direct audience reaction to playwrit ng , and he k ows — — “ ” that however good his play may look on paper if he has not sold it to i h h s as c . k w n ProE audience , he not su ceeded Moreover, he no s that u der ’ a E his Koch s stimulating encour gement at previous xperimental Plays, — auditors will feel absolutely free to Speak their honest opinions be they i r cri t cal or complimenta y .

TH E AUDIENCE TAKES A HAND “ ” “ W l the ProE ? , i i ell , fo ks begins, how d d you l ke it Is it a good play ? or is it a bad play? Is the plot clear or is it too involved Did Barry make i did muE ? his po nts, or he them He told you before the curtain went up j ust what he had in mind when he wrote his play ; now he wan ts to kn ow For how well he succeeded in getting his idea across the footlights . after ’ all and ou n has is said done, a play, y k ow, isn t really a play until it registered m i the d . s in the minds Of au ience In other words, the dra a a social not a n solitary act . It comes alive only through the response Of the audie ce . It a the would be safe to w ger that if there were no audience, drama would not i n n i d i s d c long survive ; for the final a alys s, rama the response Of an au ien e ’ ’ i n th th r i . to e actors embodiment Of e playw ght s des gn Or, if you will gra t or li in its an me just a moment two more, the final test Of a play es appeal to audience ; hence these experimental productions Of our best student- written m i i i r an d i the . plays, w th the aud ence play ng a di ect act ve part in progra A di i i the ou k c the Old u ence partic pat on in play, y now, harks ba k to good days of th e E et a an d to os s and Greeks and the lizab h ns, the bo , his es, whistles, - m But our r foot sta ping Of the Nineteenth century . in experimental theat e is i of c one of ou t it a new k nd participation in which ea h y may become a cri ic,

i . giv ng your honest Impression Of the play to the new playwright Now, ” . t —the ProE i s d n hen , how about it, George now irecti g a question Speci fically to a senior who Is not studyin g in th e dramatic department but who i s known to be interested in the theatre an d is a regular attendant at the Ex “ eriment W of p al Plays . hat do you think of this first play the evening? ” What are your reactions to it? “ ” “ ’ W ProE s n i a k ot n ell , the enior begi s ris ng s he spea s, he s g a corki g , ’ his on the k o i good idea for plot, and whole I thin he s done a g od job w th FROM SCRIPT TO STAGE

‘ ’ But — of it . the conversion of the principal character toward the end the — play his realization that he has completely misjudged the attitude Of the

hi s . of people Of town is too sudden I think ; it came too quickly I realize, , , ’ or or course, that the action, the dialogue, whatever you call it, can t be too ’ But drawn out as you come to the climax Of the play . it wasn t clear to me Old 8 0 nl why the man changed sudde y, and I was just wondering whether ’ ’k that point couldn t be cleared up in some way. I don t now anything about of i the technique playwrit ng, but “ “ And ProE yet, after all George, interrupts Koch goodnaturedly, you are potentially the fellow who walks up to the BOX Office and lays down ’ for ! And ou y has the cash two aisle seats if y don t like the pla , or feel that it ’ denoue been marred, or weakened, by the playwright s failure to make the or ment perfectly clear, you are not going to be very enthusiastic about it, d rac . Y recommend it to your frien s our point, if it is sound, is a very p tical one, and I wonder how many others in the audience feel the same ” way. T ProE — hen asks for a Show of hands pro and con . By this time the dis cussion is on in full force . Some in the audience agree with George, others o P E n t. as ro do Over here, a woman h gained recognition from Koch , and ’ diE r nt . is voicing her criticism, altogether e e from George s She thinks there are too many extraneous characters, that they are confusing, and of that if a couple them were eliminated, and the time that they consume “ l ” “ ” given to additional lines for the O d man and his niece, the plot would one be perfectly clear and the play improved one hundred per cent . From “ ” of the standees at the back Of the theatre comes the comment that too many “ ” “ ” “ ” a e of the lines r speeches, and all the play needs is to break the speeches An . d o Th up into more dialogue s it goes . e young playwright smiles, and his is serious, as from time to time he Speaks up to defend or explain tech nique and method . “ ” “ Word reaches ProE Koch from back stage that time is up and the is H next play ready to go on . e and the young playwright thank the audi ence for their interest and participation in the discussion ; there is another “ ” n — At of rou d of applause, and the show goes on ! the conclusion the “ ” “ ” EX eriment or second p al Play there is another friendly autopsy inquest, ’ SO as it were ; and on until the conclusion of the evening s program .

How T H E PLAN WORKS “ The evolution Of these Experimental Productions is a remarkable

“ E N E“ PIONEERING A PEOPLE’S THEATRE

“ a on i m story in itself, and is b sed the Koch d ctu that a play is not a play ”— until it is produced and until an audience has reacted to it a fact that pro fessional producers know all too well from many costly and bitter experi e And is too enc s. it by no means exaggerated a statement to say that had Broadway the facilities for doing exactly what PrOE Koch is doing in his w Experimental Productions, Broad ay might be saved many dollars and many heartbreaks . Nor is it unreasonable to assume, by the same token that ’ , out of of A Koch s work may come a crop merican playwrights that, guided i E and tempered n the furnace Of xperimental Productions, will possess a fundamental understanding of what constitutes successful playwriting, and, y re an equipment for doing such work, that may lead the wa to a genuine . naissance of the American theatre . Indeed there are not a few persons who feel that the renaissance is already underway and that Koch and the work he is doing are playing a very definite part in the development ; for as One critic “ has written of the plays produced in the Chapel Hill class rooms : They T have a spark, a glow of life and they ring true . heir real significance lies not only in their relation to the now flourishing little theatre movement but ’ , - for The Green Pastures In Abraha Bo o as trail blazers such plays as , m s s m, Abe inc oln in Illinois Our Town Winterset Tobacco Road L , , , and . But : wi - , to record this evolution, briefly it began th a student author sitting at a bare kitchen table in an ordinary room reading his play before a commit — tee Of judges such committees being composed Of various members of the of University faculty, who at the conclusion the reading engaged in a free - of B for all discussion the play . efore long it was decided to invite such Of i — ’ the public as m ght be interested, to attend these readings but the public s was sit sa T job merely to and listen, and y nothing ! hen it occurred to Koch that it woul d probably be much more interesting and bring out more of the “ ” - T play man uscript if they held what he called script performances . hat

- is to say, the various parts in a play were assigned to various student actors, “ ” But i . and they n turn read the parts in these script performances, much of a i , an adv nce over the orig nal readings as they were, there were no costumes — -u y no make p, and no scener , and the slim audiences for up to this time these embryonic experimental productions” had failed to arouse very much — i “ ” c t . public interest ontinued to s mute and inglorious Just the same, it “ was quite perceptible that these script performances marked a definite ’ “ ’ SO : advance over the original authors readings . Koch said Fine, but let s ’ ’ se of go a step further . Let s e what we ve got in the way Odds and ends of ’ of our a costumes and scenery that we ve used in some regul r plays, that we

"i f 3 8 k” FROM SCRIPT TO STAGE

‘ ’ can now use again to back up these script readings without Spending any ” And T . time or money on the work . hus another step forward was recorded then realizing how much the makeshift costumes and scenery were adding was to to the performances, it decided that it would be well worth while l provide costumes and scenery to fit specifically each new experimental p ay. — “ But still the public was permitted to do no more than to listen to l ay ” “ l ow and say Finally Koch said to himself one day : If these ‘ ’ m - is really are experimental plays, and I am right in y theory that a play t di not a play un il it has been performed before an au ence, and the audience has reacted to what has transpired on the stage, why not invite the audience ‘ to participate in the performance? Why not ask the audience to Speak ’ ‘ ’ out — t i right in meeting as it were, while the produc ion s still warm, and discover just what these folks out there on the other side of the footlights k ’ y , thin of the pla , and learn what they like, and what they don t like and ” why . “ SO Of , the first completely evolutionized Experimental Production New ” Plays at the University Of North Carolina came into being, and the Koch “ ” revolution in the process Of teaching young men and young women to

- i . O wr te and produce plays, had triumphed nce again the zig zag and multi “ ” fariou s story of mankind had taken a positive and forward step .

Our W ay Of Pla yw ritin g

“ I believe that when the Good Book says God created man in His own ” image, it means that God imparted to man somewhat of his own creative — ness ; in a sense He made man a co worker with Him potentially an artist ! In our way of playwriting we try to cherish the creative spark of W . e him i i the student encourage to examine, with understanding and mag Of his nation, the eventful happenings his own experience, the characters of own neighborhood . Then we guide him in shaping his materials in an ap ro riate n p p and interesti g pattern for the stage . — k t A can Folk Pla s. Frederic H . Koch . Introduction o meri y

“ 51 3 9 13“ Dramatic Art in a University Program

By“ SAMUEL SELDEN

ART OR EDUCATION ?

NCE on n a year, a late December afternoon, the u iversity Profes sor ffi Of Drama locks the door of his o ce, packs his suitcase, and boards a train for New York to attend a conference of the Na T for tional Theatre Association . here three exciting days he forgets his world Of lectures, term papers, and departmental reports and of thinks only of a world art .

At V . night, perhaps he goes to View a new play by John an Druten It is of a sensitively drawn character study an immigrant family in Philadelphia . The actress playing the role Of the valiant mother performs her part with ki The consummate S ll, with a warm, vibrant tenderness . other actors also — i are good ; and everything about the external presentation the d rection, the — P fe . The ro settings, the costuming, the lighting is eminently satisfying s or Of s , whose senses and emotions have been dulled by months hard labor H ow with collegiate thespians, is stirred once more into Singing life . beau of T tiful is this institution the heatre ! he tells himself .

The next day, at a conference meeting, he hears a leading playwright plead of A The passionately for the preservation the nascent arts in merican life . speaker makes reference to a “needy generation” and states the impelling opportunity the Theatre has to bring to a hungry people something Of Vision

A . and faith . director and a critic echo his words T re resetnatives Of wi hen other prominent p the Stage, together th emis aries R s from the adio and Screen, address remarks directly to the university T of Old delegates . hey discuss feelingly the passing the stock companies sa which once served as training schools for apprentices . Now, they y, a great void exists . Young actors, playwrights and designers have nowhere to of go for their basic training. Only the university departments drama can

T t . But supply this lack . herefore these departments have a high responsibili y they cannot discharge it unless those who teach dedicate themselves to their k I T to of a wor . nstructors in the heatre must cease think merely tr ining for ’ appreciation and give thought to the qual ity of their students products ; they

as 40 s. .

PIONEERING A PEOPLE’S THEATRE

- . i w basic education, not technical training Fair ha red play rights have per suasive tongues ! Maybe what they say makes sense when addressed to the y of right people, but they have might little understanding the requirements, of l r and the limitations, col egiate prog ams ! Al t ready the beautiful words uttered at the conference have begun o fade . n The Professor likes teaching in a u iversity community, and he is quite will All ing to View his specialty of the theatre as a cultural curriculum only . Art E on . right, from now no , just ducation t Bu then he is assailed by a strange new doubt . He has turned his back on r one area Of activity . Now, can he and his department legitimately be e garded as having a place in the other? Does a dramatic curriculum really E H e i — or belong in ducation?he asks himself . bel eves he wants with all to — diflicult his heart believe that it does, but he has y finding the absolute T . he proof he desires to bolster his faith in that position casual evidence, at The his least, seems to weigh against him . Professor remembers last three experiences with the Divisional Committee to which he presented requests o on T A f r an extension of credit certain basic heatre courses . fter much de Of r bate the members the Committee g anted his requests, but with Obvious “ ” The k one reluctance . term s ill courses was used frequently, and at point “ our the chairman sighed . If we permit programs to be cluttered by very ” y of i y, man more these technical courses without content, he remarked dr l “ ” can se I e the death Of the humanities . Technical courses without content ! Suddenly a bitter feeling of frustra W To hi s tion sweeps over the Professor . hat is he anyhow? mind comes the figure Of a queer creature he has seen once in a cartoon . It is a Mug wum sad S on p, a bird doomed to it forever high a fence between two green on one wum on — gardens, with its mug side and its p the other and unable to n reach the grou d on either side .

FACING T H E PREDICAMENT The peculiarly exalted position of the academic Mugwump makes him an unhappy individual . He has no liking for his elevated perch, he hates to of be divided, and the direction his posture fills him with acute embarrass ’ ’ ment . Viewing with equal yearning the gardens aft and fore his place on i c hi s wum one the fence, he s distressed by the fa t that he must point p at of them . — The m is y one or Mugwu p is not only a sad bird, he also a lonel that is

Th is his . how he usually sees himself . e truth that species is numerous If

« em s» DRAMATIC ART IN A UNIV ERSITY PROGRAM he once lifts his eyes from his own misery he is apt to discover that neighbor The - ing fences are full of companions . sight of all those self divided birds sitting in melancholy gloom high on their drafty perches would be a tragic ul one if it were not so ridic ous . It is my conviction that most Of the Mugwump’s anguish springs from The causes which originate in his own mind . fence which elevates him above the ground where he would like to be is, to a considerable extent at least, The for a psychological one . primary reasons his predicament are three fold : the Mugwump does not really understand the areas Of Art and Educay tion he yearns to possess, he lacks the courage to declare his right to occup —not —an d suEers them one, but both of them he from the delusion that any barrier set up between them is indissoluble . In the following pages of this article I want to examine the first and third ’ points in the Mugwump s problem with the purpose Of showing that the of Art E Professor Drama can rightly claim a place in both and ducation, and that there need not be any fence between them .

PROFESSIONAL TRAINING AND LIBERAL TRAINING

: - First, I want to state my premise that is, that fair haired playwrights c - need not necessarily be regarded as impra tical dreamers, and fast talking o T emissaries from the world f Commercial Theatre may speak sense . heatre, in the broad meaning of that term which includes Radio and Film together n t i , o , w th the Stage is today the most lively, if the most extensive agency in for Of the country the communication and dissemination ideas . Nightly, t T literally tens of millions Of minds are affected by i s Spell . hus Dramatic Art , dynamically stimulating by its very nature, exerts an almost fearfully The powerful force on the development Of the cultural life of America . University which is interested in exploiting every implement for education c available annot reasonably ignore the resources of the Theatre .

T . If the University has a stake in the heatre, the reverse is also true Th T The e heatre needs the help of the University men and women . stock r companies are dead . There are now almost no dramatic conservato ies which OEer The orit Of anything beyond the most elementary training. maj y them i - lim t their appeal quite frankly to star struck youths and debutantes . More R and more, therefore, the Stage, adio and Films have been forced in recent , — years to turn for apprenticeship material though they have Often been re l uctant it— t to admit to the Communi y Playhouses, but particularly to the

« it 43 he» PIONEERING A PEOPLE’S THEATRE T University Departments of Drama . his is especially true in the fields of o and writing, but it is als true in acting, directing designing. The University which desires to associate itself practically with the C Theatre must do so fearlessly. ourses merely in the appreciation of Dra matic Art cannot carry much influence except to those persons who wish to Of W watch the ceaseless game action from the sidelines . hen the University determines to exert its influence aggressively it must train people with dedi t d ca e minds and able hands ready to take an actual part in creative work . But of T it must train them well , for the world heatre is keenly competitive, a world in which good intentions unsupported by expert knowledge of of mediums stand no chance employment whatsoever . A curriculum of specialized training for those who wish seriously to be — on R i or or come professional craftsmen the Stage, in ad o Films in the C T R r — fields Of ommunity heatre or ec eation has, I believe, a thoroughly A Of legitimate place in a University program . Department Drama which does not seek adequate equipment and qualified personnel for at least some Art is o i , spec alized instruction in , it seems to me missing an important p ortunit p y. H hi a all k i owever, the Department w ch reg rds of its wor as specialized s The as wrong as that one which ignores advanced training entirely . Depart ment which sets itself up to be a conservatory primarily is headed for certain

The i . trouble . end is usually suic de of First all, the assumption that all those who enroll in such a Department of The are worthy advanced training is untenable . really talented student, the one who can rightfully be encouraged to direct his ambitions toward TO c Art is a one. earning a living in the pre arious world Of , a r re turn the thoughts of the manifestly ungifted even for a moment toward this goal is o or -five criminal . Out Of a yearly enrollment f perhaps fifty seventy intel li ent r g young men and women, the Department would be fo tunate if it

could honestly recommend a small dozen for the professional courses . But this does not mean that all the others should be discouraged from Art To studying Dramatic . do that would be to deny the value Of dramatic The of T study as liberal education . Professor heatre who is ever doubtful

about this should resign from his Department and go into other work . I am Art is u fully convinced that Dramatic , rightly taught, as stim lating, informa i — — “ ” , i t ve and lluminating and has potentially, at least as much content as E , L and . nglish History, anguage, Philosophy in Concerning the several courses in Dramatic Literature and History the

44 jaw DRAMATIC ART IN A UNIV ERSITY PROGRAM ’ . T Department s curriculum, there is seldom any question raised hey are W filled to the brim with subject matter generally recognized as sound . hat “ ” are so- are commonly challenged by outsiders the called practical courses,

i . A as A , , L such ct ng, Directing Playwriting Scenery and ighting lthough these are respected as useful disciplines for students desiring to develop tech E r W to O e . niques, they are suspected of having little beyond mere skill hen can the courses are carefully examined, however, they usually prove them “ ” selves to be among the most truly liberal parts of the whole Dramatic

program . “ ” The common opposition to the Skill courses springs from an ignorance f i A O o s . B Of what they actually include . One the least understo d cting y most persons acquainted only with high- school commencement plays and to : con other informal theatricals, learning act involves three things the Of how quest stage fright, learning to move without stumbling over other ’ ’ people s feet, and acquiring enough lung power to blast one s words to the “ k ” rear of the auditorium . Useful as these specific S ills may be to the ego in centric student who wishes to display himself in grease paint, they may r deed have little to OEe in general education . A If a University course in cting covered these three points only, the critics would probably be right in questioning the place of such a study in a A - - A . c set u u liberal arts program tually, however, a well p co rse in cting

covers far more territory than that indicated . It stresses from the beginning The a careful study of people . course begins with a sociological investiga of The tion the personalities who compose the audience . student examines the organization Of the community which surrounds the spectators and then ’ , s ectatoi' s these p conditioned desires in the playhouse for diversion, for O T stimulation, and for illumination f their daily lives . hus from the very start the apprentice actor is taught to V iew his art in terms of a relationship

and responsibility . The second phase of the work is concerned with the study and exercise of — the whole body in order to make it a vibrantly expressive instrument not use for in the theatre only, but everywhere . Careful attention is given to

good posture and to the development of a strong, but flexible and sensitive, Of a sub control every part Of the physic l, vocal, and mental organism . In sequent lecture and practice periods the actor is taught to see clearly each Of the several factors in typical human Situations (OE the stage as well as on) which force a person into a responsive attitude ; and then the actor is en couraged to experiment freely with the actions which grow out Of those at

-« e{ 45 k» PIONEERING A PEOPLE’S THEATRE — titudes so that he may understand why people and therefore players iE r nt behave the way they do in d e e circumstances . a This is only the beginning. More complex problems rise to be solved articu when the student starts to interpret actual passages Of dialogue, and p l l c r iz ar y when he tries to analyze, Visualize, and construct a living ha acter a T of tion . hroughout his course he has been taught the value alertness, and has preparedness, dependability, and he had rigorous practice in thinking beyond himself into the minds of hi s dramatic team- mates and the minds of out the people seated front . Eective in A a Of Not all e courses cting have identic l programs, course, but A the fundamentals are the same . student who completes his work in any At of them has had skill training. the same time he has had something H e has c of more . advanced his appre iation both the thought and the lan kn guage Of dramatic literature, he has exercised his owledge of human

to . psychology, and he has learned be expressive “ ” Similar claims can be made for every other course in the skill group . Playwriting involves practice in setting speeches together in such a way as “ ” But to make a reading Of them sound like easy, natural conversation . ex eri Playwriting also demands research and analysis in human behavior, p i C ments in v sualization , and a careful study Of problems in design . ourses in Scenery and Lighting include instruction in the manual manipulation Of k a Of tools, but they also include wor leading to a new iappreci tion form and color, of materials, and especially of the psycholog cal relationships between — a man in action and his environment the house he lives in, the furniture T he sits on, the implements he handles . hese courses of study review every s thing the student has learned elsewhere about physic , and they encourage C him to check back over his kn owledge of historical materials . ourses in R Speech, Directing, Costuming, adio Production, and all the rest, though “ ” “ ” S . rightly stressing kill, are also full Of content A scholarly approach to learning in any field Of study demands a full use The of C Of all the tools available . student lassical Literature who wishes really to understand what he is reading must make himself familiar with stu grammar, vocabulary and verse forms . It is just as important for the dent Of the Literature Of the Theatre to become acquainted with the dynamic “ ” o . structure of his subject . Drama is the art f doing something, in motion AS i Manifestly that means acting, setting and lighting. absurd as try ng to study music without a concert hall is trying to study plays without a stage . “ ” T Here then is the primary reason for the theatre skill courses . hey have DRAMATIC ART IN A UNIV ERSITY PROGRAM

great educational value in themselves ; they have even greater value as ad juncts to the reading courses . TH E EMOTIONS IN LIBERAL EDUCATION One of the greatest lessons taught us by the history Of the last six years is i n run that people are influenced the long less by reason than by emotion . Commentators have pointed out repeatedly that much Of the bloodiest fight ing has taken place between nations which before the war boasted the highest the levels of literacy . Knowledge and ability to rationalize are not wholly W Of dependable guarantors of sanity . hen the heart man is stirred he gives R A s . little heed to hi mind ecognizing this fact, merican education which, since the turn Of the century had devoted its chief attention to information i o and rat onalization, has in recent seasons begun to give consideration t

problems Of human feelings . In an article entitled “Education for the Emotions which appeared in A 1 1 944 The Saturda Review o Literature the ugust 9 , , issue of y f , George R out on our F . eynolds points the strategic influence which may be exerted : feeling by the artist . He says “ ‘ ’ ’ Our T emotional responses are not ime s fools, they are not easily C — Of changed . hanges come mostly through contagion the influence of And people we admire, Of new groups we become a part . some changes see also come from the books we read, the pictures we , the music we hear in a But so our gener l, the arts we vitally experience . the arts subtly Shift Of our do points View, widen tolerances, soften our prejudices, that we Often T not catch them at it . hey make us laugh with people or at them, make them ” or . seem glamorous repulsive, something to imitate or something to despise A R T lthough eynolds does not here specially mention the art of the heatre , An he implies it for he mentions it elsewhere in the article . intelligent study Of Art of r of the best Dramatic , like that books, pictu es , and music, helps the student acquire through contacts with the emotional factors an intuitive un recognition of values, a feeling for moral relationships, and a sense Of An rationalized, but nevertheless valid, perspectives . association with the forces of Drama Often brings with it an ill umination not acquired by any T r i other art experience, since the heat e possesses a third dimension n action

peculiar to itself . A perception and understanding of the emotional factors of human living (as reflected in the Drama) may be acquired to some extent in those courses which concern themselves solely with the appreciation of literature and his

y. of i tor Points v ew are established much more firmly, however, when the

“ E 47 5" PIONEERING A PEOPLE’S THEATRE

strictly content courses are supplemented by practice courses in creati ve wri t s for ing, de igning, and interpretation, then the student approaches the study

of i , . emotion, not just from the outs de but also from the inside In these k y supplementary courses the student, wor ing under supervision, actuall

k . At experiences emotion . He ma es it, expresses it, controls it every step Of his work he meets the human challenge of a small representative society

composed Of his instructor, his fellow craftsmen, and the members Of an T u to audience . hus he has ab ndant opportunity learn firsthand what is the “ ” “ ” “ ” ul - - real meaning of such terms as motive, drive, stim us and response, “ ” “ ” “ ” environmental pressures, primitive urges, social checks, and Similar

factors in behavior. Gradually, but surely, he comes to understand the dif ference between excitement and sentimentality on the one hand and genuine i on the ff emot on other, the di erences between momentary stimulation and

- T . long range satisfactions . hose are the things about which plays are written But probably the greatest lessons in the recognition and management of — in emotion come in the activities outside the classroom rehearsal hours, in

on . the scene shop, the lighting crew Here the student learns the value Of for personal initiative and responsibility, a respect order, and a healthy con

cern for deadlines . Above all things he gets daily experience in cooperative E rt ié H e out h ow e o similar to that required in an athl et team . finds just necessary it is to plan his own contribution for a right place and a right in to of stant, and fit it into the master design a group performance in such a or way as not to check distort any other part .

TH PROGRAM s: G SP ! D AND GR D A REE ENERAL, ECIALI E , A U TE In the foregoing pages I have tried to explain why I believe that the Uni versity Department Of Drama should claim a place in the academic areas on ’ of of l both sides the Mugwump s fence, the garden Specia ized Professional The T or L E . S raining and the garden Of Gi eneral, iberal ducation two areas hould not only exist in a fr endly way side by side, they should also have

access to each other ; they are mutually necessary.

W . ithout the General training, the Specialized part has little meaning The Of — ac theatre already abounds in Specialists a sort writers, designers, Fo tors, engineers . r that reason there would be small sense in inviting young people to come to a University community filled with rich resources of broad knowledge if they are to confine themselves after they arrive simply W T to grooves already well established elsewhere . hat the heatre (includ ing Radio and Films) needs from the American University is young men

m ag 43

PIONEERING A PEOPLE’S THEATRE

of C i . i m tory, and ritic sm Most the men and women who elect th s progra will be preparing themselves for teaching.

- m l In a well integrated plan, however, there ight we l be a considerable n amou t Of overlapping between the Graduate and the Specialized curricula . If the Specialist is going to guard himself against any too-early crystalization f his k o o wor ing meth ds he will have to establish good habits of research . On a no the other h nd, student should be permitted to receive a graduate degree first- without some hand experience in technique . Only at the point of climax should the two programs veer away from each other . The following diagram suggests how the three fields Of Dramatic study i dealt with in this article m ght be viewed together.

SPECIALI! ED GRADUATE

For the General and the Graduate fields Of study the University already ’ ’ For has degrees, the Bachelor s and the Master s . the other field Of Special ization there is now no degree Offered in more than a very few institutions .

Perhaps no degree is advisable . However, since ambitious students usually wish to have their records labeled for convenient reference when they are A stu c . applying for employment , the University might grant a ertificate dent would become eligible for this special award only when in the Opinion Of the Dramatic faculty the quality of his work had reached a level of excel T of t lence which merited recognition . his kind certifica ion would encourage those who ' are preparing for teaching to supplement their graduate training

i i of T e . w th practice n the techniques the h atre, and thus fit themselves for

- more well rounded service . T w ’ hus, it seems to me to be apparent that the Mug ump s fence need not of and exist at all . Dramatic study belongs on both sides the dividing line, there is no need of a barrier if those who are planning the various curricula see clearly how they may at the same time be diEerentiated and integrated .

4 1 5 0 18» DRAMATIC ART IN A UNIV ERSITY PROGRAM

Barriers tend to rise only when instructors are uncertain in their own minds or fail to explain their purposes clearly to others .

ATHEATRE OF T HE COMMUNITY

a Important as the study progr ms are, they will occupy just a part of the T attention Of an active Department Of Drama . he Department will give thought also to the community in which it Operates . A live University Playhouse serves the town in which it stands only when it recognizes several extramural responsibilities . It must be a general recrea

tional to . center, providing good entertainment many people Its auditorium to doors should be open all who wish to enter, and its stage door should wel come all who wish to participate in playmaking activities . It is true that the most important work should be assigned by rights to University students l o seeking training, but interested persons from the town shou d have an p portunity to try- out for the plays and to oEer their help in the scenery and costume Shops . B i Of eyond the lim ts the local town is a countyand a state . For these i i ts staE i i n larger terr tories, the University Playhouse and must prov de In i Spiration and guidance many matters related to Dramatic activ ties . It . i i a i a i a i should g ve techn c l advice where it is requested, help w th the org n z t on of c and oEer i . new proje ts, assistance in seasonal fest vals Of But most all, the University Playhouse must be an institution serving be not a the community in the cause of the human spirit . It must , just l school and a theatrica agency, but also a temple Of beauty . In a humble way it must strive to fulfil the responsibility suggested by President Harry ’ Woodburn Chase when i n 1 9 2 5 he dedicated the Playmakers Theatre : that it may make possible about our common life a little more of the stuEthat dreams are made of ; that its existence here shall mean a little less r Of monotony, a little more glamour about ou days ; that the horizons imagi nation shall by its presence here be enlarged so that we shall come more stead

see of i , ily and wholly to the place beauty and of its handma den, art in a ” civilization not too much given to its encouragement .

“ E 5 1 13" Th e L yr i c L a z y S o u th ’ ( Exc erp t from a Letter to CN ell Ba ttle Lewis By‘ PAUL GREEN UT MY thesis then as now and always will be is that or we as a people, a state, nation world will have a better chance to get out of the thick woods and night of — s — can tragedy wasteful, perver e tragedy when we go beyond a belief in the almighty power and value of things and their money — functioning to a philosophy Of their beauty and enjoyment seeing them not as competing and fighting units and tokens in an economy Of life but as instruments and means of cooperation and enlightenment among men

, . Y ti as which is their real value after all or they have none es, the ar st ’ prophet and statesman is what I m talking about . In the realm of true religion and beauty (and they both are one) the tragic dilemma of destructive and suEering man comes nearer to being dissolved or . O f away than not f course it can never be entirely dissolved, man must n of suEer i . , hope and die u til the end time as he has from the blind beg nning u can these nl B t he have exquisite, isolated and mai y individual moments Of

ffi . vision and a rmation, and can increase those moments among his fellows ’ d An d there s where the urge and the call come in . An he can create these out of of too- r - - moments, lift himself the rut a p agmatic and nose to the — — grindstone existence into another kind of existence the kind that Socra tes Plato, Goethe, and many another follower of harmony and gracious , — ness have talked about and worked to make prevail can if he will . — Three hundred years ago the dreamers came into this land of ours the rabble, the crooks, the cranks, the weak men, the idealists the strong men — , , the hopeful and despairing and all were hunting for something, some thing not only outside themselves but inside

e r . First, they conquer d the wilde ness o Second, they created the democratic form f government . T hird, they led the way in the creation of the machine age . k It too them two hundred and fifty years to do these three things . My contention is that now it is up to us to do the fourth thing to create an age Of — ’ , culture in the life of our country (yes I kn ow that s a suspect word but — , —, i ) of art i i still it is the r ght word the age , true sc ence, r ght thinking the

4 9 3i 52 1s . e to transfiguration of our life into terms of art, the art Of living It s ems me that one might say that it was for this very thing that our country was And our r created . if we fail to make cont ibution in bringing it to pass just us so much we fail those who struggled before , fail the hopes and the pur pose Of those who come after us, and worst of all fail and betray ourselves . We are already fifty years late ! ’ — z— r i Yes, that s what I mean life is an art g een winter fields in th s the on t he o y y n ; , , l ric, laz and i dulgent South paint houses flowers at the do r and our and care and beauty love surrounding bare, pitiful little country for churches ; lights and water and conveniences men and their housewives, a not that they may snooze the light away and grow fat in greasy e se, but that d And ut they may have more timefor books and music an singing. then o door plays and festivals and the beauty Of maydays and the sweet and tender girl queen with the prideful young king walking by her side ; and good health our an d o and j oy and imagination among children ; the p ets in Lillington , l W t A H or i ittle ashing on, sheville, enderson anywhere, writ ng better and better verse of their dreaming for the papers ; and festivals and choruses and orchestras and so on to the mutual stimulation and give and take among us For of li all ! these decorations fe are the inspiration, the fire, the color and and de thful of An d drive p meaning life . it is now no longer a matter Of ’ k the so the poc etbook, if it ever was, but a matter Of the soul . It is ul I m talking about . I am talking about the soul

M usic in th e Thea tre E A — verywhere there is music in merica good and bad, stimulating and — deadening, enriching and pauperizing but music just the same, waiting for W Of its worthy and inspiring use . hat a nation with its song on every i , l p with its melody in every heart, with its feet ready to move to every dance? And asking so I wonder to think that those who make the plays of men and what men do and dream should SO continue their pale frustrated a set It is l p ge and their characters down in dry and empty wordiness . sti l i a my bel ef that only in an imaginative, poetic and music l theatre can the true heart and soul of this great upsurging nation Of oursfind adequate and am worthy dr atic state . . — - Pl I O . . The a ol o C r ina a Bo k V OL X I . 2 Paul Green y , , N

5 3 B‘ Drama In Extension

By‘ KAI HEIBERG -JURGENSEN

Oflice T i s C F the of Defense ransportat on permit , the aro C i k T . C. l na Playma ers heatre in hapel Hill , N will resound with y n y of ou g voices, earnestl declaiming the lines plays, original and s o - - y profe si nal, for the twenty second time in twenty two ears when The Carolina Dramatic Association holds its Annual Drama Festival - A 1 2 1 . and Tournament on pril 4, this spring The beginnings of this organization and its wildfire growth in the State of North Carolina make a fascinating tale that sings of courage and persever 1 1 A . 9 8 ance and, above all, faith It had its start back in , when, in the nnual of C of Report of the President the University of North arolina, the Director ’ the Bureau Of Extension noted the addition to the Bureau s staE Of Profes “ o i . sor Freder ck H K ch, who is to direct the activities Of the Division of ” Community Drama . for - y of C Fighting elbow room ever day his life in North arolina, finding to one extension after another too small satisfy his vision and ambitions, Pro fessor Koch built dramatic activity in North Carolina until the State was “ ” - T k called the most theatre going in the Union . hen he stretched the wor y one be ond the state, flooding the entire South with his ideas until finally, a A H y A a , Q , an da , the meric n dr ma historian rthur obson uinn stood before assemblage in Chapel Hill and said “ has Frederick H . Koch done something which no one except himself and his pupils has been able to do, and I believe his success is due largely to his unquenchable spirit that has never been discouraged by circumstances and The never truckled to anything that was base or banal in the theatre . best way to epitomize his service is to try to imagine what the American drama ” - would have been during the last twenty one years without him . T A 1 C hat was in pril, 940 , two decades after North arolina had been de “ ” ozar . scribed by H . L . Mencken as the Sahara Of the B t Professor Koch began his work during a period of confused ideas and a A tawdry v lues in the merican theatre . Scorning imitation, he turned swift l his He y, innately to the people for answer . believed that what is essen tially true of the common people in one locality is essentially true Of all ali i a common people in all loc ties . Hence the log cal ttack for his ambition

“ A SHE DRAMA IN EX TENSION

one . was a simple . He started with the University community When he k A i i . looked beyond the campus, he cont nued to wor with communit es fter i Of organizingi several local pageants which called on the act ve help large bodies of c tizens, he turned his attention to the more intensive development of local drama groups . Next he promoted the writing and production of ll local folk plays by these groups, then tours of folk plays, and fina y state On wide festivals . His emphasis throughout was original, creative labor.

. , y Little by little, Mr Koch won over the people Of his state and eventuall u r the local work Of North Carolina influenced the entire co nt y. ’ There can be little doubt that Professor Koch s work leads toward a Na w T . as of tional Drama and a National heatre Naturally, he aware the fact that a national culture and hence a national art are based deep in the hearts of Of the people . If we examine the works of the great composers every k k country, we find invariably bac Of their work a tremendous body of fol The on music . dramatists and the novelists are dependent similar mate T for to rials . hey go to the people of their nation material, the dreams and The the voice Of the people, and express what they find there . road Fred erick H . Koch followed led through these folk materials . Here are the steps he took PAGEANTRY His first problem was that of reaching the common people of the State through their educators and through their community leaders ; for it is the A n of people who make a theatre and not the actors . doze companies ex cellent actors would be of no avail without an audience and without sub or —i stance f their plays . There lies the communal power Of the theatre a a on kn participation by the people both sides Of the footlights . Mr . Koch ew — n this and . he also k ew how to achieve this participation . It was indeed fortunate that the city of Raleigh celebrated its three hun dredth anniversary in the year 1 9 1 9 and needed a Tercentenary Pageant to T of dramatize its history . hus at the very beginning his career in North C arolina, the young Professor Koch struck at the very heart Of the state with of a Ralei h the She his composition and production the historical p geant, g , p herd o the Ocean T w o one f . hat as the beginning Of what was t become Of the most important phases of the dramatic development Of North Carolina . — The popularity of pageants Spread like a prairie fire pageants for every purpose, but in the main either historical or educational . The c of y importan e these pageants la not in their art, but in their com

“ A SH?“ PIONEERING A PEOPLE’S THEATRE T munal quality. hey drew within their circle people from all levels of ‘ — n i society all working together writi g, act ng, carpentering, making cos , — tumes i c of t or d re ting to present the history their communi y, or a drama a tization of the adv ntages Of education, or some other theme of civic im a port nce . The communal quality of the early pageants was advanced to real na ’ tional a The Lost Col on importance in Paul Green s symphonic dr ma, y, as The H i hland Call well as in his historical drama, g . The Lost Colony was written to celebrate the 3 5 0th anniversary of the n R n 1 5 8 7 E A begin ing at oanoke Isla d in Of nglish colonization in merica . n Directed by Professor Samuel Selden, it was staged at the seaside o the W R ’ original site of the landing of Sir alter aleigh s early colonists . In the summer of 1 93 7 and for four following summers it drew into its activities T The Pl m k the participation of the Federal heatre Project, Carolina ay a ers CCC Of W A W , the boys ‘ the orks Progress dministration, the estminster f R o . . Choir School Princeton, N J , and the people of oanoke Island . Over a quarter Of a million people attended . The H ighland Call was produced at Fayetteville October 1 4- November Th Th 2 1 3 e C . e C , 9 9 , to celebrate ape Fear Scottish Festival arolina Play C makers, the local people, students from Flora Macdonald ollege and sev eral professional actors all had a part in the production which was directed W A for B Of a . by John . Parker, Field gent the ureau Community Dr ma

TH E BUREAU OF COMMUNITY DRAMA

The of The Bureau o Communit Drama avowed purpose f y , initiated in 1 1 “ 9 9 , is to promote and encourage dramatic arts in the schools, colleges, and communities of North Carolina ; to meet the need for a genuinely construe i , t ve recreation ; to cooperate in the production Of plays, pageants and festi ” i w of i . vals of real worth, and to st mulate interest in the riting nat ve drama After familiarizing the people with drama through the communal pag c ants and keeping them continually aware Of it by a constant succession Of speeches, addresses and lectures, Professor Koch now reached out into every o u t Drama of corner Of North Carolina through the Bureau of C mm ni y . It fered help in the organization and productions of drama groups ; gave ad vice as to play selection direction scenery construction make- U and any , , , p — thing else which might fall under the heading of community drama and oEered it free of charge . The enormous and rapid growth Of the Bureau of Community Drama is

5 6

PIONEERING A PEOPLE’S THEATRE sociation to k i s z i one - n t the e organi ed groups nto state wide organization, on a r drawing everything into e St te d ama group . Professor Koch had been dreaming of the day when North Carolina com m iti a un es would not only produce plays in org nized groups, but would be The writing their own dramas and comedies . ground was now prepared ; the State was ready.

D A F D P T C. . . ESTIVALS AN CAROLINA LAYMAKER OURS The declared purpose of The Carolina Dramatic Association was to find means of promoting and encouraging dramatic art and stimulating play To i writing in North Carolina . accomplish these ends Dr . Koch and h s : - assistants utilized two methods state wide festivals and competitions, and extensive tours Of Carolina Playmaker companies performing their own

The method of teaching one group by showing it what another Similar ’ group has done was a favorite procedure Of Professor Koch s . He used it w for of in his play riting class, the textbook which was a book plays written The of by former North Carolina students . reaction the students to this “ y : they so ! book has alwa s been the same If could do it, can we This method was successful in the case Of school and community 1 25 drama groups also . In the annual festivals, beginning in the spring of 9 , drama groups from all over the State have met and competed locally in District Festivals for the honor Of appearing in the finals which are staged H Of in Chapel ill . In this way each group is exposed to a comparison its of work with that other similar organizations, and the comparison has been strongly conducive to the raising of the general level of standards . of of In addition to the productions plays, demonstrations distinctive dra k matic wor being done over the State, exhibits Of stage models, costume de signs, and scrapbooks, and lectures by authorities in various fields of theatre A have been regular features of these meetings . mong the guest speakers Of national importance who have addressed the Festival audiences are Pro o B A CliEord B . Q O , f ssor George P aker, rthur Hobson uinn, dets ernice B d a . Kelly Harris, arrett H . Clark n many others At least two of the Festivals held at Chapel Hill have been of importance C Southern Re ional Conference beyond the borders of North arolina, the g on the Drama 1 92 8 D ama the o h 1 3 TO Re in and r in S ut in 9 9 . these two i Of g onal Festivals came representatives, leaders other drama groups from

, i the colleges and civic groups of many Southern states, to see plays to l sten DRAMA IN EXTENSION

to authoritative theatre men, and to hear again and again the gospel of the “ ’ T ” People s heatre . To Show the people of North Carolina and other States what young ap of - prentice playwrights can do, Professor Koch organized a total thirty seven tours Of The Carolina Playmakers covering North Carolina systematically on of to a as far T an average two three times a ye r and going afield as exas, W E T i ear Missouri, isconsin and New ngland . ravel ng by , train and private “ ” - bus i Show , his touring companies played in school and c vic centers in C Y C Y i North arolina, in New ork ity, at ale University and n all the states 1 34 between North Carolina and New York . In 9 they performed at the ' First National Folk Festival in St . Louis before an audience Of thousands . In 1 93 6 they traveled all the way to Texas to play at the Texas Centennial

Exposition in Dallas . “ 1 9 4 1 The C Dr. Koch expanded the program in the autumn of when aro lina Playmakers Repertory Touring Company” toured for two months in “ ” ’ their own show -bus playing Paul Green s The H ouse of Connelly in forty towns and cities in twelve states to an audience of The company E W Y , covered New ngland, New ork and the Middle est traveling The was The R B miles . tour sponsored and booked by edpath ureau and

the sixteen Carolina Playmaker actors were paid Equity wages . With this tour The Carolina Playmakers had achieved an extension of

their activities to influence thousands Of people on a true professional level . RADIO ACTIVITIES

It was not until 1 940 that a Radio Studio was actually organized on the

of . campus in Chapel Hill . Professor Koch was quick to take advantage it “ ” of Air E W The Carolina Playmakers the , directed by arl ynn Of the De artment Art c a i sta p of Dramatic , produ ed programs over various loc l rad o Of - of tions, and a series six plays was presented over a national network the

Mutual Broadcasting Company through WRAL in Raleigh . Such well B known Playmaker authors as Paul Green, Betty Smith, James oyd, Noel Houston and Josephina Niggli were among those to write new plays for the

national network series, which extended the Playmakers far beyond their The or usual limits to a potential audience of several millions of people . i W A aniz t on n . g a flourished for three years, u til Mr ynn left to join the rmed ’ Services and the Navy appropriated the radio studio s physical plant .

« em s PIONEERING A PEOPLE’S THEATRE

TH E A S R D P L O OF DDRE SES, EADINGS AN UB ICATI NS

PROFESSOR FREDERICK H . KO C H k k A profuse and persuasive spea er, Professor Koch spo e to thousands Of people all over the coun try in what would undoubtedly add up to hun dreds of speeches in the quarter of a century during which he directed the of C dramatic activities of the state North arolina . It is not to be wondered “ at that nearly all Of the titles of his addresses include such words as folk ” “ ” “ ” “ ’ ” an d i a k plays nat ve dram and playma ing and people s theatre, for T these were the things for which he stood . irelessly he applied his energies to Spreading the word about a people’s drama and a people’s theatre when t ever and wherever he was given an Opportuni y. r a Dr . Koch w ote numerous articles and p mphlets during his active life ; but important as these publications were in making his work known through out y i k l the countr , h s most important literary wor wou d seem to be the k of y i one Of stu eight boo s pla s he ed ted, every them filled with plays his T can r dents had written . here be little doubt that they comp ise some of v T influ the most eEecti e extension work he did . hey have been a definite ence on the playwriting in this country for the last fifteen years . Judging not y are , by the annual ro alty reports, some Of the plays done every year E o far a . only in this c untry, but as away as ngl nd An was The Carolina Pla -Book now i unique venture y , n its seventeenth of e a l a a e An ca i Th C ro in St . year publi t on, and its later supplement, g ideal istic e T e a ol Pl -Boo of succ ss, h C r ina ay k was honored with the distinction being one of only three theatre publications included in the International E i C E C xhib t at the entury Of Progress xposition in hicago, the other two Theatre Arts M onthl Sta e being y and g . AS a young man at Harvard University Professor Koch earned a good deal of his keep and tuition by giving Spirited Shakespeare readings . Up until the last year of his life he continued to give one- man performances Of Old Shakespearean plays, clinging with a warm enthusiasm to the , heroic of i — E tiv style act ng a style that in his hands was most e ec e. He had done it so Often that he knew whole plays by heart favoring H aml et and A M id ’ , summ er Ni ht D ea g s r m . In the second year Of his career as a teacher at the University of North ’ a h istma Carol D kota, Professor Koch read Charles Dickens A C r s to a gath of a ering his colleagues . The reading was so successful that he was c lled Thi upon to repeat it for the students and eventually for the public. s was

« a 60 R DRAMA IN EXTENSION

' of his s - the origin annual reading Of this beloved ghost story, readings that took him far and wide to great cities and small communities, goodnaturedly pushing his way through the snowy nights Of winter in order to meet his “ many dates and leaving behind him the spirit Of The Ghost of Christmas ” to T H Present . It took him own all in New York and his voice was heard R a out over a National adio Network for several years, re ching all over the

- country with his spirited characterization Of Old Scrooge . In thirty nine i A Christmas Caro years these read ngs exceeded two hundred in number . l came to be an institution, anticipated as a traditional high point in the yule tide by young and Old in many communities, and was probably the most Th e important work Professor Koch did . spirit of warmth and tenderness on m of was unfor t l which he left behind him those issions love ge ab e. The Spirit Of this energetic teacher is still stirring all through the Ameri T A can heatre . pplying principles which are closely akin to those of the ’ A T Of A T bbey heatre, he approached the dream an merican People s heatre even as Yeats and Synge and Lady Gregory had striven for an I rish Theatre . For one who has worked with The Carolina Playmakers it is impossible to The A T avoid making this comparison . spirit of the bbey heatre Players Bu . t is everpresent the burden which Mr . Koch lifted onto his own shoul The ders was possibly a greater one than that which was carried by Yeats . was out of a ll latter reaching to the limited population , sma island with a “ a of theatre situated in a comparatively large city, the capit l city the land, i The T sooner or later vsited by almost everyone in Ireland . heatre Of H Frederick . Koch was in a tiny village far away from the metropolitan centers . Through this small theatre it was his desire to reach millions of s I for people in a va t land . t would have been manifestly impossible him to out H carry hi s plans had he concentrated all his work i n Chapel ill . His i B of only alternatives were extens on work and touring . eing a man expansive H ow imagination he was impelled to cultivate these fields to the utmost . as he ever, the territory was trying to develop was by nature expansive , he was faced with tremendous handicaps not existing i n the little Ireland of

Yeats . In Ireland it was possible to achieve a National Theatre within the span

Of . A . a lifetime In great, sprawling merica it remains a goal Of the future T di c s e . here are in ation , however, that the se d has taken root Of one hundred and forty plays entered i n the National Playwriting C L ontest of the Pittsburgh Drama eague last year, at least a hundred W would have fallen under his denomination Of American Folk Plays . hen

m eg6 1 PIONEERING A PEOPLE’S THEATRE

Robert Porterfield of the Barter Theatre in Virginia announces that he is ’ planning twenty-two Veterans Theatres after the war with the hope that they will eventually grow into twenty-two people-supported State Thea “ ” ProE tres, we can be sure that will meet him up the road somewhere, for that is an Old road for him . He must have rej oiced last year when John k inau u Golden, the New Yor producer, contributed toward the g ration of a National Theatre in this country. The men and women who were students of Professor Koch or who were touched in some Way by his magic wand are not satisfied with our American T T . Theatre . heirs is a vision destined little by little to come true hey are “ ’ ” aware that day by day a people s drama is being written, and their hope is that the end of the war will see a vigorous resumption of Frederick H . Koch’s struggle for a “people’s theatre” dedicated to the performance of these plays . Here in Chapel Hill such a theatre is to be erected to the memory of this of stu great teacher, and a higher standard professional training for the A of dents is being planned . lready the possibilities much more extensive tours are being discussed ; and though the body of the man who first saw the i i is . v s on is dead, his spirit will be present when the final goal reached

Th e Am eric an Thea tre Today

The American theatre today is not on Broadway but in the thousands upon non- thousands of amateur and professional groups in the hamlets and towns, ni in the granges, the high schools, the colleges, u versities, trade union halls, is army posts, and in the civic centers everywhere . It the theatre of the i W whole vast Un ted States . here there were once five thousand theatre B stages in the country and all an extension Of roadway and its syndicalists, now - five y there are twenty , thirty, even fifty thousand, built and created b for n ow ur i . people themselves their needs, their feelings, p poses and v sion And here night after night they act and see acted and set forth in all intensity and sincerity dramas and stories of their own choosing and Often of their own i . i i wr ting Here s a vast and grow ng theatre, rugged and dynamic in

, i i k i y its nature and the gloss and finish, wherever t s lac ing, will ult matel be polished into being. — I The Hawthorne Tree. Paul Green . n his

“ 51 62 i!” Pr e s e n c e b y th e R i v e r

By‘ PAUL GREEN

HERE was once an Old question as to who could chart the winds and the nature thereof and who coul d fore Th tell the weather and its whims . e question still ’ o N stands today unanswered as it did in J b s time . O doubt there are laws governing all such phenomena, and maybe someday these laws will be understood—laws that have no irrational phantom dancing But so who no within them . even those understand will have power to for bring either drought or rain, the wind will still blow where it listeth and it will rain when it will rain . And 8 0 — so k o as with the weather, with writing a play with any wor f a art . It comes pretty much when it will come, is absent when it will be h no its wil O . S y sent, and man can provide presence at his l if I ma be per “ ” i Wh ou on sonal in replying to your quest on, y do y write plays, I can first “ ’ ” i sa k . s consideration easily y, I don t now It much like the weather to me — A the what and the why, the wherefore and results . bout the only answer

I would venture is that I seem to need to . If I were certain that the drama were the one means of gaining honor or wealth or mental stability there ’ would be some Obvious sense in spending one s life trying to set down lines for to e s eak people p on a stage . I believe I should want to write plays, or t , y l ot o though if little nothing came Of them, but naturall I want a come

Of them . Of course your question goes fii rther than any easy answer or any meteor

f . ological metaphor . It raises the whole problem o aptitude and calling I T so. he think all people are by nature artists, that is, more or less usual European designation of the American builder and business man as a money ho — a In g, for instance creature who takes pleasure only dollar profit and i In — T 1 5 to pa n only dollar loss seems to me Obviously false . here more it — “ In ne of Vm of . L o than that always more Sinclair ewis his novels, ” Art r his one , t ies hand at showing that Myron Weagle with his dream of a a i Is perfect hotel might be considered essentially an rt st . There a lot of human truth in his contention .

‘ ffif PIONEERING A PEOPLE’S THEATRE

so- a Now if all Of us have this called rtistic urge, then why do some of us — become hotel keepers and others banj O pickers or playwrights? That is h the next question . T e answer is perhaps that circumstances always play

. sa their part One child happens to have access, y, to a piano near at hand but stiE r t finds his fingers too o oo short to al low of his becoming a performer .

or . And SO . E f Perhaps he turns to composing, bricklaying it goes ach o us T could make some sort of statement as to his proper calling. ake your own as — All of c e you run a drama magazine . sorts odds and ends of circum a Of st nces and people went into your choice that career. Two c i in idents happened to me years ago, I remember, wh ch turned me

. one E to writing plays Norman Foerster, who was Of the finest nglish r C a teache s ever to appear at the University of North arolina, nnounced in class one day that the seniors had decided to do a play at Commencement and were holding a contest for original scripts . He advised me to try my hand . k The was I too a chance at the thing and happened to win out . play pro duced A in the forest theatre and I was thrilled to death . fter that though ’ m on r or I didn t set y heart playw iting, f I had always been more interested “ ” T 1 1 ProE in poetry and Short stories than anything else . hen in 9 9 Koch i e came rid ng in from the Dakota prairi s, his arms full of plays and his head ul w . i as , f l of dreams In no t me a stage up, and everybody near and far l ittle and big, black and white realized for the first time that he, said body, — for was an artist of some sort mainly a dramatic artist . Some went in de An d i . for . signing, some for acting, some wr ting I chose the last after a w k few productions, I as caught fast in my choice and had struc acquaintance - with all the bat like terrors that inhabit the shadows Of the stage . “ Wh y ou Your next question is easier to answer . y do you write the plays ” — ’ i do? The answer is that s the only kind I know how to wr te . Most of the plays I have written can be designated as folk plays, and I know this “ ” seems a narrow boundary . Perhaps it is, but since the folk are the people who to r seem matter most to me, I have little interest in t ying to deal with mo others who are more foreign and therefore less real to me . Not for a ment do I claim to have done justice to an inspiring subject matter, but the

is S . challenge there, clearer, harper, and more compelling every day For “ ” there is something in the life of the people which seems of deeper Sigui ficance so far as the nature Of the universe goes than the characters who To e i might be termed sophisticated . xam ne the matter a little further, it seems to me that the folk are those living cl oser to a terrible and all-wise

‘ « it 64 Is»

PIONEERING A PEOPLE’S THEATRE

on But the present clang and confusion Of wheel iron, yelling and clamor of tickets and tellers the secrecy of vaults and locks and braggarty mono , — liths of incorruptible concrete and steel these all make it harder for us to see ’ ur and hear the God who is the principle of o lives . Maybe I m crazy on the ’ idea of God but then aren t we all? I refer to the wild pell mell rush , — every evening out Of the city to the country to the country where the birds r i o . are, where the grass is and where there s peace should be on of Now you catch me almost carrying into a scheme social philosophy. And if I wanted to apply this half- surmised esthetic theory to the control and arrangement Of peoples I Should say there ought to be plenty Of trees can and land and outdoors for every man . For only in the outdoors we And associate with power and mystery in their most sublime manifestation . heaven knows we ought to sense in any way we can whatever touch of sub limity there may be vouchsafed unto us in this darkness . ’ Now it seems that after all I m saying for myself that folk- drama as or i I such is can be more significant than Soph sticated drama . Not at all . mean to repeat that in the last analysis it is a question of neither folk nor — m i an , i i i sophist cate but of , man in his environment and t s n the main a

for . And matter the poet, the creator, the seer I would say that indoors sooner or later man must perish and outdoors there is more of a chance for him . To y y make another dogmatic statement, I would sa that cruelt , scorn, and evils of all sorts are more native to the great cities than not and therefore — , OE i I a k we should be better without any great c ties me n close, s yscraper ’ ’ , l c T bed am ities . ( here s something other than p olitics behind Russia s ef n And too forts to create the ideal commu e . ) all the little towns that get large for their britches and so full Of metropolitan urges and apings that they cut down all the trees on their main streets and cover the grass and oE ground with concrete will be better when they tear up the concrete, reset the trees, and grow grass again . And maybe now that we have evolved wheels and telephones and radios and machinery of long- distance coopera tion of all sorts we can all begin to live more among flowers and trees again k and yet eep in touch with each other enough for our sophisticated needs . Then haply now and again we may also have a word with the Great Pres ence where He walks by the river bank at evening c/ l D r a m a ti c A rt B u il d in g By“ SAMUEL SELDEN

OR nineteen years The Carolina Playmakers have centered their activities in the old university building new bearing the name of E 1 The T . 8 5 0 i Playmakers heatre rected in , the build ng had acquired a considerable body of tradition before it was remodeled

into a playhouse in 1 9 2 5 . In the two decades since the Playmakers entered a o T it the Old hall has added to itself a thous nd more mem ries . hey are of — w bright memories, most them memories which ill forever be associated “ with a little porticoed theatre set beside a row Of green maple trees at Caro ” For lina . many hundreds Of men and women who have come and gone — some to far- away corners of the earth this is the beloved home and symbol

of Playmaking. R i k T egarded from a sentimental viewpo nt, the present Playma ers heatre has taken on a certain character which could never be dupli cated in any

. y i i i other building It has charm, it has intimac , it has trad tions nextr cably bound up with the early life of the University and with the beginnings h For l t f T e k . h o Carolina Playma ers nineteen years, it has served we l e

needs of the organization housed in it . Viewed dispassionately, however, T o the little theatre has several unconcealable deficiencies . he activities f the Playmakers have grown so extensively in the years Since their inception

that the present building cannot now hold more than a small part of them . The ffi of B fi , O O ce the Director the Dramatic Museum, the usiness f ce, the u C R o Cos B reau Of ommunity Drama, the adi Studio, the Scene Shop, the ff l tume Shop, and the several store rooms are located in seven di erent p aces — on and OE the campus all Of them outside the theatre and most Of them Th Art at a considerable distance from it . e University classes in Dramatic for have trouble finding adequate room laboratory work, and directors are

constantly hunting spots in which to hold their rehearsals . But elbow room is not the only kind of space which is deficient in the

T k . . i present building here is another, and perhaps even more important nd That is the sense of dramatic magnitude a sense which every student and ll actor, playwright scenic artist must appreciate before he can rea y of master the techniques of the stage . One the primary elements of dra a eEect is And a m tic Spaciousness . this cannot be learned very well in

“ E m il" PIONEERING A PEOPLE’S THEATRE

can small room . It may be true that an experienced player stand in a box his feel and, by the force of art, make the spectator distant horizons and the far-away stars ; but when he is an apprentice he must have certain tan W i l . b e images Of space in order to understand space ithout them, he g — not learn h ow sensuously to stretch his muscles and extend his voice to fill

Th use . The roscen space with his presence . e stage in now is very small p i i In um Opening is only n neteen feet wide, contrast with a normal width Of - T a t thirty or thirty two feet . here are practic lly no wing space and almos

y . no fl space Influenced by these limitations, all dramatic action for the The ul of Playmaker stage must be scaled down . res t is Often a distortion Eect the desired e . Student craftsmen exposed constantly to such conditions of tend in time to develop a tight, unnatural attitude toward the problems k i y y. pantom me, pla writing and scener If later they are assigned to wor - on i ai . full size stages, they must learn much Of the r techniques over ag n

The need for a new theatre building became apparent eight years ago . 1 u of In 93 6 the Playmaker staEbegan to lay plans . It made a caref l study

the whole problem of housing Playmaker activities, and it formulated a The tentative program in accordance with this study. main divisions of A C the new plan were to include an uditorium, a Stage, Scenery and ostume R ffi , R C R O Shops Dressing ooms, Store ooms, lass ooms, and ces large enough to take care of present needs and to allow for considerable expan

T k k for c . sion in the future . hen the Playma ers loo ed around an archite t T Oensla er hey sought the advice Of Donald g , Broadway designer and Pro fessor of I Design n the Yale University Department of Drama . He was

largely responsible for the planning of the fine Yale Theatre . Professor Oenslager i n turn consul ted with Dean Meeks of the Yale School Of Archi was tecture, and the result a recommendation of two men who were judged to be most fitted to cope with the peculiar requirements attached to the C T e campus at hapel Hill . h choice finally fell on Waldron Faulkner Of t H . C. e Washing on, D was approached, and he agreed immediately to

undertake the designing . Several tentative plans were drawn up . The architect and the Playmaker staE decided to consult an outside au thorit T y before they adopted a final scheme . Mr . Cleon hrockmorton, on c was leading New York designer and consultant many theatre proje ts, to turned at this point . His reaction was clear . He advised changes In the Of i . of basic articulation the build ng In the light his experience, he said he was convinced that any scheme for a laboratory theatre should have the

, A i i stage in the center with all the other elements (School, Shops, ud tor um

m s 6 8 ii. A DRAMATIC ART BUILDING and Dressing Rooms) grouped around it in such a way as to allow one to s cross from any element to another without having to pa s over the Stage .

T . I so u his was certainly a logical idea t seemed utterly so nd that Mr .

Faulkner, already somewhat restless over the conditions hitherto imposed on him, asked if he might scrap all the older schemes and present a new one . a With this permission gr nted, he completely redrew the theatre in accord ’ T . T ance with Mr . hrockmorton s suggestion his required a search for a new site, because the revised plan demanded a considerably larger area of

one . ground than the then assigned to it Finally, with the help of the B C University uildings and Grounds ommittee, a satisfactory plot was picked

C on x the of B T in the New ampus level ground just east the ell ower . It of is a beautiful spot . Set in the edge the University Woods and flanked of by one the paths leading to Kenan Stadium, it is just across the road from W m the Library. hile the location is now so e distance from the center Of of campus activities, it lies directly in the path future expansion . With the of C of i t development the New ampus, the center univers y life Is bound to A on shift . building erected the Site selected will then be very favorably located . The present plans for the new Dramatic Art Building are shown in the n diagrams o the following pages . The basic composition includes four A R wings, comprising uditorium, School, Shops, and Dressing ooms, grouped around the Stage in the middle . In this arrangement, the Stage becomes for At the pivot and radial center all activities in the building . the same — traflic i y be time, means are provided for between the four wings espec all ' — tween the School block and the Shops and Di essing Rooms without a on T crossing the stage . his scheme permits work in the rear and two side blocks to continue without fear of any disturbance to rehearsals and per formances on in progress the stage . A glance at the plan Of the first floor shows an ample stage house with of - a total inside width seventy feet, depth of thirty eight feet, and a pros cenium - h — opening of thirty two feet . T e gridiron is sixty five feet above the Th A floor . e uditorium is designed to hold slightly more than five hundred th spectators . Since e University already has a large auditorium in Memo

is . rial Hall, the seating capacity for the new theatre , perhaps, adequate One Of the leading desires of the architect and his advisers from the de partmental staE is to carry over into the new theatre some of that intimacy ’ d The which constitutes a principal part of the ol theatre s charm . place fi A O ce C R . ment Of the Business , Lobby and oat ooms is conventional

“ A 69 33‘ PIONEERING A PEOPLE’S THEATRE

Cloister on each side Of the Auditorium makes it possible for one to reach the Stage from the front of the house on this floor without undue exposure The to the weather. School block on the first floor contains the Green R T R . he oom, the Drafting oom, and the Library Library is so located y i r R that it ma be read ly accessible to the a tists in the Drafting oom, crafts OE men in the School as a whole, and the technicians in the Shops . Opening the Green Room is a small pantry for the use of actors and technical people having to work late ; and near one of the outer entrances is an in formation booth for students and visitors .

FIRST FLOOR PLAN 0

The R one n Dressing ooms are in a block near School entra ce, and the The 1 8 Scene Shops are in a block near the other . Paint Shop two stories high . On the floor directly below IS the Construction Shop where scenery i s — built out Of earshot Of the stage . When the units have been assembled, they may be passed up through a slot to the floor above where they will be

. The not us painted Paint Shop, when in e for painting, can be made to as serve an emergency dock for scenery and properties.

“ R 70 3" f . 1 A DRAMATIC ART BUILDING

t of one If one turns o the plan the second floor, sees the upper parts Of ain The C A i . e the Stage, ud torium and P t Shop ostume Shop where costum s s will be designed, made and stored is directly over the Dres ing Rooms on Th - u . e h the floor below control Of costume and make p work is t us unified . O y of ver the Lobb in the front the house is a Museum for showing books, and of At stage drawings, models other materials general interest . one end is ffi and of his O , y the ce of the Director at the other that Secretar , who will from this situation control the entrance to the Museum . On the second of are ffi R floor the School block located O ce and Seminar ooms . On the two floor just above there are more large rooms for rehearsal purposes . The A a for - balcony over the uditorium cont ins a projection booth motion pictures .

SECOND FLOOR PLAN

The i basement Of the building s a very busy place . Under the Lobby is a n The Lou ge where audiences can gather during intermissions . Lounge R n T serves also as a lobby to the ehearsal Theatre o this floor . his second r s , one on ill theat e smaller than the the main floor, w be used for rehear als for Ex T Th r l and the p erimental ryouts of new scri pts . e auditorium is di ect y

“ 31 7 1 19” PIONEERING A PEOPLE’S THEATRE under the main Auditorium and its stage is under the trapped portion of C r one the main Stage . o ridors on each side make it possible for to reach the - Of- The rear of the building without going out doors . rest of the basement is set aside largely for storage purposes and for supplementary Dressing R ooms .

BASEM ENT PLAN 0

i e Since the t me these drawings were mad , plans have gone for - R the development of an All University adio Studio . Because much of the equipment and personnel which woul d be employed in it would have to be drawn from the theatre organization, it would seem logical for the Studio to be placed in or near the projected building here described . Several ideas R on to have been advanced . One is to locate the adio rooms p Of the School A t block . nother, and probably better, idea is to construc a separate building T back Of the heatre . If some day the University should erect also, as n for of pla ned, a small studio the making educational and dramatic films, this unit with the radio unit might together fill out a design around a little

i , serv ce court behind or beside, the main playhouse

" i f 721 3‘

PIONEERING A PEOPLE’S THEATRE

T li a . T exalting. hey are more re gious th n sermons hey are the truth of i k the spirit that oftent mes ma es men greater than they mean to be .

— k A k The New York Times A 1 1 i . , 5 93 7 . Broo s t nson ugust ,

To his c R Paul Green and asso iates, the whole oanoke Island venture has become a broad canvas for theatrical experiment . This has been done along and the most independent lines, and with no regard for what Broadway the

Schuberts would have done under similar circumstances . ‘ ’ T sh hey y from producing a pageant, just as many audiences refuse to The o t Co o of . L s l n watch them But in y, there are scenes in which masses o An people n the wide stage make the effects. opera could be written on V i ory Of WestminsterC hOir the irg nia Dare st , but the superb music the and an organ woven subtly into the story serves far better . Al O— A set l the S called modern staging systems are used . permanent behind movable flats and props and two Side platforms are used alternately. ’ y li i . B clever ghting, the eleven scenes move along without a second s wa t The E R L . , production pleased the First ady, Mrs leanor oosevelt who

arrived last night sitting in the back of a CCC truck with a large party. It probably will please equally the expected to see it before the season ’ o closes . Paul Green s maj r dramatic experiment .

— t itor y Associated Press Ar s Ed . John Selb ,

The conventional musical Show is a shabby frame for robust material ; the mi of i l ow y an fa liar pattern l bretto, song, dance and comed flattens out r a honest subject . What the American saga needs to a ouse an audience is ’ k of — a serious wor art part masque part page nt, part symphonic drama, , ’ a The b sed conscientiously On the known facts of our history . Paul Green s

Lo t C. s Col on i R . , y, produced dur ng the summer at oanoke Island, N is a ’ c W R m steri ase in point . It was the idealized story Of Sir alter aleigh s y ously tragic attempt to found a colony in America in 1 5 8 7 ; it was written out of n our to E i and a profou d love for heritage, set Old ngl sh music folk n da ces and staged with exalting reverence .

- k A k T e ork Times 1 2 1 93 7 . Broo s t inson . h New Y , September ,

rfl if 74 k» R e t r o s p e c t a n d Pr o sp e c t

B ' R y GEORGE . COFFMAN

WENTY- SIX years ago Frederick H . Koch, to use his happy “ phrasing, came back home again among the red hills and green ” Of a . y pines his ncestral South With his coming, the histor of The C W i . h s i A 1 6 arolina Playmakers began ith pass ng ugust , 1 944 its historian must turn back to 1 9 1 8 and on page one write Retrospect , — . r as the chapter heading Professor, d eamer, builder these are the key words for that unwritten chapter . In its beginnings the mom of The Caro

C . 1 944 lina Playmakers was hapel Hill In , it embraced the Continent .

‘ During those early years when Professor Koch and Paul Green and E HeEner T W of lizabeth Lay, Hubert and homas olfe, and others the “ ” i sat n playwrit ng group arou d the long black walnut table in the library, E on their e orts centered almost exclusively the campus Of the University . Soon Professor Koch through the annual state festival and drama tourna ment of the Carolina Dramatic Association broadened his activities to in cl d Th u e all of North Carolina . e wider range came next with The Caro k i c So lina Playma er tours, extend ng geographi ally from the deep uth to W k As ashington, New Yor , and Boston . Professor Koch spread far and “ ” wide the gospel of the folk play through lectures and summer school kn T ri i , e . teach ng he b came internationally own hen, in turn, c tics and his torians of American drama gave him first ranking as leader of a regional movement for native drama . It is fitting that here in Chapel Hill Professor Koch should have c mvi sioned ul The of such a dream and sho d have made it a reality . University North Carolina is the home of dreamers seers and builders of a new eco ’, , r The nomic and cultu al South . Nation s Problem Number One is and has Th of been their opportunity . e briefest roll call suggests the band choice spirits with whom Fred Koch became allied as colleague when he came from E 1 9 1 4 C C. North Dakota to North arolina . Professor . Branson in , under

E u , the inspiration Of President dward Kidder Graham, fo nded the Depart ment of Rural Social Economics to study and develop constructive policies for of the country life this commonwealth . Its business was to teach the “ ” of - - 1 9 22 citizens the state the North Carolina of day after tomorrow. In

"E 7S 13" PIONEERING A PEOPLE’S THEATRE a group Of ten faculty members conceived the idea which under the director W R. . of . T ship first Dr . L Wilson and later of Mr . . Couch developed into f one o the best university presses in the United States . Next in order in W , 1 24 . of 9 Dr Howard . Odum became first director the University of for R The - flun North Carolina Institute esearch in Social Science . far g range of its activities and the dynamic energy of its director reach from Studies in

y , y sociolog , economics histor , geography, and law to folklore and other T of . d eR. fields linguistics and literary interests hen there is Dr . J . G . 1 a out Hamilton, who in 92 7 beg n to work a project conceived several years earlier and who today knows every highway and byway of every Southern As ffi c has state . a result, from public o ces and private atti s he massed a — T m nuscripts the Southern Historical Collection . hese manu scripts, including diaries, unpublished reminiscences, letters, plantation rec lod ers g , i ords, and other documents Of industrial and business undertak ngs form unrivaled data for a historical interpretation Of practically every Of phase Southern life . SO it was fitting that Dr . Greenlaw, another of these dreamers and work ers 1 1 8 to , should in 9 call Professor Koch, a new torchbearer, the Univer sit C his y of North arolina . Here what he did yesterday, what fellow k wor ers are doing today, and what they and others will do tomorrow are “ i ” being woven into the romance Of the Southern inst tutions . In this Sesquicentennial year Of the University and in this volume of its ’ i Pioneerin a Peo le s Theatre i i publicat ons entitled g p , t s highly fitting that we now look to the future Of all that The Playmakers and its founder have come to represent . It is a nucleus and a symbol ; and it is still the living A embodiment Of a creed . round it a university department is to be further consolidated and developed and to be coordinated with allied departments The C in the creative and interpretative arts . Its leaders through arolina Dramatic Association should continue in the spirit of its founder to be the inspiring force and the guiding counsel for wholesome and constructive dra matic entertainment in every rural community and in every town and city of T this State . he annual festival Of this Association in the Koch Memorial T heatre, combined with those Of music and the other arts, might prove a model for a state theatre throughout the South and over the whole country . Thus through this cultural medium a great contribution might be made to the physical and spiritual regeneration Of our people as a whole . In prospect it seems especially fitting this Sesquicentennial year to sug com rehen gest a project here outlined in brief . This project would be a p

« am y» RETROSPECT AND PROSPECT s of l ive history drama in the South . Such a history wou d use studies that r or for , i y r a i have been made are being made, example of the h sto Of d am t c

i W u and R C O . product on in illiamsb rg ichmond, harleston and New rleans It would evaluate these and other dramatic activities down to the close of - to the colonial and post colonial periods in relation the political, social, and a cultural life of the times . As a b ckground to the renaissance of the past

l . , i two decades, it wou d utilize materials collected by Dr Hamilton stud es m I R or on ade through the nstitute for esearch in Social Science, other books the Southern scene by the University Press . Most important as basic mate rial in the South for the past twenty- five years would be the carefully filed A and documented records preserved by Professor Koch . gain, with this period of the renaissance the historian would study creation in drama in com And parison with other literary activities here in the South . finally, he would evaluate this whole movement through the South for a native drama in relation to similar movements abroad and in this country. ’ But —a , to return, the great task implicit in realizing a people s theatre — task nobly begun is one to which The Playmakers through the Depart ment of Dramatic Art in the University may highly dedicate itself .

Credo

From the first our particular interest has been the making Of fresh dra W e , p i . y matic forms in laywriting and n acting have cherished the localit , u i S believing that if the locality were interpreted faithf lly, it m ght how us For see the way to the universal . if we can the lives of those about us with — — understanding with imagination why may we not interpret that life in S ca ? was so k ignifi nt images for all It with the Gree s before us, and with E . has SO ar our own nglish forebears It been in all lasting t. It should be for A so us here in merica .

“ HU MP Th e Staff Of the Carolina Playmak ers By‘ M ARION F ITz-SIMONS HEN —i a theatre history is written, the historian f he be a Wise and just chronicler—emerges not with a calendar of dates and

productions, although they serve as milestones, but with a group

Of personalities, Of living men and women . The theatre idea ’ ’ may be one man s dream and one man s vision ; but the theatre in practice and the theatre growing is a laminated structure built Of the energies, Shaped by the minds and colored with the imaginations of all who have worked in SO T it and for it . with the Playmaker heatre and the Department of Dra matic Art which has grown up around it : the story Of the people who have directed the course of the last twenty-six years is the story of the develop to ment Of a college department, extended include most Of the tributary T - Th theatre arts, and a heatre with at least state wide impact . e Playmaker E Sta , although by no means the only people who have contributed toward of the design and structure the theatre, are at least the core ; and the sum Of k their efforts is the organization as it is nown today .

G . C EORGE V DENNY, arolina graduate and actor in the first Playmaker Wh en Witch es Ride was f production, , the first sta f member, becoming Busi f ness Manager o the Playmakers and Instructor Of Play Production in 1 9 24 . His genius for promotion and real understanding Of publicity values led c him to organize the first subs ription audience and to book the first tours, which carried the Playmaker name and gospel throughout North Carolina, and on up the eastern seaboard as far north as Boston . He also directed and

of . 1 2 6 acted in a number productions In 9 , he resigned to enter the pro fessional theatre ; and is now president Of Town Hall in New York and founder and director Of Town Hall Of the Air. E . . 1 923 e a k MO , , P L L RE in , while still a student b c me Playma er Stage 1 o Manager, which position he held after graduation in 9 2 5 until his r sig 1 2 7 E nation in 9 to enter the professional theatre . Lee lmore has been in out of and the theatre since leaving the Playmakers, alternating directing (most recently of The Day Will Come for Leo Birinski) with his position fi a o as an Of ci l f Lord and Taylor department store in New York .

H EN “? H H k of B ad UBERT C. EFFNER, himself a Playma er actor and author Gast Ye Both i staE i 1 926 , jo ned the n , after having taught at the Univer t Ar A siry of Wyoming and the Universi y of izona . He was ssistant Di 1 - rector and headed the Playmaker work in the year 92 6 27, when Professor

Koch was away on leave . Under his very successful management, Play maker touring became not only an established institution, but such a lucra tive one that it almost entirely financed the Chapel Hill productions of the H i H u e s . Playmakers . author, with Samuel Selden and nton D Sellman, M oder Theatre Practice H e 1 9 3 0 of n . left in to head the dramatic work n 1 9 3 8 at Northwestern University, where he stayed u til called in to be head of of the Department . Speech and Drama at Stanford University, which post he still holds . ! SAMUEL SELDEN came in 1 92 7 as Instructor in Dramatic Art and first A T . of echnical Director Of the Playmakers graduate Yale, professional a — The actor, stage manager, and technic l director listing experience with T C , O , Provincetown Playhouse, the heatre Guild the Intimate pera ompany ’ ’ E O N ill Desire U der the Elms the road company Of ugene e s n , and five — resident and traveling stock companies he OEered courses in the Construc of i A n L , i . tion and Painting Scenery, Stage ight ng cting and D recting U der his tutelage the theatre techniques of the Playmakers definitely emerged 1 from the pioneer period . In 929 he went on leave from the University to the New York School Of Fine and Applied Art to study Art and Architec ture ; in 1 9 3 0 he became Assistant Professor Of Dramatic Art and Assistant Director of Playmakers ; in the summers of 1 9 3 2 and 1 9 33 he studied at ’ Columbia University in New York ; in 1 9 3 7 he directed Paul Green s The Lost Colon i 1 94 1 y, wh ch ran for five succeeding summers until closed in by wartime restrictions ; in 1 93 8 he was awarded a Guggenheim Fellowship and spent half the year in New York in study and the other half in touring the theatres of Europe ; in the same year he became Associate Professor Of Dra Art A matic and ssociate Director of the Playmakers . During these years, he k t wor ed insistently on the curriculum of the Dramatic Ar Department, ini tiatin g new courses both on the undergraduate and graduate levels, teach ing a wide range Of technical courses and assisting with the teaching of Pro ’ , fessor T was Koch s courses in Playwriting . hrough this period, he also

i of . k of i of wr ting a number boo s, at least two wh ch lead popularity lists

‘I The asterisk is used here and hereinafter to indicate that the person is a member of the present staff of The Caro ina l a ma e l P y k rs.

“ i f 79 h“ PIONEERING A PEOPLE’S THEATRE

Sta e r . e Scen r and Li htin theat e texts for colleges and high schools g y g g, a ’ H A Pla e H a . r s ndbook M oder collaboration with unton D Sellman, y , n eat e P a ce r H eEner Th r r cti , with sections by Hube t and Hunton Sellman ’ , The ta e in Action c and S g are to be joined this year by a new a tor s text, soon

C . to be published by F . S . rofts Since the death of Professor Koch in the Ac 1 . summer of 944, Mr Selden has been ting Head of the Department Of t Dramatic Ar and Director Of the Playmakers .

E of a Art M ALL, has L ER H a graduate Mass chusetts Normal School, been associated with the Playmakers on several separate occasions, the first of 1 - w o these being in 9 29 3 0 when Samuel Selden as n leave in New York . In 1 2 1 3 1 E H T 9 9 and again in the summer of 9 , lmer all was temporary ech i 1 n cal Director and Instructor in theatre techniques . In 9 3 8 he again joined the staE as Assistant Professor Of Dramatic Art and Technical Director Of C Playmakers, giving courses in Scene Design, onstruction, and Painting to f and Stage Lighting . His chief contribution the body o Playmaker tra H e 1 o be dition was a healthy respect for fine craftsmanship . left in 940 t M i come head of the drama work at cG ll University in Canada . R PH W S M C AL E TER AN came from the ape Playhouse in Dennis, Massa chusetts staE e , where he had been a member for a number of years, to becom B for 1 - 1 W t usiness Manager the year 93 0 3 . Mr . esterman lef to go to the west coast to take a position in extension work in adult education .

HA E a o 1 1 T RRY . D S t 93 AVI c me the Playmakers in , after having taught at Mississippi State College for Women and having been for two years di ’ c Of T T T C u re tor the own heatre and the Children s heatre in ol mbia, South

Carolina . He became Technical Director and Business Manager of the Art Playmakers and Instructor in Dramatic , teaching courses in Scene De 1 sign and Construction and Stage Lighting . In 9 3 3 he organized the Junior C ’ arolina Playmakers, a children s group which presented plays for a child

. Two of Ali Babe and the F ort Thieves Cinderella audience these, y and i . 1 3 7 were also written by Mr Dav s . In 9 he organized, directed and acted li with a group, selected from and sponsored by The Caro na Playmakers , which presented a summer season of Carolina plays at the Nantucket Yacht C of lub, Nantucket, Massachusetts . In the same year he was relieved the duties of Business Manager and became an Assistant Professor Of Dramatic

“ ' ‘I IThis symbol is used here and herein after to design ate members of the Pl aymaker Staff on l eave with the r ed v es A m Ser ic .

8 0 h

’ PIONEERING A PEOPLE S THEATRE

B C 1 93 6 ba work . Mrs . arr left hapel Hill in , when her hus nd was called to the facul ty Of Tulane University .

D PA K - r y 1 934 ARICE R ER, departmental secretary ext aordinar from , and - oflicio staE B as such, ex member, took over the duties of usiness Manager and Executive Secretary of the Carolina Dramatic Association when her 1 A f in to 942 . o husband, John Parker, left join the army in storehouse c formation, master diplomat and wise to the deli ate adjustments necessary ramified Of so between the sprawling, elements complex an organization, 1 43 she was sorely missed when, in the summer Of 9 , she resigned to be with

was . . 0 . . her husband . She active for a season in U S work

! L taE ffi 1 PAU GREEN j oined the Playmaker S O cially in 93 6 . Member

of the early illustrious group of pioneer Playmakers, philosopher, poet, ’ i In Abraham s Bosom ( u i essayist, novel st, scenarist, author Of P litzer Pr ze Play in The H ouse of Connelly (produced in New York in Johnny Johnson (Broadway production in The Lost Col ony (pre sented at Fort Raleigh on Roanoke Island 1 93 7 The H ighland Call (given in Fayetteville in 1 9 3 9 and Native Son (a dramatization of the novel by Richard Wright produced in New York in Shroud M y Bod Down Enchanted M aze Th e Field God Roll Sweet Chariot Th e y , , , , ’ ’ M a Wh o Died at Twelve O Cl ock The N 0 Count Bo n , y, and other plays, many of which had their first production in the Playmaker Theatre he Art became literary adviser to the Playmakers and Professor Of Dramatic , Art T h teaching seminars in Philosophical Ideas in Dramatic , and ec nical Problems in Playwriting in the newly formed graduate division Of the H e now Dramatic Art Department . apportions his time between Chapel own on Hill and Hollywood, following his profession the one hand and

guiding the professional skills Of the students on the other .

H - W . k O D B , AR W AILEY one time Playma er, later actor and radio actor in Of T New York and elsewhere, then North Carolina Director Federal heatre c a 1 B Proje ts, bec me in 9 3 7 usiness Manager of the Playmakers and first In structor Of t T Voice and Diction in the Dramatic Ar Department . hrough “ out Of The Lost Colon the five summers y, he played the part Of Lord E ” 1 B 4 1 A of . ssex, and in 9 became ssociate Director the play. Mr ailey StaE one om i stayed with the only year, leaving to bec e d rector Of drama at R C ollins ollege in Florida . W P OHN . e o Lemu e TJ K , k of Sl e n, l, AR ER former Playma er, author p and

“ E 82 19“ THE STAFF OF THE CAROLINA PLAYMAKERS

Of B of C 1 State Director the ureau ommunity Drama from 934, became 1 8 As E of Business Manager of the Playmakers in 93 . xecutive Secretary A the Carolina Dramatic ssociation, he traveled extensively over the state, helping to organize groups, giving extension courses in theatre work and H e helping to direct plays . directed several pageants, and is perhaps best The H i hland Call kn own in the state for staging and directing g , by Paul

1 3 9 1 940 . . Green, in Fayetteville in 9 and Mr Parker made a lasting con tribution to the cause Of drama in the State in his work with the organization H e 1 942 of dramatic curricula in the high schools . has been on leave since ,

A . serving with the U. S . rmy TEARL WYNN came to the Playmakers in 1 9 3 8 from Northwestern Uni versity to become Instructor in Voice and Diction and to organize courses in R A 1 adio cting and Production . In 93 9 he directed the radio productions Of “ ” r The Carolina Playmakers Of the Ai with programs at first for a local, 1 940 then a state, and finally a national audience . In the summers of and “ ” 1 1 W The ost Col on . re 94 he played Governor hite in L y. Mr Wynn signed in 1 942 to work as a civilian with the Q uartermaster Corps of the Ar U . S . my and has s ince joined the Navy and is now in Hollywood writ for ing scripts Naval training films .

L G one- t E T YNN AULT, time Playmaker, became the first S a Designer in 1 940 when he left his position at Hiram College to join The Carolina Play A H Boo o a io e ca . Of is n C m n ns h Am ri n makers writer, author p publis ed in F olk Pla s on E y , authority nglish Folk Dance, he assisted with the scenery, 1 1 “ ” directed the country dance, and, in 94 , played the Master Of Ceremonies In The ost Col on k l L y. Mr . Gault remained with the Playma ers until ca led A 1 to enter the rmy in 942 . ! I S k The ost Col on RENE MART, who assisted in the costume wor for L y and The H i hland Call 1 93 9 a g , and with Playmaker costuming from to the de th of . e 1 f u A Mrs Davis, b came in 942 Director o Cost mes and ssistant in the C has course in ostuming in the Dramatic Art Department . She maintained the dressing Of Playmaker productions on the high level established by M rs. an r , d i fo Davis g ven her students, in addition to a fine feeling color and line, sound training in the fundamentals of clothing construction . She is of 1 944 now a full Instructor on the University faculty . In the summer ,

M rs. Smart worked in New York with Eaves Costumes and later with Paul na Lacosta Dupont, assisting with the costuming for the productions of An The Seven Livel Ar and y ts.

“ 451 83 13: PIONEERING A PEOPLE’S THEATRE

N LI T - OS PH A IGG , , a au J E IN former Playmaker exan Mexic n playwright, thor Of a popular volume of one- act Mexican folk plays as well as several - r full length dramas, returned to the Playmake s first as an Assistant and

1 42 . later, in 9 , as Instructor in the radio division Herself an actor and - playwright, her energies were more directed to script writing and dramatic Ni li production than to technical radio . Miss gg resigned in 1 943 and re A turned to her home in San ntonio, where she is at present working . Her M exican V illa e novel, g , is soon to be published by the University Of North

Carolina Press .

! H eX- of k DO G S M , O U LA U E Playmaker, student Maria uspens aya, actor - The T C and part time director Of First heatre in Monterey, alifornia, left his position at Chico College and j oined the staE in 1 942 as Assistant Pro fessor Of Speech and assistant to Professor Koch in the dramatic literature 1 A Art courses . In 943 he became an ssistant Professor of Dramatic ; and of has as in the years the wartime manpower shortage, doubled in brass an extremely conscientious teacher on the one hand and an able and versatile actor on the other . ! F F Tz- S k k OS I MO S, TER I N former Playma er, internationally nown ’ ’ Ted one— - dancer, who has appeared with Shawn s Men s Group night stand - E y C C , , ing in all Of the fort eight states, in anada, uba, and ngland and who W i Ar with Miriam inslow, toured the Un ted States and gentina, author Of F our on a H eath 1 Row r Road into the , (published in 93 4 by , Pete son) and — Sun (brought out in 1 9 3 9 by the Dramatic Publishing Company) became 1 StaE c C in 942 Designer and Instru tor in Scene Design and ostume Design, 1 43 col and assistant to Professor Selden in the course in acting . In 9 he l aborated Tom A on The Tw li ht ! one - ro with vera i g , a full length play p duced For E as the maj or original Of the year . the xtension Division he has taught the course in Modern Drama, and is now reorganizing and will teach has his the course in Playwriting . He served the Playmakers, in addition to

i . specific funct on of designer, as director, actor, choreographer and composer ! ROBERT BARKER BURRows came to the Playmakers from the position of W L , Director Of Drama in incoln High School, Seattle, ashington after the 1 h C beginning of the 942 season . He as taught courses in Scene onstruction nd a Stage Lighting, and designed the setting for the Playmaker production Watch on the R e of 1 3 r Of hin in 1 943 . In the summer 94 he attended No th western University for further study ; and in the summer of 1 944 he acted

a a . as technic l director for the University Theatre at Ann Arbor, Michig n

" A M I! " THE STAFF OF THE CAROLINA PLAYMAKERS

OS PH S K - StaE J E ALE , ex Playmaker, j oined the as Business Manager and Executive Secretary of the Bureau of Community Drama for the year 1 943

44 . In that year he also assisted Professor Selden in the course in acting, s directed the Operetta, acted in everal maj or productions and assisted with a the painting Of scenery. He is now in S nta Fe, New Mexico, painting.

! LUCILE CULBERT became a member Of the StaE in 1 943 while still a

graduate student in the Dramatic Art Department . She assumed the duties ’ of Instructor in the radio branch upon Josephina Niggli s resignation ; and has with consummate determination and energy achieved a new studio (the Navy having taken over the space occupied by the original one) under war and of time labor conditions , in spite Of an apparently impossible wall

priorities and governmental red tape, managed to secure reasonably ade 1 45 n quate equipment . In 9 , in conju ction with the Department Of Journal she sta ism, has been producing a series Of sustaining programs through R tions WPTF and WRAL in aleigh .

! KA H - k I EIBERG JURGENSEN, a native Of Denmar , first became a Play — — maker after work with the University Theatre in Copenhagen when he was granted a Rockefeller Assistantship in the Department of Dramatic Art 1 1 1 42 R in 94 . In 9 he collaborated with obert Schenkkan on a new trans ’ lation Of Ibsen s Peer Gynt for production in the Forest Theatre ; and in 1 43 Down to th e Sea - 9 his , a full length play, was produced by the Play - i makers . In the year 1 943 44 he held the posit on Of Visiting Lecturer in Playwriting and Theatre Literature at Carnegie Institute Of Technology ; 1 944 V to Of C and in he returned, as isiting ecturer, the faculty the arolina “ L Art H e Pl a writ Dramatic Department . assists Professor Selden in the y A i L to ing and cting courses, ed ts the monthly News etter Playmakers in A and Of the rmed Services, has recently helped to organize the Showing a of series fine foreign films in the Playmaker Theatre .

! L W was 1 ffi r YNETTE ARREN, who in 943 the able and e cient secreta y in the ffi B Of The C Playmaker business o ce, became the usiness Manager arolina a B of C Execu Playmakers, Secret ry Of the ureau ommunity Drama, and Of A 1 tive Secretary the Carolina Dramatic ssociation in 944 .

T of B hese men and women, with the single exception Phoebe arr, have e Oflicial b en the paid, members Of the Playmaker StaE from the beginnings of — m not . The s the organization and still the picture is complete time, y

, of of i y pathetic interest and encouragement a host other people, espec all

g5 R. . PIONEERING A PEOPLE’S THEATRE

In iffi u u i the early d c lt days, have gone into the b ild ng of this institution of —E Ar members other departments in the University dwin Greenlaw, chi M cKie T bald Henderson, George , Urban ignor Holmes, John Manning COEman R R Booker, George , obert Sharpe, and ussell Smith, to list a few — A A. . R of the many faculty wives and townspeople, Mrs . Kluttz, Mrs . uth

T. l r M . . Fuss e V rs. . . y, , . alentine W F Prout Mrs U Holmes Mrs Irene , , W and . Josephine Sharkey, Mr . Mrs William Meade Prince and alter Pres — u ton among others and the long, nsung list Of graduate assistants in the Art Dramatic Department, who have given Of their creative resources and have oftentimes carried responsibilities almost equal to those Of the formal t E s a . The mere listing of this group of people and their personal achievements is no more than a catalogue ; the sum Of their lives and the dedication of their energies bears potent testimony to the integrity of the theatre ideal .

T h e Dram a tic Sou th — The South remains what it is mainly a rural region whose ideologies Of i m l —a and ethics liv ng are derived fro the fields, the trees and the hi ls k a of reigioin Of violent contradictions li e n ture itself, startling beauty and bl nd ng ugliness, of hate and love, Of wealth and degraded poverty, of fer i of t le land and eroded land, Of bountiful rainfall and parching drought, f O . passion and sloth, soaring ambition and empty death But no matter what happens, whether the ragged sharecropper winds up with hardwood cow floors, frigidaires, a perennial , electric lights, and gold teeth from the or is dentist not, human drama will go on . For there no solution to life ex And so cept death . the only mysterious thing about the South is that it is ’ u full of both . I don t know why this is so . Only those who nderstand the Of will God and the principles Of history can explain it . For me it is enough s a Of i , , in the main to y that the materials songs, poems, stor es, art novels l as i and drama wi l remain here as long men remain, in whatever cond tion i or Of serv tude pride .

— o the South Paul Green in his Out f .

8 6 Plays Produ c ed b y th e Carolina Playmak ers 1 9 1 8 - 1 944

ORIGINAL ONE-ACT PLAYS

- ” 1 9 1 9 1 920 Trista a a of co on a su erst t on , pl y l i l p i i , by E a e A When Witc hes Ride a a of o k su ersti l z th . La , pl y f l p i b y. Wa les or reak ast a c om d - t on E za eth A. La e of new mar i , by li b y. fi f B f , y ly e M a The Return o uck avin a tra ed of a r d e r Yellott. f B G , g y i lif , by y ’ m a W e The Lord s Will a tra ed o ounta n out w Thomas o . f a c ountr i l , by lf , g y y What Will arbara Sa a romanc e of ha e reacher Pau reen B y C p l p , by l G . ll M nn e She herd S arrow o wood ushes a roman c e of th aro na Hi , by i i p p . D g B , e C li Pe a ra ed o a enan armer a d coun tr W ur S u t f t t ro to t . ggy, g y f , by H l y, by ilb W ll amson Blac kbeard Pirate o the arolina oast i i . , f C C , by h e i ht Ne r comed Paul reen an d E a eth A L T in or oral a o z . a F g g C p , g y, by G li b y. Lou sa Re d i i . 1 922-1 923 Who Pa s? a tra ed of ndustr a confl ct y , g y i i l i , ’ Wrec k Pint a me odrama of the aro na , l C li M nn Sh h rd ow by i ie ep e Sparr . c oast Pau reen , by l G . The Thi rd Ni ht a host a of the aro g , g pl y C atha a romance of the Old South ane Ag , , by na mounta n s Thomas Wo e J li i , by lf . To y. The Ha a c omed of o k su erst t on g, y f l p i i , by ’ Wilbur s Cousin a comed of co e e e , y ll g lif , by E za eth A La li b . y. Ernest Thom son p . - ’ 1 920 1 921 ohn Lan e s Wi e a tra ed of he arm J f , g y t f , by ’ O Na s ead a tra ed of the aro na M ack orham fi g H , g y C li G a u M acM illan The err Pic kers a o orado o k comed o st o a d . C , by D g l B y , C l f l y, Russe Potter The Last o the Lowries a a of the roatan . f , pl y C by ll out aws Pau reen Mamma a c omed modern mann ers l , by l G . , y Of , by E The M iser a arm tra ed Pau reen rnest Thom son . , f g y, by l G . p The am a comed of un vers t e V p, y y , y i i lif b 1 923 -1 924 W l am Ro al i li y . The Bl ac k Rooster a comed of c ountr olk , y y f , The Ol d M an o Edenton a melodram of f , a Pear Setzer by l . c lon a arol n a Pau een o r . i l C i , by l G ’ Nat M ac on s ame a roman c e a revolu G , Of The hatham Rabbit a c omed of co e e C , y ll g tionar atr ot Osler a e y p i , by B il y . e Le ette l the lif , by g B y . G ains an d Gains Ir. a c o ed of antat on , , m y l i The Rea in a a of soc a ro ems p p g, pl y i l p bl , by da s Luc M o y , by y . C bb . h Ter Jo n ry. Servan ts o G od a a of a smal -town ’ f , pl y l In ixon s Kitc hen a comed of a countr D , y y her Ro reac ert S. Pc kens. W p , by b i court n l ur Stout. i g, by i b The eaded uc kl e a c omed of resent-da B B , y p y - 1 921 1 922 c b a ar stoc ra r n ces ra . i y, y F G y ’ Reward O ered a c omed of mounta n char ixin s a tra ed of a ten ant arm woman jf , y i F , g y f , by

ac ters an To Erma an d Pau reen . e . l G , by J y

w aif 8 7 ’ PIONEERING A PEOPLE S THEATRE ’ The Youn er a comed of the resent-da a s En d a a orn a o k a A c e g , y p y D y , C lif i f l pl y, by li Pera fla er Sue rd Thom son . tt. pp , by By p i ’ The Wheel the evo ut on of a co e e bo A Shot G un S licin a mounta n c omed , l i ll g y, by p , i y, by Erne Thom on ertrude W l son Coflin st ps . G i .

1 924-1 925 1 928 -1 929

The on or o onava a cha ter rom Recon The amil an e sode of the Amer c an home H f B , p f F y, pi i , da s Ro ert Watson Win ather n e W lson No en struct on . i y , by b by C i i l ston rave ard Shi t a l a of a orn a ac tor . G y f , p y C lif i f y ’ iti i orse ove a c omed of moun workers Ed th Dasekin Pol c n in . H C , y , by i g O Promis M e a modern oman ta n olk M artha oswe l . e r ce c c e i f , by B l , y l , by urt n m n The Sc u etown Outlaws a tra ed of the s e a . fi , g y C i B j i W am No men Cox The Lie a l a of Revo u onar n a Lowr e an ll r t . t aro i g g, by i i , p y l i y C li , ’ t o l e l e at W keson onn el Out o the Pas a romanc e of c eg by il O c l . f , l if ’ ’ es a lack Water a se uel t oh Kin olks arol n a in 6 1 ranc r . o s C i , by F G y B , q J f , by ’ Yon Side 0 Sun k reek a tra ed of moun Loretto arrol a l e . C , g y C l B i y ha oswe l om an ion-M ate M a ie a Ne ro comed ta n o k M art . i f l , by B l C p gg , g y,

uare M edic in e a countr c omed of a uac k elen ortch . Q , y y q by H D doc tor Pau reen , by l G . 1 9 29 -1 93 0

- The No ount Bo a c omed of Ne ro e 1 925 1 9 26 C y, y g lif , b Pau reen arol i a ierrot a l a of P errot on the y G . A n P l C , p y i ’ M a n olia s M an a comed of the mounta n un ve s c am us W am M acmil g , y i r t . i i y p , by illi J eo l e ertrude W lson Cofli n l an p p , by G i . . ein M arried a domest c c omed ath l rm av d Re d B , y, y la a a of the a g i b C C y, p y f , by D i i W o N l er n e s n o en . od n i il H gi . ’ For Aun tie s Sake a comed of c ol e e e , y l g lif , 1 926 -1 927 ohn Patr c by J i . Li hted an dl es a tra ed of the aro na g C , g y C li oll hoc ks a l a of New En l and v l a e H y , p y g il g

H h an ds M ar aret l an d. ig l , by g B o k ose h Ph l Fox. f l , by J p i ip The M use an d the M ovies a c omed of , y Sus en ded An imation a comed of l a m ak p , y p y

reenw c h l a e Al c e Rodew ald . G i Vi l g , by i in Kent reuser. g, by C M r Perr Writes a Pla a url es ue of o k . , b q f l eath V alle Sc ott a la of the al orn a y y D y y, p y C if i W e atur Perr la w n ll am c . r t , M t n Wood y i i g by i i D y desert ames o . p , by J il The M arvel ous Roman c e o Wen hun- hin f C C , 1 93 0 -1 9 31 a h n ese o k l a hen - h n C i f l p y, by C g C i Samuel inkle ireman a c omed of New H , F , y s un H i g. En an d v ll a e e ose h Ph gl i g lif , by J p ilip 1 927#l 928 Fox.

M ountain M usic a al orn a o k la Cl oe a l a of W n ston-Sa em o k Lo , C if i f l p y, by y, p y i l f l , by Ed th asekin ar l l e D . ret o ro a i g t C l B i y . ’ ’ oh s Kin olks a tra ed of th e m l eo e Git U An Bar the oor a arc e of M ss s J f , g y i l p pl , p D , f i i Loretto arrol a l olk e h almer udson e . s Art ur P by C l B i y ippi f lif , by H . ’ The ueen Has H er ac e Li ted a antast c Ever Sn itc h a c omed of aro na fisherfolk F f f i , y C li , Q , A v M Kahn I ene Fuss sat re n r ler. i , by l i . . by The New Eve an ex ress on st c a of the The l ue Remembered ill s a la of col , p i i i pl y B H , p y uture M ar Dirnber er e e l e Theodore erman f , by y g . l g if , by H .

8 8

’ PIONEERING A PEOPLE S THEATRE

The El ders Pl a a ro em a of outh The Salted Pu a comed of the t me of sa y, p bl pl y y , by p, y i p Sue Ro erson and smal e f ool es ohn Ph M hous b . l , by J ilip il . Hon ora Wade a a of eor a o k The M oon Turns the con c us on of a outh , pl y G gi f l , by , l i y E en f ul romanc e E er R O u m . ett n e r a Raw s l r . g i l . , by i g , J ac k oor a aro na olk comed Wil eer on Ic e the ur of a n at on arr B D , C li f y, by B , b p i , by H y W bur orsett . o l e. D . C b ’ ool s ust e W ull Session an ron c comed of col e e e ic 3 Ne ro tra ed arr . B F J , g g y, by H y , i i y l g lif ,

o e eor e rown . C bl . by G g B A Littl e oat to In dia a s r n t me arce For Polan d a tra ed of the reat War B , , , y G y p i g i f by g , b Fos er -S m Ed onrad t tz ons . Fi i . C N0 Word rom the Wise a c omed of sma eart Troubl e a c omed of eor a v a e f , y ll H , y G gi ill g town eo l e W l ur orsett o k rad ord Wh te p p , by i b D . f l , by B f i . A M ac hin - ird Sin in a romance of the M umse a drama of Lon Isl an d o k g B g g, y, g f l , by South oster t -S mon s W , z . Sarah M . . Huntl e . by F Fi i y ’ ud ment omes to an l a o k c omed of One Ever M inute a modern comed J g C D , f l y y , y, by eastern North ar l n a Bern c e Ke Eve ett ess o , r J . C i by i lly arr s M alon e an Ir sh o k tra ed M ar on H i . , i f l g y, by i Eternal S rin a tra ed of re ud ce Tatum. p g, g y p j i , by Ro ert arnet The Last Skirmish a a of West V r n a b B t. , pl y i gi i The ueen Was in the Kitch en a ers stent moun ta n eo e b M ar uer te M c Q , p i i p pl , y g i med Ell en S ewa c o t rt. nn s , Gi i . y by ' ur un d or reak ast an efi ervescent arc e Sec on d Edition a s cho o c a drama B g y f B f , f , , p y l gi l , by M ar ha M atthews atton Ro e W a t H . rt . rnett by b B . Three M u Rooms in the ronx a a of Li hts in the Sk an Amer c an comed ggy B , pl y g y, i y, by

ather an d son eor e Brown . W ll am Bon un , i i y . f by G g “ en na Rinse a a of Ye V enus eaut esi n or ustice a soc a omme a H , p y y c nt r l B D g f J , i l y, by ” Ta um Sho e M a on t . E me R , r r . ett n er r y . pp b i l O i g , J omed at ive an Amer c an comed - C y F , i y, by 1 93 3 1 93 4 M artha M atthew a - s H tton . Showin at Ei ht a a of a sma town mov ’ g g , pl y ll M ihal usek s Wa er a drama of Po sh m g , li ili in c ture theatre Leon ard Ra ort. g pi , by pp tar l e Edward onrad y if , by V. C . 0 Woman a modern comed of an an c ent , y i isc t t on en a a of n dustr a str e . D , pl y i i l if , by tra ed b ar . Thom son . J g y, y C l G p Led e M . tter r b , J . Novemb er Ni ht a ay of a Pen ns van a g , pl yl i l ow M e own a c omed of sa or olk B D , y il f , by m n n town M ar aret e e M c i i g , by g B ll W ll am on u aule i i B y C y . An the oet ’ d P Lau hed a modern comedy ell s reams a a of modern e g , H D , pl y lif , by drama u d , r ette K nd . a rede c k by B i ig Frederi c F ri . Etowah Plantation a e end o th and 1 iana a moon ht c hase Kathleen Kra , f e 8 46 D , lig , by l g l , E b h 1 8 64 u en a Raw s h en u l . , by g i l . Tin ta il a dream la M artha M atthews Shadows o In dustr a drama of the n an c a g , p y, by f y, fi i l Ro ter atton world V ermont . s . H . , by C y — arewell to lamour a modern Amer c an Sin Your Own Son a c omed we ho e ! F G , i g g, y p

c omed am s M o a h Nat arn worth . e P. c c nn u e y, by J g y. by F M Son a tra ed of a Southwe ra er li ht n en din a tra ed of outh st t , F U g, g y y , by y , g y pp by g a M c I o o r W arn ett r nk n sh R e t . F t . b . B

9 0 PLA PRODUCED BY THE PLAYMAKERS 1 9 1 8 -1 944 YS ,

Ever lades an d Hickor an e sode in the ussler g y, pi F . e of Andrew ackson b ohn F Prett Pl um An el a l a of outh lif J , y J . y, p g , p y y , by Ale an d Leonar Ra er d ort. x . pp ran d Sl am a sat r c c omed ames Never a Sec on d Time a romant c nter ude G , i i y, by J , i i l ,

Thom son Leon ard Ra ort . p . by pp o er Penn a modern domest c drama Release a a of coura e ean Sm th C pp y, i , by , pl y g , by J i

ou l as ume antre l . D g H . C l Bou ht with the Vittles a dude ranch c omed Third erse a c omed of a smal -town news g , y, V , y l A o W l a er W l ur orse t t n ams t . by l i li . p p , by i b D O osi te Poles a la of the d vorce ro n to the ills a a of a ths Leon ard pp , p y i p b U H , pl y f i , by ' em Ra ort l M ar aret Sic elofi . , by g . pp New Rasthen ia a n ervous reak-down Stran e In terlaken a v nette Ro ert , b , by g , ig , by b

erman Fu arn ett. H ssl er. B - Li e uards an d ish a modern comed of er The ead Ax o In ell a tra ed of the f g F , y H f gf , g y ' rors M ar aret Sic elofl I orote h ll olk of th e Ph nes , by g . g i f ilippi , by ack Pa e a n ews a r me od ama on Anne Wal er B , e r , D . t s p p y B . g l b Shoemaker ri twood a tra ed of the fisherfolk o east . D f , g y f The ol den Weddin a romant c comed ern arol na Patr c a M cM ul l an G , y, . g i C i , by i i A ton W ll ams La a illa The ha e a e en dar ro by l i i . C p , ( C p l) , l g y Ric h M an ! Poor M an ! a M ar an roman ce manc e of S an sh a orn a ed , x , r i p i C lif i , by F ec l a A en er ca reder c k . i F i . by C i i ll When loosies M eet a c omed of seudo-ar Over the oorsill a a of sma -town e F , y p D , pl y ll lif , tists Walter T e a W l , rr . rr . o e y by H y C b . by The Suicide a modern nter retat on of he An other ourn e a modern tra ed V ir , i p i ll , J y, g y, by Sara Seawe i Lee . g l . by ll A eatin o Win s a oet c tra ed Borrowed o the Ni ht a tra ed of ou h B g f g , p i g y, by f g , g y y t , o er tz-S mons Kath een Krahen uh st . by l b l . F Fi i e inn ers a e l erent sat re rad ord B g , b l ig i , by B f M oon in the awthorn e Tree a eor a H , G gi Wh te - i . arm tra ed oster itz S mons f g y, by F F i . ell e a smal -town tra ed Patr c a M c B , l g y, by i i Prel ude a stor of outh V ermont Ro , y y , by C . y M u l an l . ster. When oc tors ail a c omed of a th hea D F , y f i l The Stars Are ire a comed of earn est F , y W A m n in . S o g, by . ig . outh Nat arnworth y , by F . The Skeleton Rattles His Bon es a modern ohn rown an sode in his c am a n in , J B , epi p ig domes c c omed drama ou as “ ” ti y , by D gl l eed n Kansas ohn F A e B i g , by J . l x Hume. ander. S are-Ribs a comed of n autic a cooker , y l y, by Oh ell a ver modern o t cal sat re p , H , y p li i i , by ald o Don P pe. M ar aret M c c aul e g y . “ ra sh a stor of Th e M ton C , y by il Shi mates a a of the water- ont Don p , pl y fr , by a K lb . ald Po e p . - Cottie M ourns a comed of sea s and o k 1 93 4 1 9 35 , y i l f l , Patr c a M cM ull an Sea Psalm a tra ed of aro na sea- o k by i i . , g y C li f l , by _ - Tomorrow a l a of a od n house har es Edward Eaton . , p y l gi g , by C l ou as ume New Anarc h a a of the ank n c r s s D gl H . y, pl y b i g i i ,

The Lo Fan oss a su t e th n Herman Ph oddard Parker. J , b l i g, by by ilip G

9 1 ’ PIONEERING A PEOPLE S THEATRE

New Ni er a tra ed of the to ac c coun Wait a Whil e the rst act o a - gg , g y b o , fi f full length

tr Fred oward. domest c drama Kenneth art et y, by H i , by B l t. l am i er a l a of M a ne sea- olk oldie a c omed of a Ne ro Saturda n ht C D gg , p y i f , by G , y g y ig , W ean Ashe l ur orsett. J . by i b D un er a tra ed of North aro na arm raz -Patc h uilt a a of the aro na H g , g y C li f C y Q , pl y C li

olk Ella M ae an e . to ac co countr Ann e man M oore f , by D i l b y, by Hy . ’ Tra can te a a of S an sh F or da a l ine a arol n a o k comed ern ce fi , pl y p i l i , by C , C i f l y, by B i M axe a v n e e Kell e arr s d o ss . H . y H i The irl with the White Sweater a antas M etro olitan eodor a romant c drama G , f y p F , i of of th e aro n a mounta ns M ar aret seven teenth-c entur Russ a h l C li i , by g y i , by P i ip dda Pa ker Siccloff o rd r . . G Where There Is aith a so h st cated a So It Will Last an e hteenth c entur ro F , p i i pl y , ig y of an unso h st cated r Kath een manc e W am oward Wan p i i gi l , by l , by illi H g. ah n uh The est utter a m de ea- Kr e l . o rn oom comed b B B , t r y, on c eal ed Aim drama of a ma -town ank ose h Lee rown 3 s . C , ll b , by J p B W irtue a sat ar en n s. V r c nter ude Leonard Ra by C l . D i , i i i l , by p Passer-B a a a n a v k ort The of ro a e o . y, pl y C li ill g f l , p ’ Ral h L e an man s Noose a ra ed r t b har es A. by p y ly. H g , g y, y C l i t An c en t Heri a e a drama of a New En Poe . g , g

and am l Ph oddard Parker. Bathroom Ec hos or The Tale o a Tub a l f i y, by ilip G , f , Oc ta on Soa a aro na countr c omed sl ht r ald arce of character g p, C li y y, by ig ly ib f , by Nanc Law Walte T er or r r . y l . y amn ed Idealist a c o e e drama har es ark ourn e a drama of a arm am D , ll g , by C l D J y, f f ily, by P r ac ks A. oe l on Lee . Vi gi J . ’ Ration s a mounta n o k c omed ath There Ain t N0 Esca e a comed of arrested , i f l y, by C p , y

er ne Threlkeld courtsh Ell a M ae an e . i . ip, by D i l on identiall S eakin a sat re on true-stor Thou Thie l a a of small -town c om a C f y p g, i y f , pl y pl wr n W nc Ra h L er t ur orse t . c e . i i g, by ilb D t y, by lp y ly M udd ordan Waters a tra ed of the aro arn Trash a moun ta n m ster -comed y J , g y C B , i y y y, by n a mounta ns M d e o re M ldred M oore r d M o . li i , by il i . The illain ets the irl a modern sat re in Penn -Wise a drama of m sunderstand n V G G , i y , i i g, by h ld l ha E en e t e t e A Po e . o s r es e. y , by C l . ll D pp Pension er a a of c ontem orar soc a c on ueer New World a Ne ro c omed -com , pl y p y i l Q , g y ditions Al c men t W l ur orset A T u ow t. e r s . , by i . l , by i b D ’ ’ ’ The evil s Tram in round a tra ed of ebtor s Hall an h stor ca n c dent of co o D p G , g y D , i i l i i l m xed lood Sara Se w l n al M assachusetts ean Ashe a e . . i b , by l i , by J Yours an d M ine a c omed of domest c dif , y i 1 935 -1 9 3 6 fic ulties E a M ae an e , by ll D i l . The Sc hool Teac her a l a of charac ter con I Sin orever a tra ed of the North aro , p y g F , g y C Kenneth E a l ett fl et . rt n a mounta ns , y . M dred Moore i b B li i , by il . ’ The Settin U a count wake S ra Sea The Jew a drama of the In u s t on Wil r , a , q i i i , by p, y by W we l am oward an . ll . i H g Tsal a i an h stor ca drama e h okee Across the Trac ks a l a of Southern sl ums g , i i l of th C er , p y ,

In d an s l reet ran k urham . i , by Bi ly G . by F D And So The rew a a o e ad es Cockle ood Doo a a of aro na fish y G , pl y f littl l i , D y , pl y C li

E l en e e erfolk Patr c a M cM ullan . by l D pp . , by i i « em a

’ PIONEERING A PEOPLE S THEATRE

Pair o uilts a o k M rs uliet an ron c essa av d eat . comed f eastern . J , i i y, by D i B y f Q , f l y o ’ Rosemar s or Remembran c e a a rom North aro na ern c e Ke e Har y f , pl y f C li , by B i ll y th e end of Old L nnhaven Sa e l g s y , by lly W ls o l and While Re orters Watc hed a hr stmas Eve il H l . p , C i ith M e a c omed of rura South news a er m ster Rose Pea er Abide W . , y l p p y y, by gl a an M ar M ar e a med aro na Wa ter S e rm . co of aro n a fisher C li , by l p y g , y C li l a a of a smal c o e e o k E en e e Th Sun Sets Ear . e y, pl y l ll g , f l , by ll D pp ’ W a eer One M an s ouse a la of a an a m P . d an re by illi y H , p y C i

Near a S rin a a of southern Ind ana ormer wen Ph ar s. p g, pl y i , by f , by G i The Worm Turns a come Kate M a Ruther ord. d of ado escent y f , y l l a of the Bi rother ove ean ra ham Thank Rotar a . y, p y g B l , by J B b W ll am Peer M urder in the Snow a d ama M n movement . r of old o , by i i y , Avenue n htma e tan a Sm a Ro e n h Pen uin Sou a Second r ett th nd rt c . g p, ig , , by B y i b Fi Th o i ean Ashe. ree o l sh ir ins a aro n a o k com by J F V g , C li f l ’ s a a woman rustra ed er Kel arr s Shattered las a of s n ce . G , pl y f y, by B i ly H i

t on M ar on artshorn . This Is ill a a ortra t of a M e c an en i , by i H V , p i xi g ’ c med of he h o k era h n Ni l Lon Sweeteni n a o t ose a i. g , y ill f l , l , by J p i gg

an e M a o r tt . Twili ht Son a a of re ous su ersti by J i ll y B i g g, pl y ligi p ’ t a a ch ldren s ove t on o a M l e ourtshi at Ei h of n d ul r. C p g , pl y i l i , by D l

tr an l es h ar otte Wr ht. Kid Sister a comed of ado escence Wie i g , by C l ig , y l , by t me a rac a tra ed der S evers B An O her Na . y y , i l g y, by i Pas u M ar on artshorn . e l ower a a of the an ad an ra i H q F , pl y C i p i rom Sullwi Earth a a of rura South rie wen Phar s F , pl y l , by G i . am arol na ran k urh . , b D C i y F 1 93 7-1 938 Earth Treadin Stars a Travel ers Aid n c g , i i rn The ross o Cann air a soc a dram N w dent M anue Ko . a of e , by l C f , i l h White Doe a e end of North arol n a York in 1 8 8 7 L n ette e dman T e H . , l g C i , by y l n l me ic ue In d ans W l am Peer . c e S l a aro na mounta n com i , by il i y U , C li i

Seven t Times Seven a aro na o k a ed Lo s Latham . y , C li f l pl y, y, by i This Side ordan a a f arm W l am Ive Lon . o e in the by i li y g J , pl y f lif “ ’ - mounta n comed m dd e west L a A Pinin an d A a nn ul t. i y, i l , by y G ’ It on t M ake N i e e Em Po k row . o er n c a o k a of by ily l C D D f , f l pl y hawl a o k a of south Ala Tin Pan Al e ose h Lee own The Ivor S r . y , f l pl y l y, by J p B ew ello an in Daw a r a mo a ama Kate Porter L s. a o n unt n b , by i H , H g g g, C li i u ht a ra ed of rural South aro na comed Lo s Latham Dro t g C , y, by i . g , y li Wa a man Kunstbe lissen er Student o Art a a lter S e r . of by p f ( f ) , pl y ’ ’ i ht ime a c omed of southern Ind ana an art st s c onfl c t Thad ones in T . F g , y i , i i , by J er rd Pen n ies or Their Thou hts a mest c Kate M a Ruth o . do by y f f g , i m e ra ed V r n a comed of an author Noe ouston Tou ours Gai a od rn t . j , g y, by i gi i y , by l H h e Wash ed in De lood a s m hon c a of La Roc e . ll B , y p i pl y t a the New York Ne ro e Rietta W nn a ar e In ciden a of e . B g , pl y g lif , by i B il y ’ ’ - it s M an s usiness a l water ront er M eadow . aro na mounta n f , by H b H B , C i i ’ w u ur an comed a Lo s Latham Nau ht Bo a Ne York s , y, y . g y y, b b y pl b i W l a C h chester by il i m i . - The ood B e Paul reen . comed Rose Pea er. G y , by G y, by gl

r a w » PLA PR DUCED BY THE PLA MAKER 1 9 1 8 -1 944 YS O Y S,

The Last hristmas a drama of dea h row esi n or Stella a comed of M anhattan C , t , D g f , y ,

Noe ouston San ord Ste n . by l H . by f i His oon om an ion s a tem erance com Old M an Taterbu a a for ch dren B C p , p g, pl y il , by

ed L nn au M ar Lou se o l ston . t. y, by y G l y i B y Where the Win d lows ree a a of the The Retic ule a comed of the reconstruc t on B F , pl y , y i M oran Texas ran e Em Po k row er od Kather ne . g , by ily l C . p i , by i Hidden eart a c omed of Armen an-Amer Ac c ordin to Law a drama of an Ok ahoma H , y i g , l d R chards n court Noel ouston c an olk owar o . . i f , by H i , by H Still Stan ds the ouse a drama of the an a Out rom New Bed ord a a of the wha H , C f f , pl y l d an ronti er wen Phar s in da s in old New ed ord Fred i f , by G i . g y B f , by W h Win s to Fl Awa a Ne ro r tual drama er ck . a s . g y y, g i , by i G l Rietta W n Ba e These o one El ec tions a c omed of the n . i il y D gg , y Last Re u e an out aw c omes home Noe reat Smok M ounta n s red Koch f g , l , by l G y i , by F , oust n r H o . J . hris Axel son l ac ksmith a olk c omed of Texas orever a a of the revo t a a nst C , B , f y F , pl y l g i M x Em l k w western an ada wen Phar s e co Po ro . C , by G i . i , by i y l C West rom the Pan han dle a tra ed of the Li stic k a comed of c olle e e M ar f , g y p , y g lif , by y

ust ow emon Wh te and ett de . D B l, by Cl i B y Hy Sm th Swam Outlaw a drama of enr err i . p , H y B y

Let the hi s all a comed of domest c in Lowr e are ohn son M ar e . C p F , y i i , by Cl J l y tr ue Em Po k row Store- ou ht Teeth a comed of the Ken ig , by ily l C . B g , y

resh Widder a a of ol n ton Is and tuc k mounta ns M ar e Haass. F , pl y C i g l y i , by i fisherfolk Lac Anderson , by y . 1 939 -1 9 40 ’ Stic k Em U a c omed of ron t er New p, y f i S uaw Winter a l a of a am in M a n e q , p y f ily i , M ex c o ordon louser i , by G C . ran s La x ’ by F ce ngsdorf Fo . M e an De Lawd a Ne ro a of eastern , g pl y Got No Sorrow a Ne ro r tua drama of the , g i l North aro na ames unn owd C li , by B D y . J arol na low c ountr aro ne art C i y, by C li H M on tana Ni ht a drama of the old west g , , rum C . Ro ert nc h and ett Sm th by b Fi B y i . Stron an ds or urtin a tra ed of ed ’ g H f H g, g y pi Tri lin Wa s a comed of the M ssour f y , y i i mon North ar n a E wa t o d rd Post . ’ C li , by Oza k b Leal N n r s on . o es. , y J New ritc hes a c omed of western North B , y - 1 9 38 1 939 arol n a Eve n awn M atthews C i , by ly D . nc e S en c e oes‘ M odern a a of the Winter Parade a a of chan n Amer ca U l p G , p y , l , pl y gi g i North aro na h an W m Adr an S s hl ds a e . C li ig , by illi by i pi W l f o . l ac k Tassel s a a of South aro na Ne f B , pl y C li The Lon A o a n osta c k ahom med ro l e ank uess a co r . g g , lgi O l y, g if , by F G N l o oe uston . Whi lesnout a ro an tas for ch dren by H pp , f g f y il , Bad Yankees a oard n schoo comed of M ar Lou se o ston , b i g l y by y i B yl . M ss ss Ant n t e S arks M ist in the Hill s a a e a na h h o e t . of th ro i i ippi, by i p , pl y C li ig ’ Wash Carver s M ouse T a a aro a d Eve h r n an s n awn M att ews. p, C li l , by ly D “ moun a n comed e K c h t Fr d o r. Torc h in the Wind a drama of the i y, by , J , Billy ’ ” Swa in ever a comed of the M ssour Kid hase We pp F , y i i , by C bb . O arks Leal N o s ke z on . ne . Ban d ires a a of an a artment house , by J F , pl y p Runawa a a of a re orm schoo bo an tor onstance Sm th y, pl y f l y, by j i , by C i . ’ oroth Lew s. The evil s a a a a E D y i Bre d mor t , d D , li y pl y by

” ea 9 5 Ba » PIONEERING A PEOPLE’S THEATRE

ward Post . Sermon on a M on da a a of the dem rat c y, pl y oc i Outside De ate a Ne ro rave ard an tas dea ose h eldman G , g g y f y, i l , by J p D . F . W am Lon - by illi g . Nin e H our Shi t a a of th e m ortan ce of f , pl y i p “ ” M i Ami o a comed of the Kid e g , y Billy , by r ason M ar an M aschin . , by i ha We b C se b . Swin You Sinn er a Ne ro a w th mus c g , g pl y i i , Ta the Ti er a a for ch dren fly, g , pl y il , by Tom Avera r. by , J

M a Lou se Bo ston . r y urse e hese e a y i l M T P o le a of th e ch an C p , pl y g ome S rin a l a of old a e and re e , y g , w C p g p li f in or d oe Sa ek g l , by J l . W am Lon ll . by i i g Too M uc h Paradise a o k a of Eden , f l pl y , by The Woman rom M err River a olk f an f y , f San ord Ste n f i . We tas w th mus c hase . y i i , by C bb nc ertain eath a arc e c omed Wi am U D , f y, by lli The Sc arlet Pettic oat a o k comed of the , f l y L M an er r . , J . l ack elt Kate Porter h wis. ’ b b , by Parole a a of man s ove of reedom , pl y l f , by Truth or on se uen c es a a of s r n in C q , pl y p i g Ro ert owers b B . Y ns an c S New ork t o t e m th . Ci y, by C i The Wider ield a a of th e onnect cut F , pl y C i We ill The Kid hase . B y, , by C bb a M ar an as e M chin . V ll y, by i Watermel on Time a o k comed of the , f l y n ion orever a a of th e en d of the War U F , pl y l ac k elt Kate Porter Lew s. b b , by i Be w e Sta t e n he tes M r . A R W l t s . . son ’ , by i . Three Lin ks 0 hain a c omed of the Al a C , y irst Wave a c omed of re u ees rom Eu F , y f g f ama ack el t Kate Porter l a w s. b bl b , by i ro e eor e Lev p , by G g y. Part ress a tra ed of the A a ama ack y D , g y l b b Sain t o the Lord a drama of rura e in f , l lif woods Kate Porter h wis. , by eastern North aro n a E ton Pa ker C li , by l r . The ouse in Avon dal e a c omed of Bir H , y The Nin th omman dmen t a comed of V ic C , y min h am ar stoc rac Kate Porter g i y, by tor an v rtue W T h ch ester i i , by . . C i . Levvis. ire Worshi er a l a of a m dd e-western F pp , p y i l un e Bu a a a out an ord n ar am J g, pl y b i y f ily, c ol e e Le a A l en M c M illan l g , by li l . u en aw by L cy Cr sh . ridal M ist a roman c e of udson V a e B , H ll y ark a ou a la of Louis an a arm o k D B y , p y i f f l , olk M ar r ll . f , by y B i a ai r au by L urr ne Go e . ’ ’ it s ud s Arm Now a arol n a moun ta n “ ’ H B y , C i i Au ust An el a l a of Bi M eetin T me g g , p y g i , med an e E za eth M orr w c o o . y, by J li b Ne artl e by il H y. ’ oz orn ers a arce of a women s hote 1 9 41 -1 9 42 C y C , f l , Kath er ne by i Hill . lac k rida a a of h ca o m ddl e-c ass B F y, pl y C i g i l A au hter to M arr a comed of the Penn D g y, y e arr arn o . lif , by B y F l s lvan a Am sh ar ashore. y i i , by C l B H er Star H as M oved a o k comed of old ’ , f l y Sho Nu ead a Ne ro comed er ert fi D , g y, by H b ’ k n T an W n Sh n Pe e u . i g, by g Lee . Taran tula a a of the o enha en water , pl y C p g -1 i ur en en 1 940 941 ront Ka s . f , by J g The ross on the oor a tra ed of the in Ni ht Run a l a of a bus tr Em e C D , g y g , p y ip, by ili

hn on vasion of enmark Kai ur en sen . Jo s . D , by J g ’ A M an s ame a sat r c al c omed of d om Sarah Baske a a of the M a n e Coast, G , i i y ipl , pl y i by

a ac Ro e rt Sch en kkan . M erl e M c K y. y, by b The ride room Waits a comed of the coun The Han d o Providen c e a l a of Q uaker B f , p y g , y

in M a ne Se ah R chmond. tr rank uess. e y, by F G lif i , by l i

“ 43 9 MB“

’ PIONEERING A PEOPLE S THEATRE ’ eor a Nanan ne Porcher and Car h nd tomorrow s head nes Kat H G gi , by i li , by ill . The Wraith o himne Rock a e e r n ton ross. nd o i g C f C y , l g f Wailers to the Wind a stud in l ac k and th e reat Smok M ounta ns are , y b G y i , by Cl J . M a l wh te Anne r d es. r e . i , by B i g y ’ Scuttl ebutt a c omed of M idshi men s ivided We Stan d a c omed of mode e D , y rn , , y p lif Anne t Schoo Tom Avera. s erhout. l , by by O The V al entin e Prin c ess a ta e of hearts The Tale o a Tub a c omed of Te as , l , by f , y x E za eth K So em schoo teachers M rt e Pha e Proctor li b . l . l , by y l y . Stran e Sun a tra ed of ad ustment Salt Sands a a of c racoke Is and North g , g y j , by , pl y O l , Pau Ramse r aro na r n a Pa e S en ce r. l y, J . C li , by Vi gi i g p ’ arnival an tata a modern a e av d Pil rim s Rest a eor a Ne ro c omed C C , f bl , by D i g , G gi g y, by

an ess e an e . H ig . J i D i l ar on the Willows a drama of the H p U , p 1 944 (Fall) Ha homef ront Staff Ser eant rve L. ’ , by g y - Bi M eetin Time a r tua a of the Fal g , i l pl y Hann ah . c oni es a M a e t l re r . , by C . l y eaven Is What You M ake It a o k a of J H , f l pl y nshielded Lam a domest c a of toda U p, i pl y y the arm c am s b or ora man y , C l Hy p y p av d an by D i H ig . Lev y . Ri c h M an est M an a comed of a reek , B , y G Prol o ue a as or a Ro e t E a nt or r . g , f y, by C l b p oun w dd n M ar c tr e T . o nes y i g, by y C lo . ec k B . The istan c es to G o a drama of read ust D , j ot e H el Arma ddon a a e of the ast re ment b Ann e sterhout g , f bl l . , y O sort arr n ton ross , C C . Poor M r urton a omed -m M a by i g . c ster r B , y y y, by y Thirt M inut es Out o M idni ht a a in rooks Po kin s y f g , pl y B p . verse av d an Win s in the Sun a stud of women who wa t , by D i H ig . g , y i , M ornin Editio med of the n ews be M ar Lo a wan n a co u M c Go . g , y by y

ORI GINAL FU LL- LEN GT H PLAYS ’ ob s Kin olks a a of the m l eo e in Shroud M od own a o k dream J f , pl y i l p pl , y B y D , f l , by - three acts Loretto arro a e No Pau reen ecem er 7 8 1 9 34 . , by C ll B il y, l G , D b , vember 7 -8 -9 1 9 29 ' , . Water a l a of oneer settlement in a , p y pi C li Pl a thin s a comed of us on in three acts y g , y ill i , f orn ia b A ton W l ams A r 1 3 , y l i li , p il ,

An thon utt tta Fe ruar 2 8 1 9 3 1 . by y B i , b y , 1 9 3 5 . Rest or M Soul a a in three ac ts f y , pl y , by The En c hanted M aze Pau reen De , by l G , Ann W sha add M a rt r 2 8 1 9 3 1 . i B y, y , - c ember 6 7 an d 9 , 1 9 3 5 . Strike Son a new a of southern m eo g, pl y ill p Sin in V alle a comed of M e c an v a e g g , y, y xi ill g le Loretto arro a e ecem er p , by C ll B il y, D b N e ose h na i li u 1 5 1 9 36 . , y gg , y , 1 - 1 1 - 1 lif b J p i J l 0 2 , 1 9 3 1 . ’ The air-G od M alin c he a new a of n o it ( ) , y S w Wh e a c h dren s a in two acts F pl , il pl y , by M a m l an of M e co ose h n a Ni Sall x x , p g e M Ew n M a i i i i by J i . 2 6 1 2 i i g, y , 9 3 . m er —- 1 li ec e 3 4 5 9 36 . Sad Words t g , D , o Ga M usic a n ew comed in b y , y Sharecro er a new Ne ro drama in five three acts A v n Kerr e ruar 2 3 p , g , by l i , F b y p 2 -2 5 scen es red oward e ruar 24 4 , 1 9 3 3 . , by F H , F b y - - A ouse ivided a come drama in three 2 5 26 1 9 38 . H D , dy , acts Smok M ountain Road a comed of the , reder ca Frederck M a 8 1 9 34 . , y by F i i , y , y

9 3 PLAY PR DUCED BY THE PLA MAKER 1 9 1 8 -1 944 S O Y S ,

W a M aner - - - arol na h h ands red Koch r. l m r. u 8 9 1 0 1 1 C i ig l , by F , J , by i li , J , J ly , - - u 1 1 1 2 1 3 1 9 40 . 1 9 42 . J ly , The M arauders a n ew a of contem orar own to the Sea a new a of an sh fish , pl y p y D , pl y D i k ahoma Noe ouston M arch 5 ermen Kai ur ensen M arc h 3-4-5-6 O l , by l H , , by J g , , - - 1 1 9 4 3 6 7 8 , 9 4 1 . . Remember Who You Are a n ew c omed of The Twili ht ! on e a new a of Euro e on , y g , pl y p Southern manners rank uess u the eve of nvas on Tom Avera an d , by F G , J ly i i , by 1 0 -1 1 -1 2 1 1 oster tz-S mone M arch' 9 -1 0 - 1 1 , 94 . F Fi i , ,

ock oodler a new comed of the South 1 9 44. C y D , y ,

FU LL - LENGTH PRO FESSIONAL PLAYS 1 9 1 9 -1 920 inderell a arr av s unior P a C , by H y D i l y

The Im ortan ce o Bein Earnest sc ar makers . p f g , by O )

W The utter and E M an eor e S. Kau ilde. B gg , by G g f a 1 9 22 -1 923 m n . 1 9 32 -1 9 33 Seventeen ooth Tark n ton . , by B i g ’ - ncl e Tom s abin dramat zed Geor e 1 9 25 1 9 26 U C , i by g L A ken The Torc h -Bearers eor e Ke . i . , by G g lly. You Never Can Tell eor e ernard , by G g Le M alade Ima inaire M oliére B g , by . Shaw 1 926 -1 92 7 . Ali Babe an d the Fort Thieves arr y , by H y A Thous Years A o Perc M ac Ka e g , by y y . av s un or P a makers D i . (J i l y ) . She Stoo s to on uer ver o dsm th p C q , by Oli G l i . 1 93 3 -1 93 4 Le arbier de Sevill e eaumarcha s B , by B i .

The ouse o Conn ell Pau reen . H f y, by G 1 9 27-1 928 l s W S e and Arthur Prin c es Ida . rt , by . Gilb Ten Ni hts in a Bar-Room W am W g , by illi . S van ulli . P at r t.

The Witc hin H our Au ustus Thomas. g , by g You an d I Ph l arr , by i ip B y . Wa in Whar har es S. rooks. u pp f, by C l B (J 1 928 -1 9 29 n r a makers io Pl y ) . The over oad A M R A. ne D , y . . b il a M arce P no . To aze in ren ch . M p ( F ) , by l g l 1 929 -1 9 30 Ha ever Noe oward. y F , by l C The Show-O Ke eor e . e r f , b G g y The radl e Son G . M art nez S r a. y ll C g, by i i The roc odile huckl es E mer eens - C C , by l Gr 1 9 34 1 9 35 e der f l . R Ka e a ek R. r . . U . , by l C p - 1 9 30 1 9 3 1 Youn dea Noe oward The I . g , by l C The Im ortan c e o Bein Earnest sc ar - p f g , by O 1 935 1 936 W de il . Three- ornered M oon ertrude Ton C , by G East L nn M rs n Wood . e r y , by H y . kon gy. The Per ec t Alibi A A M ne f , y . . . b il Paths o l or S dne oward f G y, by i y H . The Tamin o the Shrew W l am g f , y a Porteus d Pain i rench b Monte b i li L e e n F ( ) , y Shakes eare p . in and onna p D y. 1 93 1 -1 932 1 93 6-1 937 ’ Saturda s hil dren M a we Anderson The runkard W H Sm th and A Gen y C , by x ll . . . D , by i ’ A oll s s Hou e Henr k I sen . tleman . D , by i b

9 9 B‘ “ ’ PIONEERING A PEOPLE S THEATRE

- W e 1 9 40 1 9 41 The Pirates o Penzan c e . S. rt f , by Gilb ’ Love s Old weet W a d Arthur Sull van . S Son m Saro a an n . i g, by illi y M k ere The H ouse o Conn el M onsi eur de Pourc eau nac o . l Pau reen g , by f y, by l G . n c R e Patie c e W e s a Lawre e . n S l e a d A thur S P r on l A earan c e . . rt n r u pp , by il y , by Gi b lli van 1 93 7-1 9 3 8 . amil Portrai t Len ore of ee and Wil F y , by C f ohnn ohnson Pau reen . J y J , by l G l am o c e owen i J y C . Bo M eets irl el a and Samue S e G , y p y b B l l 1 9 41 -1 9 42 k wac . The M ale An imal E ott Nu ent and , by lli g La Tour de Nesle Ale ander umas ere , by x D p ames Thur er b . rede ai l ardet J et F ri c G l . Abe Lin c oln in Illin ois Ro e Sherwo rt od. , by b B r estl e Laburn um rove . P G , by . i y . J The Pirates o Pen zan c e W S l ert f , by . . Gi b M aeter nc k The l ue ird M aur c e . B B , by i li an d Arthur Sul van li . - 1 93 8 1 9 39 eor e Washin ton Sle t ere M oss art G g g p H , by H Room Servic e ohn M urra and A en an d eor e S Kau man , by J y ll G g . f . o e z - B r t . 1 942 1 9 43 W S ert an Ar hur The Sorc erer . d t , . Arsen ic an d Ol d Lac e h s e by Gilb ose Ke s rlin . , by J p g Sull van i . The Eve o Sain t M ark M a we Ander f , by x ll

W d r ' Our Town Thornton e . , by il SOl l i ss A A M ne M r Pm Pa es B . . , . . ol an the W S l Arthur Su b I . e t and y y il . r , by Gi b lli van 1 939 -1 9 40 . 1 9 43 -1 944 E n es To l er No M ore Peac e r t . , by l The oss o Bar ! Ne son om ston h i h an d all Pau reen B f , . T e l . by l C p H g C , by l G Watc h on the hin e l a e a R L n H m n . W S ert and Ar , H . M S Pi n a ore . . . by i li ll . f , by Gilb The Yeomen o the uard W S hu Su van f , . . ert t r lli . G by Gilb an Ar hur S v - d t ul an . Kiss the o s ood B e are ooth . li B y G y , by Cl B Th i d d l een 1 944 (Fall e el G o Pau r . ) F , by G ’ Ah Wildern ess ’ Eu ene O Neill The Skin o Our Teeth Thorn on W r . t de . , , by g f , by il

O UTDOO R PRODU CTIONS OF PROFESSIONAL PLAYS

The Tamin o the Shrew W am Shakes Prun ella Lawren c e ousman and ran g f , by illi , by H G

eare ul 3 1 1 9 1 9 . v ll e arker M a 3 0 an d Au ust 2 6 p , J y , i B , y g , Tw el th Ni ht b W l am Shakes ea e u r 1 9 24 . f g , y il i p , J ly 2 9 1 9 2 , 0 . The Rivals Ses u c en ten n a Rev val ( q i i l i ) , by M uc h Ado About Nothin W am g, by illi R c h ard r ns e Sher dan M a 2 9 -3 0 i B i l y i , y , k a e u 1 Sha es e r 2 9 1 9 2 . p , J ly , 1 9 2 5 . As You Like It W ll am Shakes eare u , by i i , ly p J The Poor Little Ric h irl E eanor ates G , by l G .

2 9 1 9 2 2 . , Au us 1 1 t 2 9 2 5 . g , The omed o Errors W l am Shakes C y f , by il i The Roman cers Edmond Rostan d M a ear Au ust 1 , by , y e 2 8 9 2 3 . p , g , 2 8 -29 1 9 26 The Tamin g of the Shrew (Tercentenary , . Produc t on W am Shakes eare A Thousan d Years A o Perc M ac Ka e i ) , by illi p , g , by y y , Au 2 1 4 6 . c to er 1 2 1 9 2 3 . ust 9 2 O b , g ,

1 0 0 ii‘ “

Einer M uss eiraten in erman A e H ( G ) , by l x a d W n er ilhelmi . The House Across t he Wa Kather ne y, by i

Kavanaau h - g . 1 938 1 9 39 d t M o es Pau Hervreu. unieu i a W y, by l li un cul R ta e man . F F , by i ll anc e o eath W Auden 1 934-1 935 D f D , by . H . . ’ 1 93 9 -1 9 40 Le rime d un erveau M alade ada ted C C , p by Air Raid Arch a d acLe sh Wa ter eech , M i . l Cr . by ib l

Bur the ead Irw n Shaw. y D , by i 1 93 6 -1 93 7 Sal ome Osc ar W de. , by il ’ ’ The Twelve Pound Look . M arr e. L An lais Tel u On l e Tr stan , by J . B i g Q by i Th latte in Word e e r or e Ke ernard. F g , by G g lly. B Carolina F olk -Plays Publish ed In Book s

CAROLINA FOLK PLAYS

First Series “ ” k- k Edited with an introduction, Fol Play Making, by Frederic H . fiv - - e . Koch, and containing one act plays by native authors Five full page i k . ( y illustrations from the original product ons New Yor , Henr Holt and C y ompan ,

Second Series “ ”

3. k T F . E i , i i d ted with an introduction Mak ng Fol heatre, by reder ck H

- - five one act . Koch, and containing plays by native authors Seven full page k . y illustrations from the original productions (New Yor , Henr Holt and C y ompan ,

Third Series E “ ” T k k . , he C y i dited with an introduction arolina Playma er, b Freder c H - . C a six one Koch Foreword by Paul Green . ont ining act plays by native

- authors . Six full page illustrations from the original productions . (New C y York, Henry Holt and ompan ,

CAROLINA FOLK COMEDIES

F ourth Series E “A ” y k dited with an introduction, dventures in Playwriting, b Frederic

- . . C one H Koch Foreword by Archibald Henderson . ontaining eight act E - plays by native authors . ight full page illustrations from the original

productions . (New York, Samuel French,

’ TH E LORD S WILL AND OT HER PLAYS

Illustrat By Paul Green, with an introduction by Frederick H . Koch . c H and C . Y , ed from the original produ tions (New ork, enry Holt ompany 1 92 5 . )

fl ag 1 0 3 1g. . ’ PIONEERING A PEOPLE S THEATRE LONESOME ROAD R f . M cBrid A volume O Negro plays by Paul Green (New York, obert e and Company,

AMERI CAN FOLK PLAYS “ ” E i A In d ted with an introduction, merican Folk Drama the Making, by A H H . C Frederick . Koch . Foreword by rchibald enderson ontaining - e twenty one act plays by native authors from various states . Fifte n full A . Y . page illustrations from the original productions (New ork, D pple -C C 1 9 3 ton entury ompany,

MEX I CAN FOLK PLAYS “ B Ni li of y Josephina gg , edited with an introduction, Playmaker Mex ” i li C H R Us . ico, by Frederick . Koch . Foreword by odolfo g ontaining — five one act plays and seven full - page illustrations from the original pro io H 1 duct ns. C C 93 ( hapel ill, University of North arolina Press,

FOLK PLAYS OF EASTERN CAROLINA B B H “ C y ernice Kelly arris, edited with an introduction, Plays of a ountry ” - H . C one Neighborhood, by Frederick Koch . ontaining seven act plays — H of h and nineteen full page illustrations . (Chapel ill, University Nort C arolina Press,

CAROLINA FOLK- PLAYS “ ” E Th e C dited with an introduction, arolina Playmakers, by Frederick H F o -Pla s . lina lk . C Caro Koch Foreword by Paul Green . ontaining y , First Second Third er e H H C , S i s. Y , and (New ork, enry olt and ompany

ALABAMA FOLK PLAYS “ By L wi of Kate Porter e s, edited with an introduction, Plays the Deep ” H fiv one- . C South, by Frederick Koch . ontaining e act plays and illustra C H of tions from the original productions . ( hapel ill, University North C arolina Press,

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