No Time for Sergeants the SMASH COMEDY STAGE HIT a N.W Comedy by IRA LEVIN Lodopt.D ',Om Th

Total Page:16

File Type:pdf, Size:1020Kb

No Time for Sergeants the SMASH COMEDY STAGE HIT a N.W Comedy by IRA LEVIN Lodopt.D ',Om Th THE NEW YORK COMPANY DIRECT FROM 2 SEASONS ON BROADWAY The Producer Who Gave You Such Wonderful Shows as " THE TEAHOUSE OF THE AUGUST MOON" " DIAL M FOR MURDER" " MAN & SUPERMAN" I MAURICE EVANS (in olloeio,io" with EMMEn ROGERS) pre.. nh no time for sergeants THE SMASH COMEDY STAGE HIT A N.w Comedy by IRA LEVIN lodopt.d ',om th. no".' by MAC HYMAN) .t\:: .:w,:::: IA with REX EVERHART Ii.. ...••.•••. ) I~~ ,~UC:~~ A~S~~~R!HJA·M~~W~:Mm:AN IJ i\r .. and 1:~:~E:~.~;:r~AN Sets by GERALD L. RITHOLl From the originol by pnER LARKIN Costumes by NOEL TAYlOR Lighting by PEGGY CLARK Tour Direction: Broadway Theatre Alliance, Inc. THE NEW YORK COMPANY DIRECT FROM 2 SEASONS ON BROADWAY The Producer Who Gove Vou Such Wonderful Showl a. "'THE TEAHOUSE OF THE AUGUST MOON" " DIAL M FOR MURDER" " MAN & SUPERMAN " MAURICE EVANS lin " ..oc ;,,';o. ,,;,h IMMIn 10GIII) pr • •• nfs noflme for sergean1s THE SMASH COMEDY STAGE HIT A N." Comedy by IRA LEVIN lodop/ed I,om ,h. novel by MAC HYMAN) with REX EVERHART TUCKER ASHWORTH • HOWARD FREEMAN ROY At BEAL • JAMES MILLHOLLIN and CHARLES HOHMAN Production Oirected b y MORTON Do COSTA s." b, GERALD L. IITHOLI F' om ,h • • " g;n.! b, ,nil LAlli IN C.,'um., b, NOll TAYLOI ligh" n" b, PIGGY CLAlII Tour Direction: Broadway Theatre Alliance, Inc. CREDITS Scene ry built a n d painted by Imperial Scenic Studios. Steel Stage Frame by Swisslok Fabricating, Inc. Electrical Equipment by Century Lighting, Inc. Draperies by J oseph c. Hanse n. Uniforms from Richards Sporting Goods. Watch bands by Speidel, Inc. Shooting s tick by Mark Cross. Sound by Masque. The followin g musical selections are u sed with the permi ssion o f the publishers and copyrigh t owners: "Put A Little Sweetin' In, " Ridgeway Music Co.,; "Night Train", Pam L e e Music Co. ; "Blues in Burlesque," Anton Publications; "Goody-Goody," DeSylva, Brown & Henderson; "Wreck on the Highway," Ac uff-Rose Publication; "Stars a nd Stripes Forever" and "EI Capitan" by Decca Records. "No Time For Sergeants" by Cecil Rutherford and Marcille McRae, The Robe rt Rus sell Bennett arrangement of the National Anthem is used. nofime for sergeants CAST (in o rder of appearance) Preacher .............. ........................ ... ............. .. .. ..... .. .. William Mullaney Will Stockdale ....................... ............ .......... ............. Charles Honman Pa Stockdale ........................... .. .................. .. .................... ] oe Latham Draft Man ...... .. .. .. .. .............. ......... .. ....... .......................... Donald Hylan Bus Driver .................................... .............................. Charles Snyder Irvin Blanchard ............. .. ..................................... Christian Flanders Rosabelle .............. ................ ..... .. ........ ................. Mary Dell Roberts Inductees .. ....... ........................................................ .. .... .. .J im Cresson ] ames Frasher Ray]ohnson ]. Robert Victor Ernie Charles Vincent Lynne Clyde Bassett Ben Whitledge .......................................................... Tucker Ashworth Sergeant King ............ ...................................... .............. Rex Everhart A Captain ............................ ........ .................. .............. David C. ] ones A Nurse ................................. .. ............................. .. Mary Dell Roberts Classification Corporal ................................ .. .. ......... .J ames Frasher Corporal, Manual Dexterity ........ ............................ William Mullaney A Lieutenant.. ... ............................................ ............. Harriet Shepard A Psychiatrist ........................ .. ................................ ] ames Millhollin Cigarette GirL ................. ..................................... Mary Dell Roberts An Infantryman ............................ .................................. Ernie Charles Air Force Policeman ....... .. .. ...... .. ........ .........................Clyde Bassett A Colonel .. .................................................. ........ .. .......... Ray Johnson Lt. Bridges (Pilot) ........ ........ .......................................... ] im Cresson Lt. Gardella (Co-Pilot) ........................ ................. ... ]. Robert Victor Lt. Kendall (Engineer) .. ............... ........... ................... .J ames Frasher Lt. Cover (Navigator) ........ ............ ........... .............. .... .vincent Lynne General Bush .................... ... ......... ............. .. ............. Howard Freeman General Pollard ...... ................. ................... ...... .... ............ Royal Beal A Senator ........... ..... ........... .................. ...... ...... ..... .......... Donald Hylan Aide to General Pollard ........ .... .. .. .............. .......... William Mullaney Lt. Abel ... ................................... ............... .. ... .. .............. Ray Johnson Lt. Baker ....................... .. ...................... ...... .. .. ............ .. ..... Hurd Wiese Capt. Charles ............ ............................................. ....... Clyde Bassett STAFF FOR MR. EVANS &. t-1R. ROGE RS Compa ny Ma nager ... .......... ...... ... .... .............................................. Fred Cune o Press Representative .......... .... ... ... .................... .......................... Anne Sloper Production Managers .... .. ............... ......... Martin Tahse and Walter Williams Stage Manager ............... .. ...... ............. ..... ............................. Thelma Chandler Assistant Stage Manager ............... ........................ .. ............. Charles Snyder Master Carpenter ...... ..... ........................................ ...... ..... ....... ... Win Partello Assistant Carpenters ................................. Philip Piontek,George Burgess Master Electrician .................... ................. .. .................. Edward M. Kroouze Assistant Electricians .. .............. Donald Bernhardt, William Wendell, Jr. Master of Properties ....... ........ ..... .. .. .. ... ............... ...... .... ....... Joe Owsiejko Wardrobe Master ....................... .. ................ ............................... John Harland The action of the play takes place In and above the United States of America. Some of it is happening now and some of it happened a while back. There are two acts. The Artist Series Committee expres ses its appreciation to the members of VILLAGE VAMPS and CAVALIERS, who are serving as ushers . .
Recommended publications
  • NON NOBIS, SED OMNIBUS Est Polit Ical Opposition
    Page Two THE SCOP Published Monthly by Students of Notre Dama CollCQe of Staten Island Dentist - 1' m EDITORIAL STAFF afraid I'll have to IDITOll- lH-CHIIF drill. RUTH RUSHMORE ''I I The oratorical fires of the most bit­ he happens to be either a Democrat or Assistant Editors . Anna Mao Hubsc:h '11, Holen Hennessey '11 Patient-What's ter presidential campaign In recent Anoclete Editor..... - •. --··········-··--···-------·---·--· Muriel Rotunno '12 a Republican. It bases its line of polit­ the matter? Can't years have fl ickered down to glowing ical activity on a platform of slogans you fix my teeth COLUMNISTS I renc O'Leary '11 Rosemary Lcikert '12 Rosemary Altieri '12 embers and ashes. The talents of our and hysteria. The other carefully without rehearsal? Margaret Lyons ' 41 Jayne KIiroy '12 politically minded throughout the na­ weighs the issues at hand and, finding AMARILLO ll1P01lTl1lS tion have been turned into the chan­ cause for disagreement with some GLOMBUS Mary Boyle '11 Carol De Rose '12 Catherine O'Dea '13 nels of conciliation. Radio addresses, faction, states its case and offers sug­ Just Advice: W1n,fred Lennon ''41 Mary Hickey '12 Chorlotle Stout '43 Mary O'Connell '11 Virginia Shea ''42 Patricia Kenny '43 editorials, stump speeches; all bear gestions. If it seeks to destroy some­ A good line is the shortest distance Ruth Anne Schaffer '41 Helen Uieski ' 42 Johanna Shortell '43 the stamp of the dove of peace. The thing it offers a sensible alternative in between dates. Betty Decker ' '42 Marie Nevins ''43 Anne Damrau '13 necessity of unity between the par­ its place.
    [Show full text]
  • Stagehand Course Curriculum
    Alaska Center for the Performing Arts Stagehand Training Effective July 1, 2010 1 Table of Contents Grip 3 Lead Audio 4 Audio 6 Audio Boards Operator 7 Lead Carpenter 9 Carpenter 11 Lead Fly person 13 Fly person 15 Lead Rigger 16 Rigger 18 Lead Electrician 19 Electrician 21 Follow Spot operator 23 Light Console Programmer and Operator 24 Lead Prop Person 26 Prop Person 28 Lead Wardrobe 30 Wardrobe 32 Dresser 34 Wig and Makeup Person 36 Alaska Center for the Performing Arts 2 Alaska Center for the Performing Arts Stagecraft Class (Grip) Outline A: Theatrical Terminology 1) Stage Directions 2) Common theatrical descriptions 3) Common theatrical terms B: Safety Course 1) Definition of Safety 2) MSDS sheets description and review 3) Proper lifting techniques C: Instruction of the standard operational methods and chain of responsibility 1) Review the standard operational methods 2) Review chain of responsibility 3) Review the chain of command 4) ACPA storage of equipment D: Basic safe operations of hand and power tools E: Ladder usage 1) How to set up a ladder 2) Ladder safety Stagecraft Class Exam (Grip) Written exam 1) Stage directions 2) Common theatrical terminology 3) Chain of responsibility 4) Chain of command Practical exam 1) Demonstration of proper lifting techniques 2) Demonstration of basic safe operations of hand and power tools 3) Demonstration of proper ladder usage 3 Alaska Center for the Performing Arts Lead Audio Technician Class Outline A: ACPA patching system Atwood, Discovery, and Sydney 1) Knowledge of patch system 2) Training on patch bays and input signal routing schemes for each theater 3) Patch system options and risk 4) Signal to Voth 5) Do’s and Don’ts B: ACPA audio equipment knowledge and mastery 1) Audio system power activation 2) Installation and operation of a mixing consoles 3) Operation of the FOH PA system 4) Operation of the backstage audio monitors 5) Operation of Center auxiliary audio systems a.
    [Show full text]
  • Resume Examples
    RÉSUMÉ TEMPLATES The following examples are provided to help you create your first résumé. There are six templates: 1) actor 2) designer/technician 3) stage manager 4) director 5) playwright 6) first-time résumé for someone just out of high school, combined with a general theatre résumé covering multiple areas of experience Length: An actor’s résumé should be a single page in length. When attached to a headshot, it should be trimmed to 8” x 10”. Résumés for other areas do not need to be limited to one page. There are many possible variations in style and format, and each template has a slightly different approach. Look over all of the samples for formatting ideas, even those that do not apply to your specific area of interest. You are also encouraged to contact faculty for advice and feedback on your drafts. Please note, résumés for graduate schools in theatre, professional theatres, and theatre internships are different from your typical business résumés. The sample résumés provided by the Center for Community Engagement and Career Education <http://www.csub.edu/cece/students/who_method.shtml> are useful if you are applying for a position outside of theatre, but their formats should not be used for jobs or graduate school applications within the theatre field. ACTOR TEMPLATE DAVID DRAMA [email protected] Height: 5’ 11” (661) 123-5678 Hair: Brown Tenor Theatre Death of a Salesman Biff Anita DuPratt Bakersfield Community Theatre Lend Me a Tenor Max Zoe Saba CSU Bakersfield Antigone in New York Sasha * Maria-Tania Becerra CSUB Evita Magaldi Mandy Rees CSUB Richard III Hastings Peter Brook Empty Space “Wiley and the Hairy Man” Wiley Kamala Kruszka CSUB and on tour “Unwrapped” (premiere) John Jessica Boles CSUB * Kennedy Center American College Theater Festival Irene Ryan Acting Scholarship nominee Education/Training B.A.
    [Show full text]
  • DRAMATURGY GUIDE School of Rock: the Musical the National Theatre January 16-27, 2019
    DRAMATURGY GUIDE School of Rock: The Musical The National Theatre January 16-27, 2019 Music by Andrew Lloyd Webber Book by Julian Fellowes Lyrics by Glenn Slater Based on the Paramount Film Written by Mike White Featuring 14 new songs from Andrew Lloyd Webber and all the original songs from the movie Packet prepared by Dramaturg Linda Lombardi Sources: School of Rock: The Musical, The Washington Post ABOUT THE SHOW Based on the hit film, this hilarious new musical follows Dewey Finn, a failed, wannabe rock star who poses as a substitute teacher at a prestigious prep school to earn a few extra bucks. To live out his dream of winning the Battle of the Bands, he turns a class of straight-A students into a guitar-shredding, bass-slapping, mind-blowing rock band. While teaching the students what it means to truly rock, something happens Dewey didn’t expect... they teach him what it means to care about something other than yourself. For almost 200 years, The National Theatre has occupied a prominent position on Pennsylvania Avenue – “America’s Main Street” – and played a central role in the cultural and civic life of Washington, DC. Located a stone’s throw from the White House and having the Pennsylvania Avenue National Historic Site as it’s “front yard,” The National Theatre is a historic, cultural presence in our Nation’s Capital and the oldest continuously operating enterprise on Pennsylvania Avenue. The non-profit National Theatre Corporation oversees the historic theatre and serves the DC community through three free outreach programs, Saturday Morning at The National, Community Stage Connections, and the High School Ticket Program.
    [Show full text]
  • Master Electrician
    MASTER ELECTRICIAN Position Description Position Title: Circle Theatre Master Electrician Reports To: Technical Director and Lighting Designer Compensation: $500.00 per show stipend - paid at end of run Total Hours: Varies by needs of show Work Dates: Cabaret, July 5-Aug 1; Noises Off! Aug 2-29; Hair, Aug 30 – Sept 26. *Dates include the performance runs, which MEs are not required to attend but will need to be available to come in for repairs if needed during the run of the show. General Purpose Responsible for reading lighting designers plans and implementing the hanging of instruments; work with the Lighting Designer during focus and tech week. Up to 3 positions to fill (or one person for all three shows). 1 load-in/focus/strike period per production, $500 stipend per production. Minimum Job Requirements Education / Experience • Experience with theatrical stage lighting (conventional and LED), and with standard lighting conversion (i.e. desk lamps conversion to stage pin) Experience • Photography, graphic design, communications LIMITATIONS AND DISCLAIMER The above internship description is meant to describe the general nature and level of work being performed; it is not intended to be construed as an exhaustive list of all responsibilities, duties and skills required for the position. All job requirements are subject to possible modification to reasonably accommodate individuals with disabilities. Some requirements may exclude individuals who pose a direct threat or significant risk to the health and safety of themselves or other employees. This job description in no way states or implies that these are the only duties to be performed by the employee occupying this position.
    [Show full text]
  • New York to Hollywood: Advertising, Narrative Formats, and Changing Televisual Space in the 1950'S
    Bard College Bard Digital Commons Senior Projects Spring 2017 Bard Undergraduate Senior Projects Spring 2017 New York to Hollywood: Advertising, Narrative Formats, and Changing Televisual Space in the 1950's Peter McCormack Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2017 Part of the United States History Commons, and the Visual Studies Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation McCormack, Peter, "New York to Hollywood: Advertising, Narrative Formats, and Changing Televisual Space in the 1950's" (2017). Senior Projects Spring 2017. 148. https://digitalcommons.bard.edu/senproj_s2017/148 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. From New York to Hollywood: Advertising, Narrative Formats, and Changing Televisual Space in the 1950’s Senior Project Submitted to The Division of Social Studies of Bard College by Peter McCormack Annandale-on-Hudson, New York May 2017 ii From New York to Hollywood iii Acknowledgements I would like to thank my parents first and foremost. I don’t think I’ve ever taken the time to bore them with the intimate details of this project.
    [Show full text]
  • Download the Playbill
    The 2018/2019 Season is generously sponsored by This production is generously sponsored in part by Carol Beauchamp, Kathy Gaona, Ronni Lacroute Diane Lewis, Linda Morrisson, Pat Reser & Bill Westphal & Jan Simmons OCT 4,5,6,7,11,12,13,14,18,19,20,21,25,26,27,28,29,30,31 DIRECTOR’S NOTES By Scott Palmer IRA LEVIN is no stranger to murder, his attention successfully to Broadway. upper crust New England convention; mayhem, terror, demons, the He adapted a now-forgotten book by Mac Ralph Lauren woolen sweaters, classical supernatural, or good old-fashioned blood Hyman – No Time For Sergeants – and the architecture, an attractive and supportive and gore. In fact, Levin’s career was 1955 play ran for over 700 performances wife, influential neighbors, with just a largely based on scaring the pants off on Broadway, launching the career of the hint of celebrity here and there; a fading people, and his iconic play, Deathtrap, is lead actor, Andy Griffith. Levin stayed with career and the recognition that younger, perhaps his greatest achievement. theatre for the next 10 years, although more energetic talents may soon eclipse less successfully. His work may not have you. In so many ways, these characters According to the UK’s Independent been hugely impactful for the theatre, are pretty commonplace. newspaper, Ira Levin was “the king of but it was for a number of Broadway the high-concept thriller.” Although he stars. Interlock (1958) starring Maximilian But underneath all of that convention produced more plays than he did novels Schell ran for four performances.
    [Show full text]
  • THE ELEANOR ROOSEVELT PROGRAM April 13, 1951 Description
    THE ELEANOR ROOSEVELT PROGRAM April 13, 1951 Description: In the opening segment, ER and Elliott Roosevelt respond to a listener's question about the different commissions that are a part of the United Nations. In the interview segment, ER's guest is Shakespearean actor Maurice Evans. In a final segment, ER quotes a passage from the Declaration of Independence. Participants: ER, Elliott Roosevelt, Maurice Evans [ER:] How do you do? This is Eleanor Roosevelt speaking. It gives me great pleasure to visit with you as I do each day at this time from my living room atop the Park Sheraton Hotel overlooking New York. I'm grateful for the many encouraging letters you send me, and most happy that you find my guests both informative and entertaining as I do. Now my son Elliott, who assists me on these programs will speak to you. [Elliott Roosevelt] Yes I will Mother, thank you. Today's guest Mr. Maurice Evans [1901-1989] has brought Shakespearian plays to life for many people in many places but his role on today's program will be strictly Mr. Evans playing himself. Mrs. Roosevelt will introduce him a little later on the program but first we're going to look over the mail and also hear a message from the sponsors who make this recorded program possible. (Break 1:00-1:05) [Elliott Roosevelt:] Mother, today I have a request from Mrs. Tony Rosengarten of Point Pleasant Pennsylvania. She says she wants to learn much more from you about the United Nations, and especially about the different commissions, what is done and what could have been done.
    [Show full text]
  • Backstage Lighting Terminology
    Break-out: Adapter consisting of multiple receptacles (FM) wired to a single multipin (M) connector; may be a box or a cable assembly. Synonym: Break-out Box, Fan-out Burn Out: Failed lamp or color media that is burned through Channel: Specific control parameter encompassing single or multiple device attributes (lighting dimmers, audio signals, etc.) controlled as a unit Lighting and Electrics Terminology (A-Le) Channel Hookup: Paperwork designating the connection of Adapter: Electrical accessory that transitions between dimmer circuits to channels of control dissimilar connectors; may be a molded unit, box or cable assembly Circuit: Path for electricity to flow from the source, through a conductor, to a device(s) Amperes: Unit of measure for the quantity of electricity flowing in a conductor. Synonym: A, Amp, Current Circuit Breaker: Mechanical/Electrical device that is designed to automatically open (trip) if the current exceeds the rated Automated Luminaire: Lighting instrument with attributes level protecting the circuit; may be operated manually that are remotely controlled. Synonym: Automated Fixture, Synonym: Breaker, CB, OCPD, Overcurrent Protective Device Automated Light, Computerized Light, Intelligent Light, Motorized Light, Mover, Moving Light Color Extender: Top hat with color media holder. Synonym: Gel Extender Backlight: A lighting source that is behind the talent or subject from the viewers perspective. Synonym: Backs, Back Color Frame: Metal or heat resistant device that holds the Wash, Bx, Hair Light, Rim Light color media in front of a luminaire. Synonym: Gel Frame Balcony Rail: Lighting position mounted in front of or on the Color Media: Translucent material used to color light face of the balcony.
    [Show full text]
  • Stage Lighting Technician Handbook
    The Stage Lighting Technician’s Handbook A compilation of general knowledge and tricks of the lighting trade Compiled by Freelancers in the entertainment lighting industry The Stage Lighting Technician's Handbook Stage Terminology: Learning Objectives/Outcomes. Understanding directions given in context as to where a job or piece of equipment is to be located. Applying these terms in conjunction with other disciplines to perform the work as directed. Lighting Terms: Learning Objectives/Outcome Learning the descriptive terms used in the use and handling of different types of lighting equipment. Applying these terms, as to the location and types of equipment a stagehand is expected to handle. Electrical Safety: Learning Objectives/Outcomes. Learning about the hazards, when one works with electricity. Applying basic safety ideas, to mitigate ones exposure to them in the field. Electricity: Learning Objectives/Outcomes. Learning the basic concepts of what electricity is and its components. To facilitate ones ability to perform the mathematics to compute loads, wattages and the like in order to safely assemble, determine electrical needs and solve problems. Lighting Equipment Learning Objectives/Outcomes. Recognize the different types of lighting equipment, use’s and proper handling. Gain basic trouble shooting skills to successfully complete a task. Build a basic understanding of applying these skills in the different venues that we work in to competently complete assigned tasks. On-sight Lighting Techniques Learning Objectives/Outcomes. Combing the technical knowledge previously gained to execute lighting request while on site, whether in a ballroom or theatre. Approaches, to lighting a presentation to aspects of theatrical lighting to meet a client’s expectations.
    [Show full text]
  • Broadway 1 a (1893-1927) BROADWAY and the AMERICAN DREAM
    EPISODE ONE Give My Regards to Broadway 1 A (1893-1927) BROADWAY AND THE AMERICAN DREAM In the 1890s, immigrants from all over the world came to the great ports of America like New York City to seek their fortune and freedom. As they developed their own neighborhoods and ethnic enclaves, some of the new arrivals took advantage of the stage to offer ethnic comedy, dance and song to their fellow group members as a much-needed escape from the hardships of daily life. Gradually, the immigrants adopted the characteristics and values of their new country instead, and their performances reflected this assimilation. “Irving Berlin has no place in American music — he is American music.” —composer Jerome Kern My New York (excerpt) Every nation, it seems, Sailed across with their dreams To my New York. Every color and race Found a comfortable place In my New York. The Dutchmen bought Manhattan R Island for a flask of booze, E V L U C Then sold controlling interest to Irving Berlin was born Israel Baline in a small Russian village in the Irish and the Jews – 1888; in 1893 he emigrated to this country and settled in the Lower East Side of And what chance has a Jones New York City. He began his career as a street singer and later turned to With the Cohens and Malones songwriting. In 1912, he wrote the words and music to “Alexander’s Ragtime In my New York? Band,” the biggest hit of its day. Among other hits, he wrote “Oh, How I Hate to Get Up in the Morning,” “What’ll I Do?,” “There’s No Business Like —Irving Berlin, 1927 Show Business,” “Easter Parade,” and the patriotic “God Bless America,” in addition to shows like Annie Get Your Gun.
    [Show full text]
  • THE NAFF COLLECTION (Location: Range 4, Section 5 – NR Workroom)
    THE NAFF COLLECTION (Location: Range 4, Section 5 – NR Workroom) The Naff Collection is an accumulation of programs, autographed photographs, posters, folders, booklets, announcements and a few other items which tell the story of professional theater in Nashville between the years 1900 and 1960. This material was collected by the late Mrs. L. C. Naff during the period in which she served as secretary to the Rice Bureau and later as manager of the Ryman Auditorium. She bequeathed the collection to Francis Robinson, assistant manager of the Metropolitan Opera, who began his career as an usher at the Ryman. On March 27, 1967, Mr. Robinson made the formal presentation of the collection to the Public Library of Nashville and Davidson County, Charles C. Trabue, chairman of the board, and Marshall Stewart, chief librarian. The public was invited to this ceremony at which the collection was on display. The materials had been listed by chronological periods and arranged by Ann Dorsey, head of the reference department, Edward Durham and Terry Hudson. After the material had remained on exhibit for one month, it was packed for storage. In January 1971, it was decided that the collection should be classified and indexed so that it might be more readily available to researchers and other interested parties. The holdings in the Naff Collection have been classified as follows: NAFF COLLECTION CLASSIFICATIONS Advertising Announcements Descriptive Folders Letters and Telegrams Librettos Newspaper Clippings Photographs Posters Programs: Concerts Dances Lectures Miscellaneous Musical Comedies Operas Operettas Orchestras Plays Recitals Souvenirs Variety Realia Scripts Souvenir Booklets The subject headings of the various collections will most likely lead to desired information, particularly if the medium of a performer is known.
    [Show full text]