DOCSLIB.ORG

African American Performance and Theater History: a Critical Reader

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
African American Performance and Theater History: a Critical Reader African American Performance and Theater History: A Critical Reader Harry J. Elam, Jr. David Krasner, Editors OXFORD UNIVERSITY PRESS African American Performance and Theater History This page intentionally left blank ‘ ‘ African American Performance and Theater History a critical reader ‘‘‘ Edited by Harry J. Elam, Jr. David Krasner 1 2001 1 Oxford New York Athens Auckland Bangkok Bogota´ Buenos Aires Calcutta Cape Town Chennai Dar es Salaam Delhi Florence HongKong Istanbul Karachi Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi Paris Sa˜o Paulo Shanghai Singapore Taipei Tokyo Toronto Warsaw and associated companies in Berlin Ibadan Copyright ᭧ 2001 by Oxford University Press, Inc. Published by Oxford University Press, Inc. 198 Madison Avenue, New York, New York 10016 Oxford is a registered trademark of Oxford University Press. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. Library of Congress Cataloging-in-PublicationData African American performance and theater history: a critical reader / edited by Harry J. Elam, Jr. and David Krasner. p. cm. Includes bibliographical references and index. ISBN 0–19–512724–2; ISBN 0–19–512725–0 (pbk.) 1. Afro-American theater. 2. American drama—Afro-American authors—History and criticism. I. Elam,Harry Justin. II. Krasner, David, 1952– PN2270.A35A46 2000 792'.089'96073—dc21 00–022463 987654321 Printed in the United States of America on acid-free paper Acknowledgments Many people have contributed to making this book possible. We would like to begin by thanking our first editor, T. Susie Chang, for all her work and support of this manuscript. We also thank her successor, Elissa Morris, for seeing this book through to fruition. We are grateful to all the contributors for their commitment, hard work, and insightful chapters. Lisa Thompson and Nicole Hickman, two Ph.D. candidates in the Modern Thought and Literature Program at Stanford, worked diligently to compile the bibliography on African American theater and performance. Hickman also helped with the editing and proofreading processes. We appreciate the efforts of Ron Davies, the administrator in the Department of Drama at Stanford, for preparing the manuscript for publication and of Susan Sebbard, Assistant Director of the Humanities Center at Stanford, for her careful proofreading of the volume. Harry Elam acknowledges the support of Janelle Reinelt, Professor of Drama at the University of California, Davis, and his life partner, Leonade Jones, for their readings and honest critiques of his contributions to this anthology. David Krasner acknowledges the support and hard work of the Theater Studies’ assistant at Yale, Jan Foery, and his most significant other, Lynda Intihar. This book was published with the assistance of the Frederick W. Hilles Publication Fund of Yale University. We owe an enormous debt to those who went before us, and we are grateful that they have constructed a ground on which we now walk. Our study is a continuation of a tradition built on the works of historians, scholars, and critics, such as William Branch, Winona Fletcher, Paul Carter Harrison, Samuel Hay, Errol Hill, James Weldon Johnson, Lofton Mitchell, Thomas Pawley, and Bernard Peterson. We dedicate these chapters to these scholars, inparticular,ProfessorErrolHill—brillianthistorian,editor,andresearcher. If our efforts come close to reaching the standards he has set, we will have accomplished our goals. Stanford, California HJE jr New Haven, Connecticut DK September 2000 This page intentionally left blank Contents Contributors xi The Device of Race: An Introduction 3 harry j. elam, jr. part i: social protest and the politics of representation 17 1 Uncle Tom’s Women 19 judith williams 2 Political Radicalism and Artistic Innovation in the Works of Lorraine Hansberry 40 margaret b. wilkerson 3 The Black Arts Movement: Performance, Neo-Orality, and the Destruction of the “White Thing” 56 mike sell 4 Beyond a Liberal Audience 81 william sonnega part ii: cultural traditions, cultural memory, and performance 99 5 Deep Skin: Reconstructing Congo Square 101 joseph r. roach 6 “Calling on the Spirit”: The Performativity of Black Women’s Faith in the Baptist Church Spiritual Traditions and Its Radical Possibilities for Resistance 114 telia u. anderson 7 The Chitlin Circuit 132 henry louis gates, jr. 8 Audience and Africanisms in August Wilson’s Dramaturgy: A Case Study 149 sandra g. shannon part iii: intersections of race and gender 169 9 Black Minstrelsy and Double Inversion, Circa 1890 171 annemarie bean 10 Black Salome: Exoticism, Dance, and Racial Myths 192 david krasner 11 Uh Tiny Land Mass Just Outside of My Vocabulary: Expression of Creative Nomadism and Contemporary African American Playwrights 212 kimberly d. dixon 12 Attending Walt Whitman High: The Lessons of Pomo Afro Homos’ Dark Fruit 235 jay plum part iv: african american performativity and the performance of race 249 13 Acting Out Miscegenation 251 diana r. paulin 14 Birmingham’s Federal Theater Project Negro Unit: The Administration of Race 271 tina redd 15 The Black Performer and the Performance of Blackness: The Escape; or, A Leap to Freedom by William Wells Brown and No Place To Be Somebody by Charles Gordone 288 harry j. elam, jr. 16 The Costs of Re-Membering: What’s at Stake in Gayl Jones’s Corregidora 306 christina e. sharpe part v: roundtable discussion with senior scholars 329 17 African American Theater: The State of the Profession, Past, Present, and Future 331 viii Contents Roundtable discussion edited by harry j. elam, jr., and david krasner Afterword: Change Is Coming 345 David Krasner Selected Bibliography 351 Index 357 Contents ix This page intentionally left blank Contributors TELIA U. ANDERSON teaches English and African studies at New York City Technical College. She graduated cum laude from Yale in 1991 and earned an M.A. in theater studies from Brown in 1997. She won the New Scholar’s Prize, given by the International Federation for Theatre Research, in 1996 for an earlier version of her chapter, “Calling on the Spirit.” ANNEMARIE BEAN is an assistant professor of Theater at Williams College, Williamstown, Massachusetts. She was managing editor of the Drama Re- view for three years; is the coeditor, with James V. Hatch and Brooks McNamara, of Inside the Minstrel Mask: Readings in Nineteenth-Century Black- face Minstrelsy (1996); winner of the 1997 Errol Hill Award, given by the AmericanSocietyforTheatreResearchforoutstandingscholarshipinAfrican American theater studies; and she is editor of A Sourcebook of African-American Performance (1999). Her current project is a study of gender impersonation by white and African American nineteenth-century minstrels. KIMBERLY D. DIXON is completing her dissertation on contemporaryAfrican American women playwrights in Northwestern University’s interdiscipli- nary Ph.D. program in Theater and Drama. She is a graduate of Yale Uni- versity and UCLA, with degrees in theater, African American studies, and psychology. She has published on Suzan-Lori Parks in American Drama.In addition, Dixon is an emerging playwright and screenwriter. HARRY J. ELAM, JR., is Christensen Professor for the Humanities, director of graduate studies in Drama, and chair of the Committee on Black Performing Arts at Stanford University. He is author of Taking It to the Streets: The Social Protest Theater of Luis Valdez and Amiri Baraka (1997) and coeditor, with Robert Alexander, of Colored Contradictions: An Anthology of Contemporary African American Plays (1996). He is finishing a book entitled (W)Righting History: The Past as Present in the Drama of August Wilson. He has published articlesinTheatreJournal,TextandPerformanceQuarterly,andAmericanDrama, as well as contributed to several critical anthologies. HENRY LOUIS GATES, JR., is the chair of the Afro-American Studies Depart- ment and director of the W. E. B. Du Bois Institute for Afro-American Studies at Harvard University. He is a prolific writer and scholar, who has authored and coauthored several books, edited or coedited many more, and written numerous articles for such magazines as the New Yorker, Time, and the New Republic. His many books include Figures in Black: Works, Signs, and the “Racial” Self (1987), The Signifying Monkey: A Theory of Afro-American LiteraryCriticism(1988),LooseCanons:NotesontheCultureWars(1992),Colored People: A Memoir (1994), The Future of the Race (1996), and Thirteen Ways of Looking at a Black Man (1997). JAMES V. HATCH is professor emeritus of English and Theater at City College of the City University of New York. His publications include a biography, Sorrow Is the Only Faithful One: The Life of Owen Dodson, which wontheBernard Hewitt Award for best theater history book published in 1993. He is co- founder, with his wife, Camille Billops, of the Hatch-Billops Collection and Archive in African American cultural history. DAVID KRASNER is director of undergraduate Theater Studies at Yale Uni- versity, where he teaches theater history and literature, dramatic criticism, acting, and directing. His book Resistance, Parody, and Double Consciousness in African American Theatre, 1895–1910 (1997) received the 1998 Errol Hill Award from the American Society for Theatre Research. He is the editor of Method Acting Reconsidered: Theory, Practice, Future (2000) and is currently workingonhisnextbook,BlackPerformanceandtheHarlemRenaissance:African
Load more

Recommended publications
  • PERFECTION, WRETCHED, NORMAL, and NOWHERE: a REGIONAL GEOGRAPHY of AMERICAN TELEVISION SETTINGS by G. Scott Campbell Submitted T
    PERFECTION, WRETCHED, NORMAL, AND NOWHERE: A REGIONAL GEOGRAPHY OF AMERICAN TELEVISION SETTINGS BY G. Scott Campbell Submitted to the graduate degree program in Geography and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ______________________________ Chairperson Committee members* _____________________________* _____________________________* _____________________________* _____________________________* Date defended ___________________ The Dissertation Committee for G. Scott Campbell certifies that this is the approved version of the following dissertation: PERFECTION, WRETCHED, NORMAL, AND NOWHERE: A REGIONAL GEOGRAPHY OF AMERICAN TELEVISION SETTINGS Committee: Chairperson* Date approved: ii ABSTRACT Drawing inspiration from numerous place image studies in geography and other social sciences, this dissertation examines the senses of place and regional identity shaped by more than seven hundred American television series that aired from 1947 to 2007. Each state‘s relative share of these programs is described. The geographic themes, patterns, and images from these programs are analyzed, with an emphasis on identity in five American regions: the Mid-Atlantic, New England, the Midwest, the South, and the West. The dissertation concludes with a comparison of television‘s senses of place to those described in previous studies of regional identity. iii For Sue iv CONTENTS List of Tables vi Acknowledgments vii 1. Introduction 1 2. The Mid-Atlantic 28 3. New England 137 4. The Midwest, Part 1: The Great Lakes States 226 5. The Midwest, Part 2: The Trans-Mississippi Midwest 378 6. The South 450 7. The West 527 8. Conclusion 629 Bibliography 664 v LIST OF TABLES 1. Television and Population Shares 25 2.
    [Show full text]
  • Sitcom Fjernsyn Programmer Liste : Stem P㥠Dine
    Sitcom Fjernsyn Programmer Liste Chespirito https://no.listvote.com/lists/tv/programs/chespirito-56905/actors Lab Rats: Elite Force https://no.listvote.com/lists/tv/programs/lab-rats%3A-elite-force-20899708/actors Jake & Blake https://no.listvote.com/lists/tv/programs/jake-%26-blake-739198/actors Bibin svijet https://no.listvote.com/lists/tv/programs/bibin-svijet-1249122/actors Fred's Head https://no.listvote.com/lists/tv/programs/fred%27s-head-2905820/actors Blackadder Goes Forth https://no.listvote.com/lists/tv/programs/blackadder-goes-forth-2740751/actors Brian O'Brian https://no.listvote.com/lists/tv/programs/brian-o%27brian-849637/actors Hello Franceska https://no.listvote.com/lists/tv/programs/hello-franceska-12964579/actors Malibu Country https://no.listvote.com/lists/tv/programs/malibu-country-210665/actors Maksim Papernik https://no.listvote.com/lists/tv/programs/maksim-papernik-4344650/actors Chickens https://no.listvote.com/lists/tv/programs/chickens-16957467/actors Toda Max https://no.listvote.com/lists/tv/programs/toda-max-7812112/actors Cover Girl https://no.listvote.com/lists/tv/programs/cover-girl-3001834/actors Papá soltero https://no.listvote.com/lists/tv/programs/pap%C3%A1-soltero-6060301/actors Break Time Masti Time https://no.listvote.com/lists/tv/programs/break-time-masti-time-3644055/actors Mi querido Klikowsky https://no.listvote.com/lists/tv/programs/mi-querido-klikowsky-5401614/actors Xin Hun Gong Yu https://no.listvote.com/lists/tv/programs/xin-hun-gong-yu-20687936/actors Cuando toca la campana https://no.listvote.com/lists/tv/programs/cuando-toca-la-campana-2005409/actors
    [Show full text]
  • Exposing Minstrelsy and Racial Representation Within American Tap Dance Performances of The
    UNIVERSITY OF CALIFORNIA Los Angeles Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Culture and Performance by Brynn Wein Shiovitz 2016 © Copyright by Brynn Wein Shiovitz 2016 ABSTRACT OF THE DISSERTATION Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950 by Brynn Wein Shiovitz Doctor of Philosophy in Culture and Performance University of California, Los Angeles, 2016 Professor Susan Leigh Foster, Chair Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950, looks at the many forms of masking at play in three pivotal, yet untheorized, tap dance performances of the twentieth century in order to expose how minstrelsy operates through various forms of masking. The three performances that I examine are: George M. Cohan’s production of Little Johnny ii Jones (1904), Eleanor Powell’s “Tribute to Bill Robinson” in Honolulu (1939), and Terry- Toons’ cartoon, “The Dancing Shoes” (1949). These performances share an obvious move away from the use of blackface makeup within a minstrel context, and a move towards the masked enjoyment in “black culture” as it contributes to the development of a uniquely American form of entertainment. In bringing these three disparate performances into dialogue I illuminate the many ways in which American entertainment has been built upon an Africanist aesthetic at the same time it has generally disparaged the black body.
    [Show full text]
  • Here May Is Not Rap Be Music D in Almost Every Major Language,Excerpted Including Pages Mandarin
    ENCYCLOPEDIA OF THE BLACK ARTS MOVEMENT ed or printed. Edited by istribut Verner D. Mitchell Cynthia Davis an uncorrected page proof and may not be d Excerpted pages for advance review purposes only. All rights reserved. This is ROWMAN & LITTLEFIELD Lanham • Boulder • New York • London 18_985_Mitchell.indb 3 2/25/19 2:34 PM ed or printed. Published by Rowman & Littlefield An imprint of The Rowman & Littlefield Publishing Group, Inc. 4501 Forbes Boulevard, Suite 200, Lanham, Maryland 20706 istribut www.rowman.com 6 Tinworth Street, London, SE11 5AL, United Kingdom Copyright © 2019 by The Rowman & Littlefield Publishing Group Inc. All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without written permission from the publisher, except by a reviewer who may quote passages in a review. British Library Cataloguing in Publication Information Available Library of Congress Cataloging-in-Publication Data Names: Mitchell, Verner D., 1957– author. | Davis, Cynthia, 1946– author. Title: Encyclopedia of the Black Arts Movement / Verner D. Mitchell, Cynthia Davis. Description: Lanhaman : uncorrectedRowman & Littlefield, page proof [2019] and | Includes may not bibliographical be d references and index. Identifiers:Excerpted LCCN 2018053986pages for advance(print) | LCCN review 2018058007 purposes (ebook) only. | AllISBN rights reserved. 9781538101469This is (electronic) | ISBN 9781538101452 | ISBN 9781538101452 (cloth : alk. paper) Subjects: LCSH: Black Arts movement—Encyclopedias. Classification: LCC NX512.3.A35 (ebook) | LCC NX512.3.A35 M58 2019 (print) | DDC 700.89/96073—dc23 LC record available at https://lccn.loc.gov/2018053986 The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI/NISO Z39.48-1992.
    [Show full text]
  • Diss Final for Pdf2
    HOME FRONT AS WARFRONT: AFRICAN AMERICAN WORLD WAR I DRAMA BY Copyright 2010 Anna Katherine Egging Submitted to the graduate degree program in English and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ________________________________ Chairperson, Iris Smith Fischer Committee Members:________________________________ Maryemma Graham ________________________________ Janet Sharistanian ________________________________ Henry Bial ________________________________ Omofolabo Ajayi-Soyinka Date Defended: ___27 August, 2010_______________ ii The Dissertation Committee for Anna Katherine Egging certifies that this is the approved version of the following dissertation: HOME FRONT AS WARFRONT: AFRICAN AMERICAN WORLD WAR I DRAMA ________________________________ Chairperson, Iris Smith Fischer Date approved:____27 August 2010_______ iii Abstract This dissertation recovers little-known African American World War I plays that blur the boundary between the home front and warfront. I argue that with this focus, the plays wage their own war for African American citizenship rights, using language and performance to gain access to the “imagined” community of the nation. Yet plays from different time periods focus on diverse aspects of the Great War; these differences provide insight into how World War I was thought of and employed, and for what purposes, in African American communities during the interwar years. The project fills an important gap in African American drama, theatre, and war literature scholarship; no book-length analysis exists, yet scholarly conversations surrounding African Americans in the Great War are energetic. Despite scholars’ arguments that the war “gave birth” to the New Negro, the plays that dramatize the subject have drifted into obscurity. Thus, this project is overdue; the plays complete the historical picture of African American drama and provide a better understanding of the ways contemporary life in the United States is still haunted by World War I.
    [Show full text]
  • Givens Playbills
    Givens Collection Playbills/Programs Box 1 Abbott, George: The Pajama Game. Lunt-Fontanne Theatre. 1974. Aiken, G.L.: Uncle Tom’s Cabin. The Alvin Theatre, New York. 1933. Ailey, Alvin: The Alvin Ailey American Dance Theatre. Souvenir Book Publishers Inc., New York. Anderson, Maxwell: Lost in the Stars. The Playwrights’ Company, New York. 19450. Baker, Josephine. Josephine Baker and Her International Revue. Baldwin, James: • The Amen Corner. Los Angeles. 1964 • The Amen Corner. Ethel Barrymore Theatre. 1965. • Blues for Mister Charlie. Anta Theatre, New York. 1964. Ballets Africains. New York. Belafonte, Harry. Belafonte at the Palace. A Belafonte Enterprises, Inc. Production. 1959. The Biggest Show of ’51. Souvenir program with signatures. Blake, Eubie: Eubie! Ambassador Theatre, New York. 1979. Broadway Answers Selma. Majestic Theatre, New York. Brown, William F.: The Wiz. Majestic Theatre, New York. 1974. Bullins, Ed • The Electronic Nigger and Others. The American Palace Theatre, New York. 1968. • House Party (2 copies). The American Palace Theatre, New York. 1973. Café Society Downtown. New York. Carnegie Hall (Charlie Parker Memorial Concert). New York. 1955. D’Usseau, Arnaud & Gow, James: Deep are the Roots. The Fulton Theatre, New York. 1946. Davis, Ossie • Purlie Victorious. The Longacre Theatre. 1962. • Purlie. 1970. Duberman, Martin B.: In White America. Sheridan Square Playhouse, New York. Dunham, Katherine • The Playbill for the Martin Beck Theatre. Cabin in the Sky. New York. 1940. • Program for Katherine Dunham and her company in a tropical revue. Martin Beck Theatre, New York. 1943. • S. Hurok presents Katherine Dunham and her Company in Tropical Revue with Bobby Capo Dowdy Quartet.
    [Show full text]
  • GULDEN-DISSERTATION-2021.Pdf (2.359Mb)
    A Stage Full of Trees and Sky: Analyzing Representations of Nature on the New York Stage, 1905 – 2012 by Leslie S. Gulden, M.F.A. A Dissertation In Fine Arts Major in Theatre, Minor in English Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Dr. Dorothy Chansky Chair of Committee Dr. Sarah Johnson Andrea Bilkey Dr. Jorgelina Orfila Dr. Michael Borshuk Mark Sheridan Dean of the Graduate School May, 2021 Copyright 2021, Leslie S. Gulden Texas Tech University, Leslie S. Gulden, May 2021 ACKNOWLEDGMENTS I owe a debt of gratitude to my Dissertation Committee Chair and mentor, Dr. Dorothy Chansky, whose encouragement, guidance, and support has been invaluable. I would also like to thank all my Dissertation Committee Members: Dr. Sarah Johnson, Andrea Bilkey, Dr. Jorgelina Orfila, and Dr. Michael Borshuk. This dissertation would not have been possible without the cheerleading and assistance of my colleague at York College of PA, Kim Fahle Peck, who served as an early draft reader and advisor. I wish to acknowledge the love and support of my partner, Wesley Hannon, who encouraged me at every step in the process. I would like to dedicate this dissertation in loving memory of my mother, Evelyn Novinger Gulden, whose last Christmas gift to me of a massive dictionary has been a constant reminder that she helped me start this journey and was my angel at every step along the way. Texas Tech University, Leslie S. Gulden, May 2021 TABLE OF CONTENTS ACKNOWLEDGMENTS………………………………………………………………ii ABSTRACT …………………………………………………………..………………...iv LIST OF FIGURES……………………………………………………………………..v I.
    [Show full text]
  • Drama Teachers Association of Southern California Event Number Event Name Room Round
    Section H Appendices H1 Lists of Plays 1. 1950s Tony Award Nominated Plays 2. 1960s Plays 3. Musical Americana 4-5. Oscar Winning Screenplays (thru 2003) 6. Shakespeare’s Contemporaries 7. Suggested List of Absurdist Playwrights 8. Modern Plays Based on Shakespeare 9. Shakespeare’s Flowers & Herbs—Alpha by Flower 10. Shakespeare’s Flowers & Herbs—Alpha by Play 11. Irish Playwrights 12. American Experience Musicals 13-14 Pulitzer Prize Winning Plays (thru 2010) 15. Science Fiction Plays H2 Sample Score Sheets 1. Acting Share Sheet 2. Acting Round Ballot 3. Set/Lights Share Sheet—Fall 4. Set/Lights Ballot—Fall 5. Set/Lights/Graphics Share Sheet—Shakespeare 6. Set/Lights/Graphics Ballot—Shakespeare 7. Costume Share Sheet 8. Costume Ballot 9. Graphics/Publicity Share Sheet—Fall 10. Graphics/Publicity Ballot—Fall 11. Tabulations Key 12. Sweepstakes Points continued DTASC Handbook September 2015 TOC H — 1 http://www.cetoweb.org/dtasc_pages/handbook.html Section H — Table of Contents — Continued H3 DTASC Computer Information H4 Certificates 1. Community Service Certificate—Fall 2. Community Service Certificate—Shakespeare 3. Participation Certificate—Fall 4. Participation Certificate—Shakespeare H5 Forms 1. Membership 2. Associate Membership 3. Judge Submissions – Please submit Judges’ names on the web site only 4. Rules Submissions 5. Event Submissions 6. Nomination of Officers H6 Sample Letters — all available on CD as Word Documents (host letters are in section C1 and also on the CD) 1. Letterhead 2. Sample Letter to Administrator of Participating School 3. Sample Letter to Administrator of Participating School 4. Sample Thank You Letter to Festival Host 5. Sample Thank You Letter for Salute to the Winners H7 Other Items of Interest 1.
    [Show full text]
  • Guide to the Theatre Department Records Columbia College Chicago
    Columbia College Chicago Digital Commons @ Columbia College Chicago Finding Aids College Archives & Special Collections 2018 Guide to the Theatre Department Records Columbia College Chicago Follow this and additional works at: https://digitalcommons.colum.edu/casc_fa Part of the Acting Commons, History Commons, Music Commons, and the Performance Studies Commons Recommended Citation Columbia College Chicago, "Guide to the Theatre Department Records" (2018). Finding Aids. 28. https://digitalcommons.colum.edu/casc_fa/28 This Article is brought to you for free and open access by the College Archives & Special Collections at Digital Commons @ Columbia College Chicago. It has been accepted for inclusion in Finding Aids by an authorized administrator of Digital Commons @ Columbia College Chicago. For more information, please contact [email protected]. Guide to the Theatre Department Records, Columbia College Chicago SUMMARY INFORMATION: Repository: College Archives & Special Collections at Columbia College Chicago Source: Theatre Department Title: Theatre Department Records, Columbia College Chicago ID: 08.01.07 Date [inclusive]: 1953 - 2018 Physical Description: 13.82 Cubic Feet. Ten (10) record boxes, two (2) flat boxes Language of the Material: English Abstract: Known as ‘dramatic action’ in the 1890s, then ‘dramatic arts’ in the 1910s, Columbia College Chicago has been teaching theater since its founding. An institution established to teach oratory and expression, Columbia College Chicago has always placed emphasis on performance and stage work. The college purchased the 72 E. 11th Street building in 1980, where it has held most productions found within this collection. In 2017, the Getz Theatre and other performance spaces in the building were renovated, reopening in 2018, The theatre complex is now known as the Columbia College Chicago Getz Theatre Center, housing four performance spaces.
    [Show full text]
  • Is a Graduate of the Crane School of Music (Voice/Patricia Misslin)
    CATS JOHN ANTHONY LOPEZ (Old Deuteronomy) is a graduate of the Crane School of Music (voice/Patricia Misslin). Regional Credits include: Beauty and the Beast (Beast), South Pacific (Emile), Jane Eyre (Rochester), La Traviata (Alfredo), The Magic Flute (Tamino). NYC/Metro Credits include: Fiddler on the Roof/VLOG NYC (Tevye), The Seed of Abraham FringeNYC (Joshua), The Man in the Iron Mask/WVMTF (Aramis), 7:32 the musical/reading (Charles Collins), Into the Woods/NJ (Baker). Love and thanks to his son, Corey, who keeps him afloat. Thanks Kiddo. johnanthonylopez.com DAVID RAIMO* (Munkustrap) honored to be playing the role of Munkustrap with the WPPAC family. Originally from Duluth, MN, David headed south to attend college at Oklahoma City University where he earned his B.F.A. in Musical Theater. After graduating in '07, David has performed on four Broadway National Tours including: Chicago (Fred Casely/Billy Flynn), CATS (Munkustrap), Joseph ...Dreamcoat (Simeon), and Mamma Mia! (Sky). Other favorite credits: Guys and Dolls (Ensemble) at the Hollywood Bowl, the world premiere of Life Could Be A Dream (Skip) and Damn Yankees (Joe Hardy). David would like to thanks his family and friends for their endless support. www.davidraimo.com DEVON YATES* (Grizabella) is thrilled to be making her WPPAC debut with CATS, and is proud to be walking in the footsteps her mother did as Grizabella a few years ago! A native to the small town of Edinboro, PA, she is a 2010 Music Theatre graduate of Baldwin-Wallace College Conservatory of Music, and now currently resides in NYC. Some of her past Regional credits include: Lippa's Wild Party(Queenie), Parade(Lucille Frank), Evita(Eva Peron), the non-union premiere of ALW's Phantom of the Opera(Carlotta Guidicelli), the regional premiere of BKLYN: the Musical(Faith), and Chess(Florence).
    [Show full text]
  • Drama Winners the First 50 Years: 1917-1966 Pulitzer Drama Checklist 1966 No Award Given  1965 the Subject Was Roses by Frank D
    The Pulitzer Prizes Drama Winners The First 50 Years: 1917-1966 Pulitzer Drama Checklist 1966 No award given 1965 The Subject Was Roses by Frank D. Gilroy 1964 No award given 1963 No award given 1962 How to Succeed in Business Without Really Trying by Loesser and Burrows 1961 All the Way Home by Tad Mosel 1960 Fiorello! by Weidman, Abbott, Bock, and Harnick 1959 J.B. by Archibald MacLeish 1958 Look Homeward, Angel by Ketti Frings 1957 Long Day’s Journey Into Night by Eugene O’Neill 1956 The Diary of Anne Frank by Albert Hackett and Frances Goodrich 1955 Cat on a Hot Tin Roof by Tennessee Williams 1954 The Teahouse of the August Moon by John Patrick 1953 Picnic by William Inge 1952 The Shrike by Joseph Kramm 1951 No award given 1950 South Pacific by Richard Rodgers, Oscar Hammerstein II and Joshua Logan 1949 Death of a Salesman by Arthur Miller 1948 A Streetcar Named Desire by Tennessee Williams 1947 No award given 1946 State of the Union by Russel Crouse and Howard Lindsay 1945 Harvey by Mary Coyle Chase 1944 No award given 1943 The Skin of Our Teeth by Thornton Wilder 1942 No award given 1941 There Shall Be No Night by Robert E. Sherwood 1940 The Time of Your Life by William Saroyan 1939 Abe Lincoln in Illinois by Robert E. Sherwood 1938 Our Town by Thornton Wilder 1937 You Can’t Take It With You by Moss Hart and George S. Kaufman 1936 Idiot’s Delight by Robert E. Sherwood 1935 The Old Maid by Zoë Akins 1934 Men in White by Sidney Kingsley 1933 Both Your Houses by Maxwell Anderson 1932 Of Thee I Sing by George S.
    [Show full text]
  • Theater Programs Collection
    http://oac.cdlib.org/findaid/ark:/13030/kt7199r7f0 No online items Inventory of the Theater Programs Collection UCSC OAC Unit The University Library Special Collections and Archives University Library University of California, Santa Cruz Santa Cruz, California, 95064 Email: [email protected] URL: http://library.ucsc.edu/speccoll/ © 2008 The Regents of the University of California. All rights reserved. Inventory of the Theater MS 322 1 Programs Collection Inventory of the Theater Programs Collection Collection number: MS 322 The University Library Special Collections and Archives University of California, Santa Cruz Santa Cruz, California Processed by: UCSC OAC Unit Date Completed: July 2008 Encoded by: UCSC OAC Unit © 2008 The Regents of the University of California. All rights reserved. Descriptive Summary Title: Theater Programs collection Dates: 1950-2008 Collection number: MS 322 Collector: Group, Mitchell Collection Size: 5 document boxes Repository: University of California, Santa Cruz. University Library. Special Collections and Archives Santa Cruz, California 95064 Abstract: This collection contains a variety of theater playbills and programs from the New York city area. Physical location: Boxes 1-4 stored offsite; Box 5 stored in Special Collections & Archives: Advance notice is required for access to the papers. Languages: Languages represented in the collection: English Access Collection open for research. Publication Rights Property rights reside with the University of California. Literary rights are retained by the creators of the records and their heirs. For permission to publish or to reproduce the material, please contact the Head of Special Collections and Archives. Preferred Citation Theater Programs collection. MS 322. Special Collections and Archives, University Library, University of California, Santa Cruz.
    [Show full text]