NEWSLETTER OF THE THEATRE LIBRARY ASSOCIATION

Volume 17, Number 1/Volume 17, Number 2 SPECIAL DOUBLE ISSUE Summer/Fa111989

EXHIBITION SURVEYS MANHATTAN'S EARLY THEATRE HISTORY L An exhibition spotlighting three early New York theatres was on view in the Main I Gallery of The New York Public Library at Lincoln Center from February 13, 1990 through March 31, 1990. Focusing on the Park Theatre on Park Row, Niblo's Garden on Broadway and Prince Street, and Wal- lack's, later called the Star, on Broadway and 13th Street, the exhibition attempted to show, through the use of maps, photo- graphic blowups, programs and posters, the richness of the developing New York theatre scene as it moved northward from lower Manhattan. The Park Theatre has been called "the first important theatre in the United States." It opened on January 29, 1798, across from the Commons (the Commons is now City Hall Park-City Hall was built in 1811). The opening production, As You Like It, was presented with some of the fin- est scenery ever seen. The theatre itself, which could accommodate almost 2,000, was most favorably reviewed. It was one of the most substantial buildings erected in the city to that date- the size of the stage was a source of amazement to both cast and audience. In the early nineteenth century, to increase ticket sales, manager Stephen Price introduced the "star sys- tem" (the importation of famous English stars). This kept attendance high but to some extent discouraged the growth of in- digenous talent. In its later days the Park was home to a fine company, which, in addition to performing the classics, pre- sented the work of the emerging American playwrights. The Park burned down in 1820 but was rebuilt. When it was destroyed by fire once again, in 1848, the Astor heirs re- placed it with commercial buildings. The neighborhood was changing. The exhibition included photographic blowups of many of the performers who played at the Park. Junius Brutus Booth as Richard Ill, Charles Kemble, Tyrone Power, Mrs. john Drew as Ophelia, Ellen Tree as Rosalind, Charlotte Cushman as Lady Macbeth, and Fanny Kemble were among those on view. There was a large on the grounds, which had previously The exhibition included photographic photograph of ballerina Fanny Elssler, been a farm, a training ground for militia blowups of Lillie Langtry, Rachel, Fanny who made her American debut at the Park officers, and a summer evening entertain- Davenport, Lawrence Barrett, Frank Mayo in 1840. Also in the exhibition were many ment spot. In 1829 Broadway and Prince and other important stars to have per- examples of early plavbills. Street was considered practically out-of- formed at Niblo's. It also featured sections Niblo's Garden was opened in the late town - Niblo ran stagecoaches from the on early burlesque star Lydia Thompson, 1820's by William Niblo, who operated a Battery to his theatre to encourage atten- on minstrel shows, on the extremely pop- summer theatre and ornamental garden dance. ular Ravel family of comedians, and on musical performers, such as Adelina Patti, from the Lyceum Theatre in London. the relative for whom today's Patti LuPone Whole productions, including props, mus- is named. ical directors, and stage and lighting man- Perhaps the most important and mem- agers, were transported for this unprece- orable event during the lifetime of Niblo's dented event. Henry Irving and Ellen Terry was the production of The Black Crook, presented many important plays including often called the first American musical, The Merchant of Venice, perhaps the most which opened on September 12, 1866 at perfect1y realized Shakespearean produc- 7:45 P.M. and lasted until 1:15 A.M. The en- tion to that date. The exhibition included tire stage was rebuilt for this combination much material related to the IrvinglTerry of spectacle, drama, music and dance. visits. The show ran for 475 performances, set- Edwin Booth also appeared at the Star. ting a New York record by far, and was The exhibition included photographic regularly revised. Revivals were seen at blowups of him as Othello, Shylock, Niblo's years later. The Black Crook toured Richelieu and Hamlet. It was at the Star the country for nearly 40 years. Theatre that Booth set a record, in 1864, The exhibition included much original for consecutive performances as Hamlet material on the various productions of The -100. This record was not broken until Black Crook, such as sheet music, pro- 1923, by John Barrymore. grams, and stunning full-color posters. Many other important performers vis- Also shown were color posters for later ited the Star. Depicted in the exhibition extravaganzas at Niblo's, such as Rice's were Sarah Bernhardt as Fedora, Adrienne Evangeline and the Kiralfy Brothers' Lecouvreur, Frou Frou and Camille. There Around the World in Eighty Days, as well were also photos and programs of Mod- as a silk programme for the 100th perfor- jeska, of Mr. and Mrs. Kendal in The Sec- mance of Excelsior, on November 15,1883. ond Mrs. Tanqueray, and of Mary Ander- Niblo's Garden, like so many other son and J. Forbes-Robertson in Romeo and buildings of its time, was destroyed by luliet. Full-color posters of John McCul- fires and rebuilt. It was finally razed in the lough in The Gladiator and Othello were 1890's- the theatre which once was too also on view. far uptown was now too far downtown for When the Star Theatre closed in 1901 the new theatre district, by now centered the paper read "Star Theatre Goes; Old around Union Square.. Patrons Sad. The Most Famous Actors and Wallack's Theatre (one of several the- Actresses of the Country Trod Its Boards atres of that name and associated with Only a Few Short Years Ago." that family) opened on September 25, In addition to materials related to ac- Photos: Above, playwright/actor Dion Bou- 1861, with a production of The New Presi- tors and productions, the exhibition in- cicault (1820-1890) as Conn in The Shaugh- dent. It became the leading New York the- cluded much related to the physical as- ram, which premiered at Wallack's The- atre for 20 years and was opened by James pects of the theatres. There were photos atre in 1874; Below, British actress Lydia William Wallack and then managed for of interiors and exteriors, as well as views Thompson (1836-1 9O8), sometimes cred- many years by his son Lester, the first im- of the immediate neighborhood. Materials ited with introducing burlesque to Amer- portant American-born member of the for the exhibition were drawn from the ar- ica. Also known as the first actress to English Wallack family. chives of The New York Public Library's horsewhip a libelous newspaper editor. Under Lester Wallack's management Performing Arts Research Center. The Cur- Thompson and her troupe played at the theatre on Broadway and 13th Street ator of the exhibition was Alan Pally. Niblo's Garden for 25 weeks in 1869. presented "impeccably cast" productions, mounted with "exquisite taste." The com- pany included Lester Wallack, John Gil- bert, Fanny Reeves, W. Reynolds, W.H. Norton, and many other fine actors. The exhibition included photographic blowups of many of their productions. A section of the exhibition was devoted to the extreme- ly popular play by Dion Boucicault, The Shaughraun, which achieved the longest run of any play at Wallack's through the 1870's. Wallack was probably responsible for discontinuing the old policy of actors' benefit nights, replacing them with regular salaries. The papers were filled with let- ters of disapproval, but the new practice caught on, and benefits, for the most part, became a thing of the past. Wallack left the theatre on 13th Street in 1881, to run another one, further uptown. Wallack's on 13th Street was renamed the Germania and presented German plays for a short time. On September 16, 1882, the theatre reopened as the Star. The Star Theatre, which operated until 1901, presented some of the most famous performers in the world. Lawrence Barrett staged and starred in a revised version of Francesca da Rimini, which ran for nine weeks. On October 29,1883, Henry Irving .and his entire company were brought over WORKS BY GARBO'S FAVORITE PHOTOGRAPHER ON VIEW

An exhibition which served both as a Taylor. display of the artfully composed photo- The most celebrated of all Bull's collab graph and a history of the golden age of orations was with Greta Garbo, who in- Hollywood was held at London's National sisted in 1929 that she only be photo- Portrait Gallery from May through August graphed by Bull. Starting with his mes- 1989. The exhibition, which is now touring meric, half-lit and mysterious portraits for throughout Britain, is the first major retro- her last silent film, The Kiss, Garbo and spective of one of the most highly re- Bull together created some of the greatest garded film studio portrait photographers, images in the history of the portrait photo- Clarence Sinclair Bull (1896-1979). In a ca- graph. The association lasted until Garbo's reer encompassing the heyday of the Hol- retirement in 1941; by then Bull estimated lywood studio portrait, Bull recorded for that he had taken more than 4,000 indivi- posterity some of the greatest movie stars dual studies of her. of all time-Gloria Swanson, Jean Harlow, At each session with Garbo, Bull sought Clark Gable, Grace Kelly, and, most signi- to capture the magic, beauty and inner ficantly, Greta Garbo. mystery that she projected in her screen Director Frank Lloyd invited Montana- roles. He devised new lighting techniques born Clarence Sinclair Bull to Hollywood suitable to the needs of the portrait-the in 1917 to work as an assistant camera- study of Garbo as the sea captain's daugh- man. After working for a few studios Bull ter in her first talkie, Anna Christie, was il- chose to concentrate on stills and portrait luminated by a ship's lantern containing a photography and served as head of the concealed spotlight. Bull was also a pio- MGM stills department from 1924 until his neer in the use of strobe lighting and color. retirement in 1961. In the 1920s his sub In 1943 he photographed a group of 64 jects included Lillian Gish, Bessie Love MGM stars for the studio's 20th birthday. and Joan Crawford. The Barrymores, the That color photograph recorded the larg- Marx Brothers, Charles Laughton, Elsa est number of stars ever assembled from Photos: Above, Garbo (1905-1990) as Mar- Lanchester, Leslie Howard and Vivian one studio. guerite Gautier for Camille, 1939; Lower Leigh were some of his subjects during the The exhibition has traveled throughout left, Garbo for The Kiss (her last silent 1930s. In the two decades that followed, Britain to Leeds, Edinburgh and Bath. It is film), 1929; Lower right, Garbo for Queen Bull photographed Spencer Tracy, Kath- currently on view at the Wolverhampton Christina, 1933. Photos by Clarence Sin- arine Hepburn, Cary Grant, Ava Gardner, Art Gallery in the West Midlands until clair Bull. All photos c. Bull EstatelKobal Fred Astaire, Judy Garland and Elizabeth June 30. Fine Art Collection. BACK ISSUES OF PERFORMING ARTS RESOURCES AVAILABLE

Performing Arts Resources is the annual ords at George Mason University" (Laraine Warner Brothers Collection at Princeton publication of the Theatre Library Associ- Correll); "Research Materials of the Fed- University Library" (Mary Ann Jensen); ation. A cloth-bound, illustrated, library- eral Theatre Project in the Theatre Collec- "Performing Arts Collections at The Rob- quality book, it is designed to gather and tion of The New York Public Library at Lin- ert F. Wagner Labor Archives" (Steve Nel- disseminate articl~son resource materials coln Center" (Dorothy L. Swerdlove); "The son); "Performing Arts on Madison Ave- relating to theatre, popular entertain- Museum of Broadcasting" (Robert Sau- nue" (Cynthia C. Swank); "The Pasadena ments, film, television and radio; descrip- dek, Mary V. Ahern, Douglas Gibbons and Playhouse Collection" (Lee R. Nemcheck); tions of collections; and essays on conser- Judith E. Schwartz); "Archives of the "The Dublin Gate Theatre at Northwest- vation and management. PAR is included Mouse Factory" (David R. Smith); "Player ern University Library" (Ellen V. Howe); in TLA membership. Back issues or addi- Piano Rolls in the Collection of the Song- "The Penn State Archives of American tional copies are available to current writers' Hall of Fame" (Cinnine Cocuzza); Theatre Lighting" (William Allison); "Engi- members at $10 each. Checks should be "The San Francisco Archives for the Per- neering Contributions to Theatre Technol- made payable to the Theatre Library Asso- forming Arts" (R. Eric Custafson). ogy: Remembering the Innovators" (Bruce ciation and mailed to Dick Buck, Theatre Volume Seven (c. 1980), edited by Cin- Whitehead); "The Strand: Its History and Library Association, 111 Amsterdam Ave- nine Cocuzza and Barbara Naomi Cohen- Archives" (Frederick Bentham). nue, New York, NY 10023 Here is a survey Stratyner. Monograph: "Lazzi: the Comic Volume Eleven (c. 1986), edited by Cin- of the contents of available volumes. Routines of the Commedia dell'Arte" (Mel nine Cocuzza and Barbara Naomi Cohen- Volume Two (c. 1976), edited by Ted Cordon); "Pulcinella, the False Prince" Stratyner. Scenes and Machines from the Perry. "Guidelines for Describing Unpub- (Claudio Vincentini, translator). 78th Century: The Stagecraft of lacopo lished Script Materials" (Eileen Bowser); Volume Eight (c. 1983), edited by Cin- Fabris and Cityoen Boullet (C. Thomas "With the Compliments of The Raymond nine Cocuzza and Barbara Naomi Cohen- Auk, translator). Mander & Joe Mitchenson Theatre Collec- Stratyner. Stage Design: Papers from the tion" (Mary C. Henderson); "Ralph Sar- 75th International Congress of SIBMAS: Volume Twelve (c. 1987), edited by Bar- gent's Preserving the Moving Image: A "African State Design: Problems of Col- bara Naomi Cohen-Stratyner. Topical Bibli- Summary Review" (Joel Zukor); "The Pea- lecting, Cataloguing and Conserving Docu- ographies of the American Theatre. "Pre- body Collection of the University of Ceor- ments" (Cecilia Folasade Adedeji); "The liminary Checklist of Early Printed Chil- gia" (James E. Fletcher and W. Worth Stage Design Collection of the National dren's Plays in English, 1780-1855" (Jona- McDougald); "Promptscripts of The Ri- Arts Centre, Ottawa, Canada" (Anthony than Levy and Martha Mahard); "Actresses vals: An Annotated Bibliography" (Mark 5. Ibbotson); "Design by Motley: A Theatre of All Work: Nineteenth-Century Sources Auburn); "A Descriptive Catalogue of thc and Costume Arts Collection" (Melissa on Women in Nineteenth-Century Amer- Filmic Items in the Cernsheim Collection" Cain and Michael Mullin); "The McDowell ican Theatre" (Noreen C. Barnes and (David Haynes). Research Classification System for the Laurie J. Wolf); "A Checklist of American Civil War Drama: Beginning to 1900" Volume Three (c. 1977), edited by Ted Cataloguing of Scene and Costume De- (Rosemary T. Cullen); "Female Impersona- Perry. "A Bibliography of U.S. Government signs" (Alan Woods); "Problems and Ob- tion on the American Stage, 1860 to 1927: Documents Pertaining to Government servations Concerning the Translation of A Selected Bibliography of Performed Support of the Arts, 1963-71" (Mark Clad- Scenographic Terms from French to Eng- Materials, and a Review of Literature" stone); "Resources for the Oral History of lish" (Alfred Colding); "Some Experience (Geraldine Maschio); "Workers on Stage: the Independent American Film at Media in Collecting of Documents on Theatre An Annotated Bibliography of Labor Plays StudyIBuffalo, New York" (Gerald O'Crady); Scenery from the Past" (Olga Milanovic); "Surrealist Cinema: A Selected Bibliogra- "Conserving Theatre Designs for the Rec- of the 1930s" (Colette Hyman). phy" (Stephen Kovacs); "Theatre on Film ord and for Exhibition: A Designer's Volume Thirteen (c. 1988), edited by and Tape" (Betty L. Corwin); "The Cinema Views" (Peter T. Vagenas); "Influence of Barbara Naomi Cohen-Stratyner. The Drews Library at the University of Southern Cali- Stage Design on Music/Drama" (Nadezda and the Barrymores: A Dynasty of Actors: fornia" (Christopher Wheaton and Richard Mosusoval; "Models of Scenery and Cos- "American Acting Dynasties" (Don Wil- B. Jewell); "A Short Title Guide to the tumes in the Performing Arts Department meth); "From Strolling Players to Steven Edwin Booth Literary Material at The Play- of the Biblioteque Nationale, Paris" (Cecile 'Spielberg: 200 Years of a Theatrical Fam- ers" (L. Terry Oggel); "The Chuck Callahan Citeau); "Elements of a Method for Using ily" (Mary Ann jensen); "The Duchess of Burlesque Collection (Llewellyn H. Hedg- Models of Scenery or of Scenery Arrange- Arch Street: An Overview of Mrs. John beth). ments as Study Documents" (~ndr; Vein- Drew's Managerial Career" (C. Lee Jenner); Volume Four (c. 1978), edited by Mary C. stein); "Audiovisual Techniques Used in "The Unbroken Chain: Traditions in Style" Henderson: "Dame Nellie Melba or Peach Exhibits: Various Procedures" (Marie Fran- (James Kotsilibas-Davis); "Remembering Melba" (Peter Burgis); "Research Opportu- ~oise Christout); "Eighteenth-Century Ethel Barrymore and Others" (William nities at the Theatre Institute Library, Bar- Stage Settings at the Court Theatres of Roerick); "The Barrymores and Screen celona" (Joyce Duncan Falk); "History in Drottningholm and Gripsholm" (Barbro Acting" (Charles M. Affron); "An Introduc- Motion" (Geoffrey Wigoder); "Theatre Stribolt); "Some Original Early 19th Cen- tion to Nadjezda" (James Kotsilibas- Klank En Beeld: Sound and Film Archives tury Stage Decorations in the Ludwigsburg Davis); "Nadjezda: A Modern Tragedy" of the Dutch Theatre" (Lou Hoefnagels); Court Theatre: Problems of Conservation (Maurice Barrymore). "The Stratford Festival Archives" (Daniel and Presentation" (Harald Zielske). Volume Fourteen (c. 1989), edited by W. Ladell); "The Shakespeare Centre Li- Volume Nine (c. 1983), edited by Cin- Barbara Naomi Cohen-Stratyner. Perfor- brary" (Wendy Warnken); "Theatre Re- nine Cocuzza and Barbara Naomi Cohen- mances in Periodicals: "Introducing Parlor search in Moscow and Leningrad" (Micky Stratyner. Monograph: "An Essay in Stage Theatricals to the American Home" (Flor- Levy); "Theatre Research Resources in Performance: A Translation of Franz ence C. Smith); "The Theatre as Seen West Berlin" (Paul 5. Ulrich); "The Univer- Lang's Dissertatio de Actione Scenica Through Late Nineteenth Century Tech- sity of Bristol Theatre Collection" (George (1727)"; "Symbolic Images especially Use- nical Periodicals (Jack W. McCullough); Rowell); "A Documentary System for Tele- ful in Theatrical Performance and Costum- "Popular Entertainment in the Trades: A vision Archives" (Cabrielle Melischek and ing" (Alfred Siemon Colding). Case Study of the New York Clipper and Wolfgang Ramjoue); "The International Volume Ten (c. 1985), edited by Cin- the New York Dramatic Mirror" (Stephen Theatie Institute" (Elizabeth Burdick). nine Cocuzza and Barbara Naomi Cohen- M. Vallillo); "Sound Recording Periodicals: Volume Five (c. 1979), edited by Mary C. Stratyner. "Twentieth Century Fox Corpo- 1890-1929" (Sara Velez); "The New York Henderson. Monograph: "Recollections of rate Archives at the UCLA Theater Arts Li- Review" (Maryann Chach); "Researching 0. Smith: Comedian" (William W. Apple- brary" (Audree Malkin); "Verbal Messages Exhibition Ballroom Dance: Exploring Non- ton, Cuest Editor). Cause Misunderstandings and Delays traditional Sources (Julie Malnig); "Fash- Volume Six (c. 19801, edited by Mary C. (Please Put Them in Writing): The Warner ion Fillers in Silent Film Periodicals" (Bar- Henderson. "Federal Theatre Project Rec- Bros. Collection" (Joanne L. Yeck); "The bara Naomi Cohen-Stratyner). From PAR 7 From PAR 13

CLAIRE McGLlNCHEE

Distinction, grace, and creativity. These were among the many charms and accom- plishments of Claire McGlinchee, emeri- tus professor of English at Hunter College and long-time member of the Theatre Li- brary Association, who died in New York on January 25th, 1990. Claire, a graduate of the class of 1921 of Radcliffe College, began her career at Hunter College as an assistant instructor of English in 1924 and retired in 1969 as a full professor. A Shakespearean scholar, she was active in numerous national and international organizations and associa- tions, including the American Society for Theatre Research, the Shakespeare Asso- ciation of America, the International Fed- eration for Theatre Research, and the Society for Theatre Research in London. With her sister Constance, an accom- plished pianist, visitations to annual Euro- pean Shakespeare and music festivals and congresses were an integral part of their cultural agenda. Closer to home, two of her delights were the George Freedley1 TLA Awards ceremonies and the Shake- speare Birthday Celebration at The Players. Those who knew Claire well will remem- ber her lively anecdotes and reminiscences of the McGlinchee family's friendship with actress Julia Marlowe-tea in white gloves at the Plaza when Claire was barely in her teens! Although published a half century ago, her book, The First Decade of the Boston Museum, remains a basic and essential work for all major theatre collec- tions. In it, she analyzes the various duties of the Museum's proprietors, stock com- pany actors, and visiting stars. Claire McGlinchee was, indeed, a distinguished member of our association. - Louis A. Rachow BOOK REVIEWS son, Jr. Westport, CT: Greenwood Press What is most enlightening about the Inc., 1988. 608 pp. $75. book is the critical construct that shapes Brown-Cuillory's discussion. Once bio- Andrew Lloyd Webber: His Life and Works. Their Place On The Stage: Black Women graphical data are dispensed with, the au- By Michael Walsh. New York: Harry Abrams, Playwrightsin America. By Elizabeth Brown- thor divides her analysis into four chap- 1989. 240 pp. $39.95. Cuillory. Westport, CT: Greenwood Press ters: Tonal Form-a discussion of the play- Inc., 1988. xiv + 163 pp. $37.50. wrights' use of symbols to express their According to the publicity handouts The Development of Black Theater in unique viewpoints and personal values re- that came with this book, the reader "will America: From Shadow to Selves. By Leslie garding what it means to be both black learn the truth about" Andrew Lloyd Web- Catherine Sanders. Baton Rouge: Louisi- and female; Structural Form-the devel- ber's mother-in-law's involvement in the ana State University Press, 1988. 252 pp. opment of the principal female characters Christine Keeler scandal of the 1960's; the $25. through stages of growth that parallel Afri- accusations of plagiarism that have can initiation and survival rituals: Images plagued ALW's career; and the stormy The field of Afro-American drama wel- of Blacks - the creation of new multidi- relationship between ALW and lyricist Tim comes the addition of three works: Ber- mensional male and female character Rice. nard L. Peterson's comprehensive encyclo- types; and The African Continuum-the While this tome was written with ALW's pedia of over 700 black playwrights, script importance of the familial and racial cooperation, it is not an "authorized" and screen writers whose work has either bonds that do and will promote survival. biography. The author, while obviously been written, produced and/or published Selected plays by Childress, Hansberry sympathetic to the music of ALW, goes out since 1950; Elizabeth Brown-Cuillory's in- and Shange as well as autobiographical of his way to include excerpts from der- sightful analysis of the black female per- writings and critical essays serve to illus- ogatory reviews and comments from the spective in the plays of Alice Childress, trate the formal or thematic concern being press, not only concerning ALW's music, Lorraine Hansberry and Ntozake Shange; treated. but his private life, and even his personal and Leslie Catherine Sander's vigorous ex- Brown-Cuillory's interpretation shows appearance. amination of the development of black depth of understanding and critical acu- Some readers may take exception to the theatre in America through the works of men, and the structure of her discussion author's claim that ALW "has become the Willis Richardson, Randolph Edmonds, provides a framework that can be used in dominant figure of the postwar musical Langston Hughes, LeRoi Jones (Imamu further examinations of the work of black theatre" but none will dispute the state- Amiri Baraka), and Ed Bullins. Each makes women playwrights. However, her method ment that "he has earned more money a unique contribution to the study of Afri- of presenting evidence from the plays is from his music than any other theatre can-American plays and poses a challenge frustrating. The reader never has the sense composer who ever lived." The British to scholars to use it as a point of departure of how these aesthetic angles come to- press has taken to referring to him as the for further critical explorations. gether in an individual play as a whole. "millionaire gnome." Peterson's book is an invaluable re- The final and third offering by Leslie No matter what you think of ALW's source which has taken over 20 years to Catherine Sanders explores the develop- music, you cannot help but enjoy this compile. It provides the producer, theatre ment of a "black stage reality" in the book. It is crammed full of facts and gos- historian and educator with a directory works of five representative playwrights. sip, not only about the shows, but about that documents the names of writers and Through careful analysis she shows how the actors, directors, producers and critics scripts that might otherwise have been each author approaches the dilemma fac- -all those who make up the world of ALW lost. Since the 1960s and 1970s saw the ing the black playwright in America: how -as well. Frank Rich ("the butcher of proliferation of church-, community- and to create a discrete theatre that portrays Broadway") and Sarah Brightman ("Min- university-affiliated theatres, the writers black characters realistically and at the nie Mouse on Quaaludes") are but a cou- and the works produced on these stages same time uses dramatic conventions ap- ple of them. This is a large, handsome vol- comprise the better part of this reference propriate for black audiences. Her exam- ume with over 100 illustrations, 80 in full work. Alongside these yet unknown voices ination begins with the need to free black color. It is also heavy and "coffee table1 are listed celebrated Pulitzer Prize win- characters from traditional stereotypes in Abrams" and difficult to read while relax- ners and playwrights whose reputations the works of Richardson and Edmonds. ing in bed. I recommend playing all your have been secured. For each entry, avail- She moves on to Langston Hughes' cele- ALW original cast albums in chronological able biographical information and play bration of the ordinary black folk-their order while going through this book. and film titles are included. Each title is concerns, their humor, their religion- Concerning the revelations promised in followed by a brief synopsis and produc- using both conventional stage realism as the beginning, Sarah Brightman's mother tion history. To insure that the directory well as experiments with the connections "had been one of the attractions" at a can serve as a liaison between playwright between theatrical presentation and the basement club in Soho where Christine and potential producer, the source of each Southern Baptist church service. With Le Keeler and Mandy Rice-Davies also worked play is noted: either the publication in Roi Jones, Sanders shows how this "found- and met John Profumo and Stephen Ward. which the script appears or the archival er" of the black arts movement created As for charges of plagiarism, the author collection in which the unpublished manu- a drama rooted in the theories of Artaud. states that "musical history abounds in script is held. In many cases the author in- The plays that resulted were a shared com- uncanny resemblances, some intentional, cludes addresses of the writer or the munal exorcism as well as ritualistic cele- some not." ALW and Tim Rice disagreed writer's agent. bration. Finally she ends with Ed Bullins over the original production of lesus Christ The second book advances the arena whose more than fifty plays explore uni- Superstar; other disagreements led to their most neglected in critical studies of Afro- versal questions about the quest for self- determination to show the other that each American theatre: the plays written by knowledge from a black perspective. could succeed on his own. There is also a black women. Elizabeth Brown-Cuillory, In Sanders' book, the theatre that once "we can do it better than the Americans" an award-winning playwright, begins her could only portray "Negro" life against a theme running through their careers. Per- study with a brief overview of the women white ground is shown transforming into a haps they can. writers of the Harlem Renaissance. Their theatre in which Afro-American life is the -Richard C. Lynch dramas of protest and race pride provide dramatic landscape. It is a theatre for a a context for the discussion of contem- black audience but it is no longer exclu- porary black women playwrights that fol- sive. The once-dominant white audience lows. Childress, Hansberry and Shange is invited to "encounter the Other" and have been chosen as specific voices that learn something about themselves in the represent how the black feminist perspec- process. Although Sanders mentions Nto- Contemporary Black American Playwrights tive has promoted the development of zake Shange and Charles Fuller, it is al- and Their Plays: A Biographical Directory black dramatic themes over the past four most in passing. One only wishes that the and Dramatic Index. By Bernard L. Peter- decades. author had either examined those play- wrights in detailor brought her study up- Jazz Cleopatra: Josephine Baker In Her BOOKS RECEIVED to-date with the discussion of at least one Time. By Phyllis Rose. New York: Double- day, 1989. xi 321 pp. $22.50. Ash, Russell. Sir Lawrence Alma-Tadema. New other important contemporary black play- + York: Harry Abrams, 1990 96 pp. 64 illus., 59 wright of the 1980s: Richard Wesley or in full color. 529.95. August Wilson to name two. Any biographer of Josephine Baker is Bosworth, Patricia. Montgomery Clift: A Biog- -Andrea J. Nouryeh raphy. New York: Limelight Editions, 1990 asking for trouble. The subject of journal- 438 pp. 514.95 (pbk.). istic hype for many years, she com- Butler, Martin, ed. The Selected Plays of Ben pounded the problem by often indulging lohnson. Volume 2. New York. Cambridge interviewers with flights of fancy as imag- University Press, 1989. xx + 534 pp. 570 inative as her costumes. Undaunted, Phyl- (524 95 pbk.). lis Rose has given us a lively and often Cairns. Christopher. The Commedia Dell'Arte: Contemporary Polish Theater and Drama moving account of this extraordinary en- From the Renaissance to Dario Fo. [The Ital- (1956-1984). By E.J. Czerwinski. Westport, tertainer who rose from obscurity on dingy ian Origins of European Theatre VI) Lewls- ton, NY. The Edwin Mellen Press, 1989 362 CT: Greenwood Press, 1988. xix 155 pp. U.S. stages to international stardom. + pp 56995. $29.95. Ms. Rose has chosen her title carefully. Fletcher, Steve and Norman Jopling The Book In Baker she finds the same vigor, the of 7000 Plays: A Comprehensive Guide to If you mention the Polish theatre of the same talent for improvisation, and the the Most Frequently Performed Plays. New last thirty-five years to most American same capacity to shock that sophisticated York: Facts On File, 1989. 352 pp. 524.95 students and scholars of theatre and Parisians found so refreshing in American Gaskill, William. A Sense of Direction: Life at drama, the only name familiar to most will jazz. In depicting Baker as a twentieth- the Royal Court. New York: Limelight Edl- be Jerzy Crotowski. But to E.J. Czerwinski, century avatar of Cleopatra, she rejects tions, 1990. 166 pp. 58.95 (pbk ). Grotowski is only "the tip of the iceberg." the historical Cleopatra in favor of Shake- Gray, John. Black Theatre and Performance: A Pan-African Bibliography. Westport. CT In Contemporary Polish Theater and Drama speare's heroine. Certainly, both possessed Greenwood Press, 1990. xv + 414 pp 545 (1956-1984). Czerwinski vividly demon- an "infinite variety," and Baker's exotic Holston, Kim. Richard Widmark: A Bio-Bibli- strates that theatre in Poland has "always allure- her feathers, her pet leopard, and ography. Westport, CT. Greenwood Press, been an exciting phenomenon." Since the her famous banana costume-captivated 1990 160 pp. 535. beginning of World War II, the artists of the gratin of Paris as completely as Cleo- Howard-Hill, TH., ed. Shakespeare and Sir the stage in Poland have battled censor- patra conquered Antony. Thomas More: Essays on the Play and Its ship and carefully guarded interaction But Baker, despite her own capitulation Shakespearean Interest. New York: Cam- with Western theatre that only Crotowski to the pleasures of Paris, remained an bridge University Press, 1989. 210 pp 549.50. and a very few others managed to circum- American. Her signature song, "J'ai deux Leiter, Samuel L. The Encyclopedia of the New York Stage, 7930-7940. Westport, CT. Green- vent. Perhaps recent events in Eastern Eu- amours, mon pays et Paris," makes this wood Press, 1989 1339 pp. 51 45 rope will finally alleviate the constraints very plain. But far from having two worlds, Martin. Randy. Performance as Political Act: that have hampered the Polish stage. But, she was a woman without a country. De- The Embodied Self. New York: Bergin & Gar- as Czerwinski superbly illuminates, an im- spite the adoring French public and count- vey, 1990. 211 pp. 545. pressive diversity in dramatic literature less male admirers, some of whom she Reid. Richard, ed. Elektra: A Play by Ezra Pound and theatrical practice has emerged in Po- married, her place in society was clearly and Rudd Fleming. Princeton, NJ: Princeton land despite the seemingly overwhelming defined in the two lamentable talkies University Press, 1989. 103 pp. 519.95. obstacles. which she made in 1934 and 1935, Zou- Rlis, Thomas L. lust Before jazz: Black Musical In an introductory chapter, Czerwinski Zou and La Princesse Tam-Tam. In the first Theater in New York, 7890 to 7975. Washing- ton, DC: Smithsonian Institution Press, 1989. traces the rise of Polish theatre and drama she plays a woebegone laundress who 309 pp. 529.95. in the eighteenth century before exam- pines for Jean Cabin, achieves overnight Robinson. Alice et al. eds. Notable Women in ining the influence of a few forerunners success as a dancer in a bird cage, and the American Theatre: A Biographical Dic- of the contemporary Polish stage. Leon loses Gabin to a vapid blonde Aryan. In tionary. Westport. CT: Greenwood Press, Kruczkowski, Witold Combrowicz, Stanis- The Princess Tam-Tam, first seen as a Tuni- 1989. 1008 pp. 599.50. law lgnacy Witkiewicz and Adam Tarn. sian goatherd, she again achieves stardom Sarnuelson. David W Panaflex Users' Manual. This brief survey precisely sets the scene as an uninhibited dancer, but in the final Boston: Focal Press, 1990. 272 pp. 518.95 for his detailed and finely constructed scene reverts to Tunisian poverty as a goat Wells. Stanley, ed. Shakespeare Survey 42: chapters on Leszek Kolakowski and Jan munches a leaf from a book entitled Civili- Shakespeare and the Elizabethans. New York: Cambridge University Press, 1990. 225 pp. Kott, Tadeusz Rozewicz, Slawomir zation. 649 50 Mrozek, Jerzy Broszkiewicz and Tymo- Even after her success she remained a teusz Karpowicz, and a variety of direc- displaced person in the United States. Her tors and scene designers in two final celebrated jousting over civil rights with catch-all chapters. Walter Winchell, Sherman Billingsley, and Czerwinski is at his most interesting j. Edgar Hoover drew vigorous applause, Dennis Kennedy's Granville Barker and when he ties developments on the Polish but it also drew upon her a storm of abuse. the Dream of Theatre, winner of the stage to political and social events in East- Even her partisans were dismayed when, Freedley Award Honorable Mention for ern Europe and to theatrical practices in for a short time, she succumbed to the 1985, is now available in paperback the West. The book manages the tricky energy and magnetism of Mussolini and from Cambridge University Press at combination of thorough scholarship with- Evita Peron. Her marriages failed, one $16.95. out pedantry, and it is as accessible to after another. Her Quixotic project, The those with little background as it is to Rainbow Tribe-in the course of which those familiar with the cross-currents of she adopted a dozen children of various Eastern European theatre. nationalities-proved a noble but disas- Items interest to Broadside read- A brief chronology of major events in trous failure. Even her exploits during of recent Polish theatre and a good bibliogra- World War II, as an intelligence agent for ers may be sent to Alan Pally, Edi- phy of primary and secondary sources ac- De Caulle, however courageous they may tor, Broadside, Theatre Library As- company the test. Unfortunately, no pro- have been, were somehow inept. sociation, 111 Amsterdam Avenue, duction photographs are included, which She was, in short, a "naturalf'-a woman New York, NY 10023. We are par- could especially amplify the accomplish- who lived intuitively. Not surprisingly, she ticularly interested information ments of Polish designers. Quibbles aside, doted on animals who, in turn, doted on in Czerwinski's study is a welcome introduc- her. She was indeed a "jazz Cleopatra" about acquisitions of theatre and tion to a little-known, but fascinating and and Ms. Rose has effectively captured the other performing arts-related col- significant theatrical culture. spirit of this elusive, untamed woman. lections. -James Fisher -William W. Appleton THEATRE LIBRARY ASSOCIATION OFFICERS President: Mary Ann Jensen, Curator, William Seymour Theatre Collection, Princeton University Library. Princeton, NJ 08544 (609) 452-3223 Vice-president: James Poteat, Museum of Broadcasting, Research Services, 810 Seventh Avenue, New York. NY 10019 (212) 977-2215 Secretary-Treasurer: Richard M. Buck, Assistant to the Chief, Performing Arts Research Center, The New York Public Librarv at Lincoln Center. 111 Amsterdam Avenue, New York, NY 10023 (212) 870-1644 Recording Secretary. Maryann ~hach,Archivist, Shubert Archive, Lyceum Theatre, 149 West 45th Street, New York, NY 10036 (21 2) 944-3895 EXECUTIVE BOARD Susan Brady, Archivist, Manuscripts and Archives, Sterling Memorial Library, Yale University, New Haven, CT (203) 432-1748 Nena Couch, Curator, Lawrence & Lee Theatre Research Institute. Ohio State Unwerstty, Columbus, OH 43210-1230 (614) 292-6614 Geraldine Duclow, Librarian, Theatre Collection, Free Library of Philadelphia. Logan Square, Philadelphia, PA 19103 (215) 686-5427 John W. Frick, Assistant Professor of Dramatic Literature, Department of Drama, University of Virginia, Charlottesville, VA 22903 (804) 295-0069 Catherine Johnson, Assistant Curator, Harvard Theatre Collection. Harvard University Library, Cambridge, MA 02138 (617) 495-2445 Brigitte Kueppers, Theatre Arts Librarian, University of California Libraries, Los Angeles, CA 90024 (213) 825-4880 Richard C. Lynch, Assistant Curator (retired), Theatre Collection. The New York Public Library at Lincoln Center, 111 Amsterdam Avenue, New York, NY 10023 Louis A. Rachow, Librarian, International Theatre Institute of the US, 220 West 42nd St., New York, NY 10036 (212) 944-1490 Bob Taylor. Assistant Curator. Theatre Collection, The New York Public Library at Lincoln Center, 111 Amsterdam Avenue, New York, NY 10023 (212) 870-1637 Richard Wall. Theatre Librarian, Benjamin Rosenthal Library, Queens College, Flushing. NY 11367 Wendy Wunken, 116 Rosemary Lane, Ancaster L9G 2KS Ontario, Canada Walter Zvonchenko, Theatre Reference Librarian, Performing Arts Library, John ' Kennedy Center, Washington, DC 20002 (202) 544-21 46

Alan J. Pally, General Library and Museum of the Performing Arts, The New York Public Library at Lincoln Center, 111 Amsterdam Avenue, New York. NY 10023. Editor, BROADSIDE (212) 870-1680 Barbara Naomi Cohen-Stratyner. 265 Riverside Drive, 7C, New York. NY 10025. Editor, PERFORMING ARTS RESOURCES (212) 222-2172

Off~cersof the Theatre Library Association (founded 1937). Pres~dent.Mary Ann Broadside ISSN: 0066-2748. publ~shedquarterly by the Theatre Library Assoc~at~on. jensen, Curator, the Will~amSeymour Collection. Prtnceton University Library, 111 Amsterdam Avenue, New York. N Y 10023. is sent to all members in good stand- Prtnceton, New jersey. Vice-Pres~dent,lames Poteat. Manager, Research Serwces. Ing Editor: Alan 1. Pally, Theatre Library Association, 111 Amsterdam Avenue, New Telev~s~onlnformat~on Off~ce, New York City; Secretary-Treasurer, Richard M Buck, York, N.Y. 10023 TLA rnembersh~p(annual dues. $20 personal, $25 institut~onal)also Ass~stant to the Chtef. Perform~ngArts Research Center. The New York Public includes Performing Arts Resources, published annually Current members may Ltbrary at Lmcoln Center. New York C~ty.Recordmg Secretary. Maryann Chach. purchase past issues of Performing Arts Resources. $10 prepa~d,and Broadside. $2 Archtv~st.Shubert Archtve. New York City prepaid

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