SHAKESPEARE on the DESERT PAWL H . Emerson a Thesis Submitted to the Faculty Or the DEPARTMENT of DRAMA in Partial F

Home , Drama school, Ronald Pickup, Susan Fleetwood, Terry Hands

A project: Shakespeare on the desert

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Authors Emerson, Paul H.

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Link to Item http://hdl.handle.net/10150/553990 A PROJECT: SHAKESPEARE ON THE DESERT

PAWL H . Em e r s o n

A T hes i s S u b m i t t e d to the Fa c u l t y or t h e

DEPARTMENT OF DRAMA

In Pa r t i a l Fu l f i l l m e n t of the Requirements For t h e D ecr e e of

MASTER OF ARTS

In t h e Gr a d u a t e Co l l e c e

THE UNIVERSITY OF ARIZONA

1964 STATEMENT BY AUTHOR

This t h e s i s has been s u b m i t t e d in p a rtial fulfillment of REQUIREMENTS FOR AN ADVANCED DECREE AT THE UNIVERSITY OF ARIZONA AND IS DEPOSITED IN THE UNIVERSITY LIBRARY TO BE MADE AVAILABLE TO BORROWERS UNDER RULES OF THE LIBRARY.

Brief q u o t a t i o n s from this t h e s i s ar e a l l o w a b l e w i t h o u t SPECIAL PERMISSION, PROVIDED THAT ACCURATE ACKNOWLEDGMENT OF SOURCE IS MADE. REQUESTS FOR PERMISSION FOR EXTENDED QUOTATION FROM OR REPRODUCTION OF THIS MANUSCRIPT IN WHOLE OR IN PART MAY BE GRANTED BY THE COPYRIGHT HOLDER.

SIGNED:

Co p y r i g h t by

Paul H. Em e r s o n

1964

APPROVAL BY THESIS DIRECTOR

This t h e s i s has been a p p r o v e d on the date s h o w n b e l o w :

PETER R . MARRONEY Pr o f e s s o r of Drama ACKNOWLEDGMENTS

T he a u t h o r e x p r e s s e s his g r a t i t u d e to the m a n y Ar i z o n a n s w h o

HELPED ADVANCE THE FOUNDING OF SHAKESPEARE ON THE DESERT. TABLE OF CONTENTS

CHAPTER PAGE

I T he St u d y for the PrO u e c t : Sh a k e s p e a r e oh the D esert . I s' I I The ORGANIZATION OF THE PROJECTS SHAKESPEARE ON THE De s e r t ...... 5

III T he Ex e c u t i o n of t h e Pr o j e c t : Sh a k e s p e a r e on t h e D ese r t l4

IV Author’s Appraisal of the Project: Shakespeare on the D e s e r t ...... lo

APPENDICES

A C orrespondence from the Au t h o r to t h e Ro y a l Ac a d e m y of l8 Dr a m a t i c A rt ......

B Correspondence f r o m a n d ab o u t t h e Ro y a l Ac a d e m y of Dr a m a t i c Art to t h e Au t h o r ...... 31

C Correspondence from Arizona high schools to the Author IN Response to the Author’s Su r v e y ...... 76

D Journalistic C o v e r a g e of t h e Pr o j e c t : S h a k e s p e a r e on the De s e r t ...... 97

E Co n t r a c t s In v o l v i n g S h a k e s p e a r e on t h e De s e r t , In c . . . 135

F Pr o s p e c t u s : Sh a k e s p e a r e on t h e D esert ...... Extra Volume

G Brochure and Program: Shakespeare on the Desert .... Extra Volume

IV ABSTRACT

T he p u r p o s e of t h i s t h e s i s is to pr e s e n t t h e m a j o r p o ints of

DEVELOPMENT OF SHAKESPEARE ON THE DESERT FROM AM IDEA THROUGH THE COM

PLETION OF ITS FIRST YEAR AS A SHAKESPEARE FESTIVAL.

T he a u t h o r t r a c e s the f o r m a t i o n of t h r e e e l e m e n t s n e c e s s a r y to

THE COMPLETION OF ANY DRAMA FESTIVAL: A THEATRE COMPANY, AN AUDIENCE,

AND THE FINANCIAL STRUCTURE WHICH BRING THE TWO FORMER ELEMENTS TO

GETHER.

V CHAPTER I

THE STUDY FOR THE PROJECT % SHAKESPEARE ON THE DESERT

Du r i n g 1961, a f t e r s e v e n y e a r s of w o r k in Ar i z o n a as a s t u d e n t

OF THE THEATRE, THE AUTHOR BELIEVED HE HAD FOUND A RELATIONSHIP OF FACTS

WHICH WOULD SUPPORT HIS IDEA TO FOUND A WINTER, SHAKESPEAREAN FESTIVAL

in Ar i z o n a e m p l o y i n g Br i t i s h a c t o r s . T his c h a p t e r is c o n c e r n e d w i t h a

PRESENTATION OF THESE FACTS WHICH ARE GROUPED INTO THREE CATEGORIES.

T he FIRST CATEGORY MAY BE EXPRESSED IN THE PREMISE THAT THE

THREE MAJOR SHAKESPEAREAN FESTIVALS IN THE UNITED STATES, PRESENTING

PLAYS ON DIFFERENT TYPES OF STAGES USING DIFFERENT TYPES OF COMPANY OR

GANIZATION, OPERATE SUCCESSFULLY IN TOURIST AREAS. THE THREE MAJOR

S hakespearean f e s t i v a l s in t h e Un i t e d Stat e s a r e : (I) T he Na t i o n a l

S hakespearean Fe s t i v a l at t h e O ld Gl o b e T h e a t r e , Ba l b o a Pa r k , S an D ieg o ,

Ca l i f o r n i a ; (2) T he Am e r i c a n S hakespearean Fe s t i v a l , St r a t f o r d ,

Co n n e c t i c u t ; (3 ) T he Or e g o n S hakespearean Fe s t i v a l , As h l a n d , Or e g o n .

S ince 1955 t i c k e t s a l e r e v e n u e at t h e Na t i o n a l S hakespearean

Fe stival in S an D iego has e x c e e d e d t h e t h e a t r e 's o p e r a t i n g e x p e n s e s .

T his information , t a k e n f r o m the f i n a n c i a l r e c o r d s of t h e Old G lobe

T h e a t r e , w a s given to t h e a u t h o r by M iss Peggy Ke l l n e r , Art D i r e c t o r .*

Pr o d u c i n g D irector Cr a i g No e l a t t r i b u t e s over half t h e t i c k e t s a l e r e v

enue to S an D i e g o 's t o u r i s t t r a d e . T he Na t i o n a l S hakespearean Fe s t i v a l

*SlNCE THESE RECORDS ARE PART OF THE FILES OF A PRIVATE CORPORA TION, WRITTEN EVIDENCE OF THIS INFORMATION IS NOT AVAILABLE TO THE PUBLIC.

I 2

OPERATES DURING THE HEIGHT OF CALIFORNIA'S SUMMER TOURIST SEASON, WHICH

IS FROM THE FIRST WEEK OF JUNE THROUGH THE FIRST TWO WEEKS OF SEPTEM

BER. * The S hakespearean p l a y s p r e s e n t e d at t h e Old Gl o b e T h e a t r e are

PERFORMED UPON A PROSCENIUM STAGE BUILT WITHIN A ROOFED PLAYHOUSE. THE

REPERTORY COMPANY IS ORGANIZED AS A STOCK COMPANY EMPLOYING A NUCLEUS OF

Eq u i t y a c t o r s to w h i c h are a d d e d a s u p p l e m e n t of a p p r e n t i c e a c t o r s .

T he Am e r i c a n S hakespearean Fe s t i v a l of S t r a t f o r d , Co n n e c t i c u t ,

ANNUALLY ATTRACTS OVER 200,000 TOURISTS DURING ITS SUMMER TOURIST SEA

SON, WHICH LASTS FROM JULY THROUGH SEPTEMBER. SlMCE THE LAST HALF OF

THE 1957 SEASON THE SALE OF STANDING ROOM ONLY HAS BECOME A COMMON OC- 2 c u r r e n c e . T he plays at St r a t f o r d a r e p r e s e h t e d u p o n a t h r u s t s t a g e ,

1. e .. w i t h t h e a p r o n e x t e n d i n g into t h e o r c h e s t r a . The organization of

THE ACTING COMPANY IS THE SAME AS THAT OF THE NATIONAL SHAKESPEAREAN

Fe s t i v a l e x cept t h a t t h e Am e r i c a n S hakespearean Fe s t i v a l r e l i e s h e a v i l y

ON THE "s t a r s y s t e m " IN ITS STOCK COMPANY ORGANIZATION.

T he Oreg o n S hakespearean Fe s t i v a l at As h l a n d , O r e g o n , has o p e r a t e d IN THE BLACK FOR EVERY SEASON IN THE TWO DECADES OF THE THEATRE'S

EXISTENCE. BY i960, THE ANNUAL SUMMER AUDIENCE HAD GROWN TO 40,000.

T he r e s i d e n t p o p u l a t i o n o f As h l a n d is 8,000. T his information w a s g i v e n

TO THE AUTHOR IN JUNE OF 1961 BY THE THEATRE'S FOUNDER AND PRODUCING

*THIS INFORMATION IS CONTAINED WITHIN THE I96I NATIONAL S hakespearean Fe s t i v a l b r o c h u r e . 2 John Ho u s e m a n a n d Jack La n d a u , T he Am e r i c a n S h a k e s p e a r e Fe s t i val (New Yo r k , 1959), p . 7^* 3 d i r e c t o r . Dr . Angus Bo w m e r .* T he t h e a t r e at As h l a n d is a d a p t e d fro m

Jo h n C r a n f o r d Ad a m s ’ c o n c e p t i o n of t h e El i z a b e t h a n t h e a t r e , a c c o r d i n g to

Dr . Bo w m e r . T he t h e a t r e c o m p a n y p r e s e n t s S hakespearean and o t h e r

El i z a b e t h a n plays f r o m June t h r o u g h S e p t e m b e r , and is o r g a n i z e d as a

NON-PROFESSIONAL, UNIT COMPANY.

T he SECOND CATEGORY ASSERTS THAT THERE IS AVAILABLE AN ABUNDANCE of Shakespearean a c t o r s d u r i n g t h e w i n t e r m o n t h s of e v e r y y e a r , s i n c e

THE FIVE MAJOR SHAKESPEAREAN FESTIVALS IN THE ENTIRE ENGLISH-SPEAKING

WORLD HAVE THEIR DURATIONS IN THE SPRING, SUMMER, AND FALL. IN ADDITION

TO THE THREE MAJOR UNITED STATES SHAKESPEAREAN FESTIVALS, THE AUTHOR

STUDIED THE PLANS OF THE STRATFORD DRAMA FESTIVAL, STRATFORD, ONTARIO,

AMD the Shakespearean M e m o r i a l T h e a t r e , St r a t f o r d -Up o n -Av o n , En g l a n d .

All FIVE FESTIVALS OPERATE DURING THE SUMMER MONTHS. OBVIOUSLY, THE

S hakespearean a c t o r s e m p l o y e d in t h e s e f e s t i v a l s m u s t s e e k o t h e r em

p l o y m e n t DURING THE WINTER MONTHS IN ORDER TO WORK THE YEAR AROUND.

T he t h i r d c a t e g o r y includes facts w h i c h s u p p o r t t h e proposition t h a t T u c s o n , Ar i z o n a 's , w i n t e r t o u r i s t t r a d e had not b e e n a t t r a c t e d to

THE LEGITIMATE THEATRE TO ANY NOTICEABLE EXTENT BY SPECIFICALLY,

PLAYS OFFERED DURING THE OFF-SEASON, FROM MAY THROUGH AUGUST, ATTRACT AS

MANY PEOPLE AS DO PLAYS OFFERED IN THE WINTER TIME. THESE FACTS ARE

*THIS INFORMAT ION WAS REAFFIRMED IN SEPTEMBER OF l$62 BY A LONG DISTANCE TELEPHONE CONVERSATION BETWEEN THE AUTHOR AND DR. BOWMER AT A t i m e w h e n Dr . Bo w m e r had t h e t h e a t r e ’s f i n a n c i a l r e c o r d s at h a n d . 2 By 1961, t h e a u t h o r had w o r k e d in T u c s o n ’s Ar i z o n a C o r r a l T h e a tre FOR SIX SEASONS, AND ALSO IN THE UNIVERSITY OF ARIZONA DRAMA DEPART MENT FOR SIX SEASONS. THESE TWO THEATRES ARE THE MOST CONSISTENTLY SUC CESSFUL THEATRES OPERATING IN TUCSON. BOTH THEATRES PLAY TO SIMILAR AUDIENCES, EVEN THOUGH THE ARIZONA CORRAL THEATRE IS A SUMMER THEATRE, and t h e Un i v e r s i t y Th e a t r e is w i n t e r . 4

BASED ON A STUDY OF TICKET SALES IN i960, A YEAR IN WHICH TUCSON ENJOYED

A TOURIST INFLUX OF APPROXIMATELY 400,000 PEOPLE SPENDING APPROXIMATELY

$60,0 0 0 ,OCX).0 0 in T u c s o n , a c c o r d i n g to t h e i960 t o u r i s t r e c o r d s of the

T u c s o n S u n s h i n e C l i m a t e Cl u b .

T he a u t h o r 's c o n c l u s i o n , u p o n w h i c h t h e S h a k e s p e a r e on t h e De s e r t PROJECT WAS FOUNDED AND ULTIMATELY LAUNCHED, PROPOSED THAT A WINTER

S hakespearean f e s t i v a l , p r o p e r l y i n t r o d u c e d , w o u l d l i k e l y a t t r a c t a t t e n d a n c e OF BOTH THE ARIZONA TOURIST AND THE ARIZONA RESIDENT; AT THE

SAME TIME, SUCH A FESTIVAL, OPERATING IN THE WINTER MONTHS, WOULD BE

ABLE TO EMPLOY PROFESSIONALLY TRAINED SHAKESPEAREAN ACTORS FROM THE ENG

LISH-SPEAKING w o r l d 's t h e a t r e c e n t e r s . It w a s u p o n this c o n c l u s i o n t h a t

THE AUTHOR DECIDED TO ENGAGE THE INTEREST OF THE ROYAL ACADEMY OF DRAMA

TIC Art (R A D A ), Lo n d o n , En g l a n d , in h e l p i n g s e l e c t a c t o r s for t h e first

SEASON CHAPTER I I

ORGANIZATION OF THE PROJECT: SHAKESPEARE ON THE DESERT

S h a k e s p e a r e on t h e D ese r t d e v e l o p e d from an idea into an i ncor p o r a t e d , COMMUNITY PROJECT THROUGH THREE YEARS OF PLANNING. THESE THREE

YEARS OF PLANNING PROVIDED THE PROJECT WITH ITS NECESSARY COMPONENT PARTS:

( I ) THE SERVICES OF AN ENGLISH THEATRE COMPANY, (2) THE RENTAL OF TWO

Ar i z o n a t h e a t r e s , (3 ) t h e a s s e s s m e n t and a s s i g n m e n t of t e c h n i c a l n e e d s ,

(4) THE PROMOTION OF THE PROJECT TO THE ARIZONA SCHOOLS AND THE GENERAL

PUBLIC, AND (5) THE FINANCING OF THE PROJECT. A DESCRIPTION OF THE DE

VELOPMENT OF THESE SEPARATE PARTS CONSTITUTES THE REMAINDER OF THIS CHAPTER.

Ac q u i r i n g the s e r v i c e s of an En g l i s h t h e a t r e c o m p a n y for

S h a k e s p e a r e on the D ese r t w a s accomplished t h r o u g h correspondence o v e r a

TWO-AND-ONE HALF YEAR PERIOD BETWEEN THE AUTHOR AND JOHN pERNALD, PRIN

CIPAL OF the Ro y a l Ac a d e m y (R A D A ), Lo n d o n , En g l a n d . The a u t h o r f i r s t

WROTE THE ROYAL ACADEMY OF DRAMATIC ART ON APRIL 4, l$6l, REQUESTING

HELP IN THE SELECTION OF A NON-EQUITY ENGLISH ACTING COMPANY TO PERFORM

S h a k e s p e a r e in Ar i z o n a . This introductory l e t t e r p r e s e n t e d s e v e r a l r e a sons FOR FOUNDING A SHAKESPEAREAN FESTIVAL IN ARIZONA DURING THE WINTER

TOURIST SEASON. THE TWO MAIN POINTS EMPHASIZED WERE: ( I) THE ECONOMIC

FEASIBILITY OF SUCH A PROJECT FOR TUCSON, ARIZONA, AND (2) THE UNIQUE

CULTURAL CONTRIBUTION THAT A BRITISH THEATRE COMPANY COULD MAKE IN ACT

ING S h a k e s p e a r e in Ar i z o n a . T he a u t h o r s u g g e s t e d t h a t , if t h i s p l a n in t e r e s t e d t h e Ro y a l Ac a d e m y , s u c h a c o m p a n y m i g h t be c h o s e n t h r o u g h an

OPEN AUDITION CONTEST HELD AT THE ROYAL ACADEMY WITH ACADEMY OFFICIALS

5 6

HELPING IN SELECTING THE TROUPE AND IN DIRECTING THE PLATS.* THIS LET

TER CAPTURED THE INTEREST OF THE PRINCIPAL, JOHN FERNALD; AND SUCCEEDING

CORRESPONDENCE BETWEEN MR. FERNALD AND THE AUTHOR, TOGETHER WITH A VISIT to t h e Ro y a l Ac a d e m y or Dr a m a t i c Art by Mr . T. A. At k i n s o n , AIA, of Tu c s o n , Ar i z o n a , in Ju n e of 1962, s e t t l e d the arrangements t h r o u g h w h i c h the Ro y a l Ac a d e m y o f D r a m a t i c Art itself b e c a m e the t h e a t r e c o m p a n y .

S e v e r a l p o s s i b l e combinations of a c t o r s t o m a k e up t h e c o m p a n y

WERE CONSIDERED DURING THE PLANNING STAGE. THESE COMBINATIONS WERE:

(I ) USING RADA STUDENTS WITH BRITISH PROFESSIONALS, (2) USING RADA STU

DENTS w i t h Am e r i c a n professionals w h o w e r e ex-RADA g r a d u a t e s , or (3) u s ing A UNIT COMPANY MADE UP OF RADA GRADUATING CLASS. 2 THE THIRD ALTER

NATIVE WAS THE ARRANGEMENT DECIDED UPON, SINCE IT WAS THE ONLY PLAN

WHICH PROVIDED THE NECESSARY ECONOMY WHILE RETAINING THE UNIQUENESS IN

HERENT IN AN ALL-BRITISH COMPANY OF ACTORS.

An o t h e r m a j o r poi n t of a g r e e m e n t w h i c h took p l a c e b e t w e e n Joh n

FERNALD AND THE AUTHOR WAS THE DEC IS ION TO BE MADE OVER THE DURATION OF

TIME RADA WOULD BE IN ARIZONA PERFORMING PLAYS. THE WINTER TOURIST SEA

SON, 1. e .. m i d -De c ember t h r o u g h Ma r c h , w a s s u g g e s t e d by Mr . Fe r n a l d .

T his arrangement w o u l d h a v e p e r m i t t e d one m o n t h 's full r e h e a r s a l t i m e in

Ar i z o n a . T his plan w a s m o d i f i e d in two w a y s . T he r e h e a r s a l t i m e w a s

DEEMED TOO COSTLY FOR THE PROJECT, AND, CONSEQUENTLY, ALL BUT A MINIMUM

REHEARSAL OF FOUR DAYS WAS DONE IN ENGLAND. ALSO, THE WINTER TOURIST

SEASON OF 1963# WHICH HAD BEEN SELECTED BY Mr . FERNALD AS THE DATE FOR

*See Ap p e n d i x A, p p . l8 and 19. 2 See Appendix B, pp. 3H-37. 7

THE OPENING SEASON, WAS CHANGED TO THE WINTER TOURIST SEASON OF 1964.

This c h a n g e was m a d e in o r d e r t h a t t h e S h a k e s p e a r e o n t h e Dese r t p r o j e c t

WOULD HAVE THE ADVANTAGE OF THE FULL BENEFITS ACCRUING TO THE FIRST DRA

MA FESTIVAL CELEBRATING SHAKESPEARE'S QUARTER-CENTENNARY IN THE UNITED

St a t e s .*

The s e l e c t i o n of a t h e a t r e b u i l d i n g in Tu c s o n , Ar i z o n a , a n d of

ONE IN Ph o e n i x , Ar i z o n a , for S h a k e s p e a r e o n t h e D esert w a s m a d e t h r o u g h

A PREFERENCE FOR THE ESTABLISHED LEGITIMATE THEATRE HOUSE OVER THE CON

VERSION OF AUDITORIUM SPACE INTO TEMPORARY THEATRE USE. THIS PREFERENCE

NARROWED THE CHOICE OF BUILDINGS IN THE AUTHOR'S OPINION TO ONE IN EACH

CITY: ( I) the T ucson Mu s i c C e n t e r , T u c s o n , Ar i z o n a ; (2) t h e Ph o e n i x

L ittle T h e a t r e , Ph o e n i x , Ar i z o n a . A p a r t i c u l a r a d v a n t a g e t h e s e t h e a t r e s

AFFORDED LAY IN THEIR SIMILAR STAGE DIMENSIONS. THUS, COMPLICATIONS

WERE KEPT TO A MINIMUM IN USING THE SAME UNIT SET FOR BOTH CITIES. FI

NANCIAL ARRANGEMENTS MADE BETWEEN SHAKESPEARE ON THE DESERT AND EACH OF

THE TWO THEATRES rORTTHBSUSE OFSTHE THEATRES* FACILITIES WERE NEARLY THE

SAME IN TERMS OF COST EVEN THOUGH THE TUCSON MUSIC CENTER IS A "UNION p h o u s e " AND THE PHOENIX LITTLE THEATRE IS NOT. COINCIDENTAL ADVANTAGES

REALIZED BY SHAKESPEARE ON THE DESERT OCCURRED WHEN EACH THEATRE UNDER

WENT CONSIDERABLE RENOVATION SOME MONTHS BEFORE SHAKESPEARE ON THE DE

SERT'S o c c u p a n c y . T he Tucs o n Mu s i c C e n t e r 's e x t e r i o r was c o m p l e t e l y r e f u r b i s h e d and the Ph o e n i x L ittle T h e a t r e 's l i g h t i n g f a c i l i t i e s w e r e

GREATLY IMPROVED. *2

*See Ap p e n d i x A, pp. 20-22.

2S ee Ap p e n d i x E, p p . !3 5 -j4o. 8

Al l t e c h n i c a l nee d s for t h e pl a y s p r o d u c e d our I no t h e fi r s t s e a son for S h a k e s p e a r e on t h e D esert w e r e a s s e s s e d by t h e Ro y a l Ac a d e m y ,

AMD THEIR REQUIREMENTS WERE MET THROUGH A COOPERATIVE EFFORT BETWEEN THE

Ro y a l Ac a d e m y and S h a k e s p e a r e o n the D e s e r t . Th e s e requirements a r e

BEST EXPRESSED UNDER THE FOLLOWING CATEGORIES: (l) DESIGN AND EXECUTION of El i z a b e t h a n -t y p e u n i t s t a g e s e t t i n g , (2) d e s i g n s for and e x e c u t i o n of

COSTUMES, (3) DESIGNS AND EXECUTION OF LIGHTING, (4) DESIGNS AND EXECU

TION of Pr o p e r t i e s -,’ (5) d e s i o n s and e x e c u t i o n of m a k e u p ,(and o r g a n i z a t i o n OF PRODUCTION CREWS NECESSARY TO CARRY OUT THE TECHNICAL REQUIRE

MENTS.

I t w a s a g r e e d in correspondence b e t w e e n t h e a u t h o r AND Jo h n

Fe r n a l d that RADA w o u l d f u r n i s h S h a k e s p e a r e on the D ese r t all p r o d u c t i o n d e s i g n s and t h a t S h a k e s p e a r e on the Desert w o u l d be responsible for o r g a n i z i n g e x e c u t i o n of t h e RADA d e s i g n . 1 Jo h n Fe r n a l d a n d t h e a u t h o r

PREFERRED AN ELIZABETHAN TYPE STAGE SETTING, WHICH WAS DESIGNED FOR THE p r o j e c t by N eil Ho b s o n , St a f f St a g e D e s i g n e r , RADA. H is plans m e t t h e

SIGHT LINE REQUIREMENTS FOR BOTH THEATRES, AND WERE EXECUTED BY THE

St a g e h a n d s Un i o n in T u c s o n , Ar i z o n a . The set was p a i n t e d , h o w e v e r , by

AN ADDITIONAL GROUP OF NON-UNION STAGEHANDS AS PER VERBAL AGREEMENT BE

TWEEN S h a k e s p e a r e on t h e D e s e r t and t h e St a g e h a n d s Un i o n .

T he c o s t u m e s w e r e d e s i g n e d by RADA c o s t u m e d e s i g n e r Peggy Sm i t h , and WERE BUILT ACCORDING TO MlSS SMITH'S DESIGNS BY THE HUDSOH COSTUME

Co m p a n y of Lo n g B e a c h , C a l i f o r n i a . The arrangement b e t w e e n S h a k e s p e a r e on t h e D es e r t a n d Hu d s o n C o s t u m e Co m p a n y w a s t h a t t h e Hu d s o n C o s t u m e

I See Appendix B , pp. 59-60. 9

Co m p a n y w o u l d own the c o s t u m e s w h i c h t h e y b u i l t f r o m the o r i g i n a l RADA

DESIGNS AND WOULD BY CONTRACT RENT THEM TO SHAKESPEARE ON THE DESERT FOR

THE DURATION OF THE FIRST SEASON.i' llHIS PLAN SAVED SHAKESPEARE ON THE

D esert a b o u t h a l f t h e c o s t of m a k i n g , o w n i n q , a n d , consequently ,,s t o r i n g

THE COSTUMES OF THE FIRST SEASON. ADDITIONAL COSTUMES WERE BORROWED from M is s Peggy Ke l l n e r , Art D i r e c t o r , Old G lobe T h e a t r e , S an D iego,

Ca l i f o r n i a .

THE LIGHTING OF BOTH SHAKESPEAREAN PLAYS WAS DESIGNED AND SET

DURING THE FOUR-DAY DRESS REHEARSAL PERIOD IN TUCSON, ARIZONA, AFTER THE

COMPANY'S ARRIVAL FROM ENGLAND. RADA'S DEC IS ION FOR NOT SENDING ADVANCE

LIGHTING DESIGNS WAS MADE BECAUSE THE POSIT ION OF THE ELIZABETHAN SET

TING, EXTENDING BEYOND THE PROSCENIUM ARCH IN BOTH THEATRES, CONSIDERA

BLY RESTRICTED THE USE OF AVAILABLE LIGHTS IN THE TUCSON MUSIC CENTER.

T he En g l i s h d i r e c t o r s p r e f e r r e d to c o p e d i r e c t l y w i t h t h e s i t u a t i o n .

The ACTUAL r u n n i n g o f l i g h t s in t h e Tucs o n Music C enter w a s h a n d l e d

THROUGH CONTRACT BY THE STAGEHANDS UNION IN TUCSON, AND BY GEORGE PETIT,

T e c h n i c a l D irector at t h e Ph o e n i x L ittle Th e a t r e in Ph o e n i x .

T he p r o p e r t i e s w e r e r e q u e s t e d by the Ro y a l Ac a d e m y and w e r e , in p a r t , BUILT, BORROWED, AND BOUGHT. THE PROPERTIES BUILT WERE CON

STRUCTED BY THE St a g e h a n d s Un i o n of Tu c s o n . T h o s e b o r r o w e d w e r e b o r r o w e d BROM ANYONE WILLING TO LEND. THE ONLY PROPERTIES BOUGHT WERE PER

ISHABLES.

Ma k e u p constituted no p r o b l e m w h a t e v e r for S h a k e s p e a r e on t h e

D e s e r t . Requirements w e r e d e t e r m i n e d by t h e En g l i s h d i r e c t o r s a n d c a r r i e d OUT BY THE ENGLISH ACTORS, WHO USED THEIR OWN MAKEUP SUPPLIES.

*See Appendix E , pp. |k(-2 . 10

In T ucs o n t h e p r o d u c t i o n cre w s for r u n n i n g the sh o w s w e r e

COMPRISED OF THREE UNION STAGEHANDS AS PER CONTRACT, ONE NON-UNION

TROUBLE-SHOOTER WIRED BY SHAKESPEARE ON THE DESERT, AND TWO RADA STAGE

MANAGERS. THE ONLY CHANGE WHICH TOOK PLACE IN OPERATING CREWS DURING t h e Ph o e n i x run w a s t h a t Ph o e n i x L ittle T h e a t r e T e c h n i c a l D irector

Geor g e Petit did the job of t h e t h r e e u n i o n s t a g e h a n d s in T u c s o n . I n

ADDITION TO THE WORKING FORCE ALREADY LISTED, RADA ACTORS AND ACTRESSES

HELPED BY MOVING FURNITURE AND PROPS, OPENING AND CLOSING CURTAIMS, AND

CHANGING AUXILIARY SET PIECES.

Pr i v a t e underwriting of the fir s t s e a s o n ’s liabilities of

S h a k e s p e a r e on t h e Dese r t w a s p r e f e r r e d by b o t h the a u t h o r and

HIS FINANCIAL ADVISORS OVER FINANCING THE PROJECT BY RAISING EI

THER PUBLIC OR PRIVATE FUNDS. UNDERWRITING DOES NOT REQUIRE THE

PROSPECTIVE BACKER TO RELINQUISH ANY CASH FOR THE PROJECT UNLESS

THERE IS A LOSS. FROM THE TIME OF THE AUTHOR’S FIRST LETTER TO THE

Ro y a l Ac a d e m y of Dr a m a t i c Art in Ap r i l , 1961, it w a s a s s e r t e d t h a t a

NON-PROFIT CORPORATION WOULD BE FORMED FOR THE PURPOSE OF FOUNDING

S h a k e s p e a r e on t h e De s e r t . Th u s , in t h e s u m m e r of 1963, the a u t h o r

ENGAGED AN ATTORNEY TO DRAW UP AN AGREEMENT BETWEEN THE AUTHOR AND

PROSPECTIVE SIGNERS OF THE AGREEMENT WHICH WOULD BUND THESE SIGNERS

TO THE SPECIFIC AMOUNT OF UNDERWRITING THEY PLEDGED THEM

SELVES TO HONOR IN THE AGREEMENT.* ALSO, WHEN THE TOTAL AMOUNT OF

1 S ee Ap p e n d i x E, p . 1H3 . II

UNDERWRITING REACHED $25,000.00 OR MORE NOT ONLY WOULD THE PLEDGES BE

COME LEGALLY BINDING, BUT THE GUARANTORS WOULD AGREE TO COOPERATE WITH

THE AUTHOR IN FORMING A NON-PROFIT CORPORATION DEDICATED T® FOUNDING

S h a k e s p e a r e o n t h e De s e r t . In S e p t e m b e r of 1963, $25,000.00 u n d e r w r i t ing HAD BEEN PLEDGED, AND SHAKESPEARE ON THE DESERT, INC., WAS FORMED.

OF THE $52,000.00 NECESSARY TO CARRY OUT THE FIRST SEASON, NEARLY HALF,

OR $25,750.00, HAD BEEN PLEDGED BY FIFTY-TWO SEPARATE UNDERWRITERS BY

No v e m b e r o f 1963. It w a s b e l i e v e d t h a t t h i s g u a r a n t e e d a m o u n t w o u l d be

SUFFICIENT TO LAUNCH THE PROJECT UNTIL TICKET SALES WOULD PROVIDE THE

OTHER NECESSARY FUNDS. TWO BANK LOANS OF $10,000.00 AND $15,000.00, RE

SPECTIVELY, WERE MADE TO SHAKESPEARE ON THE DESERT, INC., FROM THE BANK of T u c s o n . Pr o m i s s o r y n o t e s for t h e s e a m o u n t s w e r e s i g n e d in t u r n by

THE OFFICERS OF THE CORPORATION.

T he S h a k e s p e a r e on t h e D esert p r o j e c t s o u g h t its 1964 a u d i e n c e f r o m t h e Ar i z o n a p u b l i c and p r i v a t e s c h o o l s , and from t h e Ar i z o n a public

AT LARGE. PROMOTION OF THE PROJECT TO THE ARIZONA SCHOOLS BEGAN AS EAR

LY as Ja n u a r y , 1962, in t h e form of a s u r v e y to d e t e r m i n e w h a t interest

A rizo n a s c h o o l s m i g h t h a v e in s u c h a p r o j e c t . The a u t h o r v i s i t e d the

ADMINISTRATORS OF FORTY-FOUR SCHOOLS SEEKING WRITTEN ENDORSEMENT OF A

PLAN BY WHICH THE SCHOOLS WOULD ( l) STUDY THE/PLAYS TO BE PRODUCED BY

S h a k e s p e a r e on the D e s e r t , (2 ) o r g a n i z e blo c k t i c k e t sa l e s of t h e p r o t ect TO THEIR STUDENTS, (3) PROVIDE FREE BUS TRANSPORTATION IN ORDER THAT

THE STUDENTS MIGHT ATTEND IN GROUPS. OF THE TWENTY CITIES REPRESENTED

IN THE SURVEY, EIGHTEEN WHOLEHEARTEDLY ENDORSED THE PLAN. THIS ENTHUSI

ASM WRITTEN IN RESPONSE TO THE SURVEY PROVIDED THE AUTHOR WITH A VERY

SALEABLE PROJECT, AND WAS ONE OF THE PRINCIPLE REASONS FOR THE EASE WITH 12

WHICH THE FINANCIAL BACKING WAS SECURED. BY THE OPENING OF THE FIRST

SEASON IN 1964, THIS COOPERATION WITH SHAKESPEARE ON THE DESERT HAD

GROWN TO INCLUDE COOPERATION WITH A MATINEE PLAY SCHEDULE DURING THE w e e k . T h u s , a d o u b l e incentive w a s p r o v i d e d t h e Ar i z o n a s t u d e n t to s u p port S h a k e s p e a r e on t h e D e s e r t , s i n c e if s e e i n g Sh a k e s p e a r e p e r f o r m e d by

RADA w a s n 't particularly ATTRACTIVE, GETTING OUT OF SCHOOL TO SEE RADA

MIGHT BE. T he SCHOOL ADMINISTRATORS BELIEVED THAT IN EITHER CASE THE

STUDENT'S CULTURAL DEVELOPMENT WOULD BE THE RICHER FOR HIS ATTENDANCE.

Pr o m o t i o n to t h e g e n e r a l p u b l i c was a c h i e v e d t h r o u g h c o m m u n i c a tion MEDIA ON A NATIONAL AND LOCAL LEVEL. PERSONAL INTERVIEWS OF THE

AUTHOR RESULTED IN STORIES ABOUT THE PROJECT WHICH APPEARED IN THE NEW

York T imes and L i f e . This e x p o s u r e r e s u l t e d in f u r t h e r m e n t i o n of th e p r o j e c t IN M ademoiselle a n d T he Sa t u r d a y R e v i e w .* On t h e lo c a l l e v e l ,

STORIES WERE CARRIED BY SIX ARIZONA NEWSPAPERS, SEVEN TELEVIS ION STA

TIONS , AND A DOZEN RADIO STAT IONS. NEWS OF THE PROJECT WAS CIRCULATED

BY THE NATIONAL WIRE SERVICES, AS WELL AS BY THE WORK OF A HIRED PUBLIC

RELATIONS SPECIALIST. SHAKESPEARE ON THE DESERT, INC.'S, PRINCIPLE EX

PENDITURE IN ADVERTISING WAS THE CREATION OF THE BROCHURE.2 FORTY THOU

SAND BROCHURES WERE DISTRIBUTED TO THE GENERAL PUBLIC EITHER DIRECTLY IN

THE MAIL OR BY DISTRIBUTION TO HIGH SCHOOL AND JUNIOR HIGH SCHOOL STU

DENTS. In ADDITION, ADVERT ISING OF THE PROJECT INCLUDED ADVERTISEMENTS

*See Ap p e n d i x D , p p . \20, JZJ, 132- 134. 2 S ee Ap p e n d i x G, b r o c h u r e . WHICH APPEARED IN THE TWO MAJOR PHOENIX NEWSPAPERS, I. E.. THE ARIZONA

Re p u b l i c and The Ph o e n i x G a z e t t e . CHAPTER III

THE EXECUTION OF THE PROJECT: SHAKESPEARE ON THE DESERT

A SUMMATION OF THE EXECUTION OF THE PROJECT, SHAKESPEARE ON THE

Desert, is presented in the following statistics which have been taken

FROM THE RECORDS OF THE FIRST SEASON'S AUDIT. THESE STATISTICS REFLECT

Shakespeare on the Desert's total attendance, ticket sale revenue, and

EXPENDITURES FROM THE DATE OF INCORPORATION IN SEPTEMBER, I963, TO THE

DATE OF THE COMPLETION OF THE FIRST SEASON ON MARCH I, 1964.

Tucson Phoenix Total

/ Attendance 12,943 8,282 21,225

t icket Sale Revenue $26,090.00 $14,319.00 $40,409.00

Program Advertising $ 1,100.00

Total Revenue $41,509.00

Expenditures

Advertising and Publicity $ 6,970.11

COMMISSIONS ON SALE OF ADVERTISING 135.00

Costumes and Properties 1,772.42

Equipment Rental 1,107.16

Insurance 572.15

Interest 160.08

Janitorial Services 205.00

Lodging 12,421.68 Of f i c e Rent 100.00

Off i c e Sa l a r i e s 1,779.80

Offi c e Su p p l i e s 407.43

Pa y r o l l Taxes 163.OO

POSTAGE 186.44

Pr o d u c e r 's Expen s e s 1,026.02

Pr o d u c e r 's Sa l a r y 5,000.00

Pr o g r a m 1,100.00

St a g e h a n d La b o r in S et Construction and Ru n n i n g of Performances 2,029.24

T e l e p h o n e 688.47

T h e a t r e Rental 3,700.00

S et Transportation 265.63

Tr a v e l 13,777.28

Total $53,066.91 CHAPTER IV

AUTHOR’S APPRAISAL OF THE PROJECT: SHAKESPEARE ON THE DESERT

T he p r e m i s e u p o n w h i c h t h e Sh a k e s p e a r e on t h e D ese r t idea was

CONCEIVED AND CARRIED OUT WAS THAT A BRITISH COMPANY ACTING SHAKESPEARE

IN ARIZONA WOULD DRAW THE CROWDS NECESSARY FOR A SUCCESSFUL LAUNCHING OF

A STATE-WIDE SHAKESPEAREAN FESTIVAL. IN THE AUTHOR’S OPINION THERE IS

IMPLIED IN THIS PREMISE A RESPONSIBILITY WHICH SHAKESPEARE ON THE DESERT

HASf AND THAT RESPONSIBILITY IS TO SHOW REASONABLE EVIDENCE OF A MARKET

IN Ar i z o n a for a S hakespearean f e s t i v a l for f u t u r e s e a s o n s as w e l l as

THE FIRST.

T he a u t h o r b e l i e v e s t h i s i n d i cation is s u p p o r t e d not o n l y b y t h e

FACT THAT TUCSON SUPPORTED HALF THE COST OF THE PROJECT ALONE, BUT ALSO

IN THE DEVELOPMENT OF THE MAIN PROMOTIONAL TECHNIQUE USED IN ACHIEVING

THESE STATISTICAL RESULTS, VIZ., THE OFFICIAL SUPPORT OF SHAKESPEARE ON the D esert by Ar i z o n a p u b l i c a n d p r i v a t e s c h o o l s .^

T he a u t h o r is c o n v i n c e d that t h e q u i c k e s t w a y to b u i l d an a u d i ence FOR A THEATRICAL PROJECT IS BY ENGAGING THE INTEREST OF STUDENTS

THROUGH THE OFFICIAL SUPPORT OF SCHOOL AUTHORITIES; AND THE AUTHOR FUR

THER BELIEVES THAT AN EFFECTIVE METHOD OF BUILDING A LASTING AUDIENCE IS

BY THE SAME TECHNIQUE, SINCE THE SCHOOLS GRADUATE ANNUALLY THOUSANDS*

*ARIZONA’S TWO LARGEST SCHOOL DISTRICTS, TUCSON SCHOOL DISTRICT Nu m b e r One and t h e Ph o e n i x Un i o n H igh Sc h o o l D i s t r i c t , in a d d i t i o n to MANY OTHER ARIZONA SCHOOLS, SET A PRECEDENT IN JOINTLY SUPPORTING A MAT INEE SCHEDULE SO THAT THEIR STUDENTS COULD ATTEND THE THEATRE DURING THE SCHOOL DAY. 16 17

INTO THE ADULT COMMUNITY. A THEATRE WHICH HAS BEEN ABLE TO ATTRACT A

STUDENT THROUGHOUT HIS HIGH SCHOOL CAREERSSHOULD BE ABLE TO CONTINUE

THIS STUDENT,S INTEREST AS AN ADULT.

T he w e a k n e s s of S h a k e s p e a r e on t h e D e s e r t ’s first s e a s o n r e s i d e s

IN TWO AREAS WHICH, WHEN TAKEN TOGETHER, RESULTED IN THE FINANCIAL

LOSSES ACCRUED. THESE TWO MISTAKES WERE: ( I) THE AVERAGE TICKET PRICE,

AND (2) THE EXECUTION OF PROMOTION IN PHOENIX.

T he a v e r a g e t i c k e t p r i c e for Sh a k e s p e a r e on t h e D esert was a p proximately $ 1.90. T his a v e r a g e pri c e can be r a i s e d to a b r e a k -even

FIGURE OF $2.50 WITHOUT EXCEEDING THE AVERAGE TICKET PRICE AT EITHER OF

THE THREE AMERICAN SHAKESPEAREAN FESTIVALS.

T he o b v i o u s f e a t u r e m i s s i n g in Ph o e n i x p r o m o t i o n was l ocal

UNDERWRITING. SINCE THE PROJECT WAS NOT INCORPORATED UNTIL SEPTEMBER OF

1963, THERE WAS NO TIME DURING SUBSEQUENT MONTHS* PREPARATION FOR THE

FIRST SEASON TO EXPAND UNDERWRITING IN INCLUDING THE PHOENIX COMMUNITY.

T hese w e a k n e s s e s s h o u l d be o v e r c o m e w i t h o u t a n y u n u s u a l d i f f i c u l t y IN FUTURE SEASONS. THE PROJECT HAS PROVED SALEABLE TO UNDER

WRITERS AND TO 22,000 MEMBERS OF THE GENERAL PUBLIC IN ARIZONA. APPENDIX A

CORRESPONDENCE FROM THE AUTHOR TO THE ROYAL ACADEMY OF DRAMATIC ART COPY

! Paul II. Emerson • 297 north Court Ave. Tucson, Arizona- United States of America

Hr. Jack Lynn Co-director hoyal Academy of Dramatic Arts London. England

Dear Hr. Lynn:

I understand that Dr./ Fairfax P. Walkup, Dean Eraeri- tus of the Pasadena Playhouse, has written to you intro ducing my plan to establish a Shakespearean Theatre in Tucson next winter. In hopes of engaging your interest in this project and possibly your help in selecting English actors for the company, I want to tell you the reasons for which this theatre is being planned.

The first reason for establishing this theatre is L founded in its economic feasibility for Tucson. A study of recent ticket sales during the past several years shows that the audiences supporting the legitimate theatre in Tucson have grown to a following of between one and two thousand people. This is a generous enough response to support two amateur drama groups, the University Drama Department, and several Broadway road shows each year; yat, for a city that triples its population each winter by •. tourist influx of half a million people (these people spending sixty million dollars in Tucson in 19G0) the same study of ticket sales reveals that no more attend the theatre during the winter months than those who attend the theatre during the summer months. It is obvious that the Tucson winter visitor has not been attracted to the theatre to any noticeable extent. There is a good reason for this. vJith the exception of a few experimental plays produced at the University of Arizona, all local and visiting drama groups have emulated the popular theatre program which the Tucson winter visitor has already been exposed to: by the Broad way Theatres, Broadway touring companies, or by television. vJhy, therefore, should he attend the theatre in Tucson to sec the same type of entertainment by acting companies of less caliber? There has been nothing unique in the Tucson theatre to attract even a portion of these visiting people;

18 Pa^e 2

and, x/hat is norc significant, there are no facts suggesting that Shakespeare, produced couoetantly, would have less appeal or be less unique than three of the other tourist areas of the United States supporting Shakespearean Theatres on a professional basis show it to be: Globe Theatre, San Diego, California; Oregon Shakespearean Festival, Ashland, Oregon; and, Stratford Shakespearean Theatre, Stratford, Connecticut.

The second reason for establishing a Shakespearean theatre in Tucson would be to make a significant cultural contribution to as many people as possible. It is for this reason that the theatre will be organised on a non-profit basis.

The third reason for organizing this theatre would be to provide n means for attracting English actors, the best • trained Shakespearean actors in the world, to practice their profession in Tucson, hence bringing this theatre its most unique offering. In return for their services the ten or twelve student actors selected would receive travel expenses, from London to Tucson and back, plus living expenses for four months in Tucson during which time four Shakespearean plays would be produced in which they would take part. The living expenses would be set as close to an equity wage as possible (to be determined at a later date,but not less than $130 per month). In addition, three or four more experienced actors would be offerred, in addition to their travel expenses, a wage as appropriate as possible for playing the more difficult roles, lion speaking parts would be filled here by American apprentices.

Of course, the financing would be underwritten in ad vance through backing by a cultural foundation in Tucson and a season ticket sale. In addition a co-director for this project would have to be contracted.

I am anxious to hear if you think the Royal Academy would let me hold an open audition contest at the Academy next fall, and, if you would be willing to help in the selec tion of the actors.

Let me here from you as soon as possible. Very truly yours,

Paul II. Emerson mme/2c Pr.ul II. Emerson 3744 E. Pina Tucson, Arizona Hr. John Eemald Esq., October 0, 19G2 Principal Royal Academy of Dramatic Art 62 Gower Street, W.C.l. London* England

Dear Hr. F e m a l d : Thanh you for your letter of September 25, 1962. I congratulate you on your reviews in Boston and Hew York. I am sorry I missed seeing "The /iffair".

I am very interested in the possibility of your visiting Tucson soon. In Tucson you could see the theatre we.plan to use and you could discuss alter ations with Hr. Atkinson who will convert the theatre's interior to accommodate a new Shakespearean stage. Also, I am anxious to discuss our plans with you in person; however, until we can meet, I shall expedite our discussions through correspondence.

Ky first concern is over the opening date in 1964. In my letter to you of June 11, 1962 I suggested the month of January, 1964, as the date for the opening of this theatre. This date would enable the founding of "Shakespeare in the Desert" to be the first major cele bration of Shakespeare's quartercentenary in the United States, for which we will introduce a new English Shakes pearean company to this country. Obviously, this timely event will have a powerful appeal for national recognition with which to attract our tourists to the theatre. To open this theatre any later than the winter tourist season early in 1964 means to ignore the natural advantage we have in Tucson over the other American Shakespearean festivals all of which operate in the summer. And, if we wait until Christmas of 1964 to open we risk being scooped right here in Tucson by the University of Arizona. The University has been most helpful in our promotion and will continue; however, we must not expect them to wait until 1965 to celebrate Shakespeare's 400th birthday with us. Concerning this vital issue for which time and enthu siasm are presently working to our mutual advantage, I Pa"c 2

sincerely hope xze can readily agree upon the winter tourist season of 1963-1964 as the date for t'ne participation of the 21 R.A.D.A* in the founding of this theatre (with the corres ponding dates you have suggested from mid-December through mid-February of 1964).

Your idea of placing the project under the label of the R.A.D.A. is practical and can be included in our plans by naming the producing company for this theatre as the "Royal Academy of Dramatic Art Company". "Shakespeare in the Desert" is not in itself alone a producing company but it is an Arizona theatre whose function is to gather the interest and funds which are necessary to commission a professional com pany to produce Shalccspeare in Tucson. This decision to keep the theatre and producing company as separate entities permits Arizona to identify the project as its otzn (as the Arizona schools have already done) while the identity of the producing company is individually distinguished so that in time the plan may be expanded (if it is so desired) to reach other prominent tourist areas in the English speaking world. Until we can discuss this view in more detail when we meet, I suggest we consider forming the producing company this fall as a "professional off-shoot" of the R.A.D.A. to accommodate our plans for 1964. I suggest that you and I represent the interests of the R.A.D.A. and Arizona in this company as director and producer respectively. As soon as I receive your api'/roval of this proposal, I shall have my attorney pre pare the legalities of this alliance for your examination.

To increase the saleability of our opening season in a pre-season ticket sale to be conducted in September of 1963 I feel this company should engage the most prominent English Shale spearean actor that we can arrange (by acquiring a grant) to afford. If the actor we desired the most didn’t happen to be a R.A.D.A. graduate, he could be billed as a special guest performer engaged for the founding of this project. The hiring of a notable Shakespearean specialist in the acting ranks would not only illuminate and make possible a pre-season ticket sale but assure the press of the "professional" quality of the acting company for purposes of making the most of our advanced publicity. KSOH-FH and KEPI-FI-i, the Arizona stereo-network, I1GLD-TV, and the Tucson Daily Citizen newspaper have all expressed enthusiasm over making this theatre their special public service project for 1964. There are 12 more radio stations, 3 more television stations, and another daily news paper in Tucson all of which should be equally agreeable.

I was pleased to learn that you approve of the idea of training several American students for future qualification in this acting company at the R.A.D.A. To finance this possibility I liave already arranged for the sale of adver tising space in our 1964 theatre program with the Remme’ s Clothing Store for two ads 0 $100 per ad. At this rate the revenue from our program advertising and from the sale of refreshments should provide several scholarships for the page 3

American, students selected for this training. 1 strongly feel, horever, that our appeal for financial help from the large foundations and the government would be more effect ive if the American students x/ere to be admitted for a full year’s course to acquire the R.A.D.A. point of viexz you have felt advisable for this project. I’m afraid tlie extravagance of sending these students for only six xyeelcs training might x:eal:cn x/hat otherxn.se x/ould be a strong and unique appeal for help from these large institutions.

I shall be looting forward to hearing from you soon and to the possibility of our meeting in the near future.

Respectfully,

Paul II. Emerson 23

Paul II* HoeL'soa Slnlnspeare On Tha Deseort 2719 B* Broadway Tuccon, Arizona October 17, 1903 It** John Fcmald, Esq*, Principal, Royal Academy of Dramatic Art 02-04 Gotrer Street London, W.G.l., England

Dear I2r. Fernald,

I apologize for my tardiness in sending you a copy of the April 15th, 1903 letter* Actually Inclosure #1 is a copy of the rough draft of the April 15th letter as I, too, cannot find my copy*

The closing paragraph which appeared on page three of the letter is missing from my copy of the rough draft; but, as I remember, it was just a form matter in closing the letter* At any rate, due to rescheduling of RADA*s arrival time in Tucson, the budget lias changed accordingly - as follows;

EXPENSES; .

Travel by 25 RADA personnel via TWA air coach jet from London to Phoenix with , a three week stop in Tucson beginning January 17, 1964 and return from Phoenix to London March 2, 1964 © $515*60 ea.*...*.**. $ 12,890.00

Living expenses for 23 RADA personnel Q $10,15 ea, per day for 4cT"days are.,*. $ 10,728.70

Living expenses per day (the RADA Assistant Director) are $20*00 for 46 days...,*...... ,* 920.00

Living expenses for RADA Director, John Fernald, are $35.00 per day for 46 d a y s . . . 1,610.00 13*253,70 Actual room and board expenses T$ ' 26, 140.Vo" for director* s suite (we have reserved in Santa Rita Hotel in Tucson)are $20.00 leaving a balance of $15.00 per day to help offset any additional expenses you may incur* ■2.

Actual room _ and board expenses for P-\DA Assistant Director in Santa Rita Hotel are approximately $15*00 leaving $5.00 24 as a balance daily to offset any additonal expenses he may incur. Living cnccs for the other 23 laembers of ^ RADA company are figured ercactly^on the basis of our contract with the Santa Rita Hotel c£ $10.15 each. Cotild you accoraaodate in your plans an arrival date in Tucson of January 17, 1564? We find this schedule necessary with a fixed opening of I-Iacbeth on Janizary 23., 1564, in order that we may keep our estimate of company ez^enseo within tlie confines of our total budget. Tliis arrival date would allow the company four full days be We e n arrival and opening niyht in tlzeTucson liusic Centre xixich will have been in preparation for opening from January 9, 1964. TRAVEL:

Inclosui'e #2 is a copy of letter from THA District Sales Manager, Stanley- Phillips, xrho informs me that their London Agent will contact you shortly concerning RADA arrangements for travel and visas. Included in this xnclosvrc it2 is the application for the Group Rate which, I understand must be initiated from your end, although pa^nrent of travel can coma from our end. You will notice a six months requirement of member ship in RADA by all those in projected company before date of travel time. If there are^any new ^members of lb\DA scheduled for this trip, I am in hope that tlieir acceptance date to RADA might Izave occurred before this six months period. At any rate, I wanted to expedite tlie terms of this requirement to you.

Prom your experience in bringing the company of the ’’Affair” to the U.S. were you involved* with the arrangements for xx-rh permits the American consulate in England? Or, do you have any idea x/here I begin to arrange for this? SSlf COiSTRUCTICN:

You x;ill find that I have emphasised in the sketches _of ground plans for both theatres the possibility of cither a procenium, picture-frame staging or an assimilation of an ’'Elisabetliian Stage” using convertible aprons and portable side stages. Both theatres can accommodate the latter fora of presentation in terms of work areas, sight lines and lighting equipment. 1 ,nn nnrcicuQ to 12:10x7 youv preference betxjcen a ctr:Lcl:ly picturc-frai.ie ctngo as opposed to an Elisabcthif-n-liba stage assembly for this project* If you x/culd prefer tlic latter, x/c xzould liave several advantages here. _ 25 2'2r. Atl’.inson has offered, if you x;ould like, to design and build the portable stages xzhieh x/oulcl be necessary (to your specifications concerning sire of x/orking areas.) lie lias gone further to offer to work in cooperation with your designer to tcaporarily change the entire stage end of the Tucson Music Centre auditorium to acconncdatc an Elisabethian Stage, naturally, 2 became vitally interested in Xviiat viex/s you \70uld liave of this ^possibility, because any formal connection Mr. Atkinson night have xrith an 111DA project x/ould bo of considerable worth publicity- vise in this comunity. While you are considering tills I would like to point out that the Tucson ZUaic Centre1 s two-story, courtyard properly decorated xrith fhakcspcaixian and British flags would accomodate an outdoor pagentry that x/ould be a good supplement to an Elisabethian-lilie presentation of Shaixecpeorc indoors. A cooperative effort lilxs tills betv/cen qualified persons here and those at your end, such as night ercist between a local merchant lierc supplying costume materials and your designer x;ould greatly cnliance our local public relations. (2 ha/e been particularly impressed by tlih strong participation and identification the Minneapolis ^merchants ’nave attached to the Tyrone Guthrie Theatre project in Ilinncsota tills r>ast year.) Another advantage in using an Elisabethian stage is that it x/ould provide a strong contrast to the type of presentation that the University of Ariania Elialns- pearcan Productions liave offered the public xrith their annual picture-frame staged Shales near c*

PUBLICITY: Ir. Victor Tlicrton, Manngiiig-Editor of the Arisene Daily Star, will arrive nerd: Wednesday, October kb, an eovidctmfor some tliree x/eeks in the British Isles. During his stay there lie x/ill l>e sending feature articles back to the paper lierc, and lie is quite interested in our project* 1 have given him a good idea of our plan and he x/ill call you shortly after he arrives for a possible infervicx/ sonetime during tlic week beginning October 27, 1005* Ills interest x/ould be to co’/cr early rehearsal preparations tliere and x/ould apprccieite any art material which Vn could esqoedite back to the paper here along with, any good publicity material you could release. Tneatre is net Ills line so any finished publicity material, 2 am sure, x/ould be appreciated. 2 x/ould also be most appreciative of any consideration you could show him.

Please have Miss Richards send me any detailed publicity material conecrning your career as a director m the English Theatre , and also any pertinent details of RADA productions performed before the Royal Family (I have found a 1953 RADA catalogue which has mentioned several such praainent productions,) v - 4 -

SUP3RS: Cur preference here is that you use h.\DA personnel for all parts and stylise battle scenes when necessary.

Please let me know if I have omitted any details concerning space and materials information which you may need at this time and I will expedite such to you.

Sincerely,

Paul K. Emerson >'

Paul n. Emerson Shakespeare On The Desert 2719 E. Broadway Tucson, Arizona U.S.A. November 4, 1963 lir. Jolm Femald, Esq., Principal Royal iXeademy of Dramatic Art 62 Gower Street London, W.C.l., England

Dear Hr. Femald,

Received your letter of October 30 over the weekend. We are in agreement over the basic traveling company con sisting of twenty-five, RADA personnel with TWA Group Rate accoviirnodations and also for the necessary, separate, T.JA accommodations for yourself. I have no funds for a ti;enty-seventh member of the traveling company; but, I could provide s rage-management help from this end should you wish to substitute a voice teacher for one of the three stage-managers in your selected group. In fact, I have no choice but to hire no less than three men from the Tucson . Stage-Hands * Union during the entire time the company will be performing in the Tucson Music Centre, a “union house”. I could provide help in this area during the Phoenix run also.

I foresee no difficulty in planning rehearsals for a > third play (to be presented in England upon RADA* s return) in the Arizona theatres around our matinee and personal appearance schedule. I shall be able to give you this information as soon as I receive necessary data flora the Arizona schools concerning their trips to the theatres.

Please exhaust all avenues for publicity material about RADA, its prominent graduates, the RADA performers selected for this trip, your own directing career, and the career of Mr. Roger Jenkins. If possible, would you help us acquire congratulatory statements for RADA*s participa tion in helping to found America's first, winter, Shakes pearean Festival from Sir Laurence Olivier, Sir Jolm Gielgud, and Sir Alec Guiness, or, from any of the three? As far as I know, this project will be the only winter outlet for classical specialists in this country. 11: would be most advantageous for us to have pictures of these gentlemen to accompany such possible statements. Please send me a picture of Hr. Roger Jenkins.

The vertical sight lines I sent you from the Tucson Music centre are the maximum determined by the natural prccenium arch, not those most often determined by the false procenium. Those maximum sight lines would nec essitate using hedge scenery which can be available if desired.

Thanking you for any consideration you may give the above request, I remain

Very truly yours,

Paul 21. Emerson Paul II. Ezzarson olialcespearc On The Dcccrfc 2719 E. Broadway Tuccon, Arizona Movcnbar 25, 1963 iir. John Fernald, Ecq., Principal Royal vXcadcmy of Dramatic Art 62 Gox;er Street London, W.G.I., England

Dear ISr. F e m a l d ,

It seems that v?e have nothing to fear from /ictors’ Equity. I have just received a nice letter from them which, along with XTiching us well, has this to say of our arrangements: “It appears from your letter that SHAKES PEARE OK THE DESERT is to be a completely non-professional company and, tlierefore, we x.ould have no jurisdiction over it.'1

Your interesting designs have also just arrived and are much to our liking. I will send you the lighting details of the Tucson llusic Centre tomorrow. I believe that the ground plans for the Phoenix Little Theatre included the position of the light pipes as well as the position of the outlets. Please let me know if those drawings are in any way incomplete and I will erqiedite what necessary infor mation you will need concerning that theatre.

Several, prominent clothing and drapery chops arc now interested in helping supply materials and also to display finished costumes in their windows. Your costume information includes samples of material as a “guide" for us here. Does this mean we have some leSway in selecting materials from what might be available in these chops provid ing, of course, that we do not interrupt your color scheme? I am sending you a copy of Mr. Thorton* s feature article which pleased us very much. 1 hope there are no inaccuracies; as you know, of course, we had no control of this release. _ At any rate we could not be more pleased with it. -2- 30

Our hrochin^e ,v:liich has been planned to accompany a special Christmas gift ticket sale, must go to press very soon. Is there any possibility of obtaining the congratulatory statements concerning RADA*s participation from the gentlemen suggested in earlier correspondence? At that time I mistakenly neglected to suggest Hr. Peter 0* toole as one who would do very nicely, if in any way possible. % realise this is an unusual request. % ould mention that the idea came from similar promotion xh.ich quoted Sir Laxjrcnce Olivier, Sir Alec Guin ness, and Sir John Gielgud for the Tyrone Guthrie Theatre project in Minnesota. These statements x/ould accompany statements from our Governor, one of our congressmen, and from Henator Goldx/ater.

I am amcious to icnox? how far from the edge of the apron the stage setting should be erected.

2lay I end in saying that x.u are delighted x/ith the stage setting design. It meets our highest expectations. 'ihe costume designs are most interest ing. We have already made tenative plans for the construction of both the set and costumes and x/ill now proceed x/ith haste to carry these plans out.

Thanlcingyou very much, I remain

Very truly yours, APPENDIX B

CORRESPONDENCE FROM AND ABOUT THE ROYAL ACADEMY OF DRAMATIC ART TO

THE AUTHOR ROYAL ACADEMY OF DRAMATIC ART. INCORPORATED BY ROYAL CHARTER 1830.

62-64,GOWER STREET,

W.C.1,

May 2nd. 1961.

Mr. -^aul H Emerson 297 In. Court Ave. Tucson, Arizona United States of America.

Dear Mr. Emerson: Many thanks for your letter which I have passed on' to our principal, Mr. John Fernald. He seems very much interested in your project and • would like you to write him/ concerning it,with as much detail as possible about the Equity situation and the financial hacking. He feels that the fall might he too late for the Academy to plan any connection with the project for this winter, out I am sure when you arrive here he will give you all possible cooperation. 1 feel he might be persuaded to direct one of the productions himself, if not this year, then next. As for myself I find the whole project very exciting, and will do everything 1 can for you when you 'arrive over here, and if it interests you I would consider taking a leave of absence to participate in the season as a director and/ or actor.

Hoping to hear from you soon,

Cordially,

Jack Lynn.

P.S. Dr. Walkup’s letter has just arrived. ‘P.P.S. The Principal's address is :—

John Fernald Esq Principal Royal Academy of Dramatic Art 62 - 64 Gower Street London \7 C 1. England.

31 r o y a l a c a d e m y o f d r a m a t i c a r t

62, GOWER STREET, W. C.1.

FROM JOHN FERNALD PRINC IPA L t e l e p h o n e : m u s e u m 7 0 7 6 . JF/SVT

1 8 th August, 1 9 6 1 .

Paul Emerson, &sq., c/o Mr. G.2 . tennis, 117» Douglas Circle, Tucson, Arizona, U.S.A.

Dear Mr. Emerson,

'Thank you for your letter of August 5 th. 1 am glad indeed that your ideas for a Shakespeare Theatre in Tucson are meeting with enthusiastic response. You are wise, 1 am sure, to delay your first season until you are quite certain you will possess financial stability.

With regard to the possibility of HADA being concerned X think you already know that I am extremely interested and X think that a first-class RADA presentation of the right Shakespeare play might be valuable both to you and to us. X am sure you will appreciate, however, that we have of necessity to do very long term planning, so X would welcome any ideas you may have well in advance of any projected date for a possible RADA participation.

Sincerely yours, 33

ROYAL ACADEMY OF DRAMATIC ART

62. GOWER STREET, W. C. 1.

FROM JOHN FERNALD PRINCIPAL TELEPHONE! MUSEUM 7076.

JF/GMR June 1 1 th, 1 9 6 2 .

Paul H. Emerson, Esq., 3736 E. Pima, Tucson, Arizona, U.S.A. Dear Mr. Emerson, Many thanks for your letter of June 5th. % note with interest that Mr. T.C. Atkinson will shortly contact me, and I shall write to you again as soon as we have met. I sincerely hope we shall be able to develop the idea of a participation by the Royal Academy of Dramatic Art in your plans for 1964.

Yours sincerely,

s L ,ul D R O Y A L ACADEMY OF DRAMATIC ART 34

62, GOWER STREET, W. C. 1.

FROM,.JOHN TERN^LD ,PRINCIPAL TELEPHONE! MUSEUM 7076.

JF/GMR July 25th, 1962.

Paul H. Emerson, Esq., 3736 E. Pima, Tucson, Arizona, U.SvV Dear Mr. Emerson,

Following our recent correspondence, Mr. Atkinson ' duly called on me and we had a very interesting talk about the project of R.A.D.A. participation in your plans for Tucson in the fall of 1964. I have told him, and I am now confirming with you, that we would be happy, in principle, to send a contingent of Finalist students who could spend the four weeks of the Christmas vacation (mid-December, 1964 to mid-January, 1 9 6 5 ) in Tucson, together with approximately the first half of the Spring Term, 1 9 6 5 . They would thus return to the Academy in approximately the second or third week of February, 1 9 6 5 . During their time in Tucson 1 suggested that they would combine with selected U.S. professional actors, engaged by yourselves, to rehearse and perform a Shakespeare play or two Shakespeare plays to be decided in due course, and I further suggested that these American professionals would be themselves R.A.D.A. graduates, whom you could choose, provided sufficient warning is given, from a list of such graduates at present working in the U.S., with which I would provide you. This procedure would ensure that the entire company performing the? plays would come under the banner of the Royal Academy of Dramatic Art. I am keen that this should be so, both for obvious reasons, and because it would obviate the usual difficulties which are met with when students and professionals are required to work together. Normally such a mixture simply does not work, but the aims and methods of R.A.D.A. training have established a common way of thinking about acting to such an extent that when ex-R.A.D.A. professionals meet new comers from R.A.D.A. the normal problems•do not arise. I feel that there are now /•so many first-class young American R.A.D.A. actors about, that a striking contribution to the Shakespeare quatereentenary could be made by such a mixed company. In our conversation the suggestion arose that I might find it possible to direct one of the plays, and I think this could be done. I should certainly very much like to 35 - 2 - do so. Tlie possibility was also discussed of the Academy arranging some sort of post-graduate course here for about six weeks in the summer vacation either after the R.A.D.A. visit or before it, this to serve as an exchange which might qualify you for a special grant to help capitalise the entire project. I would be glad to co-operate over this, and assuming that (as I understand the case to be) what you would obtain by way of a grant to be considerably greater than the actual cost of providing the tuition at the Academy for American visiting students, I see no reason why this idea should not come to fruition. May I end by saying how interested I was by the publication "Shakespeare in the Desert". This is an impressive document and would seem to augur well for future success. I shall bo in New York from the middle of August until the end of September as X am directing the Broadway production of the stage adaptation of. C.P. Snow's "The Affair". If you wish to get in touch with me during that time, letters will reach me if they are directed to Bonard Productions Inc., 65 East 55th Street, New York 22. Yours sineerely,

p.s. Perhaps you will in due course confirm that the dates I have mentioned correspond with the dates you have in mind. r*

Walton on the Hill Surrey, England 3 August, 1962

•Dear Paul:

By now you have received the letter from M r . Fernald, In fact, yours to me and his must have crossed in the mail.

I am sorry it took so long to get to him, hut I think it was worth it. I had forwarded your letter to him and dropped the hook hy beforehand, so that he had had a chance to familiarize himself with it all before i saw him. I did not write you immediately because I wanted to see the copy of his letter first. He is a very pleasant and fine person and we had a good 45 minute conversation over some good English tea. We covered a great deal of ground, and his letter pretty well covers the gist of it. He is quite enthusiastic about the idea, and, as he mentions, would very much like to come and direct on of the productions himself.

There are a few points, however, which I might be able to clarify a little. One in particular about ' which I know you will have some concern is the matter of the professionals involved. He feels that it would be extremely difficult to mix English Professionals v/ith the students, and the ones that might be available would be second rate.." He personally feels that the students alone would do a better job than with the professionals. I pointed out that he was a better.judge than I was, and that probably this would be true, but that for the success of the program the first year the publicity value of professionals might be worth it. This is when he suggested using graduates of the Royal Academy who are now professionals in the United States, and in whom he has the utmost confidence. This was a concession on his part. As you can see, we also discussed the possibility of some sort of an exchange program. He was quite agreeable to this, except that there were no funds available at this end. It was then that we discussed the probability of foundation aid if such a program were to come to pass. I hope that if at all possible you and Peter might be able to meet with him during his stay in New York. He will be there as director of the play "The Affair" and will return to London. Sifter the opening. I was vwry much impressed with the man. He's 37 Sen line, sincere, and very share, along with a very pleasant personality. I know you will take to him.

As for the budget considerations, I felt that if the professionals were handled along the line of his suggestions, we could balance out the extra time that he feels that the students should spend by doing the rehearsing here (there) in Tucson. I believe that he feels that after the program is established, the help of the orofessionals could be discarded. His idea is that "after all his students ready to graduate are on a professional level". So, Paul, it looks as though things are moving along well, and your dream is not nearly as far from fruition as it might have looked a few months ago. I do hope that you will be able to talk to Mr. Pernald personally. I will be back $n Tucson for awhile around the first of October. In the meantime, let me know of any developements. Y/e are leaving England next Monday for the Continent, but you can write me c/o American Express, Montreux, Switzerland and I will eventually get it. Good Luck.

/ Terry Atkinson 38

ROYAL ACADEMY OF DRAMATIC ART

62. GOWER STREET. W. C. 1. f r o m JOHN FERNALD p r in c i p a l TELEPHONE:MUSEUM 7076.

JP/GMR ' September 25th, 1962. Paul II. Emerson, Esq. , 3744 E. Pima, Tucson, Arizona.

Dear Mr. Emerson, Many thanks indeed for your kind wire. 1 am so sorry that my plans have unavoidably been changed, and I had to get back to England earlier than 1 had expected, so 1 am afraid our meeting must be postponed. It is possible, however, that I may be back some time later for a few days to look after "The Affair", and if this happens I will f;ive you warning and I might indeed even be able to fly out to Tucson. Meanwhile any suggestions you have for the promotion of our plans for 1964 will be most welcome. Yours sincerely, J

yvv— — ROYAL ACADEMY OF DRAMATIC ART

62. GOWER STREET, W. C.l. 39 FROM JOHN FERNALD PRINCIPAL ' TELEPHONE: MUSEUM 7076.

JF/GMR October 31st, 1962. Paul H. Emerson, Esq., 3744 E. Pima, Tucson, Arizona, U.S.A.

Dear Mr. Emerson, X appreciate what you say about possible dates in your letter of October 8th. There would seem no reason why, if the project can truly be organised, it should not take place during the winter season 1963/64 and from mid-December through to mid-February. I think there would be no difficulty about keeping the two separate entities which you propose. There will, however, be, I am afraid, considerable difficulty about implementing your proposition to engage 11 the most prominent English Shakespearean actor" that you can afford. Even the less prominent English Shakespearean actors are very much in demand, if they are any good, and I can foresee that when the time comes that many Shakespearean actors become employed in Shakespeare festivals, as undoubtedly will happen, considerations of prestige and of supply and dcmand will make it virtually impossible to obtain an important performer for Tucson. There would further be a great difficulty in combining such an actor, even if he could be obtained, with a R.A.D.A. company (whether he were a R.A.D.A. graduate or not). I don't criticise your desire on this point. It is a very natural and sensible intention from the point of view of the box office, but I am quite certain that it would be impracticable and that you will find you must either accept a good unit company from here, hoping that the virtues of youth, talent and teamwork will outweigh the disadvantages publicity-wise, or you must try to achieve an acting company of your own which has no connection with this institution. Regarding your penultimate paragraph I should point out that the full course here is for two years. The suggestion of the six weeks' special training was merely in order to give some experience of the required standards to any American students who might be chosen from the projected acting company.

Yours sincerely, // 4o

ROYAL ACADEMY OF DRAMATIC ART. INCORPORATED BY ROYAL CHARTER 1920.

62-64, GOWER STREET,

Paul Emerson, Esq., c/o George E. Dennis, 117 Douglas Circle, Tucson, Arizona, U.S.A.

Dear Mr. Emerson,

This is to acknowledge receipt of your letter of April 1 5 th addressed to the Principal. Mr. Fernald is away in South Africa until mid-May, but I have forwarded your letter to him today (we have just returned from our Easter vacation), and you will be hearing from him in due course.

Yours sincerely,

Gillian Richards Personal Secretary to the Principal 4 ,

ROYAL ACADEMY OF DRAMATIC ART. INCORPORATED BY ROYAL CHARTER 1980.

62-64, GOWER STREET.

W.C.1.

JF/GMR April 29th, 1 9 6 3 •

Paul Ehierson, Esq., c/o George E. Dennis, 11? Douglas Circle, Tucson, Arizona, U.S.A. Dear Mr. Emerson,

I have today heard from Mr. Femald , who thanks you very much for your letter of April 15th. He thinks that in principle the plan you put forward will be acceptable. R.A.D.A. might be able to provide a greater or smaller proportion of the costumes, depending on the play chosen, and some funds from your end to enable us to provide what we lack might indeed be necessary. Transport of costumes by air to Tucson might, however, be a considerable extra expense for you to meet. Mr. Femald asks me to assure you of his great interest in your proposals and to let you know that he will write to you in greater detail on his return to the Academy in mid-May.

Yours sincerely,

&-r~' rx f r Gillian Richards Personal Secretary to the Principal ROYAL ACADEMY OF DRAMATIC ART

62. GOWER STREET. W.C.1. 42 FROM JOHN FERNALD PRINCIPAL TELEPHONE: MUSEUM 7076.

jf/g m r COPY May 16th, 196].

Paul Emerson, Esq., c/o George E. Dennis, 117 Douglas Circle, Tucson, Arizona.

Dear Mr. Emerson,

Further to your letter of April 1 5 th and Miss Richards* reply of April 29th, X am now working on the various aspects of planning involved in the project. May I say how glad I am that you have managed to invite the participation of the R.A.D.A. under the conditions proposed. I am now trying to plan an arrangement which might somewhat ease your financial burden. It would be unnecessary for the R.A.D.A. company to arrive in Tucson as early as January 1st, provided both plays had already been rehearsed, and indeed perhaps presented first in the Vanbrugh Theatre here. If I can manage this, would you be agreeable to the company arriving somewhere around January 15th or l6th? It would also probably be more convenient if the plays were presented in * repertory1 i.c. if the second play were presented shortly after the opening date of the first play. This would enable the director to return to London without spending too much time at Tucson or Phoenix. Perhaps you would let me have your views on these propositions. With regard to the plays, both "Macbeth" and "Hamlet" are possibilities, but I hesitate to commit myself at this stage, as I shall not know for another five or six weeks exactly what talent will be available to us in January. I would be glad if you would suggest further plays from which perhaps we might choose.

With regard to the costume question, as Miss Richards pointed out in her letter to you, freightage is likely to be heavy if we provide costumes from this end. I would suggest that a better plan might be for us to send you designs which might be executed at your end. Perhaps you will let me know your views on this too. I shall be glad to hear from you during the next four weeks: it is in mid-June that I have to finalise the activities of all R.A.D.A. Finals students for the following eight months.

Yours sincerely,

(Signed) John Fernald 44

ROYAL ACADEMY OF DRAMATIC ART. INCORPORATED BY ROYAL CHARTER 1*00 .

62-64,GOWER STREET, jf/g m r W.G.1. Paul Emerson, Esq., June 10th, 1 9 6 3 . c/o George E. Dennis, 117 Douglas Circle, Tucson, Arizona.

Dear Mr. Emerson, Mr. Femald apologises for not writing to you personally, but he is very involved in our Entrance Tests at the moment. He asks me tor.say, with reference to his 'letter to you of May l6 th in which he mentioned that he would be glad to hear from you by mid-June, that he would indeed b <2 grateful to have an answer to that letter by return, since as soon as the Entrance Tests are over he must start work on the whole schedule of work for the next six months. The planning of this schedule will be held up until he has a definite confirmation of the arrangements between you, and this is why he is anxious to have things tied up as soon as possible.

Yours sincerely,

^ i (yL-tO-' R v'c hcwtrls Gillian Richards Personal Secretary to the Principal 45

ROYAL ACADEMY OF DRAMATIC ART. INCORPORATED BY ROYAL CHARTER 1 *2 0 .

62-64,GOWER STREET,

W.C.1.

Paul Emerson, Esq.,, June 17th, 1 9 6 3 • Route 5 Box 3 6 7 , La Lomita Road, Tucson, Arizona, U.S.A.

Dear Mr. Emerson, I am so sorry that Mr. Fernald's letter to you of May l6th seems to have gone astray, and I enclose a copy. Mr. Fernald would appreciate it if you would reply as soon as you possibly can, as he must finalise all his plans for our 1 9 6 3 /6 4 season by the end of next week. I wonder if you would also be so kind as to let me have a copy of your letter of April 1 5 th, which became separated from the rest of the file as it was forwarded to South Africa, and which now seems to have been mislaid. X am so sorry to give you this trouble, and I do hope all will go smoothly from now on l

Yours sincerely,

Gillian Richards Personal Secretary to the Principal r o y a l a c a d e m y o f d r a m a t i c a r t

62, GOWER STREET, W. C. 1. f r o m JOHN FERNALD p r in c i p a l TELEPHONE! MUSEUM 7076. 46 JP/GMR July 22nd, 1 9 6 3 . Paul Emerson, Esq., Route 5 Box 3 6 7 , T,n Lomita Road, Tucson, r, ri z ona , U . 5. A.

T.'ear Mr. Emerson, I was glad to get your cable of July 1st and to know that your endeavours are truly coming to fruition.

1 am planning to- send you "Macbeth" and "As You 1-ike It", my reasons being (a) that these plavs can be comfortably cast with the same performers, (bj that programme-wise they would seem a better pair than two tragedies together. 1 hope you agree. I am going on holiday on July 30th and will not be back in my office until the end of the first week in September. I would be glad of further information end confirmation by return, therefore, if at all possible - and also for the copy of your letter to me of April l;>th which, 1 am sorry to say, seems so unaccountably to have been mislaid in the course of my South Africa visit. My secretary, you will remember, asked you for this in her letter of June 17th.

Yours sincerely, / %7

y C lass o f S l a v ic e SYMBOLS * "7! ii» 13 f; message D L = Day Letter ' unless its dci':::c<’, char* WESTERN UNION NL = Night Letter actcr is indie j red by the SF-1201 (4-60) _Intcrnational proper symbol. T5 . i i G R A M ""Letter Telegram W . P. M A R S H A L L . P n tsiotN T

The 1:1 in a time shown in the thtc line on domestic tc.lc/tnns is LOCAL TIM E at point of origin. Time of receipt is LOCAL TIME at point of destination 90oA PDT AUG *22 LB019 MB0?0 H CO01:42 UUA555 UUS$2$ 0?H20?1 U2 ?D I NIL FR CD LONDON VIA RCA 32 3500 PAUL EMERSON T;75 BOX 55? LALCillTARD TUCSON ARIZ JOHN FEONALD IS ON VACATION LEAVE IN GRECE STOP HAVE RETRANSMITTED YOUR MESSAGE TO HIM BY TELEGRAPH STOP KINDLY INFORM Ew YOU DONGT RECEIVE HIS REPLY WITHIN REASONABLE PERIOD IwNRY KINS CHEZ RADA G5)o • TRY O 2 ;:c. I n ! v c; •u; I'f I ! NFLORRA. J. V y V C la s s o f S e r v ic e SYMBOLS

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*05A POT AUG 14 63 LA029 48 L COUCh;6 UUH38 RGN272 24 PD INTL FR CD THESSALONIKI VIA RCA .14 0100 PAUL EMERSON RT5 BOX 3SA TUCSON ARIZ COMMUNICATION ONLY JUST RECEIVED CONFIRM RADA V I S I T AND RETAIN PHOENIX THEATRE IF YOU STILL CAN FERNALD.

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z ir Y C la ss o f Sor.vics TI ’•”-4 SYMBOLS I This is a fast message v/ n V i DL*^Day Letter I unless it; deferred char- iEN UM NL«Night Letter 1 aerrr is indicated by the SF-1201 (4-60) ^International | proper symbol. TELEGRAM Letter Telegram . \ / W. P. MARSHALL, presidint The filin '; time shown in the date line on domestic telegrams is LO C \L TIME at point of origin. Time of reccipr is LOCAL TIME at point of destination 831A PCrr AUG 14 63 LA 119 CTAI33 CT C0V121 UUB331 RGN361 30 PD IN T L FR CD THESSALO NIKI VIA RCA 14 1230 PAUL EMERSON RT5 BOX 367 LA LOMITA RD TUCSON USA FURTHER TO MY CABLE TJJ CABLE YESTERDAY AM ON MOTORING HOLIDAY T IL L SECOND MEEK SEPTEMBER HOPE YOU CAN CONFIRM PHOENIX OK ALSO DATES OPENING AND CLOSING RADA PERFORMANCES URGENT YOU CABLE ME BY RETURN CARE HATZINESTOROS 3 ARISTOTEOUS STREET SALONIKA GREECE FERNALOo

V"T { • i v- By At To 5« ROYAL ACADEMY OF DRAMATIC ART 49 62, GOWER STREET, W. C. 1.

FROM JOHN FERNALD PRINCIPAL TELEPHONE. MUSEUM 7076.

JF/GMR September 13th, 1 9 6 3 .

Paul Emerson, Esq., Route 5. Box 3 6 7 , La Lomita Road, Tucson, Arizona, U.S.A.

Dear Mr. Emerson,

In amplification of my cablegram of yesterday, which I sent on my return from holiday:

I appreciate your difficulty. Our difficulty, however, is that we must obviously present the Academy at its very best in this important venture. "Romeo and Juliet" is a most difficult play, and we have neither a Romeo nor a Juliet that I would dare to risk in public as an example of a R.A.D.A. performer. "Julius Caesar", though it is popular with schools, never really comes off, and gives virtually no opportunities to women. Further it really is hopeless without a large crowd, which would mean a total of at least 45 people instead of 25. The expedient of trying to evolve a crowd from local talent in Arizona would be no solution either, for the crowd has to be far too intricately rehearsed to be 'inserted' at the last moment. There is a further question of the amount of rehearsal hours we shall need to achieve the standard necessary. Our Macbeth and Lady Macbeth will be fully committed for the next two months, and one of the reasons why I suggested "As You Like It" was that this was done here last summer with our proposed Lady Macbeth playing Rosalind. She could do this again in an improved production, and the other "Macbeth" players could be fitted in without much difficulty. The two plays could thus be given every chance. I very much doubt whether our conditions here permit of our giving you two completely new presentations. If there is no chance of a change of mind over "As You Like It" (which I do urge, with its lightness and charm, could be a perfect foil to "Macbeth"), it would really be better to confine ourselves to "Macbeth" alone, and for R.A.D.A. to put all its eggs into one basket. Can you come to a solution of the problem before September 24th, so that I could know at the very latest by the end of the week? The new term commences on the 30th and 1 must be able to present cut and dried plans to everyone by

P.T.O. 50

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that date, since what we do for you, though# an exceptional effort, must nonetheless be integrated with the work of the year.

All best wishes. Yours sincerely, j 5'

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8 $ k A POT SEP 15 63 LA 115 BAloO B CDU353 IVUB907 UWS2S56 LPH1320 41 PD IN IL BACKDATE CO LONDON VIA RCA SEP 12 1300 LT PAUL EMERSON RT5 BOX 367 LALOMITARD TUCSON(ARIZ) I’LiCH REGRET HAVE NO J U L IE T THOUGH HAVE LOVELY ROSALIND DARE NOT PREJUDICE REPUTATION WITH LESS THAN FIRST CLASS OFFERINGS SUGGEST I F AS YOU TRULY UNACCEPTABLE WE SHOULD CONFINE PROGRAMME MACBETH ONLY FERNALD RADA

0 7 ) 10

NFL 852A 52

ROYAL ACADEMY OF DRAMATIC ART. INCORPORATED BY ROYAL CHARTER 1020.

62-64, GOWER STREET,

W.C.1.

JF/GMR September 1 7 th, 1 9 6 3 Paul Emerson, Esq., Route 5» Box 3 6 7 , La Lomita Road, Tucson, Arizona.

Dear Mr. Emerson, Further to your cable to the Principal about publicity material, Mr. Fernald now asks me to send you the enclosed photograph of himself, and background material about the R.A.D.A. Please let us know if there is any other material you need.

Yours sincerely,

KL c cKcu-'rA-f Gillian Richards Personal Secretary to the Principal THE ROYAL ACADEMY OF DRAMATIC ART ^ The R.A.D.A. is a training school for those who wish to become professional actors and actresses. It admits only those who seriously intend to make their lives in the theatre and the allied arts, and of these it admits only a limited number - about 80 a year. The Course las ts for two years and is realistically related to the conditions of the professional theatre. For example, opportunities for actors exceed those for actresses in a ratio of five to one; thus the Academy takes in more men than women in recognition of this fact. The course itself is realistic and practical: the different theories of acting may be instanced as a help to young performers, but the training is not linked to any particular one. It is accepted that acting cannot be taught, any more than talent can be manufactured, and that there are many paths to that truth in acting which is always the goal of the artist. 1/hat the Academy does is to help talent to develop and to concentrate the powers of the young artist, by giving him the technique with which his powers can be most effectively expressed.

In the first year of the course the means to technique are ever in emphasis. Beginners concentrate on the problems of voice and body - how to learn to breathe as an actor breathes, how to enunciate clearly, how to project the voice powerfully to an audience while seeming at the same time to be speaking intimately and naturally; they work on movement so that their bodies may become relaxed and flexible instruments of expression; they develop their imaginations through mime, and the practical study of dramatic poetry. As their technique develops so they shed the tensions they brought with them, and usually at the beginning of their second year they have evolved a new sense of their own power. It is then that they begin to perform at the Vanbrugh Theatre before the public. The Vanbrugh productions occupy the greater part of their second year, and it is in this theatre, which gives some twenty four productions per annum, that they obtain the acting experience which enables them so often to find professional employment as soon as their training is complete.

The students are aided by a particular feature of the curriculum which is unique in dramatic schools. This is the Tutorial System. Each student during his second year has a tutor whose task it is to watch over his arilstic development. Tutorial groups are small - three is the usual number. Thus one of the besetting problems of the dramatic school - how to satisfy the needs of the individual in the context of a community of differing needs and talents - comes at the R.A.D.A. near to a practical solution.

The Academy was founded in 1904 by the distinguished actor, Beorbohm Tree. It has turned out distinguished actors and actresses ever since. Flora Robson, John Gielgud, -2-

Celia Johnston, Dorothy Tutin, Albert Finney, Peter O'Toole,-' Tom Courtenay - these are but a few of the well known professionals who started their careers at the the Royal Academy of Dramatic Art.

John Fernald Principal V y C la s s o f S e r v ic e ^ SYMBOLS ^

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CD LONDON V IA RCA 2? 1 S 1 2 PAUL EMERSON %'} 5 V ; X . s ' R7-5-BOX-56 LALUMIAR0AD^7UCS0N (ARIZ) COULD NOT PREPARE ADDITIONAL PLAY WITHIN AVAILABLE REHEARSAL TIM E BUT CASTE COULD REHEARSE RICHARD SECOND AFTER 21ST JANUARY ADDING IT TO REPERTOIRE FROM FEBRUARY 1STH FERNALD, L A .4 . • y CFN RT5 56 21 IS. 3_ j (48). ■ iAi10 " "/'VS *

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8 0 7P PST DEC 12 65 LA47 0 L C0U516 UUU409 C T 1S 45 L P H 112 7 5 4 PD IN T L CD LONDON V IA MACKAYRADIO 12 1725 LT PAUL EMERSON SHAKERPEAR ON THE DESERT 2 7 1 9 EASTBROADWAY TUCSON (ARIZ) VERY SORRY BUT TOO LATE FOR US MAKE COSTUMES IN T IM E DESIGNS FOR AS YOU LIKE IT AND REMAINING DATE COMING NEXT WEEK FERNALD

2 7 1 9 (53). R O Y A L A C A D E M Y OF D R A M A T I C A R T

6 2 . G O W E 'R STREET. W. C. 1. from JOHN FERNALD p r in c ip a l

j f /gmr October 3rd, 1 9 6 3 . Paul Emerson, Esq., Tucson Music Centre, 330 South Scott, Tucson, Arizona.

Bear Mr. Emerson, Thank you for your last telegram received today, confirming that it is agreed to open "Macbeth" on January 21st and "As You Like It" on February 1st, 1^64. The company will consist of 16 men and 5 women, plus a director and production manager, a stage manager and an assistant stage manager, making 25 persons in all. It is very important now to proceed with the matrer of scenery and costumes. If it is agreed that these are to be made at your end from designs produced at this end, it is highly desirable that I should know, as soon as possible, the dimensions of the Tucson and Phoenix theatres. Can you let me have plans of the stages, together with (and xthis is particularly important) clear indication of both vertical and horizontal sight lines. Ye need this in order to ensure that the acting area of any design we produce will be visible from all extreme seats g both sideways and upwards, of the two auditoria.

It would be helpful to know at this stage whether we could rely on a few supers, not more than six, though four might do'1, to be recruited from local sources. It would seem to be a wasteful procedure for me to bring additional performers merely to take the part of soldiers and general walkers—on. Should supers not be available from your end, it would be preferable, in so far as "Macbeth" is concerned, to make a virtue of necessity and stylise the battle scenes, using only the main characters therein. As far as "As You Like It" is concerned, there is no problem of this kind.

Finally I would be grateful if you would let me have, as promised, the copy of your letter of April 15th, to which I must now refer in making various calculations. All good wishes. - Yours since: Z ROYAL ACADEMY OF DRAMATIC ART

62, GOWER STREET, W. C. 1. 57 from JOHN FERNALD p r in c ip a l TELEPHONE: MUSEUM 7076.

JF/GMR October Ipth, 1 9 6 3 .

P p .u I Emerson, Esq.', Tucson Music Centre, 330 South Scott, Tucson, Arizona.

Dear Mr. Emerson,

Further to my letter of October 3rd, may 1 stress that it is very necessary for me to hear from you on various matters, including those mentioned therein.

l) Scenery: we await your statement of comprehensive dimensions of the theatres at Tucson and Phoenix with plans of vertical and horizontal sight lines etc. l-'e also await confirmation that the scenery, which shall be simple and designed to serve both plays, should be designed here and constructed at your end.

2 ) Costumes and properties: similarly we await confirmation that these should be designed by us but made by you. Ve shall then at the earliest opportunity send you full measurements for the costumes from which your costumiers can proceed. 3) Supers: Shall we design the productions to be without supers, which is not impossible, or can you supply approximately six from local sources?

4) I still urgently need a copy of your letter of April 1 5 th last. 5) It may be helpful to the production to send an additional member of the staff with the company making the total not 2 5 , but 26 persons. kould you let me know if this extra person is acceptable to you? I

I am sorry to write in such urgent terms, but it really is very important now that planning at this end should proceed at some speed. Matters of scenery and costume, as I know from experience, take a long time to come to fruition (for example, if it were your plan, which I take it it is not, for us to go through the expensive procedure of bringing costumes and properties with us, it would be necessary to set about hiring these at the beginning of next month, such is the strain on London costumiers at this time of year). So could you please be very kind and let me have an answer by return of post. ;,

All good wishes.

Yours sincerely. ROYAL ACADEMY OF DRAMATIC ART

62, GOWER STREET, W. C. 1. f r o m JOHN FERNALD p r i n c i p a l TELEPHONE! MUS a 7 0 7 * .

JP/GHR October 22nd, 19^3•

Paul Emerson, Esq., Shakespeare on the Desert, 2 7 Ip E . ...Broadway, T.icson, Arizona.

Bear Hr. Emerson,

Many thanks for the theatre plans, photographs, comprehensive information, copy of your letter of April 15th, and your letter of October 17th. Also for your cable received this morning.

We are now in a position to proceed rapidly with our plans at this end and we shall be sending you the following in the third week of November.

1) Plans and working drawings of the set for the two p l a y s .

2) Designs and measurements for the costumes for the two plays. (You do not actually confirm in your letter of October 17th in so many words that you agree to the costumes being made at Tucson, but I am assuming this agreement, as being the only logical and practical course from your words "a co-operative effort .... between qualified persons here and those at your end such as might exist between a local merchant here supplying costume materials and your designer ..... " Hay I suggest that it is essential for you to locate a suitable costumier or costume maker at your end.

Perhaps you will let me know as soon as you can your reactions to the suggestion in my last letter with regard to enlarging the R.A.D.A. group by one to include an extra member of the staff. I must explain that the company should, for its own sake, continue its studies while in Arizona. It will be preparing a third play to be presented on its return here, which I hope it will be possible to rehearse on the stage of the Tucson and Phoenix Theatres, and ideally the performers should also continue their voice lessons. It is for this purpose that I would also like an additional member of our staff to be with them. -2- ' 6o

I am getting in touch vith the London end of T.V.A. in order to deal with all the requirements in connection with travel arrangements from this end.

1/e can certainly, as you suggest, arrive in Tucson on January 17th*

Regarding your concern about work .permits. The U.A.D.A. company is not, legalistically speaking, a professional company. Provided you make it clear that they are not being "paid 11 but are having a subsistence allowance, there should be no question of American Equity or of work permits. I shall naturally clear this with the American Consulate here and keep you informed, but I expect no difficulty.

X will tell you more about the set design as this develops but X am taking note of all you say on this subject.

I shall be expecting Mr. Victor Thornton of the Arizona Daily Star in due course and will do all I can for h i m .

Miss Richards will shortly send you detailed publicity material in accordance with your wishes.

Yours since

p.s. I note what you say about supers. ¥e shall keep the number of supers within the company of 25 (26) and stylize the battle scenes as best we can. '£

ROYAL ACADEMY OF DRAMATIC ART

62, GOWER STREET, C. 1. f r o m JOHN FERNALD p r in c i p a l TELEPHONE! MUSEUM 7076.

JF/GKR October 30th, IQ 63.

Paul Emerson, Esq., Shakespeare on the Desert; 2719 E. Broadway, Tucson, Arizona.

Dear Mr. Emerson,

Further to my letters of October l$th and 22nd, it ha s now been made clear to me by Trans Dorid Airlines that as X personally must return to England shortly after having mounted my production of "Macbeth’1, in order obviously to get on with the day to day work here, I do not count for the quota of 25 necessary for the special terms for the transport of the company on January 17th. In view of this, and in view of the desirability of having an adequate technical staff to cope with the mounting and running of two large scale Shakespearean productions, I am proposing to enlarge the stage management staff by one, thus making the company 16 a c t o r s , 5 actresses, 3 stage management, and 1 director, in addition to myself. I trust that this is in order and that I may finalise arrangements with T.V.A. at this end on this basis.

X am'''still awaiting your instructions with regard to the extra member of the Academy staff that I would also like to bring if circumstances will permit (this is a voice teacher required for keeping the company on their mettle during the performances, and is distinct from the extra stage management staff specified in the paragraph above).

The director of "As You Like It" will be Mr. Roger Jenkins. This director has done good work on Shakespeare both in the theatre and on television, and recently did a memorable production of "Twelfth Night 11 at the Belgrade Theatre, Coventry.

On hearing from you on these points I shall be- ready to let you have the publicity matter that you have asked for.

All good wishes.

Yours sincerely,

p.p. John Fernald Dictated by the Principal and signed in his absence. ROYAL ACADEMY OF DRAMATIC ART

62, GOWER S TR |E T , W.C. 1.

TELEPHONE: MUSEUM 7076. FROM JOHN FERNALD p r i n c i p a l

Ji-'/G,: R November 4th, 1963.

Paul Emerson, Esq,, Sliakespeare on the Desert, 2719 E. Broadway, Tucson, Arizona,

Dear Hr. Emerson,

IXirther to the points in mV recent letters, which 1 hope will he answered shortly, here is an urgent matter which I beg you will deal with immediately*

It concerns American Actors Equity and their attitude to the R.A.D.A. company appearing in the United States. As you are no doubt aware there now exists a great deal of ill-feeling among American actors in New York in regard to the superflux of British actors at present appearing there. American Equity, which is trying to serve the interests of its own members, will be likely to be unenthusiastic about our visit. It does not seem as if they can in any way actually prevent it, but it is essential, 1 think, that they should be propitiated as much as possible so that R.A.D.A.'s arrival should not fan the flames.

Nould you please be good enough therefore to write at once to/Mr. Angus Duncan, General Secretary of American Equity, 226 Vest 47th Street, New York Jo, informing him of the visit as a matter of courtesy, stressing its cultural value, the participation of the Education Authorities, a:^ ti: a fact that the actors are non-professional, unpaid , and ir fact students still under instruction. (Apropos of this latter point, it would be enforced if I am able to bring one of my voice-teachers, Miss Elizabeth Smith, as the member of the staff that X mentioned in my letter of October 30th. In this connection X now find that Hiss Smith will be in New fork on January 17th and would need only her transport from there to Tucson and back to N.Y. together, with her subsistence while in Arizona. The flight numbers from London would therefore remain at 25, with the inclusion of the extra stage- management body also mentioned in my letter of October 30th)*

If you will write to American Equity forthwith I will now rake up the matter with the U.S. authorities here, and am writing to the Consulate by the same post. -2-

63 This is a matter of urgency. Things should be C.K. as far as reason goes, but one never knows. I hope to hear from you soon.

Yours sincerely,

A ROYAL ACADEMY OF DRAMATIC ART

62, GOWER STREET, W. C. 1. 64 FROM JOHN FERNALD PRINCIPAL TELEPHONE: MUSEUM 7076.

JF/GMR November l4th, 1 9 6 3 .

Paul H. Emerson, Esq., Shakespeare on the Desert, 2719 E. Broadway, Tucson, Arizona, U.S.A.

Dear Mr. Emerson, Thank you for your letter of November 4th. X quite appreciate the position. So the R.A.D.A. party will now consist of sixteen actors, five actresses, one deputy stage manager (female), one assistant stage- manager (male), the director Mr. Roger Jenkins, and the voice instructor Miss Elizabeth Smith, making up twenty- five persons for the T.W.A. special rate: with myself as 'supernumerary' on a different rate coming with the party but returning separately.

I am relieved that you will provide extra stage- management personnel from local resources.

I am glad to note that rehearsals of the company will not present difficulties.

I enclose photographs and biographical details of Mr. Jenkins and myself, and I will let you have any other ' material as soon as it can be obtained. I take it that as usual it will be 'feminine interest' that will be your most marketable material for publicity and that you will want photographs of the girls in the company, with just a few photographs of the more important men-players. But first we have to get these made, as the majority of the cast do not have publicity material of their own. I

I have received visa forms from the U.S. Consul and there would appear to be no problem in that quarter about the visit. . I shall be glad to hear, however, of the reactions of American Equity: trad e-union oppo sition can be an alarming factor in the United States and it is important for you to ensure in advance that you will not run up against it. -2- 65 Very soon we shall be sending you drawings from which you can commence the making of the costumes and the working plans for the building of the dual-purpose 1 Elizabethan1 setting. I am most anxious to be informed of your arrangements in regard to the making of the former and the construction and painting of the latter. You will have barely two months for completing an extensive programme: this is long enough, but (by English standards) only just long enough for proper achievement. I am sure that American super-efficiency has anticipated the problems arising from the magnitude of the task of making some fifty costumes plus a dual- purpose stage setting. None the less this is a specialised business and I would be happy to know that it is being taken in hand by someone not unacquainted with professional theatrical practice and conditions. When you have received the drawings and plans, perhaps you can send me full details of the siting and capacity of the lighting installations available at the two theatres. It will be essential for me to know this situation well in advance in case any amplification of the lighting resources, and therefore extra hiring, should be required.

Yours sincere!v y CLASS OF SERVICE SYMBOLS

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2 7 1 9 2G7H RADA

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JlpA PST FEB 17 64 LA035 0DQ&5 AA041 A CDU090 WUA202 35 PD IN T L CD LONDON V IA RCA 1o 2 2 4 5 LT EMERSON CORONET HOTEL 1001 NORTHCENTRALAVE PHOENIX (ARIZ) DIFFICULT ANSWER WITHOUT KNOWING TIME INVOLVED SUGGEST TELEVISION' SCENES COULD BE REDUCED M INIM UM AND I F V IT A L CAN POSTPONE LONDON DEVIL. OPENING ONE DAY IN VIEW REVIVAL SUMMER JOHN. ROYAL ACADEMY OF DRAMATIC ART. INCORPORATED BY ROYAL CHARTER 1 0 * 0 . 67 62-64. GOWER STREET.

W.C.1. 19.11.63

Paul H . Emerson Esq., 2719 E.Broadway, Tucson. Arizona. U.S.A.

Dear Mr. Emerson,

I enclose set designs and working drawings for the Elizabethan stage, together with costume sketches for Macbeth.

As for the set designs, you will notice that the paintings are to scale, but there are stll designs to follow for the backings and the curtains to the openings. You will see from the plan that there are curtains both front and rear of the centre openings; these should run on domestic type curtain railways with draw cords, as should the curtains in the openings on stage level left and right.

The designer, Mr. Neil Hobson, has asked me to mention one or two points about the construetion:- ROOF SURROUND The decoration on this should be cut from some in. or 1 in. material, inserted between the stiles, and the flats canvassed on the back, thus forming recesses round the decoration.

PILLARS These are flat and not three-dimensional. They form the down stage support for the roof, and the basic construction should there fore be strong. Again, the visible front of the pillars should be in 1 inch thick material (blockboard or expanded polystyrene) applied to the front, the white lines representing gaps between separate pieces, and thus forming recesses. Please note that the profiling on railings and roof decoration should be "rough-hewn" to some extent, as in the designs. The upstage edge of the roof should fit on the top of the main house piece.

You will appreciate that these designs are of the setting we propose to build for our own theatre, and that any necessary modifications to suit your conditions are of course acceptable. Please let me know if any particular difficulties present themselves. I also enclose an early perspective sketch to give a rough idea of what the designer is aiming at.

(Cont.) —2 —

As for the costume designs, and the samples of material attached, they are intended to give you a guide as to the sort of costumes Mr. Fernald would like, and the sort of materials desirable. Miss Smith. our costume supervisor, has made notes to explain. 68

A list of measurements is enclosed; still to follow are some measure ments of students at present on tour in Holland, and costume notes for the other two plays. I will try to get these to you as soon as possible.

I apologise for these being a day late in leaving here - a hold-up with the photo-printers. Please let me know if I can give you any further information.

Yours sincerely

Peter Woodham Production Manager ROYAL ACADEMY OF DRAMATIC ART. INCORPORATED BV ROYAL CHARTER 1030.

62-64, GOWER l?REET,

W.C.1.

25th November, 1963•

Paul H. Emerson, Esq., 2719, E. Broadway, Tucson, Arizona, U.S.A.

Dear Mr. Emerson,

Although I can say nothing which has not already been said about the tragedy of this weekend, I feel I must express the shock and grief that I, rny colleagues, and the students feel at the tragic loss to America and the whole world. We feel the deepest sympathy for you.

I write now to explain that Mr. Pernald has had to go into hospital with Bronchial trouble and will probably be there for a week, and that Mr. Jenkins has taken over his production down in Bristol. This will, I fear, slightly delay our getting out the list-s of costumes, furniture and properties which you are awaiting. However, I will do my best to get them to you at the earliest possible moment.

Just in case we have any difficulties, it would ..be a great help if you could let me have your final deadline for this information.

Yours sincerely,

Peter Woodham, Production Manager.

PW/la ROYAL ACADEMY OF DRAMATIC ART. INCORPORATED BY ROYAL CHARTER 1020.

62-64.GOWER STREET, 70 W.C.1.

2nd December 1963•

Paul H. Emerson Esq., 2719, E. Broadway, Tucson, Arizona, U.S.A.

Dear Mr. Emerson,

I had a brief glimpse of your last letter before it was sent on to Mr. Fernald, and noted your two queries.

As you rightly suppose, the samples of material which I sent with the costumes Sere for your guidance only. You will appreciate that a colour sketch cannot give more than an idea of shape and colour. The samples were to give some indication of type of material and texture. Naturally, our designer worked on what we have available here, and you may have nothing exactly like it, but provided you can maintain the colour tones and approximate textures this will be fine.

The position of the setting must to a certain extent be dictated by any limitations of your stages. Ideally, the pillars should be 2* to 3' from the edge of the apron; the actors should be able to walk all round them with safety. This is what the designer says; I feel myself that this is cutting it a bit fine, and that it is desirable that they should be slightly further upsaVge, since 2' gives very little acting space. ^

I hjpe that Mr. Fernald may be back at the end of this week, when I will consult with him in case he has anything to add.

Yours sincerely,

C.0UH.. Production Manager.

P.S. Excuse my typing - no secretary today] 71

ROYAL ACADEMY OF DRAMATIC ART

62, GOWER STREET, W. C.l.

FROM JOHN FERNALD p r i n c i p a l TELEPHONE: MUSEUM 7076.

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0 vVx. 'P /VtrcLv-<-,V' > VLv. l A (/O, ozi^V-L . xA a— VI UTk \" V—l h ‘x> Oy^-^ SVV-t^ r lulaaj^ . n U X ^ Ao^‘ ROYAL ACADEMY OF DRAMATIC ART. INCORPORATED BY ROYAL CHARTER 1820.

62-64,GOWER STREET, 73 W.C.1. 3rd December 19&3.

Paul H. Emerson Esq., 2719i E. Broadway, Tucson.

Dear Mr. Emerson,

One query. Mr. Fernald has sent me a message saying that he intends to use no visual effects for the apparitions in Macbeth, but that he wants to use recorded sound effects. These we propose to make here, and send the tape with the company. My query is, naturally, whether you have available a tape machine and the necessary speakers capable of replaying our tape.

We record on a Vortexion Tape Deck, the actual deck of which is called a Ferrograph deck. It is not necessary to have this make of machine, provided you have one which can replay at 7"& inches per second, half track'f" recorded on the top track. I am sure there will be no- difficulty, but it's better to be sure than sorry!

Yours sincerely,

Production-Manager.

( A

I ROYAL ACADEMY OF DRAMATIC ART

62. GOWER STREET, W.C.1. f r o m JOHN FERNALD p r in c i p a l TELEPHONE* MUSEUM 7076.

j f /.-ui 5th December,74 1963• , Paul Tie Emerson Esq., Shakespeare on the Desert, 2719 Broadway, Tucson, Arizona, U .S.A•

Dear Mr, Emerson,

As promised X am now able to let you have those congratulatory statements about which I feel you have been worrying. There are only two of these, but they are good, (l am afraid John Gielgud has been in the antipodes, and X have not been able to get hold of Alex• Guinness)•

(1) 11 My heartiest congratulations on your bold enterprise in leading off America's 1964 Shakespeare Celebrations,l (signed, Laurence Olivier)i

(2 ) 11 Congratulations on your courage in taking Birnam Wood and the Forest of Arden to ,lAntres vast and Deserts Idle11 11 . (signed Peter O ’Toole).

N.B, For the benefit of the less initiated Antres in quotes means Caverns, and Desert Idle Hare barren deserts, not lazy ones". O ’Toole has quoted from Othello’s speech to the Duke of Venice when he justifies his courtship of Desdemona and the full phrase is; "where all Antres vast and desert idle rough quarries, rocks and hills whose heads touch heaven It was my hint to sneak"

I trust O ’Toole’s knowledge of Arizona geography is not too inadequateJ and X hope the messages will reach you in time for your brochure.

All best wishes,

Yours sincerely,

— 75

T V W V V SYMBOLS l U i x DL = Day Letter NLe=Ni*ht Letter

SP-1201 (4-CO) International L T = Letter Telegram

T Blinf: time shown In the date line on domestic telegrams is LOCAL TIME at point of origin. Time of receipt is LOCAL TIME at point of destination

44?A PST FEB 29 64 LA125 L CDU149 2 5 PD INTL CD LONDONLB VIA RCA 2 3 1920 LT PAUL EMERSON CORONET HOTEL 1001 NORTHCENTRAL AVE PHOENIXARIZ CONGRATULATIONS ON ACHIVEMENT OF A GREAT ENTERPEISE LOVE TO YOU BOTH AND GOD SPEED TO ALL CONCERNED JOHN FERNALD, APPENDIX C

CORRESPONDENCE FROM ARIZONA HIGH SCHOOLS TO THE AUTHOR IN

RESPONSE TO THE AUTHOR'S SURVEY A JO PUBLIC SCHOOLS

A J O , ARIZONA

January 26, 1962

Paul H. Emerson 3736 E. Pima Tucson, Arizona

Bear Mr. Emerson:

I am sorry to be so tardy in answering your letter of January 13, 1962, concerning the founding of a Shakespearean Reperatory Theater in Tucson.

I think we indicated during your visit that we would be interested in this undertaking and think it would be fine. However, we also indicated that any participation by Ajo High School would be dependent on the plays and programs that would be presented.

I cannot say that we would or would not provide bus transportation to and from the theater since that is the prerogative of the board of education. I would assume that this would not be done since it has not been a policy in the past for this type of activity.

We would have to await developments before we could say we endorse this program although we think it is an excellent idea.

Marion Engel Principal Ajo High School ME/sb

76 BENSON PUBLIC SCHOOLS RONALD JCNK1N. SUPERINTENDENT iNSON UNION HIGH SCHOOL BENSON SCHOOL DISTRICT NO. 9 BENSON, ARIZONA 77 February 3» 1962

Hr. Paul Emerson 3736 East Pima Tucson, Arizona

Dear Sir:

Thank you for your recent letter concerning the Shakespearean Repertory Theater.

After discussing this proposed project "ith our English Department, we feel this would be an educational benefit to our students, b'e will be happy to provide transportation for a group of our students and plan study programs around the vari ous plays presented.

BR/rc it Bis b e e H ig h s c h o o l t-t D raw er g 'k Bis b e e , A r iz o n a "k

February 21, 1?62

Hr. Paul H. Emerson 3736 East Pina Tucson, Arizona

Dear Hr. Emerson:

Our English teachers are very much interested in your Shakespearean P.cparatory Theater in Tucson, and va.ll be glad to cooperate as much as possible in coordinating their Shakespearean study program with your theater presentation.

' V.re are quite sure that bus transportation to Tucson va.ll be available if a sufficient number of students indicate an interest to attend your plays.

Anthony Madolsl Principal

AN/h 3UENA DISTRICT PUBLIC SCHOOLS DONAf.%) O. SwpeMmtemdemt of School# POST OFFICE BOX 548 Office of the Boperlolemdeo* of School# SIERRA VISTA , ARIZONA Boca# High School Telephone—GIm4#^#e la djfo n e 8-4%#l8-4261

BOARD OFF TTRUSTEES R U S TE E S J. We#ley LHIIe, Jn, YreoWrol BUEHA HIGH SCHOOL Charles K. Walker, Clerk THOMAS W. CANTRELL, Prlaclpal Brace H. Hart, Memher Gene Carr, Member ELEmUDfTARY SCHOOLS Hemry C. KlaeaM, Member J. IL DETWE1LLER, Principal February 1, 1962

Mr. Paul H. Emerson 2736 East Pima Tucson, Arizona

Dear Mr. Emerson:

Buena High School would be happy to participate in a future high school Shakespearean program.

We feel this program would fit in well with our advance class on English Literature.

We would be willing to furnish bus transportation for those students attending from our area.

Thank you for your thoughtfulness in including us in this program and asking us to participate in it. We shall be looking forward to hearing further development on this project.

Thomas W. Cantrell Principal

TWC/njc Casa Grande Union High School

LOREN S. CURTIS, SUPERINTENDENT

Mr. Paul H. Emerson 3736 E. Pima Tucson, Arizona

Dear Mr. Bnerson:

I was very happy to have had the privilege of talking to you regarding the establishment of a Shakespearean Theater in Tucson: Casa Grande Union High School will be happy to cooperate in any way possible.

The English Department of our school is very interested in studying Shakespearean plays and will be happy to carry out the suggestion that we study the various plays as they are given in production. We will also be very happy to see that any students interested in making the trip to Tucson to see the plays have transportation.

We will be very much interested in following the success of your project and hope that you will keep us posted on how you are doing.

Loren S. Curtis Superintendent

LSC:lg COOLICG 2 . A R IZ O N A PA 3-5462 8l

FFICE OF FR NCIPAL February 16, 1962

Mr. Paul 11. Emerson 3736 E. Pima Tucson, Arizona

Dear Mr. Emerson:

Thank you for your kind letter of January 11, ;962 concerning student response to the founding of a Shakespearean Theater in Tucson.

Our school will provide bus transportation from Coolidge to the Theater at any time for this worth while project.

Sincerely,

J W D : dc 1500 FIFTEENTH STREET DOUGLAS. ARIZONA 82

PAUL H. HUBER PRINCIPAL.

January 22nd, 1962

Mr. Paul H. Bnerson, 3736 E. Pima Tucson, Arizona.

Dear Mr. Emerson:

It was delightful talking to you about your plans for a Shakesperean Repertory Theatre in Tucson.

We feel such a plan will be helpful to our educational program and will lend our full support.

Our English teachers welcome the idea and will cooperate in that the Shakesperean plays being presented by your cast in Tucson will form the agenda for study in their classes at the time of presentation.

We will also cooperate in running school buses for transportation of our students for high school performances of the Shaksperean plays. I estimate for such a performance, we could run two school buses each transporting 35> students.

We wish you every success in this venture as it could lend much to the culture of the Southwest and to the educational opportunities to our students.

Sincerely, FLORENCE UNION HIGH SCHOOL

FLORENCE, ARIZONA

January 16, 1962

Mr. Paul H. Emerson- 3736 E. Pima Tucson, Arizona

Bear Mr, Emerson

V.7e, here at Florence Union' High School, are very interested in your proposed arrangement for the Shakespearean plays to be presented in this area. We know that if cur students can see these plays presented by professionals and Royal Academy of Dramatic Arts students, it will greatly enrich their studies these areas. One of the great obstacles to effective teaching of these plays is to make them live and we feel this plan will aid us in this regard.

When these plays are staged in Tucson, we will be happy to transport our interested students to see them.

We appreciate yair interest in our students and your help in this matter.

Sincerely yours

Dale R. Gibson Superintendent

DRG:hk i

M iami High School 84 Office of the High School Principal

Miami, Arizona

February 121 i 56.*:',

M r , Paul. H, Emerson 37 36 3. Pima: Tucson, Arizona-

Dear- . Emerson:-

The Pinmi High School, administration, faculty and student body are most elated that we can have the possibi1 fry of seeing Shakespearean plays at their very best, Miami High School v.ill have a good rep resentation at the Shakespearean Reperatcry Theater in Tu;-5on.

Thank you in behalf of the students and faculty of our high school.

Miami High Scski Miami, Arizona; (Irtxtftpal TOWNSEND 8-3631 (Maxtxtd Ptglf C. L. ROBINETT

D. K. EVANS MORENCI. ARIZONA 85 January 22, 1962

Mr. Paul E. Emerson 3736 East Pima Tucson, Arizona Dear Mr. Emerson:

Your proposal for founding a Shakespearean Reperatory Theater in Tucson using an all British company of actors is a welcoming light on the development of culture in Arizona. A meeting with the English teachers of Morenci High School revealed an eagerness on their part to formulate a study relative to your productions.;

I do hope that you will be able to do something in regard to allowing students a preview of productions.

Of course, we do have a transportation problem, but I feel that Morenci would take advantage of your theater should your program develops on the basis proposed to me.

Sincerely,

C. L. Robinett, Principal Junior-Senior High School

C IR /r le PHOENIX UNION HIGH SCHOOLS & PHOENIX COIJLEGE SYSTEM . Howard C. Seymour. 8 6 3010 NORTH ELEVENTH AVENUE " PHOENIX 13, ARIZONA

February 8, 1963

Mr. Paul Emerson 3744 East Pima Street Tucson, Arizona

Dear Paul:

I want to thank you very much for taking the time to come to Phoenix to meet with our English Department Heads on Wednesday afternoon. As I have already told you over the phone, they were all most pleased and responsive to your proposal to bring several Shakespearean productions to Phoenix next year. Not only did they volunteer with enthusiasm to encourage their own students to attend such productions, but most of them felt that they migh: be able to include in their English programs the reading of those plays to be presented.

If there is any other way in which we may help you with the planning of these productions in Phoenix, we hope that you will feel free to call upon us.

Meanwhile, many thanks for all of your enthusiastic efforts in trying to work out something very superior for our people to'see.

Best wishes.

Sincerely,

!^Az/-.r Lewis Allbee Ass't. Supc. for Educational Services

LA/gb

CC: Superintendent Principals English Dept. Heads jB it f f n r b

DONALD R. WILSON. PmwcimAL SAFFORD. ARIZONA January 2U, 1962

Paul H. Emerson 3726 S. Pima Tucson, Arizona

Dear Mr. Emerson:

I have discussed the project of founding a Shakespearean Reperatory Theater in Tucson with our Superintendent. Where appropriate and fitting, we would be willing to have English teachers arrange a program around plays to be produced by the theater if they are of high school level.

In regards to transportation, we would probably be able to arrange transportation for those students interested in a Saturday matinee. Two buses should take care of this from our high school.

We will discuss this at the next meeting of our English depart ment. Please keep us informed.

Yours truly.

Donald R. Wilson, Principal p u z Valleq Union Miqk School P. O. Box 1088 ELOY, ARIZONA February 13, 1962

Mr. Paul H. Emerson 3736 East Pima Tucson, Arizona

Dear Mr. Emerson:

The Santa Cruz Valley Union High School, Eloy, Arizona, is definitely interested in arranging a Shakespearean study program around the plays to be produced by an all-British company of actors of the Royal Academy of Dramatic Art.

The plays that we study especially are "Julius Caesar", "Macbeth", and "Hamlet". I could not guarantee how much interest there would be among our students in attending the Shakespearean theater, but I can assure you that we will do our utmost to create enthusiasm and participation. We will certainly offer transportation facilities for our students to attend these performances.

I hope that it will be possible for the Royal Academy to enter into this program and that the schools of the Tucson area can create enough interest among their students to provide us with the opportunity to see these fine programs.

Very sincerely yours,

JHB:sc Sells Consolidated Schools DISTRICT 40, PIMA COUNTY

MRS. FLORENCE REESE SELLS. ARIZONA MRS. ROBERTA M. HILL SUPERINTENDENT CHAIRMAN MR. WILLIAM WHIPPLE MR. FRANCI PATRICIO RES. PRINCIPAL CLERK % MR. WENDELL H. CORDLE M R .B U S H J . LOUCKS PRINCIPAL SECRETARY

January 18, 2$ 62

Mr. Paul H. Emerson 3736 E. Pima Tucson, Arizona

Dear Mr. Emerson:

In a conversation on Friday, January 12, 1962 and a letter of January 13, 1962 you outlined a plan to found a Shakespearean Reperatory Theater in Tucson.

Although our school here is only a Junior High school this plan interests me greatly as I believe it would be an incentive for the children to work harder. Our school would certainly be able to provide bus transportation to Tucson in the event that the Theater was founded. It is also possible that we will go to a full k year high school in the near future. '

Sincerely yours.

WHCjrht SUPERIOR PUBLIC SCHOOLS PINAL COUNTY. SCHOOL DISTRICT NO. 15 ROBERT G. FIEDLER. SUPT. SUPERIOR, ARIZONA

February 2, 1962

Paul H. Emerson 3736 E. Pima Tucson, Arizona

Dear Mr. Emerson:

In a recent meeting with our English teachers, I presented the idea of the Shakespearean Reperatory Theater in Tucson. The consensus was that the presenta tions of the theater would help create an interest in Shakespeare, and would be a good thing, but they did not feel that there was sufficient time to arrange a Shakespearean study program with the multitude of other things they wished to accomplish in view of our present needs and learning sit uations.

The other problems I mentioned to you would also have to be resolved. Thus, participation in the program would very likely have to be limited at first. Although, it would seem to me that we would attempt to participate as extensively as conditions would permit.

( Sincerely,

Milton C. Dubsky. Principal Superior High School

MCDjsf TOMBSTONE HIGH SCHOOL TOMBSTONE, ARIZONA Feb. 1 % 1962

Mr. Paul Fmerson 3736 F. Pima Tucson, Arizona

Dear Mr. Emerson:

I have talked to the Head of our English Dent, and to mv Superintendent, alon^ with several other in terested persons, conremine your nroieot. and all s^em to be verv interested. I feel certain that if this nroiect becomes a reality that Tombstone Hieh School will be a participant.

Sincerely yours,

.L/v-

John L. Wyatt, Prin. TUCSON PUBLIC SCHOOLS EDUCATION CENTER P. O. BOX 4036 1010 EAST TENTH STREET TUCSON. ARIZONA 9 2

December 6, 1961

Hr. Paul H. Emerson 3736 E., Pima Tucson, Arizona

Dear Mr. Emerson:

I wish to thank you for your interesting, well organized presentation at the recent meeting of our English department chairmen for the Tucson District #1 high schools. Although many parts of the plan are still necessarily vague, we felt that you had obviously devoted much thought and study to this project.

The department chairmen and I feel that one of the problems we often have in teaching Shakespeare could be materially diminished by such a project as you propose, i.e. the opportunity to see a number of Shakespearean plays would help students understand that Shakespeare wrote his dramas to be acted, not just read. Therefore, we would welcome the opportunity to enter into some kind of a school study program which would be correlated with the plays to be presented with in a given season. Also, we feel that if the young people in the English acting company and their directors would make themselves available for actual classroom visits, this would not only stimulate more interest in the study of Shakespeare but would motivate more students to attend the productions. It is understood that active participation in a study program would be dependent upon what plays were chosen for presentation.

Best wishes for the success of your venture, even though it may be two or three years before your "dream" materializes. Sincerely,

Iris Mulvaney " Coordinator of Language Arts IM:bc THE UNIVERSITY OF ARIZONA TUCSON 93 COLLEGE OF FINE ARTS OFFICE OF THE DEAN Ma y 2 1 , 1 9 6 2

Mr . Paul H. Emerson 3 7 3 6 E. P ima Tucson, Arizona

Dear Mr . Emerson:

It was a real pleasure to talk with you the other day relative to THE POSSIBILITY OF FOUNDING A SHAKESPEAREAN REPERTORY THEATRE IN Tucson. Your presentation of t h is proposal was most thorough and MOST CONVINCING AND I DO APPRECIATE THE GREAT AMOUNT OF EFFORT WHICH HAS ALREADY GONE INTO THE CONCEPT OF "SHAKESPEARE IN THE DESERT".

S ince your v i s i t I have had occasion to discuss th is proposition WITH SEVERAL MEMBERS OF THE FINE ARTS FACULTY INCLUDING MR. MARRONEY, HEAD OF THE DRAMA DEPARTMENT. I FIND NOTHING BUT THE HIGHEST HOPES THAT YOUR PROJECT WILL MATERIALIZE AND DO SO VERY SOON.

IN THE MATTER OF UNIVERSITY SUPPORT AS WE DISCUSSED IT WHEN YOU WERE IN MY OFFICE I FEEL CONFIDENT THAT THERE WILL BE NO OBJECTION TO HAVING YOUR PRODUCTIONS LISTED IN OUR ARTIST SERIES PROGRAMS IN THE SAME WAY AS WE SUPPORT THE EFFORTS OF THE ARIZONA FRIENDS OF Music. Th is would mean that as our Ar t is t Se r ie s program is DEVELOPED AND PRESENTED TO THE STUDENT BODY IN THE FALL, WE WOULD HAVE A NOTATION ON THE PROGRAM THAT THESE EVENTS WERE OPEN TO THE STUDENTS.

IN ADDITION TO THIS WE LOOK FORWARD TO THE PROSPECT OF HAVING SOME OF OUR STUDENTS PARTICIPATE IN THE REPERTORY THEATRE AND THUS ACHIEVE A DEFINITE CONTACT WITH THE ROYAL ACADEMY STUDENTS WHO WOULD BE BROUGHT TO THIS COUNTRY FOR THIS PURPOSE.

What you are proposing could be indeed a real contribution to the CULTURAL ACTIVITY OF TUCSON AND SOUTHERN ARIZONA. I WISH YOU ALL SUCCESS.

S idney W. L ittle Dean THE UNIVERSITY OF ARIZONA TUCSON 9 4

COLLEGE OF FINE ARTS DEPARTMENT OF DRAMA

DATE: June 6, 19b2 TO: Paul Emerson

SUBJECT: Shakespeare on the Desert

After appraising your book on the exploratory phase of establishing a professional Shakespearean company in Tucson, I vrant to tell you that this is not only an impressive study, but a very sensible and workable plan.

You had asked me about coproducing; and, with this very important educational project, I will be only too glad to serve in any capacity you designate. I am also pleased to the extent that our department is ready to co-operate with you in any way that we might be of help.

There is a definite need for this kind of culture pro gram in the city of Tucson, both for the town and the schools;/and I whole hardily endorse your plan in every respect.

Sincerely yours,

Peter R. Marroney Head of Department ecb THE UNIVERSITY OF ARIZONA TUCSON 95 COLLEGE OF LIBERAL ARTS

DEPARTMENT OF ENGLISH

April 17, 1962

Mr. Paul Emerson 3736 East Pima Tucson, Arizona

Dear Mr .Emerson:

I have carefully examined your proposal to inaugurate an annual Shakespeare winter festival here in Tucson. It seems to me that a repertory company such as the one which your prospectus describes, if and when estab lished here, could make an important contribution to the cultural life of the Tucson community and to the cause, of education in the university as well as in the high schools.

Naturally the project of a Shakespeare repertory theater group comprising professional as well as selected student players would be of special interest to the English De partment of this university. I see no reason why, if these productions prove to be of the quality that you have reason to expect, we should not be willing to participate in the plan in an advisory capacity, and to recommend to our students that they take the opportunity to see in living form the plays of Shakespeare that they have studied and discussed in class.

Yours sincerely, Oi. ALM:dw A. Laurence Muir Head

ONE HUNDREDTH ANNIVERSARY 1862 ■ THE LAND-GRANT COLLEGE AND STATE UNIVERSITY SYSTEM .■ 1962 YUMA HIGH SCHOOL • BILL M. MANES, Principal

YUMA UNION HIGH SCHOOL DISTRICT • W. R. Sirrine, Superintendent 400 Sixth Ave. Yuma, Arizona 96 February 13, 1962

i3r. Paul II. K arson 3736 East Pina Tucson, Arizona

Dear Ire. Evrerocn:

Thank you so rvach for the information you • ubv.itted for our consideration on the Royal Academy of Dra..a;i:' Art and its Shakespearean Theater in Tucson. Our Englirl :arch- rs, on the vhole, seem to be quite enthusiastic, particularly Hr. Bill Brennan, our Drama instructor.

Our particular problem definitely is our isolation with regard to Fine Arts Festival’s dramatic productions, and other cultural programs that regularly appear in the larger cities of Arizona. To have provided transportation for our students, in many cases, in order to make it possible fey* .hem to attend such programs held elsewhere.

You can rest assured that we definitely will study the Shakespearean plays that might be produced in the Tucson area, and that there would no doubt be a number of students from the Yura a Union High School District who would desire to attend. even if we were unable to furnish transportation♦ In -Tie past we have been able to provide transportation to such programs. Cnee again, thank you so much for your interest and consideration.

Respectfully,

BILL M. MAKES principal

Li ^1/elm APPENDIX D

JOURNALISTIC COVERAGE OF THE PROJECT: SHAKESPEARE ON THE DESERT 97 i

Second Bard Play at LittlTheater Next Week Shakespeare’s romantic comedy “As You Like It’’ opens with an 8:30 p.m. performance next Sunday at Phoenix Little Theater. Written for escape from over-civilization, the plays’ scenes have a pastoral setting filled with droll shepherds, high-spirited innocence and nonsense. Shakespeare’s people are real, but their setting is bi zarre. Brother betrays brother, dukes are banished to the Forest of Arden and all entwines into a jumble of well- intentioned intrigue, character disguises and plot switches. Among the famous speeches is “All the world’s a stage . . ROGER JENKINS of London’s Royal Academy of Dra matic Art is directing “As You Like It," which will be played the evenings of Feb. 23 and Feb. 27 through 29. Matinee performances at 2:39 p.m. will be Feb. 24 through 29. Tickets are now on sale at the Little Theater. Jenkins says the play is “very much in the literary- pastoral tradition of the 16th century, and although the values of real life are always in the background, the Forest of Arden. is essentially a place where one can ’fleet time carelessly as they did in the Golden World.’ ” JENKINS HAS produced and directed for the BBC, ABC, Nottingham and,Leatherhead Repertory Theaters, the Belgrade Theater. Cambridge Arts, Oxford Playhouse and Associated Rediffusion where he was drama director for five } cm The Royal Academy of Dramatic Art, whose cast mem bers also are presenting “Macbeth" at the Little Theater, is making its American debut here with the two Shakes pearean nlays. The players are all second-year students at Touchstone and Audrey ihe Aeauemy, which is rated as one of England's finest Terry Hands and Susan Fleetwood PUyed By Phillip Manikum And Brfony Hodge Portray Orlando And Rosalind Tn ‘As You Like It* 98

^1'i^cn^Jl u^J \~jdlr %V[ LJ* ';yMacbeih/ English Actors Add 2nd f. > Bow To Desert Bonnet •;Casf Earns A group of wonderfully gifted ert production of “As You Like V actors and actresses from Eng-1 t” will be presented tonight, ;/. land have added a second bow Thursday,” Friday and Saturday !Apn!ause to the bonnet of the newly nights at 8:30 o’clock and 2:30 99 r r formed Shakespeare On The o’clock matinees Thursday, Fri By LARRY RUMMEL Desert venture and have fol day and Saturday.—L.R.. Gazette Entertainment Writer lowed success with success. ' Magnificent would not be too The players, senior students strong a word to be used in re of London’s Royal Academy of ferring to the Shakespeare On Dramatic Art, presented Shake The Desert production of "Mac- speare's “As You Like It” last i ..fceth” evening to open a week’s run. ;• i The production, like the earlier The production, staged by production of “Macbeth,” was students of London’s famous very nearly all one could ask Royal Academy of Dramatic V for. Art, was coated with virtues rnd almost completely lacking SUSAN FLEETWOOD as In deprecatory areas. Rosalind and Terry Hands, who portrays her all-too eager lover, • TILE CAST, sparked by Ron Orlando, are superb in this pro ald Pickup as Macbeth and duction. Miss Fleetwood who Susan Fleetwood as Lady Mac ^V, beth, merits curtain call after earned praises for her portrayal curtain call. John Fernald’s di of Lady Macbeth last week, makes a fetching, crafty and : ( 1 : , rection is flawless. The settings arc done with taste and the all-too human Rosalind. second-story effect lends itself Hands is a perfect leading ' nicely to the different scenes man and comes across as much when he is wrestling a villane Indeed, just about the only ous man as he does wrestling criticism that can be raised with the problems which seem 1 against this Shakespearian ef to confront all lovers. fort is the lack of support it received from the theater-mind ANTHONY AINLEY deserves ed residents of the Valley area all the plaudits he is able to re -Either Phoenicians do not ceive also for his on-the-mark care about outstanding theater, interpretation of Jacques. Some or they do not realize what kind of the most beatiful lines in the of company of players they have play are his and he handles in their midst. them with consummate skill. Angela Twigg is another de PAUL EMERSON, founder serving of praise for her per and director of Shakespeare On formance as Celia. A spirited The Desert, says in the program actress, the stage came alive that the corporation was found .when she was on it. ed on two premises: Arizonans wanted more outstanding live ELSEWHERE IN the cast, theater and that they would at Phillip Manikum as Touchstone tend in droves if the prices the clown got the rriost out of a were within reason. good part, John Bruce added a bit of zany comedy as William, Outstanding theater this pro Nicola Scott was charming as \ duction of “Macbeth” most Phebe, and Briony Hodge was certainly is. But support from excellent as Audrey. the Valley residents the produc tion did not receive — at least Direction of the production by at last evening’s performance. Roger Jenkins is also worthy of I * curtain call. Jenkins obviously This reviewer implores thea knows what he is about here and trical-minded residents of the his cast reponds accordingly. Valley to support this endeavor. It is a magnificent production The Shakespeare On The Des- and the black mark against the Valley that is sure to come if it is not supported will not quickly be erased. 100

M l M l II: M II: * IM S NBC NEWS . . . Young Britons at I 'LT EEEE 12:11 LETS MAKE A Excellent in Macbeth 12: M Tlffi DOCTORS |:5 WU^ON'TSAy ! “Macbeth,” a Shakespeare on the Desert presentation, at 2: the Phoenix Little Theater, today and tomorrow and next 22:30: MAKE ROOM FOR DADDY Thursday, Friday and Saturday at 8:36 p.m.; matinees today 3:M 2: THE BIG MOVIE . . . “Rulers and tomorrow and next Monday through Saturday at 2:36 p.m. L o c S s r ,r-M* By MARY LEONHARD 5;5:15 WHAT DO YOU SAY 5:30 SPORTS TODAY . . . Thirty-three young hopefuls from Britain’s famed Royal Acad- 5:5:40 LOCAL NEWS . . . Ra emy of Dramatic Art are making their first appearance in this ■ — country in Arizona. STETSTEVE ALLEN IMS P.M. STE They’re acting out a drama, laced with horror and violence, Z 5 4:15 MohoUa Jecksee Slags 3 4:20 Farm oad loach laaadap which has lived in the theater for some three centuries. Mac- Hj 4:30 Swarlsa Sawiesfer beth’s theme of ambition which ------\<< 7:00 Ceptais Kongorea nearly sinks a nation was so and detailed. The players are ti > 6:00 CBS Moraiaf News — pungent! y interpreted by Shakes- both appealing in their youth- £ Mike WalUco H 1:30 I Lava Lucy peare that theatergoers have ful verve and disciplined in the “ K 1:00 The McCoys never ceased demanding to see exposition of their roles. £ 7:30 PefGeadPofWaad GlaGladys7:30 » 00 - ■>. ’ Ufa The cast now visiting Phoenix sinF^ t t ‘ for 10:250:25^CBS ul$ Midmeralag Midmen Nows— Robert Trout 1 r fu ' fr m 1l s! nl.0r s Ronald Pickup plays the tragic 2 10:30 Search Far Tomorrow of the a ant my, which has been Macbeth in a way to highlight g 10:45 The Guiding Light turning out the most pouched of y,e duality of his nature. Some- Z 11:00 Boras amd Allen actors since its founding in 1904 times it seems that everybody 3 11:30 As the World Taras The British Crown recognized shouts too much when present- w 12:00 Password 12:30 Art Liakletter's the academy’s excellence- by -in- mg " ^ Shakespeare.V mro *Pickup's ax.eaaar « (oh > nHouse o a w v rParty arry corporating it under royal char- dear, that name) delivery re- h 1:00 To Toll tbo Ti ter4 as* in i n 1920.1 QOrt lleves the4W ^ eardrum — — — 1 — ■ often, . r* ^ while ■■ LZ 1 ^ 12*1 • *7 C CISf*' OO Aftomooe A ^A Nows — And an exceUent presentation retaining total clarity. ^ 2d2 fte# Night Is this Macbeth. The direction Young Susan Fleetwood is a ^ 2:00 The SecretKret StemStorm has evidently been sensitive, glamorous Lady Macbeth. But T 2:30 Peter Gaea ______that is not all. She has talent - 2 00 Oar MbsJEL* Brooks 3:30 December IrMe and, what’s most necessary to z 24:00 H P****?^Lone laager; x r - 4:30 Welt Dismay's Ml h u t Chance t 3 • “ kMow#S Club 1 This will be the last weekend across the floodlights. £ 1:00 CISCBS tvaaiagfreeinghreeieg NewsNei — Welter Crenkite for “Long Day’s Journey Into Banquo, alive and dead, is - .5:30 The Big CronkituNews Night” at Arizona Repertory played by Jonathan Holt in tint fe JackjHkw Were..^1 Theater. stvl'e I p la d(. 1 grpyE ALLEN 10*IS PM STEVE Curtain times at the Fourth bright bit spot during his short ------^ and Fillmore Streets theater appearance as a drunken porter are 7:30 p.m. today and tomor- with one shoe on and one cold row and f :30 p.m. Sunday. foot. IN & l

12:10 CARTOONLAND 101 va-^vx ^<3o-a^ ^k:Xs ^Xx VCx^o1^

TUi TIMING OFF, SCENES DRAG 4 As You Like It’ Not Done Way One Would Like It By MICHELINE KEATING Whereas in “Macbeth” they er in both plays was An Citizen Entertainment Editor created vivid characteriza thony Ainley. His King Dun Will Shakespeare's “As You Like It” was not at all tions, in yesterday’s “As You can was sensitively drawn in as one would like it as per Like It,” they seemed to be "Macbeth” and his melan formed yesterday afternoon reciting lines and, in certain choly Jacques yesterday was by the young students from instances, even having a hard time remembering them. the best performance in the England’s Royal Academy of play. Particularly effective, Dramatic Art. Shakespeare played no fa was his reading of the fam It was doubly disappoint vorites. He pokes equal and ing following, as it does, a alternate fun at the court iliar “All the world’s a fine production of “Macbeth," and the country as the plot stage” passage. beautifully staged and per rambles among usurping William R. Ellis, as the fop dukes and deposed'dukes and formed with remarkable ma Le Beau, contributed a solid turity. brothers who hate each other. There are so many young and colorful characterization. How you feel about this couples in love in all walks of And Jonathan Holt’s evil performance depends some life that the scenes seem bor brother was good. Briony what upon how you feel ingly repetitious. about the play itself. Wil Hodge’s Audrey was another liam Hazlitt, back in 1817, And Roger Jenkins’ direc tion does nothing to pick up strong bit. called it “the play most ideal THE SAVING GRACE in of any of this author’s plays.’’ the production. The timing is However, I have always found off and the scenes drag hope any production of “As You it almost incredibly dull. It lessly. He fails to spark the Like It” lies in making it a is a play that belongs strong cast as John Femald did with light and merry romp through ly to its own time, whereas “Macbeth” last week. the forest of Arden. There “Macbeth” has an identity SUSAN FLEETWOOD, who were just too many brambles with every era. was such a commanding Lady yesterday and the going was IT IS AN artificial comedy, Macbeth, seems merely young heavy-footed. teeming with bucolic buf and awkward as Rosalind in It may, however, pick up in foonery, and these young stead of impregnating the later performances as the English players were not role with the infectious gaiety young players become more quite able to pull it off. and charm it demands. In at ease in their roles. There “Macbeth” she was a finished will be matinees daily at 2:30 performer; in “As You Like through Saturday and eve It” she is still the student. ning shows at 8:30 Wednes As Orlando, Terry Hands day, Thursday and Friday at seemed more preoccupied in the Tucson Music Center. thinking about his lines than Even though “Macbeth" in creating a three-dimension was a more professional pro al person. And Philip Mani- duction, it is better to see kum, who was so delightful “As You Like It” than not to last week as. the porter, see these young visitors from missed the boat entirely as England at all. Touchstone. You even may love the The best all-round perform play. Hazlitt did. • '•;• , cv^-4*.. I/O--'' ^6 \C '. } ■'i rreraDeere Mm* ist U 3

s-' ! P n be redesigned to accommodate the needs of the troupe. A -projecting stage will jut out i over the orchestra pit from 102 ! the traditional proscenium ! arch. . . i The plays will test the li roops::'. mettle of both actors and di rectors. The range will run - ; from stark tragedy to light- • heated nonsense. John Fern- To Offer : aid, principal and adminis- I trator of the Royal Academy, I will direct “Macbeth." He has 'M a di D a f h ' i ■ produced and directed plays, i films and television since Starting Jan. 24, Tucson I 1926. He has over 300 produc- will be the scene of the first ' tion credits. He has directed presentations of Shakespeare ■ for the Old Vic, BBC, the Liv erpool Playhouse and the Lon plays honoring the play don Arts Theater as well as wright’s 400th birthday anni on Broadway. He has been versary year. Members of the ' with the Royal Academy since Royal Academy of Dramatic 1955. Art, London, will offer “Mac beth” from Jan. 24 through Roger Jenkins, director of Feb. 1 at the Tucson Music "As You Like It,” has been Center, 330 S. Scott. “As You associated with BBC, ABC, the Nottingham and Leather- Like It” will be the play head Repertory Theaters, the from Feb. 2 through Feb. 8. Belgrade Theater, Cambridge The productions are being Arts, the Oxford Playhouse presented in Tucson under and Associated Rediffusion where he was drama director the auspices of Shakespeare five years. on the Desert, a non profit According to Mr. Emerson, organization established last the project of play presenta- September. Paul Emerson, tions in Tucson during the producing director of the or winter season was founded as ganization, began, back in a permanent organization. I960, with the aid of inter - Other troupes will be invited ested Tucsonans, to probe the in future seasons. possibility of having leading Student tickets for the per theater companies come to formances will be $1.25. For the southwest during their adults the price range will be off season in the winter. $2.50 and $3.50. Arrangements Finally negotiations were have been made by charter completed with the Royal iftftts bus companies to cooperate Academy of Dramatic Art. with groups organizing the- ® p W 7 ater parties throughout the The Royal Academy is mak V/ state. ing its first United States ap pearance exclusively in Ari zona. After performances in m s Phoenix following the Tucson engagement, the troupe will go back to England. The academy was founded in 1901 by Herbert Beerbohm Tree. ; „ 3 P ® e3 In 1920 it was incorporated by Royal Charter. Among the former students are Trevor Howard, Vivian Leigh, Mar garet Lockwood, Robert Mor- Elizabethan Stage Sketched 8 y Artist ley and Peter O’Toole. In honor of the visiting Artist's sketch of Elizabethan stage which will be completed for the pit at the theater. Action will take place on two levels and at the sides. The players the exterior of the London Royal Academy of Dramatic Art's two Shakespearean plays to be stage was designed in England and execution of the design will be made in Tucson Music Center will be presented at the Tucson Music Center starting Jan. 24. The troupe will pre Tucson. Costumes will also be made here from sketches sent from England. modified by Elizabethan de The decor and dress of Shakespeare's day will be carried out in detail. cor. The theater’s interior will sent "Macbeth" and "As You Like It." The stage extends over the orchestra Celehrdhn Scheduled Tucsonans To See Troupe From London By HELEN WALLACE YOUNGE On the 400th anniversary of Doubtless from experience Shakespeare’s birth, it is fit many know the value of see ting that the theatrical thun ing these magnificent writ der of the season be two of ings portrayed. Reading them his plays performed by none can be an elevating treat, but less than a company of ster to see them acted by persons ling British actors from the trained in the Shakespearean Royal Acad- , . tradition gives the viewers in emy of Dra delible impressions of the re matic Art in sounding beauty of the Bard’s London. plays, an advantage that all Brought here Tucson and surrounding area by Shake- students should relish. speare-on-the - Desert,, a non V For adults, too — at least profit corpora for those who don’t take tion estab treks to England—it will be lished by prom an anticipated attraction to inent local cit b f . see these plays. “Macbeth” izens, the 27 with, its never-boring study person com YOUNGE of vaulting ambition mixed pany, under the sponsorship with cowardice is a towering of Queen Elizabeth II of Eng tragedy which shows how land, will present “Macbeth” these faults can undermine and “As You Like It” in this f even the finest heroes. The winter’s premier season be capricious “As You Like ginning Jan. 24 at the Tucson It” is in direct contrast with Music • Center and running | its deft comedy about love in through Feb. 9, before moving its various relationships and to Phoenix where it will run also “the uses of adversity.” Feb. 10-Mar. 1 at the Phoenix UA SCENIC EXHIBIT Little Theatre. i An unusual and interesting Paul Emerson, production exhibit is now being shown director of Shakcspeare-on- in the lobby of the UA drama the-Desert, states that Tucson department in the University is very fortunate in securing Theatre. It is under the spon j this century-old acting com sorship of the American Edu pany for its first appearance cation Theatre Association in America. Ticket sales for with Prof. Robert Burroughs the Tucson performances will in charge of arrangements. begin the week of Dec. 2 at The exhibit consists of the the Tucson Festival office, work of three artists: Ben 2719 E: Broadway. Student i Shector, scenic design; George tickets will cost as little or James, scenic painter; and less than movie prices. i Jane Greenwood, costume de This great adventure in sign, which has qualified bringing such an outstanding them to become members of production of two of the the very select union of the Bard’s finest plays has been United Scenic Artists — the the result of three years of only ones allowed to design research by Emerson. No less for Broadway productions. • than 90 per cent of the school Their projects on display are ! population and forty-five those which enabled them to , towns in the state have been become members, and show ' canvassed, with the result their ability to sketch, design, ' that excellent cooperation be- paint, and costume with a ' tween the schools and the sense of drama that is essen project has been established. tial to warrant them profes All told, seventy schools sional status. have joined in the effort to Added interest in the ex enable their students to see hibit stems from the careful the plays. But this aspect is comments on the work by only part of the thorough and elaborate plan. Current study such top-flight artists on of “Macbeth” and “As You Broadway as Jo Miclzinger, Like It” is being carried out Howard Bay, Donald Oensla- by many of the schools with ger and Oliver Smith. The the supplemental aid of display, made up of 70 pieces movies and extra textbooks. valued at $3,750, will be ' shown through Nov. 27. io4

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THE ARIZONA DAILY STAR London Hoys! Academy Scores Again Writ? 'As You Uke !f Pressmathn By HELEN W. YOUNGE ment and the beauty of the quipping lad, Ganymeade, full Garlands of gaiety and “golden world" in contrast to of sly wit and laughter, with ‘goodness festooned Tucson’s the worldly life at court. her ecstasy knowing no replica of the Globe Theatre Shakespeare examines bounds—a radiant and witty ;at the Tucson Music Center these ideas with effervescent performance. yesterday afternoon when good hum r -never satirical Anthony Ainley offered a. | London's Royal Academy of ly—and although it is dis dignified rather than slothful Dramatic Art opened its sec- covered that the wondrous Jacques whose sad humor,! : ond Shakespearean produc- Forest of Arden doesn't real- melancholy, and “Seven Ages j tion, “As You Like It," under ly exist, the Bard points out of Man" speech were well; the sponsorship of Shake that the pastoral sentiment pronounced—the last in ex speare on the Desert. and human understanding are cellent voice and depth. In the! This happy comedy will the real answer to living—not role of the lover Orlando, Ter-! run the entire week with a civilized cynicism. ry Hands gave a fine reading: matinee each day and a night The direction of Roger and sturdy support, making performance Wednesday Jenkins is inventive and agile his lad slightly more athletic I through Friday. in its use of fluid movement than lyrically romantic. A large and appreciative and well-planned use of vary Phillip Manikim's Touch ; audience of adults and stu ing levels and depths of ac stone was cut too elegant for dents greeted this imagina tion, although some of the the rakish cown, avoiding tive play with resounding ap shifting of platforms and any antics and holding him plause that kept the company properties occasionally tended down to a deliberate pattern coming back again and again to blur the lyrical beauty of of quietly amusing remarks, for curtain calls. the poetry. but he thereby contrasted in The fun o “As You Like The Royal Academy is in good fashion to the broad and It" is that you can.actually deed fortunate to have such baWdy fun of his country take it as you really like it— a gifted actress as Susan wench Audrey, played with a on any of several levels. You Fleetwood, who last week wanton walk and hilarious ex • can like it as a tale of two distinguished herself as Lady pression and stupidity by dukes, or a tale of love in its Macbeth and again yesterday Briony Hodge. As Rosalind's varying relationship, or as a as Rosalind. After playing the adoring cousin Celia, Angela misty bubble of laughter, or early scenes with a shy, girl Twigg added a fresh charm as an analysis of ideas con- ish quietness, she gradually and spontaneity to all.of her cerning the pastoral senti blossomed into a rollicking, scenes. < vx ^x'^vv a. yaw' ^ )\cc-\ SATURDAY, JANUARY 25, 1954 105

Shakespeare On Desert Opens

'Macbeth'Presented under the auspices of Shake- seen "Macbeth" many times, speare on the Desert to com it is difficult to have it re- W ith Sureness, Vigor memorate the 400th annivers ntain a play. Rather, one is Shakespeare's tragedy "Macbeth"; ary of the Bard's birth. tempted to see in it certain London's Royal Academy of Drama In fact, it takes a well scenes and speeches and to tic Art, under auspices of Shakes peare on the Desert, at Tucson Music poised group of actors, care- compare them to others heard Center, 330 S. Scoff; Jan. 24, 25, 31, fully timed and varied direc- before. So I am glad to report Feb. 1 at 8:30 p.m. and Jan. 27-Feb. 1 *1 2:30 matinee. Director, John tion, excellent range of voice that in spite of a slow start Fernald. and emotion, and an Eliza- and some uncompelling scenes, this London troupe By HELEN YOUNGE bethan stage set. This youthful company is succeeded in bringing life and It takes more than "two trained in the classic manner vigor to this tragedy of terror boards and a passion" to give of gesture and delivery and and its crescendo of doom. a performance such as the performs with assurance. But It was interesting to watch one presented in "Macbeth" at the same time, the actors the actors illuminate the emo last night at the Tucson Music could use more maturity and tional content of the play Center by the troupe from a greater sense of realization without "tearing a passion to London’s Royal Academy of and cohesion. tatters." Dramatic Art, brought here When one has read and John Fernald's expert direction was particularly apparent in his clever use of the deep stage areas, the balconies, and in his patterns created by his swinging movement and the use of the actors' backs.. Macbeth, enacted by Ron ald Pickup, became a man of sensitive depth that made him at once the coward, the lover, the man of vaulting ambition, and also the man idriven on by the fury of his own deeds. His voice is of exceptional timber and he knows how to use it. His !presence has authority. i Furthermore, he showed careful evolvement of char acter—one could almost pity this murderer at times;— soj keenly felt were his reac tions to his violent deeds. Susan Fleetwood's Lady Macbeth was a particularly’ interesting delineation, fo r Others who gave notable she resisted making her ob-1 assistance were Phillip Mani- viously evil and sinister but kum as the "equivocating" gave her a feminine warmth porter in his amusing stupor, and sensual beauty that eas Michael Cadman as the noble ily motivated her husband's McDuff, and Briony Hodge ambition-driven deeds. Her as his lovely wife. The three sleep-walking aria (based on witches added much to the a rehearsal performance) was strangeness of Macbeth’s spine-tingling in its beauty world with their rhythmical of body * line, in her fluid writhings and relishing of movement, her well-conceived their evil powers. absence of conscious thought, { Kenneth Poitevin showed and her underplayed washing sensitivity as the young Mai- ■ of hands. Her voice has a 1 com, and Jonathan Holt thrilling range of color and made a stalwart Banquo. tone. /y-Mirf

"k x4n independent NEWSpaper Printing The News Impartially "k l0 ^

TUCSON, ARIZONA, WEDNESDAY MORNING, JANUARY 22, 1964

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SUNDAY, JANUARY 26, 1964

THE ARIZONA DAILY STAR

Shakespearejans On Opening Night Opening night of "Macbeth" ended with a grand party at the Santa Rita Hotel for Royal Academy of Dramatic Art players and friends. Joining In the gaiety are (ieff to right) director John Fwnald: Miss Nicola Sect! who played one of the witches; Michael Cadman, Macduff; Mr. and Mrs. James Freudenfhaf (he is on the board of directors of Shakespeare in the Desert), and Ronald Pickup who played Macbeth. (Sheaffer photo) ... .yt.L" Shakespeare On Deseri Ts Superb The Royal Academy troupe from Lon which had started to grow with the play’s don has scored a distinct success with first entrance: that here was superb “Macbeth,” and Tucson audiences can' Shakespeare, the best Tucson ever has seen. That particular Macbeth speech is expect as fine a performance of “As You Like It.” The farsighted patrons who one of Shakespeare's best-remembered, brought this cultural group to Tucson for and is climactic to the whole tragedy. Shakespeare on the Desert deserve the The London cast has faced some city's gratitude. troublesome youngsters. This is unfortu nate; but even such a disappointment When the lines of Macbeth beginning should only confirm what the cast al “Tomorrow, tomorrow and tomorrow” ready knew, that people differ in their were uttered from the Tucson Music Cen appreciation of things and rudeness, un ter stage, the audience realized something fortunately, can occur anywhere. 109 FRIDAY, SEPTEMBER 20, 1963 Opens. h .January

Gielgud, Sir Laurence Olivier be given for the general pub British Troupe and Sir Alec Guinness are lic and for school groups. • To Be Imported members of its board of di- Local ticket sale will begin in rectors. October. Emerson, who will A company of 23 actors The company which will resign as a member of the from the Royal Academy of come to Arizona will be di staff of HOLD on Saturday, “Dramatic Art in London will rected by John Fernald, wide will have offices in the Music present a three-week Tucson ly known in the English the Center. season of “Shakespeare in the ater and recently active in Officers of Shakespeare in Desert” as the first winter the United States as the di the Desert are Vernon New-1 Shakespeare Festival next rector of the New York pro ell. treasurer; Arthur Vance, January. duction of C. P. Snow’s “The secretary, Dr. Arthur Present, Paul Emerson, producing Affair.” Dr. Blair Saylor and Mrs. Don director of the sponsoring or Die troupe will be making ald Starr, directors. ganization, said yesterday that its first American appearance. Emerson and his wife, the the final step in three years It has previously toured in former Margo McElroy, have of negotiations is expected England and performed for been active in University of to be completed today when the royal family. Arizona and community the a contract is\ signed for a Special performances will ater for several years. month’s lease on the Tucson Music Center, formerly the Temple of Music and Art. ' The lease will run from Jan. 9 to Feb. 9 and will permit a week’s occupancy before the company’s arrival Jan. 15, so the theater can be temporarily remodeled in: side to resemble an Eliza bethan theater. The festival will probably be the first of many to ob- serve the 400th anniversary] of Shakespeare’s birth in 1564 and will be coordinated with a study of the great dramat ist’s work in Arizona schools. ; Emerson has contacted 65 public and private educational facilities,, ranging from the University of Arizona to junior high schools, and has received an enthusiastic re sponse. Most plan to study the plays to be presented, a tragedy and a comedy as yet not announced. A similar three-week festi val will be presented in Phoe nix following the Tucson sea son. It will replace the spring Shakespeare festival held there for a number of years. Emerson hopes the venture may mark the start of a state wide classical theater. The Royal Academy of Dra matic Arts is subsidized by the British crown. Sir John Not since the late 40s has "Macbeth" been offered to Tucson. Then the production of Margaret Webster's touring company was given, and Tucson Footlights shortly thereafter one at the UA drama department. But now, as almost every one knows, Tucson will have 'Macbeth' ■■; the rare privilege of seeing this thrilling tragedy this week, as staged by a fine Openiimg troune of English actors from the London Royal Academy of Dramatic Art. Brought here Oil Friday • ’ by the non-profit organization Shakespeare on the Desert, Desert Shakespeare 5 this company will fly direct from London (5535 miles) to Program To Start \ open Friday, Jan. 24, at 8:30 p.m. at the Tucson Music By : Center, 330 S. Scott, for a HELEN WALLACE YOUNGE : week's run, to be followed the The Shakespearean tragedy, second week, Feb. 2-8, by the "Macbeth," has been acted for | comedy, "As You Like It." over three centuries — ever ] Tucson Is Indeed fortunate since that night in 1606 when to have the distinction of be- it played at Hampton Court Ing the first city in the United In the presence of King James. States to celebrate the 400th It is related that on that oc- anniversary of Shakespeare's casion the lad birth by having a festival of who was to two of his plays. Furthermore, ? have played It has the advantage of having i- ]Lady Macbeth this well-tried company to fell ill, and enact them and the direction Shake speare of the renowned John Femald himself had to for “Macbeth," and that of replace him — , Roger Jenkins for "As You men, of course, Like It." Both men are recog- playing the nized as two of England's out roles of women standing directors. in those Eliza- The stage of the. Music YOUNGE bethan days. Center has been stunningly revamped in the Elizabethan During the fashion, handsome with its Intervening years, there have overhead "crown" ceiling, been as many interpretations which juts out over the fore-, of Macbeth and his lady as stage which extends over the! the actors who have played orchestra pit. I them. In fact, in 1667 Pepys That the students of this I in his diary reported, “Thence area are being given special to the Cockpit Theatre to wit matinees is an added feature ness my dearest Mrs. Knipp in of this festival. According to the Tragedie of Macbeth, than the latest word, seats are be- which as I did this day say to ing gobbled up since they are Mr. Killigrew I do know no being offered at the low price play more diverting nor more of $1.25 for students and for worthie of the eye . . . Me- $2.50 and $3.50 for others. thought Mrs. Knipp did never Anyone who even pretends play so fine, specially in the an interest in live theater matter of the two daggers, yet (and if you are reading this without brawl or overmuch column, you must have it) tragick gesture, the which is should support this remark most wearisome, as though an able venture which commu actress do care to affright us nity-minded Tucsonans, head than to be approved. She was ed by production-director most natural when she walks Paul Emerson, have been and forth sleeping (the which I are working hard to bring to can testify, for Mrs. Pepys you. For seat reservations, call also walks sleeping at some Shakespeare on the Desert, or times), and did most ingeni go to its offices at 2719 E. ously mimick the manner of Broadway. women who walk thus." Ill

On Monday afternoon, Feb. 3, at 2:30 Shakespeare’s ca pricious comedy, “As You Like It,” will open a run of CVxTX '-v nine performances, ending It has often been said that Feb. 8. It will give six mati- Shakespeare’s imagery de scribed his scenes so lucidly v\ nees, Feb. 3-8, and three that no set was needed, but Tucson Footlights night performances, Feb. 5-7. Jenkins finds that in this For tickets, call Shakespeare » gay comedy the backgrounds on the Desert office, 2719 E. are only hinted at ve. bally, Broadway. Students will be and to capture the enchant Comedy Is ment and the nip of winter’s excused from school if at bite in th is play, he must con tending, and will be admitted trive some further sugges- Listed By for the special price of $1.25. tions of the look of the Other seats are $2.50 and , woods in their sparkling $3.50. light. Wonder if he’ll bundle his players in heavy clothes? Britons Delightful to meet is the : At any rate, black-haired, director of “As You Like It.” ' blue-eyed, and slight of build, 'A s You Like IK Roger Jenkins, from Bristol, ^ Jenkins is filled with creative Opening Feb. 3 Eng., originally, has a quiet , drive and an eagerness to ex- . charm and soft voice that in- i press this talent. He is little By sure his sincerity from the 1 interested in acting or teach- HELEN WALLACE YOUNGE ing, as such, but admitted to start. A graduate of Cam- | having done some in earlier ' It is probably not too im- bridge, he has spent several | years. His one love is direct- portant that 1964 is the 400th years directing for televi ing and coaching, helping his anniversary of Shakespeare’s : sion’s BBC and ABC in Lon actors to* think through on birth, nor is it too important : don, as well as for Notting- i their roles as they should, : and at the same time to cap that Tucson right now and ham and Leatherhead Reper- ; ture the beauty of the p o e try . under the auspices of Shake- tory theatres, the Belgrade and its rhythms. speare on the Desert is hold- theatre, Cambridge Arts, Ox For example, Jenkins sees ing the first ford Playhouse, and Associ Orlando, the loved of Rosa- [ ^ '.’1 and only win- ated Rediffusion. lind, not as an over-romanti r 1 i ter festival, in John F e r n a 1 d, head of cized and rather helpless ! s the United RADA and director for “Mac lover, but rather as a virile States to com- beth,” has brought Jenkins young man with sharp per m em ora t e into the company for the ex ception. Jenkins finds great E n g 1 a n d's press purpose of directing depth as well as cynicism, ■ greatest writ- “As You Like It.” Incidental egotism and melancholy in er, but if you ly, in my visit with Fernald, the role of Jacques. “All the % happen to love he was excited to learn that world’s a stage, And all the ; ! the Bard’s his close friend and compat men and women merely play L, 1 works and riot, Dame Judith Anderson, ers” has perhaps become a YOUNGf" ™ ^ see is playing in “Black Chiffon” hackneyed phrase, but when them enacted next week at Sombrero The spoken by the Jacques of this in order to relish their riches atre in Phoenix, and made company and under Jenkins’ even more, then it IS im plans at once to go up for a careful direction, it will no portant that you go to see visit. doubt take on new life and the Royal Academy of Dra significance. At least, we’re matic Art’s company from When interviewed, Jenkins ; eager to go and see! London perform in “Mac expressed fascination in beth” or “As You Like It,” working out the staging of or BOTH. . ; “As You Like It,” with its Still playing this week is Forest of Arden, without the handsome tragedy “Mac- ’ benefit of the .usual pastoral beth,” which opened Friday | backdrops to suggest the mght at the Tucson Music scene. These Tucson produc- Center. tions are being staged as in Shakespeare’s time on a truly Elizabethan stage — quite bare except for a few arch ways, draperies, and a col umn or two. \

. - Shakespeare Goes To Tombstone *■■■■v *•* $ > l f <- V - t- - Z t _* < * * j Four members of the Shakespeare on the Desert Troupe awakened Tombstone ghosts yesterday when in their ’‘As You Like it” , - , costumes they visited historic, old Schieffelin Hail, Oddly enough another "As You Like It” troupe closed the old hall almost half a century l *’ ' ago. The English players (from left) are Susan Fleetwood as Rosalind, Terry Hands as Orlando, Briony Hands as Audrey and Dan Caulfield, — the good duke. Tonight at the Tucson Music Center they present the first evening performance of "As You Like It" after a successful 8-day fo run of Macbeth. Occasion for the visit to Tombstone was the current rejuvenation of Schieffelin Hall by Historic Tombstone Adventures, a business corporation formed to preserve, through authentic restoration, the elegant ‘eighties flavor of the Town Too Tough To Die. (Jack Sheaffer photo) f ..‘Si:..Xu ...... UititX’i, . ‘ ■ iVV*V> . » u v‘u\ '■ * . .tv L** . * • {

THURSDAY EVENING, JANUARY 30, 1964

Ronald Pickup (right), dressed for his role as Lord Macbeth, gestures as he tells three members of the Tucson Boys Chorus about life on the road. Looking on is Susan Fleetwood in costume as Lady Macbeth. Pickup and Miss Fleetwood are in Tucson with the Royal Academy of Dramatic Art under the sponsorship of Shake speare on the Desert. The boys are (from left) Randy Lewis, Greg Hourscht and Bobby Dogoli. The chorus left yesterday on their 1964 tour of 26 states. The tour will last until April 18. ■-'>5

THURSDAY, JANUARY 30. *964

Mr, anti Mrs. Levm Dcu^ias Hava been the most recent hosts to the talented Shakespeare on the Desert company of Royal Acad emy of Dramatic Art players. Tuesday evening Mrs. Trubee Davison of New York (left! and Mrs. G orge Dennis 'seated center) were among Tucsonans meeting the young actors at a party at the Douglases'. With them are (from left) Anthony Ainley, Ronald Pickup (Macbeth), Brlony Hodge and Jonathan Holt. (Sheaffer photo) ^si. V\i«\ Axx.tw p'Av^C.l^A ivtw

. —Ci?ize« Ph»i»' SHAKESPEARIAN ACTORS DISCUSS ROLES Peter Mair (center) and Michael Cadrnan discuss their Desert presentations. Mr. Cadman, a fellow student at diction with speech coach Miss Elizabeth Smith. Mr. the Royal Academy of Dramatic Art in London, will Mair will take the roles of Lennox in “Macbeth*’ and play the parts of Macduff and Hymen in the two plays. Oliver in “As You Like It” in the Shakespeare on the “Macbeth” opens tomorrow evening. Sucscrn Baily GLitizm Published Every Afternoon Except Sunday

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PAGE 16 THURSDAY EVENING, FEB. 13, 1964

Tucson’s Winter Season Comes Into Full Bloom Things happen so fast in Tucson in February that the shortest month on the calendar seems to fly by. Thousands of visitors here for. the nationally-envied winter climate find their days filled not only with sun shine but also with exciting attractions. Tucsonians themselves are caught up in the pace of winter season social affairs, cultural events and the succession of major public attractions. , Last week the spotlight swung from Shakespeare to space. The two-week run of Shakespeare on the Des ert closed with praise and wide appreciation for this initial enterprise. The past weekend was perfect for the third annual Aerospace and Arizona Days and tens of thousands thrilled to aerial and ground displays cen tered at Davis-Monthan Air Force Base. Meanwhile, top caliber sports events have been forming a procession of their own. The month opened with the annual Tucson Midwinter Trapshoot, was fol lowed by a tennis tournament featuring Davis Cup stars and this week features the annual Tucson Open Golf Tournament. These sports events have sports page readers across the country, perhaps 80 per cent of them in areas where outdoor sports right now are limited to snow sports, reading the news from Tucson with min gled discontent and ambition. Next winter some of them will be here too, they quietly resolve. ‘Next week comes one event to which all Tucson points each year—La Fiesta de los Vaqueros. This is Tucson with all the flavor and tradition of its colorful past. It is no unsupported boast to say that this year’s 39th annual parade and rodeo will be the biggest yet. Next Thursday’s parade has an all-time record of 412. entries, and advance sales of rodeo tickets also have hit a new high. The whole city takes on the spirit of fiesta. From now through all next week “Go Western” dress is pre scribed for young and old, for visitors and residents. The Tucson Vigilantes are responsible for policing the community to enforce regulations for western attire. It’s fun in February in Tucson, for those who have lived here a lifetime or for those who have come re cently and found already that Tucson is, indeed, not merely a place to live but a way of life. ' Desert Shakespearean Players Offer Excellent Performance Of ‘Macbeth’ By MICHELINE KEATING bethan concept that keeps the Whole passages are read with- some welcome comedy. Other Citizen Entertainment Editor action moving both smoothly out movement, letting the good characterizations were words speak eloquently for Jonathan Holt’s knowledge The 400th anniversary of and excitingly, yet never tak- able Banquo, Kenneth Poitev- ing over histrionically from themselves. the birth of William Shakes Ronald Pickup’s "Macbeth" in's sensibly frightened heir peare (April 23, 1564) was the poetry of the writing. was sensitively drawn, almost to the throne and Michael given the first of planned One of his finest achieve too sensitively. His scenes of Cadman's honest Macduff. worldwide celebrations last ments in this "Macbeth" is penitence and remorse for the The only really off note to night when Paul Emerson's the almost quiet tempo of the brutal murders were wonder me was the three witches, Shakespeafe on the Desert staging. In a drama so fully effective. But it was dif who caricatured rather than presented students from Lon drenched in gore and remorse, ficult to associate him with characterized these eerie crea don's Royal Academy of Dra it is easy to overemphasize, the rugged field general of tures. But perhaps I was dis matic Art in "Macbeth." yet the Fernald rhythm is one 11th century Scotland—a time appointed in them because It is an interesting and of understatement For the and country not associated they are such favorites of well-performed prod u c t ion, most part, this is all to the with culture—whose victories mine. particularly when one keeps good, even though it makes in battle gave him the cour HIGH ON THE CREDIT in mind that this is a student for a kind of restive monotony age to covet the crown and side is the set, designed after company with the young ac at times. make it his own. the Elizabethan stages, which tors on the same experience THE ACTING is uniformly AS LADY MACBETH, Su keeps the scenes contained, level as the students at the on a high student level. One san Fleetwood shows uncom- yet always maneuverable. American Academy of Dra supposes, of course, that the mon promise. Beautifully un "Macbeth" will be played matic Art, the Actors Studio cream of the crop was select derplayed, her Lady Macbeth at matinees Monday through and even the drama depart ed for this first appearance of is a woman whose strength Saturday next week, with ment at the University of Ari the school in America. And and determination is deeply evening performances on Fri zona. it is very rich cream. embedded in femininity. It is day and Saturday, at the Tuc- : THE DIRECTION was by Particularly noteworthy in an exciting characterization. son Music Center. The fol- John Femald, head of the all the players, from the leads With this much talent to start lowing vyeek the comedy "As Royal Academy, and his long down to the shortest bit, is the with, Miss Fleetwood, now You Like It" will be offered. familiarity with this classic clarity of enunciation and only 19, should become one of This is a more than worth- tragedy was evident in every economy of gesture. There is England's great actresses. while project that everyone scene. He has established a never a word lost nor a dis- Phillip Manikum's porter who enjoys live theater should pattern keyed to the Eliza traction of flailing arms. was a standout bit, providing see. ' - - / 118

Lady Macduff sips coffee from a paper whine and wail of bagpipes fills the thea- i cup and puffs nervously on a cigarette. ter; one man beats a sombre tattoo on the The brown-haired girl in stretch pants drums. carefully bloodies a dagger. And the tall cowboy—he dims the houselights. Over in one corner, Lady Macbeth passes the time of day with Banquo and It’s Shakespeare on the Desert, or, a couple of witches in gray gowns and “Meanwhile, back at the Castle . . wigs of straggly hair. And behind the scenes at the Tucson The stage manager cues the light tech Music Center—currently doing duty as nicians with a sweep of his arm and the the Old Pueblo’s Globe Theater—there’s men at the large board respond. One of l organized confusion. the two is the cowboy—Levi’s, cowboy ti : boots, western shirt, broad-brimmed hat. Assorted Lords & Ladies lounge about awaiting their entrances, speaking in Behind the stage—the sounds of battle. hushed tones. Banquo, done in a half hour Shouting, screaming, crying. The clank earlier, rests before making his ghostly of metal; a stage sword beat upon a metal ‘ appearance in “Macbeth.” folding chair, a carpenter’s hammer M V' rapped on a steel floor plate, spears The high-ceilinged backstage area is in banged against swords. near-darkness and the players and crew move about carefully, quietly, in the A few players stand/ about mouthing shadows. speeches being said on stage. One man awaits his entrance cue. Just before dash Just off stage, at a table serving as ing on stage he ruffles his hair with prompter’s box, sits the stage manager— both hands. bearded and in costume for his small part—and his assistant, the girl in stretch Banquo tiptoes up the steps to an upper pants. level of the stage and readies for his ghost scene, when he will be bathed in Their table is illuminated by a shaded pale green light. lamp with a yellow bulb—light enough to follow the script and operate the tape- Lady Macduff’s “son” rushes off stage recorded sound effect apparatus. to slip into her witch garb, and a few soldiers stand around chatting, waiting Nearby is the prop table, On it are to do battle—with each other—on stage. stacks of wicked-looking swords and dag- ers, a torch, a lantern, goblets for the The stretch pants girl twists a lock of banquet scene, a bell and drumsticks. hair and the cowboy talks with a Scottish nobleman. A witch kisses the cheek of a And beside the swords and daggers, lad about to be killed for the seventh time a saucer of blood: “Syrup and food color this week. ing, really,” explains the assistant stage manager. More blood daubed about . . . costumes checked . . . lines repeated . . . props Beside the table, set on a couple of checked . . . cues signaled . . . lights chairs are two drums—snare and bass. dimmed, brought up, dimmed again. A bearded actor clip-clops a pair of co “Macbeth." Shakespeare on the Desert. conut half-shells on the block wall—the Welcome to Stratford-on-Santa Cruz. sound of an approaching horse. The brown-haired girl flips a switch and the And meanwhile, back at the Castle . . . '■i - C.XX xX'tVXLetters • ; i . , To The Editor VANDALISM IN ITS ------PUREST FORM i To the Editor: • V M ji - CL \ -r^ 'c v V My dictionary defines : vandalism as the willful or , ignorant destruction of ar- iMore Than Shakespeare :: tistic treasures, hostility to i - what is beautiful or ven- i ; vl Presentations of Shakespeare on the Desert this , erable. : • i v'week and next are being greeted with wide public in i THEREFORE, the audt- terest and with favorable reception of audiences at , ences seated in the balcony •: ten din g the performances. The response is appropri- at matinees of the Shake- 4 ; ••■ate tribute to the laudable undertaking timed with the speare on the Desert per- * ' .. formances are certainly ■ • 400th anniversary of the birth of the bard. .given a demonstration of, (; There is more than Shakespeare to be reckoned vandalism in its purest and ' most precise form. - • I with, however, in appraising this artistic effort and its •. ^spontaneous acceptance. There is fresh evidence of the No one told us when we bought our tickets that w e ' • vdeep cultural interests of this community which Would ; would be surrounded by a ! , • ^suggest that,more of this kind of theatrical enterprise ' group of teenagers to whom ; '' v^would be a w elcom e and well-supported addition to an afternoon of Macbeth would mean only an escape • , '^Tucson’s winter season activities. ■ : from a school session. • AMID THE cracking o f : ‘ : bubble gum, the play got - ■ ! off to a good start. As it , i • And Shakespeare On The Desert progressed, horse play and j loud talking practically ; !•■ Visiting Mr. and Mrs. Lewis W. Douglas and on drowned out all but the ; i, hand for a party the Douglases will give Tuesday, for very loudest proclamations ' cast members of the Shakespeare on the Desert of the actors. Constant shushings from different .. Royal Academy group, will be Mr. and Mrs. F. Trubee . parts of the balcony and, ] , Davison; Mr. Davison is a former president of the even loud admonitions to : American Museum of Natural History in New York. “shut up” from an elderly ; lady with considerable te He went out to the Arizona-Sonora Desert Museum merity had no effect on ; the other day and was immensely impressed. An these vandals, who in every : amazing list of services to his credit, including the way showed their hostility -• to the beauty of the per- • Assistant Secretaryship of war, *26-,32; service in fonnance. both world wars, the second as assistant chief of air Why are these young ! staff; chairman of the National Crime Commission. louts allowed to destroy 1 Mrs. Davison is the daughter of Tombstone’s late the pleasure of others? ! pastor, Endicott Peabody, who founded Arizona’s first Why, if they must attend I Episcopal Church in 1882. He founded as w ell Groton this wonderful performance, : this rare treat which has ; School in Massachusetts where he educated Franklin come to Tucson—why are : D. Roosevelt and his sons, as well as the sons and they not accompanied by ; teachers, policemen, or at grandsons of TheodOre Roosevelt. He performed the tendants to enforce quiet ; f marriage ceremony that united Eleanor and Franklin and respect and, if neces- ’ Roosevelt. • ‘ sary, to throw them out? ' Mrs. Davison is a former national officer of the IF YOU LOVE Shake American Red Cross and a big game hunter who pre- speare, if you are looking ' forward to an afternoon or : sented material from trips to.India and Africa to the ' pleasure, if you are at all Museum of N^tordHistoy. 3. 3 concerned about your blood ; pressure, heed my advice ; and don’t buy a seat in the balcony. EDNA H. GALTON 1 No. 2,4126 E. Hawthorne, • « 1 * • . 4 * * a- AHSGNA CLAIMS A FIST IN DRAMA

Shakespaaraan Anniversary Festival Opens Jan. 24

By SAM ZOLOTOW 1‘Shakespeare on the DesertM claims distinction as the first of many international celebra tions to commemorate next year the 400th anniversary of Shake speare’s birth. The assertion was made yesterday by Paul H, Emerson, founder and produc ing director of the Arizona festival. Senior'students from London's Royal Academy of Dramatic Art will appear in a repertory program of "Macbeth” and "As You Like It” at the 940-seat Tucson from Jan. 24 to Feb. 8 \ and at the 450-seat Phoenix t Little Theater from Feb. 9 to . March 1. Tucson and Phoenix T are 125 miles apart. Sixteen actors and five ac l tresses, ranging in age from 19 Y to 25, have been selected by the % school’s principal, John Fernald, | to make the trip. Mr. Fernald, * who was born in California, was i here last .year to stage "The } Affair/' based on C. P. Snow’s t novel. Among those In the company i who will be brought over are * Mr. Fernald, director of "Mac beth”; Roger Jenkins, who will stage "As You Like It”; two • staff producers, and a voice

| teacher. They will not be ac- o p ; • com pan! ed by scenery; a simple Elizabethan setting is being de signed without cost by Terry Atkinson, Tucson architect. The aggregation of 26 will leave London Jan. 20 on the 5,355-mile flight to Tucson They will receive no salaries, but their round-trip transporta tion and daily living expenses g will be paid. • Other Trips Proposed t The Royal Academy has been J invited to arrange similar trips f to the Netherlands, Norway and Malta. Most of the performers from the Royal Academy arc being lined up for British rep ertory units, the Royal Shake speare Theater or Britain’s new r:o r: vi rn v rn

National Theater. p

High school students in the o Tucson and Phoenix areas will be admitted at a special price of $1.25. The regular scale is $2.50 ^ to $3.50. Mr. Emerson said, "With the . . Royal Academy troupe, we are ~ able to present British-acted Shakespeare and yet keep the r price to the Arizona student . cheaper than that of a movie. He-was pleased by the favora- 1 bit reaction of the schools in 45 ; Arizona cities and towns that £, had * been canvassed by him. : He said 98 per cent expressed enthusiasm for the project. So far,'Mr. Emerson said, he has Raised. $25,500 toward a goal of $40,000. Fifty donors are from Tucson and two from Phoenix. Mr. Emerson began working on the project In 1961. Aff srraAgerhents were made through correspondence with Mb tFernald, whom* he had not m et Mr. Emerson pointed out that ^ there were no other winter Shakespearean festivals. He sa78 he hoped his nonprofit or ganization would be able to as semble future Tucson-Phoenix festivals. Mr. Emerson, who is 33 years old, used to be an actor at the Barter Theater in Ab ingdon,' Va. Before devoting full time to the festival, he was a cameraman at a Tucson tele vision station, HOLD. Clti/.en ?hv,o SHAKESPEARE COMES TO DESERT Lady Macbeth wears a fashionably short skirt and Macbeth smokes a filter-tip cig arette as they chat with their director, John Fernald, in the lobby of the Santa Rita Hotel. Macbeth is Ronald Pickup; his lady is Susan Fleetwood. They bring Shake speare to the Tucson stage for two weeks, beginning Friday. Lean, Hungry Look Prevails As Shakespeare Cast Lands By JAY HALL ous about a sendoff for | such stuff as dreams are i Cassius had no leaner,, Shakespeare in the middle of i made on and our little life j hungrier look than the raven the southwestern desert in j is rounded with a sleep.” ous horde of Shakespearean a land the bard nevci saw.: The Royal Academy troupe! actors who filled up the Iviv splendid, he t-aio. | puts Macbeth on stage at j Santa Rita Hotel coffee shop A bearded rancher in jeans j the Tucson Music Center, J<30| yesterday afternoon. lounging in the lobby looked S. Scott Ave., beginning Fri with staitlement at the Bir- day for a week, followed by I The whole troupe seemed a week of “As You Like It.” { hanging from a precipice of nam Wood beards of some Evening performances will be hunger after a long series of of the troupe which includes held this Friday and Satur plane rides from London 16 actors, 5 actresses, 2 di day, next Friday and Sat which was summed up by rectors, 8. stage manager, a urday and the following Fri John Fernald, principal and production manager and a day (Feb. 7). Matinee per administrator of the Royal voice teacher. formances will be held each Academy of Dramatic Art, weekday, beginning Monday, as “nothing but disaster.” LADY MACBETH’S legs were a compelling attraction through the final day, Feb. 8. Fog in London, he ex with no apparent design on The production is being plained. A too short runway her part. Though she herself sponsored by the local non somewhere else. A “blizzard” seemed unaware, it was ob profit Shakespeare on the in Baltimore and back to a vious that many a bystander Desert corporation. Tickets “hailstorm” in New York for was mentally labeling them are available at 2719 E. a new start from there. | 'aor»eox\s Broadway or at telephone I Weather delays at airfields r number 793-1013 and, if they which cooped them up some-1 And why not lovely legs last, also at the door for each times in the plane, sometimes; for Lady Macbeth? Fernald performance. in an airfield motel. j (who didn’t, even obliquely refer to the legs) guessed Best guess is that the whole Macbeth was interrupted; that the real Ladv M. was affair will be “as you like it." over a ham sandwich with i about 25 to 35 years old and a request to pose for a pic-1 "must have had tremendous lure. A tew little bits oi ham; s&x appeal to have wielded remained on a plate and power over men that she. first comment was, “I shan’t | had.” have to be away long from I this, shall i?” I The Roval Academy’s tour- And Lady Macbeth, inter- years old but otherwise seems rupted briefly for picture ar to fill the bill of particulars. rangements, all but ran back She is lovely Susan Fleet- to a few shreds of lettuce wood, who had to have more left on her salad plate. than good looks to beat out To paraphrase the real the extensive competition Lady Macbeth, “Who would which Fernald said was con- have thought the old troupe | nected with the casting, to have had so much empti-; _ , , ness in them?” i , ^rnald, servmg as one of ! the two directors for per- That’s how the first Amer- formances of “Macbeth” and lean celebration of the 400th 'As You Like It” here, reck anniversary of the birth of oned that Shakespeare’s best the immortal Bard of Avon play, in the final analysis, is gqt under way here yester-1 “the one you’re directing at day. j the moment.” Fernald, a handsome, per- But he confesses a partial j sonable man with a kindly ity toward "The Tempest” ' hf idmaster’s touch for his and ti favorite quote is from , to ipf.

Royal Academy Players At Ease

Flying in from London yesterday from the Royal Academy were (clockwise) John Lesson, Roger Jenkins, assistant director, Nicola Pageft, Angela Twigg, Elizabeth Knight and Colin Bell, brought to the Untied States for the first time by Shakespeare on the Desert for two weeks' performances of "Macbeth” and "As You Like It" at the Tucson Music Center. (Sheaffer photos by Mark Godfrey)

wvvV* 6 ■Mr. GE

p a CT r ' 123

By WILLIAM GLOVER ambassador - studded proces- j NEW YORK, Jan. 18 UP)— sional at the birthplace in: With Paul Scofield. «n the; April, follows with exhibits at j title role, this cast presents All the world as never before "King Lear” on May TS at is Shakespeare's stage this Stratford’s Memorial Theater j of the bard's entire historical | New York's Lincoln Center, vear, 400th anniversary of his subsequently does ‘ The Com birth. play cycle. A $1,400,000 library of me-: edy of Errors.” The celebration for Strat morsbitia is also to be un-: Tourists will run in! o, ford’s immortal shapes up as veiled as a new annex to the Shakespeare at a lot of other) a gaudy mosaic of homage theater. places at home and abroad. and ballyhoo. Both Edinburgh and Pitlochry, It stretchjs from the banks Starting next Friday, Scotland. Festivals are to j of the Avon to the Pampas Tucson will see the first stress his classics. Vienna's! of Argon tina, embraces celebration in the United Burgtheater outs on “Mac Broadway stars and grade- States of the 400th birth beth” and' “King Henry VI,” school tykes, savants and poli day anniversary of Shake Salzburg salutes with “The ticians alert for cultural pa speare’s birth. Troupers of Merry Wives of Windsor.” tina. the Royal Academy of In this country at least a Dramatic Art, London, will dozen festivals will be held,, Although April 23 is the offer "Macbeth” from Fri Including San Diego, Calif.,: commonly accepted natal day day through Feb. 1 at the and Ashland, Ore. of the man who bequeathed Tucson Music Center, 339 mystery and controversy as Broadway's own contribu well as art to posterity, the S. Scott. The second play tion is a gala “Hamlet,” di- | win be "As You Like It” rected by Sir John Gielgud i adulation scramble is already from Feb. 2 through Feb. S. well under way. and starring Richard Burton.; The General Assembly of Another major British It opens April 1. The Metro-1 Connecticut, where the Amer jubilee event will be a March- politan Opera Co. commemo- i ican Shakespeare Festival June festival in London parti rates the bard, too, with spe-1 happens to be located, got cipated in by the Cornedie cial performances April 27-1 officialdom's jump by pro Franchise, West Berlin's Schil May l0 of Verdi’s “Macbeth,”: claiming 400 days beginning ler Theater, Dublin's Abbey “Oteilo” and Faistaff.” Free! last July I in honor of the group, t h e Polish Teatr: Shakespeare all summer in j bard. Wspolezesny, Greek Arts: Central Park and a citywide | At the college level, the Theater and Moscow Art! tour are being sponsored by; University of California ini Theater. City Hall. tiated jubilee year Sept. 12, Visiting the nearby Chiches- \ and fetes are planned by ter Theater in April will he Wayne State, Dartmouth, the Stratford, Ont., Shake Princeton and just about ev spearean Co., prior to an at- ery other academy with a home season, June 15-Oct. 3. drama department, dub or Plans to have two Ameri auditorium. can theater companies—the Actors Studio and the Strat When Australians are for ford, Conn., ensemble—take X ' the first time seeing Shakes part in some overseas ex peare under a tent at Adel change fell through, but the n,v- ruL ’ aide, primary class youngsters latter will be at home Mav from nine towns in suburban 30-Sept. 13. J /! ' . Westchester County, N, Y., will be making costumes and Traveling on a global scale J V /V 0 t Y-; ) y < rehearsing for their self- are three English troupes. financed, grass-roots salvo to Peter O’Toole does “Hamlet” genius. at the Paris Theater of Na The teacher who whipped tions fete; Ralph Richardson up the event explained, ‘’High and Barbara Jeffort roam Eu schools kill Shakespeare, but rope and South America in the grammar school child is "The Merchant of Venice” not in awe of him.” and “A Midsummer Night's A lot of big-time commer Dream;” and a four-month ex cial productions ore yet to pedition spanning from Mos come. The Royal Shakespeare Susan Fleetwood, member of the Royal Academy of Dramatic Art, London, will play cow to New York via Tokyo Company in England launched Lady Macbeth in the tragedy and Rosalind in "As You Like I f at the Tucson Music Center. is in preparation for a Royal its anniversary agenda at ’Macbeth" will open nest Friday and will run through Feb. I. The comedy will play from Shakespeare Company band. London this week, hoses an Feb. 2 through Feb. 8. The troupe is arriving in Tucson tomorrow. -=* ■\)oO a - v \ , cu On 400th Anniversary Of Bard’s Birth British Shakespeare Troupe To Honor Tucson With 'First' By VIC THORNTON A notable theater first 5s coming our way. The first presentation of Shakespeare — anywhere in the English-speaking world— on the 400th anniversary year of the Bard’s birth will be offered right here in Tucson in late January and early Feb ruary. A distinguished English company from the Vanbrugh Theater in London, directed fcv John Femald, principal of the Royal Academy of Dra matic Art, will fly more than 5.000 mii.es to stage Shakes- peare-in-the-desert at the Tuc son Music Temple Jan. 24 to Feb. 9. The tragedy “Macbeth," and the comedy "As You Like It" will be presented daily on a stage set up in the Elizabethan manner. And now Fm sure you’re | wor^dtii’ing why an English east would come all the way from London for two weeks here and two more in Phoe nix. It all dates back to 1960 when Paul Emerson, a theater- minded and drama-trained Tucsonan who came here originally via the courtesy of the U.S, Air Force, dreamed of bringi : g living Shakespeare to the desert. He got Architect Terry Atkinson and a lot of other p eminent Tucsonans interested. Then Phoenix An English company from the Vanbrugh Theatre of the Royal Academy of Dramatic i climbed on the bandwagon. Art is flying from London to Tucson to present Shakespeare on the Desert in iefe January end ■ Atkinson met Femald in Lon early February. Left is John Femald, director of the Royal Academy, one of Britain's most dis don and wrapped the package tinguished drecfors, who will produce "'Macbeth1’ in Tucson and right is Roger Jenkins, a col up. Stan Phillips of TWA was called upon for transportation league of Ferrssid's who will direct the comedy, "As You Like It.” and responded with a special flying deal for the 25-person Inspired the Bard centuries “The Seagull,’’ which he di-jbuff, and his hobbies are] troupe. ago. reeled with the Old Vic Com- j yachting, travelling and! In London we had the pany for Chehov's Centenary j Shakespeare, of course. "j Actually all the members of pleasure of meeting John and the famed Edinburgh Fes- • , . the Vanbrugh Theater Com Fernald, the principal of the j tivai; and the Liverpool Play-! When be returned to th e: pany are senior students at Royal Academy, regarded as-bouse Jubilee production of theatre after the war he be-j the‘Royal Academy of Dra one of Britain’s most dis-1 Giraudoux’ "The Enchanted.” I came director of the Liverpool j matic Art, one of the world’s tinguished directors. j citir(, 10r>5 h(1 has d ; Playhouse, one of Britain’s-; most noted acting schools. None of the troupe will be paid a penny for their Arizona performances of “Youngj performances — they’re com Wives Tale," “The Human i ing just for board and room for the Vanbrugh Theatre try by the San Francisco as > well as many professional Touch’’ and “The Silver Cur-! and the thrill of it. They’re earthquake, and returned to lew.’’ Later he joined forces | - all accomplished, talented per England. Femald attended productions. with Roy Rich at the Arts formers, the cream of the Trinity College at Oxford, be The course at the Royal Theatre in London adding Royal Academy crop. fore the theater beckoned as Academy covers a two-year many other notable produc-j And it just happens they'll a career and then it was in period of three terms per tions to his directorship in-! be here on the 400th anni terrupted by World War 11. year. Students range from 17 eluding Shaw’s "St. Joan" and versary year of Shakepeare’s He was invalided out in 1945 years up to 31 and are selected Pirandello’s ’The Rules of birth, April 23, 1564, in Strat as a Navy lieutenant com- the Game." ford-on-Avon, on a competitive basis which | manner after participating in sometimes weeds out as many In Tucson he will direct Recently I was in Stratford, ' three invasions including the one of the 250,000 tourists to as 95 per cent of the appli “Macbeth,’’ while a young as Normandy big push which re cants. For instance about sociate, Roger Jenkins, a for visit Shakespeare's birthplace gained Europe for the Allies.; year ago there were more this year. Next year because mer reader of English at Cam of the anniversary they ex The theater is his love and i gian 500 applicants, but only bridge, who went into acting pect about half a million visi the Royal Academy and the; enrollments to be filled. and later directing, will di tors in this charming English Vanbrugh Theatre his life.| The students put in from! rect “As You Like It,’’ village. Shaw and Shakespeare are! 10 to 12 hours per day. “They Jenkins has directed for his favorite playwrights. ure pros when they finish the ABC and BBC television and Tourism and brewing are Last year he directed “The | final term,” says Fernald. |jn the theatre for the Not- the two big industries in Aifair” on Broadway. In fact: One of Femalds regrets)tingham and Leatherhead Re- Stratford. In fact , I heartily he has more than 300 produc- about his trip to Tucson is! pertory Theatres, for the Bel- enjoyed a pmt of Flowers j tions to his credit. Some of] that he won't be riding the j garde, Coventry, the Oxford bitters, tne same brew, the his recent major productions| train—get a chance to see the) Playhouse and the Cambridge natives say, w'htch may have

...... , .. ..lAtt-am u. i till. Tucson Footlights 8;$p? Xrlximi Q lzs 4

By HELEN W. YOUNGE Theatrewisft for Arizona it is worthy of note that our local project, "Shakespeare- on-the-Desert,” has made the PAGE EIGHT— SECTION C SUNDAY, DEC. 22, l»S3 “big time.” Not only are such noted actors as Laurence Oli vier and Peter O'Toole re- v.j acting and

y writer and critic Sam Zol-

the New York YOUNGE Times. The fact that Tucsonan Paul Emerson, founder and | producing director, claims the first of many international i celebrations of the 400th an niversary of Shakespeare’s birth headlined the article. : It is also the only winter fes tival in the United States. i Now Emerson announces I that London’s Royai Academy ' of • Dramatic Art will anpear in “Macbeth” Jan. 24-Feb. 1, and in “As You Like it" Feb. 2-9 at the Tucson Music Cen ter. From Feb. 9-Mar. 1 the company will play in Phoenix at the Phoenix Little Theatre. For information about tickets, which will have special stu dent rates. Emerson can be contacted at his office in the Importer Of British Troupe Tucson Festival office, 2719 E. Broadway. Paul Emerson, producing director of "Shakespeare-on-tha* Interestingly enough, I have Desert," will present the London Royal Academy of Dramatic i been asked a number of times, Art In "Macbeth" and "As You Lilia it" at the Tucson Music I “Why bring an English com- Canter in January and February, | pany ail the way from London to act Shakespeare? Don’t we have actors capable of in recall a delightful English Shakespeare done, so to terpreting the Bard?” friend once saying, "You speak, in its native tongue know, Fm really tired of see with its proper inflexion. On My answer is that when ing ‘Macbeth’ — I think I the other hand. Emerson as talking to Sir John Gielgud sures me that the company's voice teacher will see to it tones, “You know, it is only ance. that the British accent won’t in England that actors gain The company from the be so heavy that it interferes any sense of training for the Royal Academy are those with our understanding it. reading of Shakespeare. 1 who have seen and read A company of 28 will leave should say that all told there Shakespeare and also have London on Jan. 20 on its are perhaps only 40 actors in been trained to perform it. 5,355-mile flight to Tucson. the world today who are ac Furthermore, the ones chosen Sixteen actors and six ac tually skilled enough to inter to come to this festival are tresses comprise the talented pret him and still retain the only the top ranking1 actors troupe, along with John Fer- beauty of his poetry.” who compete , for the oppor nald, distinguished director, tunity, and other producing person- As far as l am concerned. 'ITianks to Emerson, Ari- nek Settings and costumes I’d not limit the laleni to zona theatregoers and stu-jhave been designed im . Lon- such a small number, but, on dents will be given this ex- j don. but will he created here the other hand, I’ve been ex traordinary chance to hear I by Tucson artists. posed to a number of Shake spearean performances in this country, such as those of the imposing Stratford, Conn., festival, with such leads as Morris Carnovsky and Kath arine Hepburn, and I found them only adequate, if that, ' It is quite another thing to hear the poetry of Shake speare read with the authen ticity that trained English actors acquire. They have been indoctrinated to the Bard in their schools from childhood: they are familiar with the texts of many of the plays because, for little cost, they have the opportunity to ro see and hear Shakespearean

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What’s down south besides the sun- P' F V i— rodeos, fly-ins, a golf classic

There’s a lot more to a winter vacation in the sunnier parts of the country than just lolling on a beach getting an off-season tan. From Florida to Hawaii the natives have laid on so many attrac tions that if you try to sample everything they have to offer, you may never get into a bathing suit at all. There are fairs, festivals and fiestas galore, horse races, car races, motorcycle races, even turtle races. You can gape at Oriental fashions and exotic or chids and delicate seashells, march in a parade, pan for gold, dance in the streets and, if you want to, jump out of an airplane.

MISSION. In its 27th annual Fiesta of YUMA. It isn’t the men with the long Citrus Jewels, Mission sings the praises est beards who win prizes at the Sil of local produce: citrus fruits, flowers ver Spur Rodeo Feb. 7-9—it’s those and vegetables—and pretty girls—Feb. who can get their beards shaved off 12-16. There are nightly street carnivals, the fastest. There will be special events fashion shows, a Parade of Oranges and competitions for senior citizens on the 15th with floats, bands and drill and teen-agers, with barbecues and teams from neighboring towns, fol western dances for all. On Saturday lowed by the crowning of next year’s Feb. 8 Yuma stages what it proudly Queen Citriana at the Queen’s Ball. calls the “ biggest little parade in the Southwest.” Parachutists share the air WESLACO. The big All-Valley Shuffle- with feathered fliers board Tournament Feb. 4, 5 is open to C alifornia anyone who can wield a shovel. Those who can't, can root for their favorite PALM SPRINGS. The 24th annual Florida Show Feb. 21-24, where more than $1 teams from grandstand scats. Palm Springs Rodeo Jan. 25, 26 will at million worth of plants will be brought tract top hands from all over the coun DAYTONA. If your pulse quickens to in by exhibitors from all over the world. N ew M ex ico try for the big-money riding, roping the roar of racing motors, Daytona is and bulldogging events. The Palm the place to be. Motorcycles start prac PALM BEACH. Beachcombers who SANTA FE. On Jan. 23 nearby San Ildc- Springs Golf Classic Jan. 29-Feb. 2 will tice runs at the International Speedway pick up seashells can enter their treas fonso Pueblo honors its patron saint. bring 128 top-flight golf pros and 384 on Jan. 28 for the U S. Motor Club ures in the Palm Beach County Shell Visitors should arrive before dawn to amateurs to compete on four separate World Point races Feb. 1, 2. Automo Cluh’s annual show Feb. 26-29. The hear a blanketed figure representing courses for $100,000 in prizes. Jack biles take over Feb. 8 for the first living creatures (conch, spiny oyster, Pomeyamo, the legendary hero of the Nicklaus will defend his title against of three weekends of car races, climaxed flamingo tongue) that build and in Pueblo Indians, calling wild animals Arnold Palmer and other pros—and on Feb. 23 with the sixth running of habit the shells will be displayed in to give themselves up as food for the against such celebrated duffers as Frank the Daytona 500, a grueling endurance special tanks. The best exhibit will re hungry human beings. Dancers in an Sinatra, George Gobel, Desi Arnaz and test for late-model stock cars. ceive a special award from Philadel imal costume respond, trouping to the Phil Harris. On the final day President phia’s Academy of Natural Sciences. plaza to chant hymns to good hunting. Eisenhower, honorary tournament FORT MYERS. The New London chairman, will hand out the 30 Eisen (N.H.) Players are coming back to the ST. PETERSBURG-TAMPA. Fifty A rizona hower trophies to the top amateurs. Winter Playhouse to stage a full sea years ago a passenger was carried from son of drama, comedy and musicals St. Petersburg to Tampa in a pusher- PHOENIX. Four hundred head of care SAN DIEGO. Fifty or more champion starting Jan. 14. At the Southwest type hydroplane—the first scheduled fully groomed dairy cattle—Guernseys, glider pilots will take to the air Feb. 29, Florida Fair, fowl fanciers can see one airline flight on record. To celebrate Holsteins, Jerseys and milking short March 1 in the Pacific Coast Midwinter of the best poultry shows in the state the anniversary the two towns will hold horns—will be paraded before critical Soaring Championships. From Torrey Jan. 27-Feb. 1. From Feb. 8 through an antique plane fly-in at the Albert ranchers at a Holiday Show and Sale Pines Gliderport north of the city, vis the 15th the town salutes its most fa Whittcd Field Jan. 10, with planes Feb. 20-22. The annual Cactus Show itors can watch the launchings and mous winter resident, Thomas Edison, judged on quality, flying efficiency and spreads its spines and flowers in the flights. with a Pageant of Light, a mixed bag age. The 11th starts with a morning air Desert Botanical Gardens during the of events which includes a card tourna show, and in the afternoon a replica week beginning Feb. 23. H aw aii ment, science fair, children’s parade, based on the original hydroplane’s land turtle race and a square dance. plans will re-enact the historic flight. SCOTTSDALE. Every Saturday through HONOLULU. If you like your sun New Jersey’s former governor, Charles On Jan. 12 at Tampa International Air January the town hoorahs with hold against an Oriental backdrop, Hawaii Edison, will cut a six-foot cake at a port, there will be an exhibit of 50 years ups, shoot-’em-ups, fast draws and face is the place to go—but take along cot birthday party honoring his father on of transport planes and equipment. downs. Residents and tourists alike are ton for your ears. To enliven the Chi the 13th. The pageant winds up Sat subject to “ arrest” for being clean nese Narcissus Festival beginning Jan. urday with a grand parade of light and WINTER HAVEN. The U.S., Irish and shaven—or, for that matter, for wear 3, celebrators will set off fireworks, in a show in the Edison Stadium. Mexican Olympic Equestrian teams ing beards. This is all by way of leading cluding strings of 10,000 firecrackers. will perform in stirring exhibitions of up to the annual Parada del Sol which Chinese art shows, displays of the old IN DIANTOWN. Picked performers horsemanship at the Imperial Charity will offer three days of rodeo (Jan. 31- and new in Chinese fashions, a queen from the U.S., Canada and Mexico Horse Show, Jan. 29-Feb. 2. In the Feb. 2) and, on Feb. I, a parade with contest and an ornate Coronation Ball have been invited to compete in the open jumper sweepstakes, riders will floats, riders, bands and Indian dancers. —with the women wearing Mandarin annual Circle T. Rodeo Feb. 22, 23. compete for a $10,000 purse—the larg Court costumes—all lead up to a stu The town, on the banks of the St. est ever in the history of jumping. TUCSON. The Royal Academy of Dra pendous day, Feb. 13. This is the Chi Lucie Canal, has a fine marina for matic Art of London presents Macbeth nese New Year’s Day, which ushers in yachtsmen attending the rodeo—and T e x a s at the Tucson Music Center Jan. 24-31, the Year of the Dragon. good pole fishing. followed by As You Like It Feb. 1-8. The Japanese Cherry Blossom Fes HOUSTON. Sky divers put on one of On Feb. 9 the company moves to Phoe tival will already be under way. (As it MIAMI. Two hundred and fifty riders their biggest winter shows Feb. 1,2, in nix, where it will play at the Little happens, cherry trees are not native to compete in 122 classes at the Miami the city’s annual Invitational Para Theatre until March 1. Hawaii so most of the blossoms that Charity Horse Show Feb. 12-16. Five chute Meet. There will be two main deck shops and houses will be artificial.) white Lippizancrs from the Spanish competitions—in accuracy and style. WICKENBURG. Tourists can pan the There will be a festival of Japanese Riding School in Vienna are featured For the first, chutists will see who can dry Hassayampa River for gold Feb. films, a beauty contest for Japanese this year. A special thrill for children land closest to the center of a big white 7-9 during Gold Rush Days. (If you girls, judo demonstrations, exhibits of and fire buffs is a pony hitch of six cross. Those competing in style delay get there ahead of time, you won’t find flower arrangements and, on Feb. 29, oiack ponies pulling a scaled-down opening their chutes as long as a minute any: the river bed is salted with gold es the Cherry Blossom Parade. A group of oldtime hook and ladder rig. Orchid in order to perform all sorts of mid-air pecially for the festival.) Panningjack dancers from Japan is expected for the lovers can get professional advice on acrobatics as they plummet down. In a drilling and mucking contests, mock Culture Show March 9-11. On March growing, arranging and wearing or special contest one free-falling chutist massacres and holdups will be followed 14 there will be a ball at which the chids at the 20th International Orchid hands a baton to a falling colleague. by the Gold Town Jamboree. Cherry Blossom Queen will be crowned.

7 SHAKESPEARE ON THE DESERT

SEE BACK COVER

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ro Oo ON TEE COVER

Shakespeare On The Desert. Tucson is a long way removed in distance and time from London’s Globe Theater of Elizabethan days. Yet it is here, on Friday night at the Tucson Music Center, that the world-girdling festivities planned to celebrate the 400th anniversary of the Bard-on- Avon will be kicked-off. Paul Emerson’s Shakespeare-on-the-Desert, Inc. will present the Royal Academy of Dramatic Art’s production of Shakespeare’s "Macbeth” at S.30 p.m. F rid a y and Sat urday and again on Friday and Saturday, Jan. 31 and Feb. 1. There will be matinees daily Monday-Saturday, Jan. 27- Feb. 1, at 2:30 p.m. Tickets are available at the Tucson Festival office, 2719 E. Broadway. Starting Monday, Feb. 3, through Saturday, Feb. 3, there will be 2:30 p.m. matinees of “As You Like I t ” Evening productions of this second presentation will be on Wednesday-Friday, Feb. 5-7, at 8:30. The 26-member company, headed by John Fernald, director of the Royal Academy, arrives here from London M onday. Susan Fleetwood (in the picture at left) will play Lady Macbeth and, in “As You Like It,” the role of Rosa lind. The three witches m "Macbeth” (shown below rehears ing in London) will he enacted by Angela Twigg, Nicola Scott and Elizabeth Knight. In other leading roles in both shows will be Ronald Pickup (Macbeth and Adam), Anthony Ainley, (King Duncan and Jacques), Michael Cadman (Macduff and Dennis), Jonathan Holt (Banquo and Frederick),, Dan Caulfield, Malcolm Reynolds,'Peter Mair, Terry Hands, Phillip Manikum and William Ellis. “Macbeth” has been directed by Fernald and Roger Jenkins has done "As You Like It.” The Royal Academy was founded in 1904 by Sir Herbert Reerhohrn Tree. Two years later Kenneth Barnes became principal of the school, a post he held for 46 years, receiving a knighthood for his work in 1930. Fer nald has directed the school since Barnes' retirement in 1955. Although this marks the first, appearance in the United States, and it will be exclusively in Tucson and Phoenix, of a company from the Royal Academy of Dra matic Art, the school has toured recently in Switzerland, Norway and Holland. The Royal Academy offers a two-year course provid ing thorough stage training and admits only pupils intend ing to take up the theater as a professional career. The course is planned so that a year of basic instruction is followed by a year of acting before the public in the Academy's Vanbrugh Theater. Shown on the cover the famed Flower portrait of Shakespeare, whose 400th birthday falls on April 23. The photos pn this page are by Graham Smith-Attwood of London. SUSAN FLEETWOOD: CITIZEN PHOTO BY ART GRASBERCER By MICHELINE KEATING CITIZEN MAGAZINE EDITOR

“The theater, when you and we all are interested in that is probably my only before I can be really good. “With my height, who become involved in it, is a the arts. My brother plays hobby. Looking.” And I would like to do some else would be asked to play sort of love-hate thing. the drums and my sister is Because she has not yet modern plays. I’ve never Rosalind,” she remarked, There are many bitter dis a sculptor and is married to had the time or opportunity shown my knees in a pro her soft eyes brightening appointments. But one can’t an artist.” to see much theater besides duction yet. with laughter. “I’m taller be without it.” Susan is a tall girl, a very her classes at the Royal “I think my first interest than most of the men. But The 19-year-old who said tall girl, with brown-velvet Academy, Susan is still un will always be the theater. at least I don’t have to play this is, perhaps, far wiser eyes and lank shoulder- acquainted with England’s One has the freedom on the children. Even in the Christ than she knows. She is length dark brown hair that great established stars— stage to develop one’s tal mas pantomimes I’m al Susan Fleetwood, who has she lets fall anyhow from Olivier, Gielgud, Guinness. ent. Eventually I think I ways the witch.” been a memorable Lady a center parting. Off stage “Because I’ve not had the might like to try movies, This trip to Tucson has Macbeth this past week at she wears no make-up, not opportunity to become a too. But not now. I’m not been a high point for her, the Tucson Music Center even the lightest film of passionate fan of anyone,” ready for that yet. And I although she would have where students from Lon powder. And her complex she said, “I’ve not had the don’t ever want to do tele liked to have seen New don’s Royal Academy of ion has that ruddy dewy temptation to become imi vision. It is too restricted York. Dramatic Art have ap freshness that comes from —too tied down to chalk tative of anyone. I find “Because of poor flying peared in the Shakespear growing up in a country I work intuitively—sort of marks and gestures.” ean drama under the aus where it rains a lot. starting off from blankness The two things one is weather our plane was pices of Paul Emerson’s She was born at St. An or life substance.” aware of most in the per grounded overnight in New York,” she said. “We could Shakespeare On The Desert drews, Scotland, where her For one starting off from formance of all the Royal project. father, who is in the Royal Academy students is their not see anything, but at Her talent, a deep love blankness, Susan comes up least we can say we spent Air Force, was stationed at with some very solid sub economy of gesture and the for the theater and a con the time. But she did her wonderful clarity of their the night there.” siderable gift for the art it stance as Lady Macbeth, a growing-up in many other remarkable characterization enunciation. And she isn’t quite sure entails, were born in her, places and, altogether, at “We have many voice that she likes the . desert. I suppose. For neither of filled with deep cello-like tended 16 different schools. tones. classes in school,” Susan “Coming as I do from a her parents or their parents She lived in Egypt for three said. “Great stress is placed country that is damp and were interested in the thea years and in Norway for an “I have two things going against me now,” she said. on sounding each word so lushly green, Tucson seems ter. In fact, until Susan other three. that it may be heard. How so dry and brown. And ev went to London to study “I’ve not been cast in any Otherwise her father was thing but the classics at the ever, you really can’t speak erything here seems so sort two years ago she had not stationed mostly at bases been inside a theater. Academy and I have always Shakespeare badly. His of temporary — the build “But, since I was 8, I’ve in the south of England in played the leads.” lines just ask to be well ings look as though they known inside that I had to the country. Now most young stu done.” were put up to last only act,” she said. "That year “Despite growing up in dents would be very pleased Starting Monday, the five years or so. I would I was cast in a play at the country. I’m not an out with such a situation but troupe will present “As You like to see more of school. I was Joseph in his door kind of girl,” she said. Susan wants to become an Like It” for a week, with America.” coat of many colors. It was “I don’t do any sports at all. all around fine actress. matinees at 2:30 p.m. daily And she probably will. such a marvelous coat. How I just never cared for them. “After I have graduated through Saturday, and eve With her kind of talent, I loved it! It was then that My brother and sister and from the Academy, I want ning performances at 8:30 with her ambition and her it became my secret ambi I used to go on a lot of to go into repertory in the Wednesday through Friday. sensibility, the chances are tion to go on the stage and painting expeditions. Since provinces,” she said, “be Susan will again be playing that Susan Fleetwood, it stayed with me until my going to London, I’ve had cause it is essential that I a leading role when she ap through the ye--= to come, parents said I could go to very little leisure. But I get more experience in pears as Rosalind. It is a will be able to pick the London and study drama. love to look. Every Sunday small parts and in all cate character in which she places where she wants to They had no objection. I I walk for miles around gories of plays. I must have masquerades as a man part act and the plays that she have a brother and sister London just looking. I think experience in insignificance of the time. would prefer to appear in.

SATURDAY, FEBRUARY I, 1964 TUCSON DAILY CITIZEN PAGE 23 Festival, Lakewood Civic Auditorium. hr lighting candles. Example: Italy. Franklin Boulevard at Bunts Road. Lake- Franco Zeffirelli (he designed, directed the wood, Ohio. The 12-week season includes: Old Vic's famous West Side S/ory-inspired I/amlet, Antony and Cleopatra. Henry VI Romeo and Juliet) is mounting Antony and # THERE (its three parts telescoped into one wal Cleopatra for Milan’s Piccolo theatre — - loping whole), Richard III. Muck Ado Valentina Cortesc's the Egyptian and Raf about Nothing, The Taming of the Shrew. Vallone her Antony. Zeffirelli's also stag Lithgow’s Shakespeare is Bard-pure: this ing a Hamlet. Vittorio Gassman, himself IS NQ2THIIS director believes in the magic of the Bard’s a famous Italian Hamlet, is enmeshed in own language.... We can’t give you the Macbeth. And Renzo Ricci, most distin titles of the plays to he presented by the guished theatre man, is revealing depths of MIRACULOI 15th National Shakespeare Festival. Old despair and depravity with his Othello. Globe Theatre. Balboa Park. San Diego, Visconti (The Leopard) has a Troilus and California, but we can tell you that Pro Crcssida projected. And Glauco Mauri ABOUT TH ducing Director Craig Noel has a won and Valeria Moriconi. who some seasons drous way with the Bard. Result: the ago roared and roistered through a tre San Diego Festival is one of our greatest: mendous Taming of the Shrew, are hard last season it played to 95.01 per cent put to find a Shakespeare that is not being <#2 S OAF ^ capacity.... From February 9-March 1, alj planned by other Italian stars and com the Phoenix Little Theatre, Arizona, sen panies. h r students from London's Royal Academy Great big tip: Louis Marder. who edits of Dramatic Art in their versions of Mac- The Shakespeare Newsletter, is the most i/eth and As Yon Like It. R.A.D.A.’s top inexhaustible source for Shakespeare cele 2 6 — actors ranging in age from 19 to 25 bration information. Best way to siphon : are, until February }>. showing Tucson this source is to subscribe to the Marder audiences their twin Bard offerings. Over newsletter. Six issues per annum, Kent all title of this festival is Shakespeare in Slate University. Kent, Ohio. Price: $1.50 the Desert. Man who founded, produces a year. This tidy little paper is chucka- the Arizona gala is Paul H. Emerson. hlock with all sorts of Bard scholarship "\\ ith the Royal Academy troupe." says and/or serious news. It has a world wide yet many people gla Emerson, “we are able to present British- circulation. Good Shakespeare gift. acted Shakespeare and yet keep the price Don't forget the Metropolitan Opera’s pay $1 a cake for to the Arizona student cheaper than that special April season in New York, during of a movie.” which Verdi works based on Othello, Mac Neutrogena is a clear amber, Swifting across the ocean again — this beth and FalstafJ will be featured (the medicated soap that originated yea time to the Continent. Just about every last will mark the Met debuts of Leonard in a Belgian chemist’s laboratoi important company on the Continent willContinent will Bernstein and Franco Zeffirelli). European success prompted its int tion in America. It is now made h< T -7 Why has Neutrogena been suet IT TAKES both in Europe and the United S TWO Why will people gladly pay $1 g for it? The answers are varied: . . . and only two to Many women say they use it f< make what looks skin. Others find it equally helpf like a three-piece oily and normal skins. Teen-agers suit. There’s a it helps keep their complexions s and clear. Many women, too, tell dress masquerading makes an excellent shampoo. as a sleeveless Letters praising Neutrogena co shirt and conical us in each day’s mail. Many are skirt, plus a inely enthusiastic. Yet we repeat: buttonless cardigan. is nothing miraculous about this What is miraculous is this: VV By Toni Todd, 8-16, many lower-priced soaps on the m $17.98. Jacket and Neutrogena's repeat sales are st skirt in dull-green going up. In fact, Americans nox Arnel/rayon denim; more than 2,000,000 cakes of Neuti Soap each year. So the answer rm shirt and jacket in the soap itself. lining in Dacron/ Why not discover this rare so; cotton plaid. At yourself? You will find Neutroge Hecht Co., selected cosmetic counters and pr* Baltimore; tion pharmacies. Ask your druggj Neutrogena. If he doesn't have it, } Davison's. Atlanta; get it for you ... in 24 hours. But Richards, Miami; prefer, take advantage of the gei Maison Blanche, Trial Offer in coupon below. New Orleans; Scruggs, Vandervoort, N e u t r o g e n a : 2525 Main Street, ; Barney, St. Louis; Monica, California, Dept. M -2,— I a Gold & Co., Lincoln closing 10 cents (to cover cost of pa and mailing). Please send Trial Cal

NAME.

STREET.

AXlHiEI PCXMTH CITY___ .STATE. Shakespeare in the L. S. and Canada—1964,33

More people will see Shakespeare performed during his 400th anniversary year than satv his plays during his entire lifetime. The chart on this and the following page lists some of this year s festival activity, with descriptions supplied by the festivals themselves. In addition, many universities have arranged Shakespeare events, the most ambitious of which is probably Stanford’s seven-week Shakespeare Summer Festival, from June 23 to August 9. There the country’s two oldest festivals will present their repertoire, followed by the Actor’s Workshop "Volpone” and Stanford's Elizabethan Theater Workshop production of three plays by Shakespeare’s contemporaries. Con certs, exhibits, and lectures are also planned. Already past but worthy of note teas Tucson’s “Shakespeare on the Desert,” which in January imported a com pany from London to perform “Macbeth” and “As You Like It.” And in March the Lincoln Center World’s Fair Fes tival presented Dame Edith Evans, Sir John Gielgud, and Margaret Leighton in “lloinage to Shakespeare.” Also noteworthy is the Gielgud production of “Hamlet” with Richard Burton and an all-star cast, which will play on Broadway from April 9 to June 27; Sir Tyrone Guthrie’s “Henry V” with George Grizzard, which will play in rota tion with “Saint Joan,” “The Glass Menagerie,” and “Volpone” at Minneapolis beginning May 17; Stuart Vaughan’s “King Lear” with Vernon Weddle, which continues at the Seattle Theater Center until June 6 The Cleveland Play House’s presentation of “Henry IV, Part I,” which will play until April 18; and the Dallas Theater Center’s “Comedy of Errors" (April 7-May 2), “Julius Caesar" (matinees 0:1 April 18 and 25, and May 2), and “The Tempest,” de signed by the famotis Danish designer Bjorn Winnblad (October 15-November 21). ~-H.Il.

N a m e Plays W here and When Kind of Company Policy

T h e A m e r i c a n H a m l e t Stratford, Conn., May 26 professional actors, To bring to the American public the plays S h a k e s p e a r e M u c h A d o A b o u t 30 to Sept. 13 ‘n night 20 students; Lester of Shakespeare and other classic authors F e s t iv a l Nothing ly rotation Tues.-SaV, Rawlins (Hamlet, produced under the highest possible pro T h e a t e r Richard III mat. Wed., Sat., Sun. Philip Bosco (Ben fessional standards with the fine ensemble 1955— (Founded) morning. Mat. student edick), Jacqueline playing of a continuing repertory company. audience— Mar. 30 Brookes (Beatrice), thru May 29 Douglas Watson (Richard III)

B a n f f S h a k e s p e a r e As You Like It Banff, July 31, Aug. 1, Drama school under Costumes generally conform to the period F e s t iv a l 14, 15; Edmonton, Al graduates and other and the setting of the play concerned. ta., Aug. 17; Calgary. non-Broadway profes Alta.. Aug. 18, 19 s io n a ls

C h a m p l a i n As You Like It Burlington, Vt., in Non-Broadway profes To give young actors the opportunity of S h a k e s p e a r e R o m e o a n d Juliet nightly rotation: A s sio n a ls appearing in major Shakespearean roles F e s t iv a l K ing John You Like It— A u g . 1- over an extended period; to present Shake ( 1 9 5 9 ) 30 speare’s plays in an honest, straightforward m a n n e r.

C in c i n n a t i M a c b e t h Cincinnati, O., M a c Resident non-Equity To strive for excellence in the dram atic arts: S h a k e s p e a r e King Lear beth— J a n .; K i n g Lear professional company to raise and hold public interest in them. F e s t iv a l Othello — F e b .; Othello— M a r .; ( 1 9 6 1 ) H a m l e t H a m l e t — Apr. 16-25

C o l o r a d o I roilus a n d Cressida Boulder, Col., Aug. 1- College actors on fel To present a comedy, a history, and a S h a k e s p e a r e K ing J o h n 15 in nightly rotation lo w s h ip s tragedy each season on an open stage and F e s t iv a l As You Like It in costumes appropriate to the period in a ( 1 9 5 8 ) manner best for the poetry and the drama.

G r e a t L a k e s I'he T a m i n g of the Lakewood, O.. June Resident repertory; 15 1 o produce the current repertory of Shake S h a k e s p e a r e S h r e w 30 to Sept. 13, Tues. to Equity performers, 6 spearean plays on a presentational, multi F e s t iv a l M u c h A d o A b o u t Sat.; mat. Sat.; school non-Equity advanced level platform unit, with a unity of cos ( 1 9 6 2 ) Nothing mat. after Labor Day. d ir e c to r s tuming and decorative design not in exact H e n r y V! period detail, but in an artistic concept Richard III intended to enhance the force of the text. Antonv and Cleopatra

H o l l y w o o d B o w l King Lear Schoenberg Auditori M orris Carnovsky and To recreate K i n g Lear in its original period ASSOCIATION um, UCLA, June 8- professional Equity ac a n d sty le . S h a k e s p e a r e July 2. nightly cxc. tors of the Theater F e s t iv a l Mon. Pilgrimage Thea Group, UCLA, Uni ( 1 9 6 4 ) tre, Los Angeles, July versity Extension 1 3 -A u g . 8

H o l l y w o o d Shakespeare Gala 400 Hollywood, Calif., Professionals and ap lo present he plays of Shakespeare with S h a k e s p e a r e (scenes, ballet) Mar-May weekends p re n tic e s the fullest t niversal meaning possible, de F e s t iv a l The Merry Wives of (Gala 400); July- picting their inherent humanity through ( 1 9 5 5 ) Windsor Aug., repertory week power, beauty, color, warmth, and simplici T h e Te m p e s t ends; Colton, Calif., ty based upon the enduring classic arts with Coriolanus A u g . 2 8 , T h e M e r r y creative modern presentation and delinea H e n r y VI Wives of Windsor tio n .

L o e i i D r a m a Julius Caesar Cambridge, Mass. Ju Undergraduates of the 1 o study the plays of M arlowe and Shake C l NI ER K i n g Lear lius Caesar, Apr. 16-18, Harvard Dramatic speare historically and theatrically; and, F l SIIVAL 20-25. June 3-4. 7-8; C lu b after concert reading of M arlowe, to stage ( 1 9 6 4 ) King Lear, M a y 7 -9 , two Shakespeare plays in the three-quarters 11-16, June 4-5. 9-10 Elizabethan arrangement of our stage.

M a r in S h a k e s p e a r e T he T a m i n g of the Ross, California—July Nonprofessional lo produce Shakespeare for contemporary F e s t iv a l S h r e w 15-Sept. 2. Wed. theater entertainment. ( 1 9 6 4 ) A Midsummer Night’s through Sat. eves. D r e a m T h e Me r r y Wives of Win d s o r ls SR/April 4, 1964 Name Plays j W h e r e a m i W h e n K i n d o f C o m p a n y P o lic y

M c L a r t u r T h e a t r e Othello Princeton, N.J., Lch. Resident repertory To reveal, as far as the director is able, o i P r i n c e t o n The Taming oj the 22-Apr. 26 Tlmr. to company of 15 Hquity what Shakespeare was saying and not what UNIVERSITY Shrew Sun. in nightly rota performers, 6 non- a director or main character wants to say. ( 1 9 6 1 ) Romeo and Juliet tion. Mats. Uuily exc. Hcjuity apprentices Richard III S u n . 1 3 4 Much Ado About Nothing

N e w Y o r k Hamlet NYC, Central Park. Professionals; Alfred To make the classics psychologically under

S i i a k i :s i ' e:a r e Othello Hamlet— June 10-July Ryder (Ham let), Julie standable to contemporary audiences with F e s t i v a l Electra 4 ; Othello— J u ly 8- Harris (Ophelia),How in the style of the writing. ( 1 9 5 4 ) A Midsummer Night’s A u g . 1; Plectra— A u g . ard Da Silva (Clau Dream 5-Aug. 29; Five-bor dius), James Earl ough parks tour A Jones (Othello), Lee Midsummer Night’s Grant (Electra) Dream— June-Scpt.

O r e g o n The Merchant of Stanford University, Gifted actors and tech To present Shakespeare’s plays in the man

S hakespearean Venice Palo Alto, Calif., June nicians selected from ner their writer intended, on the type of F e s t i v a l King Lear 23-July 4 in nightly ro university and com stage for which he wrote. (1935-41, 1947) Twelfth Night tation; Ashland, Ore., munity theaters, to Henry VI, Part I July 11-Sept. 6 in gether with occasional Knight of the Burning nightly rotation. professionals Pestle Knight of the Burning Pestle, only Aug. 24, 2 9 . Sept. 3

R o y a l King Lear in nightly rotation exc. Professional company lo create a company that can express S h a k e s p e a r e The Comedy o f Errors Sun. Wash., DC. headed by Paul Sco Shakespeare’s intentions in contemporary T h e a t e r T o u r (Apr. 13-25), Boston, field, who will play the terms, using continuous training of the ( 1 8 6 4 ) Mass. (Apr. 27-May title role in King Lear actors, experiments in technique, and per 9), Toronto, Ont. formances of significant non-Shakespearean (May 11-16), New classics and m odern writing as instruments. York State Theater of The work is rooted in Shakespeare and Lincoln Center (May stems from Shakespeare. And the other 1 8 -J u n e 6 ) dramatists in the repertory, whether they be Brecht, Durrcnmatt, Pinter, or Genet, are helping to build a strong bridge between the classical theater and the theater of our tim e .

S a n D i e g o Much Ado About Old Globe, San Diego, Professionals To present the finest performances of the N a t i o n a l Nothing Much Ado About plays of William Shakespeare in the world S h a k e s p e a r e Macbeth Nothing a m i Macbeth: in the only functioning replica of the orig (1949-52, 1954) Measure for Measure June 9-July 5, in cl. inal Globe Playhouse. Measure for Measure: July 14-Sept. 13. Stan ford Univ., July 7-12.

S h a k e s p e a r e Macbeth Antioch Amphitheater, A core of professional ' To celebrate the bard’s 400th anniversary, a t A n t i o c h As You Like It Yellow Springs, O. In actors supported by but not to try to live up to the romantic fan ( 1 9 6 4 ) The Tempest dividual two-week runs, advanced drama stu tasies people have of the previous Antioch Henry IV, Part 1 July 1-Sept. 6. Nightly d e n ts festival (1952-56) when all thirty-eight of Hamlet except Mon. and the Shakespeare’s plays were presented over a Tuc. before each Wed. five-summer period. o p e n in g .

S h a k e s p e a r e Henry V Ravinia Park. Chicago, Professional actors; To present Shakespeare’s plays on a multi a t R a v i n i a Twelfth Night Aug. 14 - Sept. 27. Britain’s Robert Hardy, level apron stage with a minimum of Hamlet N ig h tly e x c. S u n & will head the company. s c e n e ry . M on. Mats. Wed., Sat. & S u n .

S outheastern Hamlet Atlanta. G a, July 6- Drama school gradu To bring the works of Shakespeare to life S h a k e s p e a r e A Midsummer Night’s Aug. 29 in rightly ro ates and an experi in as direct and honest a manner as pos F e s t i v a l Dream tation exc. Sun. Mat. enced non-Broadway sible, and to use the festival as a further ( 1 9 6 1 ) Henry IV, Part II S u n . professional broadening and developmental experience The Alchemist for our year-round acting ensemble.

S o u t h e r n Much Ado About Univ. of Miami, Coral Professionals, non- Produces plays of Shakespeare wuh great S h a k e s p e a r e Nothing Gables, Fla.. July 7- Broadway profession est possible fidelity to the script and to the R e p e r t o r y Othello Aug. 6 in nightly rota als, drama school grad conventions of the Elizabethan Theater. We T h e a t e r The Merry Wives of tion exc. Mon. uates and undergrad try to retain the quality of the original pro ( 1 9 6 1 ) Windsor u a te s duction within the conventions of contem King Lear porary theatre.

S t r a t f o r d Le Bourgeois Stratford, Ont., June Professionals; John To advance knowledge and appreciation of S hakespearean Gentilhomme 5-Oct. 3 in nightly ro Colicos (Lear), Helen and to stimulate interest in Shakespearean F e s t i v a l o f C a n a d a The Country Wife tation Mon-Sat.; mats. Burns, Bruno Gerussi, culture and tradition by theatrical perform ( 1 9 5 3 ) Richard II W e d ., S a t. Martha Henry, Wil ances; to provide improved opportunities for King Lear liam Hint, Frances Hy Canadian artistic talent; to advance the land, Douglas Rain, development of the arts of the theater in Tony Van Bridge C a n a d a . U n iv e r s it y Richard HI Victoria, H.C., July Experienced amateurs To celebrate Shakespeare’s 400th anniver o f V i c t o r i a A Midsummer Night’s 16-Aug. 8 exc. Sun., and drama students sary and to break the ground from which a C a m p u s P l a y e r s Dream Mon., Tucs. with professional di full-scale annual drama festival may grow. ( 1 9 6 4 ) The Alchemist re c to rs W a y n e S t a t e Julius Caesar Wayne State U. Thea 33 performers from To develop a company to perform plays in U n i v e r s i t y Antony and Cleopatra ter, Detroit, Mich., in university and profes the classic tradition. C l a s s i c T h e a t e r As You Like It nightly rotation Jan. sional drama schools, ( 1 9 6 4 ) Romeo and Juliet 1 5 -J u n c 7 on fellowships

SH/April 4, 19G4 - 1 9 APPENDIX E

CONTRACTS INVOLVING SHAKESPEARE ON THE DESERT, INC. MEMORANDUM to Mr. Paul Emerson, Representative SHAKESPEARE ON THE DESERT

DATE December 2, 1963

This letter of memorandum, when accepted by those authorized to act for Shakespeare-On-The-Desert and for the Phoenix Little Theatre (P.L.T.) constitutes the full agreement between these two organizations for the use of the Phoenix Little Theatre by Shakespeare-On-The-Deseri.

Shakespeare-On-The-Desert leases the full facilities of the P.L.T. stage, house, auditorium, dressing rooms, green room, box office and foyer from 12:30 February 9, 1964, to Moon Monday, March 2, 1964. Shakespeare-On-The-Desert is to have full access to and use of these facilities of Phoenix Little Theatre, and of any technical equipment of P.L.T. However, the rehearsal halls are reserved to the theatre, as is the business office.

Shakespeare-On-The-Desert shall use the theatre facilities solely to prepare for, rehearse and present theatrical performances, which performances shall consist of two Shakespearean plays (of at least fifteen public performances in the aggregate), enacted by members of the Royal Academy of Dramatic Arts of London, England.

Shakespeare-On-The-Desert reserves to itself, and is to be responsible for, all publicity, promotion and materials therefor with the understanding P.L.T. will also be free to publicize the Shakespearean production in its house organ, sub ject to reasonable restrictions on content by Shakespeare-On- The-Desert.

The programs shall be the responsibility of Shakespeare- On-The-Desert. Shakespeare-On-The-Desert shall be free to make any arrangements it may desire as to programs between it and the organization presently providing programs for P.L.T.

Shakespeare-On-The-Desert shall have available a volunteer staff of the Phoenix Little Theatre insofar as any of those volunteers wish to serve.

It is understood and agreed that all sets, properties, costumes, and all equipment and materials (except lighting system and lighting materials, which will be furnished by P.L.T.) necessary or related to the agreed productions will be provided by Shakespeare-On-The-Desert as its property, and are to be re moved from the dressing rooms, stage and workshop area which are to be left "broom-clean", no later than 12:00 Noon Monday, March 2.

135 2 It is understood and agreed that P.L.T. will provide at its own expense its usual janitorial services. 136

It is agreed that the continuing tenant for the audi torium, a church organization, shall be free to use the auditorium between the hours of 9:00 A.M. to 1:00 P.M. on each Sunday of Shakespeare-On-The-Desert's occupancy.

It is understood that ushers who wish to volunteer through the Little Theatre organization may volunteer to usher for Shakespeare-On-The-Desert. Shakespeare-On-The-Desert is to be responsible for the ticket taking, ushering, the serving of coffee and any other services or facilities they desire.

A written inventory of Little Theatre equipment will be furnished to Shakespeare-On-The-Desert when they enter the Theatre, and it is agreed that all equipment be returned to the Theatre in good condition, ordinary wear and tear excepted. Damage will be paid for, and any articles which disappear will be paid for, by Shakespeare-On-The-Desert, unless shown to have been occasioned by a cause beyond the control of Shakespeare-On-The-Desert.

It is understood that Shakespeare-On-The-Desert will maintain adequate public liability and property damage insurance coverage with limits of no less than Sl00,000/S300,000 as to public liability and $5000 as to property damage and will hold the Little Theatre harmless for any injury to persons, for any damage to P.L.T. property or to property of others occurring during the period of Shakespeare-On-The-Desert's occupancy. Such insurance shall designate P.L.T. as an additional named insured, and proof of such insurance in effect shall be furnished P.L.T. as a condition precedent to occupancy by Shakespeare-On-The-Desert.

It is understood that all books of account of Shakes- peare-On-The-Desert will be open to inspection by P.L.T. financial officers. Receipts may be audited and adequate records will be kept to enable both P.L.T. and Shakespeare-On-The-Desert to appraise the results.

It is understood that Shakespeare-On-The-Desert shall not incur any indebtedness in the name of the Phoenix Little Theatre during their occupancy.

In consideration of this lease:

1) Shakespeare-On-The-Desert will pay a flat guarantee of Two Thousand Dollars ($2,000.00) to Phoenix Little Theatre on or- before Sunday, February 9, 1964.

2) Eight Hundred (800) P.L.T. memberships will be honored for performances by Shakespeare-On-The-Desert, at no charge to P.L.T. 3

3) P.L.T. memberships in excess of eight hundred (800) through fifteen hundred (1,500) will be honored for performances by Shakespeare-On-The-Desert, at a charge to P.L.T. of One Dollar Fifty Cents (Si.50) each. 137

4) P.L.T. memberships in excess of fifteen hundred (1,500) may be honored for performances of Shakespeare-On-The- Desert , and if so honored will be honored at a charge to P.L.T. of Two Dollars Fifty Cents (S2.50) each.

5) If the gross receipts are over Twenty Two Thousand and Five Hundred Dollars (#22,500.00), P.L.T. will receive 25% of any gross receipts over the #22,500.00.

6 ) Shakespeare-On-The-Desert will furnish a full-time box office supervisor.

7) All P.L.T. Press passes will be honored only as determined by Shakespeare-On-The-Desert.

8 ) The Theatre will keep the stage lights lamped, but Sha3:espeare-0n-The-Desert will replace all gels used and will leave the Theatre with the same quantity and color of gels in the lamps as are installed when Shakespeare-On-The-Desert moves into the Theatre.

SHAKESPEARE-ON-THE-DESERT an Arizona corporation

HOENIX LITTLE THEAT:

le si dent gMFUlWw. -x - 4 /,^ 138 rx*.7-:..‘ 25, 1:33

v'ldLti ^f.-raetau-vt entered in.to tlc.-j 23rd day ea ./zyte:i zr, l>53f between Cn Tho u cocrt ^ I no. ^:\d th z tiutria^diy : .orni:.d y-wi'âl ;luv, Ino* oonetitutss Ju.ll r .rv = :ui bjtrxcn these tr.ro ord^ni:;atlcru3 £or tie use o.C tbe Tueaon Jteeie Ccutt •:. r 1'arr.erly tec»ra as ths *CD-yla gl ;eisic aril Je*t, loeeted ,;t ZOO dvoih Se<^-Lf !Tueôu, Ari&otw* by £U cn la c r<;c >.rt, I;«# : J. .oa-vry 9, 19C4, u n til . ..' . Sh&Uctiycarc ou Dcccyt, Zne. lyoscss H e l u l l le e U t i c a o£ uV,e tte s o b Ix ^ ic Ccutnrc’o c t. / .1 Ixcuse^ d re sa i e rx M ^ , i:;,rruu roexia* box oliioCg lex i.r, ..1 pc bio £x&u : id Ijht Jsismzy 9W 1964* u n til laidvdc^t Zcbnv^T >> i- £ao^cec;.aovt. Ca The Insert* Znc* is to have : \ 11 aeceso to and usia c£ these facilities cf the Tucson -lentre iceluli:^ any of the *trjeatrii:.al equipcsest belong i:^: :.e 1... .; t-u-ivy - .;v;i. •; Zluaical Oluh, inc # It in understood end oju- . A that t'"c nbe, a uentiv— 1 facilities atad eûi-xaent tjill ou sued csdlitoively by ...haleopeg e Cu 7he ;:kv:;art, Inc* froca Jano; :..r/ 9, 1914* Lddvd^ht* im til .17 j e-y v, 19:4, bllniyht#

Shahaaâere On The Desert* 2no* ;/-a _1 use the wl.we incr.tio e.l a:..:..lr;:.aer;t a:vX theatre Cecilitler.5 ijolely to yre;x‘ire io r, rchco.rec, cnl present tea nx ex!; pl'sys* g :%hnopewe On The Ttesert* Xnn. re: a all yulilicity r i h:.*a tu thnae tvo produetdtons of Mr. uu;:cnrcou yl^c* 139 ao a:ray c ’: irlieoc. ti-ro .. plays as sttcn l i t by Sliaacspa^re: Cn lliti yaaerty lnc« .:a ;> idLdrJ^ht January 9, lvu^furttll zxLCzxi&it Vchnir-ry 9f l'> fi# ir. t :c b'-accou liusic CSorvw^re# I t is txEsdcflfStoocl $5mt Sbâlv..s^.-arc. Oa bhc Desert# Ixu* s h e ll b o ll t e r t i l ^ s tl%& Satin,x^-i:y T ^ ie a i ■•lub, I&3* for eny liab ility vîieh tzay &zi:m oixt of the r^liâtice or otVicr ujufccmdvsot o f the Sbal%»pe&re i>a bzrzzt, Ine# or ony o£ its enploycco* It if* understood end agreed that all cotc* propertiest ar>l c^?rtu};x3 noccuzsayy or rclcted tu tlua eyroed prodw tioos w ill be provided by ilwr.apaaza v.i tr>a Dctwt, Xnc* *t$» its pr-vparty and. axa to be re-iovcd ... ao,,; tVia tac-atra at 'Lie tcraiuot im o£ th is z;dree;ucnt# Xt is oadart&tood a^ rer. th st ShiLec.-cero cn iba. Oecnrt>

Inc« w ill ?3C pmaitted to ixdora t. .3 iunsoa dm::Lc Contra e&ztarior with a$ vjxc,y British zuid/ur id ea, <. vrumt ll^;n ns iitsbe^petro

Cn The D&scrt f i t provldi:^; that d!^b^n;>cs.r>.. Otx tW Desert 1 Inc;, ha responsible far any te. i:»OTner o f th is Adomne:xt and providing LVevt no elxsi&c a ball bh msde to the structure- of tW Tuaaun bade centra in this nd.'rment without pen.xiti&;ion of the officers of tte bat- xr-biy b'.ming Itnslcal Club, Ino» in each ard every ouae* i ho

It Is Widfer^tood cnU c c t - r.:': that hlu T%%:- C% Cba w-day i-insieal Club* Xtu:-« or in the iv^e oX the Xucron Itiaic Ocic/e.

%% cartsideration for £%••-• v:m v ” the Xitct^ri ';lu£:±c Otatra u W o r the ..I’l-wc mtttiosi&d ca:di.:.icvv: frca ; Janui^ry 9*. l{?<54g u n til 2&Utni&h& rolrmror/ 9t X0C4, On Vhi rjc^crt-, Iim# ^rece to $>07 irt tic £ o llc :;,*db‘-i; vnuticr: TruntlreC m or before

2 0 , 1963f ui;: hmdsrtzd dcUUare ni vr before .9t . 1904, find 1;iy s himdrod d ollars on or oci.o;rc s^brutLy l v 1.934* It ia x*a4er&to..,ere oa ^63w t# Xuo* und the Oaturda;/ horning iteisol Club, luc# viH a'fcriusx equally tot&l c:. ^:ireo of the janitoriul sew£ne:s nocCSftrry to hoc.p tlv* iV->;iio;; >% i$£col centre? clc;m C tie £no£l.iti.es "nly ) deriu; th e ti^ o Icuu- t i al'cve* Sat’iric / .i OiUvinc • O steal C lub, Shul-^o;)^ r z On Lire ihtsert, Xr*o*

^/C o Tuxes and Accessories Make-Up — Party Novelties Wigs and Beards

HUDSON COSTUME RENTAL Party and Theatrical Costumes - P rops

Phone HEmlock 7-6214 1760 PACIFIC AVENUE

LONG BEACH 13, CALIFORNIA JfinUaPy 2 ,______19__0±t.

1 . This agreement when signed by those authorized to act for uSHAKESP2ARE ON THE DESERT, INC." and"HUDS0N COSTUME 00." constitutes the full contract between these two organizations for origination and rental of costumes for the two productions MAOoETH and A: YOU LIKE IT to play in both Tucson and Phoenix, Arirona. 2. Hudson Costume Co. will provide up to 60 costumes for the two productions (give or take 2 or 3 within reason), for ^1 ,0 0 0 .oo any costumes needed above the total of 60 will be *2 0 .co per costume rental. The above arranged price of rental, does NOT include armor an l cloaks; said armor and cloaks to be provided by the Globe Theater in ban Diego. 3. Generally, and as close as possible, the costumes supplied will be duplicates of the English ones as provided by Mr* Emerson, certainly in COLOR and QUALITY OF EFFECT. However, EXACT fabric duplication is impossible due to the short time factor involved, and the difference of prices between English and American fabrics, especially woolens.

4* Delivery dates of costum s in Tusfcon to be as follows: MACBETH - January 19th, 1964 LOU LUCE IT - January 29th, 1964.

(Note: blight adjustment can be made by mutual agreement should Mr. Emerson personally pick up costumes from Long Beach) Otherwise, SHIPPING CHAAGES to be arranged by separate, cooperative agreement between the two organizations) 5. Return dates of costumes to be arranged by mutual agreement but not to exceed one week after final closing date in Arizona* Should playing dates be extended, additional arrangement must be made between the two companies*

6 o Original sketches of English Go. to be used only in Hudson‘s company and to be returned to Mr. Emerson within a reasonable length of time*

t ♦ HUDSON’S COSTUME CO. will deliver costumes according to measurements provided vi: Mr. Emerson from the Royal Academy, £?n.<> measurements to be followed as closely as possible to

1. i o l e given. nowever, due to slight weight changes, minor alterations will have to be made in Arizona, provided the materials of costumes are not cut and hand-stidling is used in alterations * Tuxes and Accessories Make-Up — Party Novelties Wigs and Beards

HUDSON COSTUME RENTAL 142 Party and Theatrical Costumes - Props

Phone HEmlock 7-6214 1760 PACIFIC AVENUE

LONG BEACH 13, CALIFORNIA------—------19. Costume Agreement - Page 2

8 , Hudson’s will deliver costumes for UAS YOU LIKE IT" as scheduled PROVIDED the complete costumes sketches from the Royal Academy arrive/ IKtLong Beach by JANUARY 10th, 196ij.. Otherwise a delivery date adjustment must be made♦

9. In good faith, upon the signing of this agreement by all parties concerned, the SHAKESPEARE ON THE DESERT company will forward with the return of said agreement, the sum of yl4.OO.oo as advance payment toward the purchase of costume fabrics; the remaining yoOO.oo to be paid upon delivery of costumes•

10. It is to be understood the price of y20.oo per costume by Hudson’s Costumes is CONFIDENTIAL. It is far below that of the usual rental fee and applies ONLY for the Inaugural Season of the "Shakespeare On The Desert, co’s" productions of "Macbeth" and "As You Like It" as a gesture of BEST WISHES for the opening season, and for the mutual henfit of both companies now and in the future.

FOR: HUDSON’S COSTUMES| Inc.

Warren Hendricks

yJAHai Bk XTTAIN Costumes Coordinator A G ^ m arr to ixco.»o.uru aho v:;Uti..w..iik

We thC UadOMl=ned* d0 hortk, = r=o := £,rm a „»„-,ro£U c« -

“n°™'n aS ',n c " :cr thtt aaee of SHA;us m THt DEi^iHT, INCORPORATED. We curt - 1 lcr n rec to underwrite the debts and 143 liaoilities o- said non-profit 2 corporation by personally making 3 ours elver, liable to the said corporation's creditors for the pcriocj

4 one year iron the date of incorporation in the amount which ap- I pears next to our names, as they appear in the list below. 5 it is distinctly understood and agreed as between the said 6 corporation and those'undersigned herein and between each of the 7 undersigned that no Liability shall attach to any of the under S signed persons unless and until this agreement is signed by persons 9 who P led g e to u nderw rite in th e to t a l amount o f Twenty J iv e Thousand 10 Dollars, (^>25,000). It is further agreed that when the total of 11 $25,000 in underwriting is reached that the persons signed below 12 w ill cooperate with Mr. Paul umerson and each other in forming a 13 non-profit corporation for the purposes of carrying out educational 14 and theatrical productions and that each of the others undersigned 15 w ill be an incorporator of said corporation. 1C The corporation plans to present the .ayal Academy of dramatic 17 Arts of London, England in the first year of incorporation. IS It is hercoy agreed and understood chat each or the under

19 pinned shall bo liable as an underwriter and guarantor of the 20 iiab ilicics and debts of this corooration only to the exicnv se^ 21 out in this agreement and shall in no of.itr way oc personally

22 liable to the creditors of the said corporation. 23 It is hereby understood and agreed that vne liabilities

24 the corporation w ill not exceed forty Thousand Dollars (ydo.OJj; 25 under any circumstances durln: the first year of incorporation.

20 If for any reason such corporation should not be formed

27 before November, 1964. the underwriters nsmed below shell

28 released from any and all colt actons herein incurred.

20 144

c., ;rupply 11 constitute t'.e full contract bclr:ccn these t o or-" r.in .t:l -nr .cor the .' in t 1 of V lq • tr i . 'oce e - o it C l-: 00 «x.l . ) A A / . * _ / $ ^.. J and . 'fdnd;:li1 a r . : O o r.:.., by jlv lees pc ere Cn The Desert, Inc. ■or: r h e Oj-C. hue bio 'thestrical Jupply .

D r. flue Gyc, 20:130* Gold Traveler 20X40* Black let 5 pr lees 3 borders 1 Back Drop 20X40* Black Drop 10:0.0* Tarq. ?: Gold 10X10*

Li; lit s 12 750;7-10007 Lekos 33 500;/ Ires no Is 5 1000.-15007 floods 1 1500 ’7 Beam Projector 30* yround rou liylits 1 utrenn trouper-follox; spot arc 3 I h.sdn 1- )0-1500 foil or knots 6 Boons for 3 Liyhts L eh. 35 Pc. era or ted Jtsrc Gable h ..-luy-in Denes. 1 400 trip. Portable dinner board - 10 dir. ers. 1 small dinner board with 3 dimmers at 10007 each.

Bpecial Effects 3 black l i ht units (Elourescent) 1 Cloud . ojactor, 1 foy machine 4 small vctor driven color wheel spotlights, 2 bubble '.chines, ^ \ssorted se t pieces floral tre. - . Vines, .hot if ic ini El o; /era . docks.

1 public a res.- systeal, Z; .ik.es, p. cables, etc.

It is understood and ayre:d the above ecuipnent and facilities will be used in full by ■ esnenre On Tl:c Desert iring the tine period described above and that Ghakespcare ,Cn hixe Desert rill be responsible for any dams he to same oeyone normal wear tear. Patient frcn Jhr.hespeare On Tlie Desert, Inc. to Cld 1 unbio ldieatrdc.nl dupnly in onsiteration od tl.ic lease is to be as toll owe:

One "am're dollars 1)100.00/ down Then this treerent is signed by all > rsons authorised to act "or .tv Ices pc are On The Desert, Inc. and Old Inc hi o '•ic a trie al Dupp ly . ^ ~ c j U[ c u . on or oetore I ' l . - . a o a ^ u s d H r

rcasurer

Pro cl ucrnf; Director BIBLIOGRAPHY

Fl a g l e r , J. M. "On w a r d and Upwa r d w i t h the Ar t s ," T he New Yo r k e r , XXXIII (August 3 1, 1957), 56-70.

Gr i f f i n , Al i c e . "Sh a k e s p e a r e Fe stivals in Am e r i c a ," Th e a t r e Ar t s , XL (Ap r i l , 1956),.62-63.

______. "St r a t f o r d Sh a k e s p e a r e , Co n n e c t i c u t St y l e ; S t r a t f o r d ... - S h a k e s p e a r e , Ca n a d i a n St y l e ," T h e a t r e Ar t s , XL (Se p t e m b e r , 1956), 24-25f f .

Ho b s o n , W i l d e r . "This Re s o u n d i n g S hakespearean Y e a r : T he Ba r d , T he Ev e n t s , The Old Ar g u m e n t ," Ne w s w e e k . LI 11 (April 27, 1959), 109-112.

Ho u s e m a n , Jo h n . "Sh a k e s p e a r e and t h e Am e r i c a n Ac t o r ," T h e a t r e Ar t s , XL (Ju l y , 1956), 31-32.

______, a n d Jack La n d a u . T he Am e r i c a n Sh a k e s p e a r e Fe s t i v a l . N ew Yo r k , 1959- “ '

Pr i d e a u x , To m . "Yo u n g P ilgri m a g e to S h a k e s p e a r e ," L i f e . XLVIII (Ju n e 6, i9 6 0 ) , 131- 133. —

Q u a t l e ,. An t k o h t . "Th r e e S t h a t f o .d s , Ohe Go a l ," T h e a t r e Ar t s , XL (Mat 1956), 30-32t f . ------

S e a l e , Do u q l a s . "Sh a k e s f e a r e and the Re f e r t o r t S t a s e ," T h e a t r e Ar t s , XL (Se p t e m b e r , 1956), 20-2If f .

"The St a g e ," T i m e . LXXVI (Ju l y 4, i960), 60-72.

SHAKESPEARE IN THE DESERT

CONTENTS

Parts

I Why Shakespeare ? I l Why Arizona ?

ill H o w ?

SHAKESPEARE IN THE DESERT

BOX OFFICE IN THE BLACK

STRATFORD ENGLAND 1 ,00ufOUu ticket requests each year force this theatre to turn dotm 4 out of 5. 2uu,OOu see Shakespeare here every season. STRATFORD ONTARIO uver an eight year period this theatre averaged 87% capacity houses at a break-even figure of 75%. STRATFORD CONNECTICUT 200,OUU see the Shakespeare offered annually in the adult theatre. Pro moting a junior theatre through the public school system, this theatre had to turn down lu,OUU. ASHLAND OREGON Operating in the black for twenty years, with each new year's budget determined by the profit margin of the proceeding season, this theatre's budget has grown to $llu,vuu. SAN DIEGO CALIFORNIA Theatre promotion through the San Diego public school system brought this theatre from a $lu,uuu deficit to a $15,OUu profit in one season. They have operated in the black both seasons since.

SHAKESPEARE IN THE DESERT

EACH WINTER

TOURISTS spenc^g . over

TWO HUNDRED AND EIGHTY MILLION DOLLARS throughout the state of Arizona tripling the population

yet

NO MORE

peop 1e attend legitimate theater productions in the winter than do in the summer I

SHAKESPEARE IN TH E DESERT

ARIZONA STUDENTS

will

study ploys

for

Pijgrimoge to

Shakespeare

phoenix— Tucson SHAKESPEARE IN THE DESERT

UNIVERSITY OF ARIZONA . . . What you are proposing could be indeed a real contribution to the cultural activity of Tucsm and southern Arizona• 1 wish you all success,

Sidney. W, Little, Dean College of Fine Arts University of Arizona SHAKESPEARE IN THE DESERT

UNIVERSITY OF ARIZONA

, • • After appraising your book on the explor atory phase of establishing a professional Shakespearean company in Tucson, I want to tell you that this is not only an impres sive study, but a sensible and workable plan.

There is a definite need for this kind of cultural program in the city of Tucson, both for the town and the schools; and I whole heartedly endorse your plan in every respect, Peter R, liarroney Head Drama Department College of Pine Arts University of Arizona SHAKESPEARE IN THE DESERT

UNIVERSITY OF ARIZONA

, e # % have carefully examined your proposal to inagurate an annual Shakespeare winter festival here in Tucson. It seems to me that a repertory company such as the one which your prospectus describes, if and when established here, could make an im portant contribution to the cultural life of the Tucson community and to the cause of education in the university as well as in the high schools. Naturally the project of a Shakespeare repertory theater group comprising pro fessional as well as selected student players would be of special interest to the English Department of this university. I see no reason why, if these productions prove to be of the quality that you have reason to expect, we should not be willing to participate in the plan in an advisory capacity, and to recommend to our students that they take the opportunity to see in living form the plays of Shakespeare that they have studied and discussed in class. . .

A. Laurence Muir Head English Department College of Liberal Arts University of Arizona SHAKESPEARE IN THE DESERT

TUCSON SCHOOL DISTRICT NUMBER ONE

. . . The department chairmen and I feel that one of the problems we often have in teaching Shakespeare could be materially diminished by such a project as you propose, i.e. the opportunity to see a number of Shak espearean plays would help students understand that Shakespeare wrote his dramas to be acted, not just read. Therefore, we would welcome the opportunity to enter into some kind of a school study program which would be correlated with the plays to be presented within a given season.

Iris Itulvaney Coordinator of Language Arts Tucson School District Number One , SHAKESPEARE IN THE DESERT

PHOENIX UNION HIGH SCHOOL AND COLLEGE SYSTEM'

• • • I want to thank you very much for taking the time to come to Phoenix to meet with our English Department Heads on Wednesday afternoon. As I have already told you over the phone, they were all most pleased and respon sive to your proposal to bring several Shake spe are an productions to Phoenix next year. Not only did they volun teer with enthusiasm to encourage their own students to attend such productions, but most of them felt that they might be able to include in their English pro grams the reading of those plays to be presented.

If there is any other way in which we may help you with the planning of these productions in Phoenix, we hope that you will feel free to call upon us.

Meanwhile, many thanks for all of your enthusiastic efforts in trying to work out something very superior for our people to see.

Lewis All bee Assis tant Superintendent SHAKESPEARE IN THE DESERT

BISBEE . . . Cur English teachers are very much interested in your Shakespearean Repertory in Tucson, and will be glad to cooperate as much as possible in coordinating their Shakespearean study program with your theatre pre sentations . . . bus transportation will be available , • • Anthony Nadolski, Principal MORENCI . . . Your proposal for founding a Shakes pearean Repertory Theatre in Tucson is a welcoming light on the develop ment of culture in Arizona, . .

L. Robinett, Principal TOLAS . . , We feel such a plan will be helpful to our educational program and will lend our full support , , , we wish you every success in this venture as it could lend much to the culture of the Southwest and to the educational opportunities to our students, • • Paul H, Huber, Principal COOLIDGE , . , Cur school Will provide bus transpor tation from Coolidge to the theatre • • -at any time for this worthwhile pro ject, , • Jack W, Dumond, Principal SHAKESPEARE IN THE DESERT

ELOY . . . The Santa Cruz Valley Union High School, Cloy, Arizona, is definitely interested in arranging a Shakespearean study pro gram around the plays to be produced. . .

John H. Berryhill, Superintendent

CASA GRANDE . . . I was very happy to have had the privi lege of talking to you regarding the establishment of a Shakespearean Tte at re in Tucson. . . the Cnglish Department of our school is very interested in studying Shakespearean plays and will be happy to carry out the suggestion that we study the various plays as they are given in pro- -; duction. We will also be very happy to 1 see that any students interested*in mak ing the trip to Tucson to see the plays have transportation. . •

Loren S. Curtis, Superintendent

SELLS • • • Although our school here is only a Junior High School this plan interests me greatly as I believe it would be an incentive for the children to work harder. Our school would certainly be able to provide bus transportation to Tucson in the event that the theatre was founded. . .

Wendell H. Gordie, Principal SHAKESPEARE IN THE DESERT

SAFFORD

• • . We would be willing to have English teachers araange a program around plays to be pro duced by the theatre if they are of high school level , , . In regards to transpor tation, we would probably be able to arrange transportation for those students interested in a Saturday matinee • • • Please keep us informed * . . Donald R, Wilson, Principal GILA BEND

. . . We like the idea of your organization form ulating a Shakespearean study for our students • • • We would provide transportation for our students who wished to attend a play at Tucson. R.W. Crichton, Superintendent

PATAGONIA

. . . At the present time this school uses pro fessionally prepared recordings of some of the Shakes lie arean dramas which are studied in the English classes. Although we find these very helpful, the theatre proposed by you would be far more stimulating to our students, and I can assure you that this s school will do all it possibly can to co operate . . . Thanking you for coming to Patagonia william Collins, Principal BENSON

. . . After discussing this proposed project with our English Department, we feel this would be an educational benefit to our students. We will be happy to provide transportation for a group of our students and plan study programs around the various plays presented • • . Den Rutherford, Principal

iSa SHAKESPEARE IN THE DESERT

MIAMI

. . . The Miami High School administration, faculty and student body are most elated that we can have the possibility of seeing Shakespearean plays at their very best. Miami High School will have a good rep resentation at the Shakespearean Reperatory Theatre in Tucson. Thank you in behalf of the students and faculty of our high school . . . N. C. Ragus, Principal TOMBSTONE . . . I have talked to the Head of our English Department and to my Superintendent, along with several other interested persons, concerning your project, and all seem to be very interested. I feel certain that if this project becomes a reality that Tombstone High School will be a partici pant . . . John L. Wyatt, Principal FLORENCE

. . . We, here at Florence Union High School, are very interested in your proposed arrangement for the Shakespearean plays to be presented in this area. We know that if our students can see these plays presented by professionals and Royal Academy of Dramatic Art students, it will greatly enrich their studies in these areas. One of the great obstacles to effective teaching of these plays is to make them live and we feel this plan will aid us in this regard . . . Dale R. Gibson, Superintendent SHAKESPEARE IN THE DESERT

YUMA . . . You can rest assured that we definitely will study the Shakespearean plays that mic'ht be produced in the Tucson area, and that there would no doubt be a number of students from the .Yuma Union High School District who would desire to attend, even if we were unable to furnish transportation. In the past we have been able to provide transporta tion to such programs. Once again, thank you so much for your interest and consideration. . . Bill M. Hanes, Principal

SIERRA VISTA . . . Buena High School would be happy to participate in a future high school Shakespearean program. We would be willing to furnish bus transportation for those students attending from our area. Thank you for your thoughtfulness in including us in this program and asking us to participate in it. . .

Thomas /. Cantrell, Principal V 4 - fromLondon: OnDesert The of Dramatic of Shakespeare Academy presents Royal Art

Board Dr. Arthur J. Present, pr e sid e n t of Mr. Vernon Newell, tr easurer Directors Mr. Arthur Vance, Jr., secretary Mr. Terry Atkinson, aia • Mr. John Almquist, Jr. Mr. George Dennis Dr. Marion Donaldson Mrs. R. E. Ellinwood Mr. James Freudenthal Dr. Joseph Wood Krutch Mr. Frederick H. Lowry Mr. Jay Miller Mr. Sherman Miller Miss Iris Mulvaney Dr. Blair Saylor - Mrs. Donald Starr

Mr. Paul Emerson, pr o ducing director

Shakespeare On The Desert, Inc., is a non-profit corporation established September, 1963, according the laws of the state of Arizona. “Nearly everyone has read some of “I am pleased to offer congratulations and Shakespeare’s works, but the opportunity best wishes to this international theater to see his plays performed in the living project. It offers a unique contribution to the theater has become rare. Combining the development of culture in Arizona and indeed timelessness of Shakespeare with our ageless the entire Southwest.”

desert is an intriguing idea. This is an Lewis W . Douglas, c h a i r m a n o f t h e b o a r d , achievement that should delight residents SOUTHERN ARIZONA BANK AND FORMER and visitors alike, and focus attention on the U S. AMBASSADOR TO ENGLAND growing maturity of our young state.” James E. Patrick, PRESIDENT, VALLEY NATIONAL BANK "It is very gratifying to learn of a Shakespearean drama program that will “Exposure of Arizonans to Shakespeare as bring to the students' and other citizens of performed by the Royal Academy of Arizona the finest direction and talent Dramatic Arts would be wonderful for one available. This international project will make season and simply great if it could be done a great contribution to our cultural, over a period of time. Perhaps this is possible, educational, and entertainment opportunities.” if Arizonans will show the proper support. Paul Fannin, g o v e r n o r The project is commendable and deserves to succeed.” “Shakespeare On The Desert is a cultural Harry Montgomery, event of merit and importance to Arizona. ASSISTANT PUBLISHER, REPUBLIC & GAZETTE Bringing London’s Royal Academy to the Southwest desert for a season of Shakespeare "‘M acbeth’ and ‘As You Like It’ will come surely has international interest and to life for all who see them. They should significance.” offer more pure entertainment than most Dr. Richard A. Harvill, movies or television we can see in a month.” PRESIDENT, UNIVERSITY OF ARIZONA Maxfield H. Lininger, PRESIDENT, UNION BANK “For Shakespeare On The Desert to present “The founding of an international the Roval Academy of Dramatic Art of Shakespearean Theater in Arizona will London is a laudable and imaginative increase the cultural growth of our state and undertaking for any first year enterprise. will add to its influence in the Southwest.” I wish you every artistic satisfaction, and John F. Chiappetta, resounding success at the box office.” CHAIRMAN OF THE BOARD, Dr. G. Homer Durham, THE BANK OF TUCSON PRESIDENT, ARIZONA STATE UNIVERSITY Why- This non-profit corporation was and How- formed on two premises. One, clinched with one group, Shakespeare that Arizonans wanted more London's famed Royal Academy outstanding live theater. And of Dramatic Art... pending On The Desert two, they would attend in financial assurance from the was droves if the prices were American group. within reason. The group now took to the founded Based on these assumptions, a streets, corraling the necessary core of interested citizens in backing. Business leaders were i960 began contacting leading enthusiastic. Pledges were theater companies, asking if signed. they would be willing to work Shakespeare On The Desert in the Southwestern U.S. was formed. during their winter off-season. A reality. Could they get the top A non-profit corporation performers the project needed dedicated to exciting theater at so desperately? Answers low cost for every Arizonan — expressing interest came from student and sophisticate, rich several top theater directors. or poor. The Arizonans suddenly Now it is upon us — the realized it could be done. Premiere Season. Excitement was high. A local The houselights dim. producing director was selected The Royal Academy awaits its to spearhead the project. He first American audience. held meetings with government, We hope you're there. educational, and cultural leaders throughout the state. Interest was keen. Finally, long distance negotiations were Shakespeare On The Desert presents from London: Royal Academy of Dramatic Art The Phoenix Phoenix Little Theater, Civic Center. The exterior will be modified with Little Theater Elizabethan decor for the duration of will be the scene the Royal Academy’s performance. (Artist’s rendering of interior.) of fiery The theater interior will be redesigned Shakespearean drama to accommodate the Royal Academy’s scenery needs. A projecting stage will jut out into the audience from the traditional proscenium arch. I

MACBETH AS YOU LIKE IT Perhaps the greatest of Shakespeare’s tragedies, Macbeth Written for escape from over-civilization, As You Like It is writhes with murder, death, blood, and darkness. It is a a make-believe romantic comedy with a pastoral setting poetic yet cruel story of a man and woman who destroy permeated by droll shepherds and high spirited innocence. themselves unknowingly bv destroying others. Shakespeare’s people are real, but their setting is joyously Macbeth is the woman-driven, power-eager warrior who bizarre — with songs, jesters, love notes on trees, and even kills the king to take his place, but is haunted by the horror a lion. of his act. His evil deed produces delusions of conspiracy At the beginning, unhappiness reigns. Brother has betrayed and dreams of immortality. brother, a duke has been banished to the Forest of Arden, Goaded by his wife, and counseled by three witches, Mac and a seemingly one-sided wrestling match is about to take beth continues to murder everyone who stands in his de place. mented way. Ultimately, his brief reign is ended in battle The play becomes a jumble of well-intentioned intrigue, by Macduff, whose family has died at the command of character disguises, and plot switches. Among the famous Macbeth. speeches is “All the world’s a stage. . . ” All ends well with everyone reunited as friends, the intrigues straightened out, and a quadruple wedding to assure peace in the forest at last. Ticket Season Tickets/Prices for parties see ing both plays will be standard and Information without discount. However, people holding tickets for both plays will be assured the best seats in the price range they select. Every attempt will be made to make these the same seats for both performances. High School Groups/The participat ing high schools will be offered group transportation by their respective schools. Theater Parties/Local women’s and business groups planning theater par ties should make every effort to get PLAY DATES their order in by January 1 0 . This Macbeth: February 9 - 2 2 will help assure that all persons in As You Like It: February 2 3 -March 1 the party can be seated together. Theater Buses/Out-of-town persons PRICES wishing to attend in Theater Party Students - $ 1 .2 5 Buses should contact the charter bus Adults - $2 .5 0 - $3 .5 0 companies in their community. Many of these firms have been contacted To order tickets, mail check to by Shakespeare On The Desert and Shakespeare On the Desert, Phoenix are ready to cooperate with theater Little Theater, Civic Center, Phoe parties throughout the state. nix, or call AL 4 - 0 6 8 8 for reservations. Mr. John Fernald, Principal and Ad Mr. Roger Jenkins will direct “As ministrator of the Royal Academy, You Like It” for Shakespeare On will direct “Macbeth.” He has pro The Desert. Mr. Jenkins has pro duced and directed for theater, films, duced and directed for the BBC, and television continuously since ABC, Nottingham and Leatherhead 1 9 2 6 with the exception of five war Repertory Theaters, the Belgrade years as a Naval Lieutenant Com Theater, Cambridge Arts, Oxford mander. His credits cover over 3 0 0 Playhouse, and Associated Redi(fu different productions. He has di sion where he was Drama Director rected with the Old Vic Theater for five years. Company, the BBC television net work, the Liverpool Playhouse, the Edinburgh Festival, London’s Arts Theater, as well as on Broadway. Mr. Fernald has been with the Royal Academy since 1 9 5 5 . Every year the Royal Academy ap pears at Command Performances for nobility in several European capitals. This year they make their first U S. appearance — exclusively in Arizona.

The Royal Academy was founded in 1 9 0 4 by Herbert Beerbohm Tree. In 1 9 2 0 it was incorporated by Royal Charter under the patronage of Her Majesty The Queen Mother. Many famous people are affiliated with the Royal Academy. Among these are Sir Laurence Olivier, Dame Edith Evans, Richard Butler, Anthony Quayle, and the Earl of Snowden — who help serve as Council for the Academy. Well-known Associate Members in clude Sir Alec Guinness, Sir Tyrone Guthrie, W. Somerset Maugham, and J. B. Priestly. Former students include Trevor Howard, Vivien Leigh, Margaret Lockwood, Robert Morley, and Peter O’Toole. Q. Why a winter season? A. It is the off-season for many theater companies, thus Arizonans are given a broader selection of theater groups to choose from. And it is the tourist season, so there is a larger potential attendance. £). W hat plays will he performed in the future? A. No definite answer can be made at this time, but the plays may range from “Hamlet” and “Anthony and Cleopatra” to Miller’s “Death Of A Salesman” and Albee's “Who’s Afraid Of Virginia Woolf?” Q. W ill the actors always he top performers? A. Yes. £). W ill home talent have a chance to perform? A. It depends. If in the future, it is decided that Shakes peare On The Desert will become a producing corpora £). W ill Shakespeare On The Desert Be Permanent? tion with its own stage personnel, then it’s possible that A. Yes. The founding corporation is determined to continue home talent will have a chance. If they are top per the project as a permanent attraction for interested Ari formers. zonans and tourists. Q. Does anyone get a profit from all this? ! £). W ill Shakespeare always he played? A. No. The non-profit corporation was established to set A. Not necessarily. If a company of the caliber of the Royal aside any profits, for future productions. Furthermore, Academy can always be obtained, it is likely the plays the possibility of profit seems unlikely, as the ticket will be Shakespearean. But if a fine theater group wishes prices have been set so low as to only “break even” if to come to Arizona and perform non-Shakespearean all performances reach the 75 per cent capacity average drama, they may be invited. attained by other Shakespearean theaters. Mte Feel Shakespeare On The Desert Is Theater At Its Very Finest

“The Shakespeare On The Desert project can be of great cultural benefit to Arizona and I would like to offer my best wishes for its success.”

Barry Goldwater, u.s. senator

“My heartiest congratulations on your bold enterprise in leading off America’s 1 9 6 4 Shakespearean celebrations.’’

Sir Laurence Olivier

“A midsummer night’s dream has become a reality on the Arizona desert. My congratulations to all who have played a part in establishing Shakespeare On The Desert. Arizona will be the richer for it.”

Morris K. Udall, u.s. congressman

“Congratulations on your courage in taking Birnam Wood and the Forest of Arden to ‘Antres vast and deserts id le /” Peter O’Toole This brochure produced in the community interest by the following:

Earl Wettstein, c r e a t i v e d i r e c t i o n a n d c o p y

Ben Lizardi, d e s i g n Tucson Typographic Service, typography

W alker Lithocraft, p r i n t i n g

Trans W orld Airlines, t r a v e l accommodations Shakespeare On The Desert presents from London: Royal Academy of Dramatic Art AMERICA'S FIRST DRAMA FESTIVAL CELEBRATING SHAKESPEARE'S QUARTER-CENTENARY PRODUCED BY PAUL EMERSON/JOHN FERNALD

It has been our pleasure to provide the Royal Academy's travel accommodations between London and Arizona.

N a tio n w id e > W o rld w id e > d e p e n d on TWA Why- and How- Shakespeare On The Desert was founded

This non-profit corporation was clinched with one group, formed on two premises. One, London's famed Royal Academy that Arizonans wanted more of Dramatic Art... pending outstanding live theater. And financial assurance from the two, they would attend in American group. droves if the prices were The group now took to the within reason. streets, corraling the necessary Based on these assumptions, a backing. Business leaders were core of interested citizens in enthusiastic. Pledges were i960 began contacting leading signed. theater companies, asking if Shakespeare On The Desert they would be willing to work was formed. in the Southwestern U.S. A reality. during their winter off-season. A non-profit corporation Could they get the top dedicated to exciting theater at performers the project needed low cost for every Arizonan — so desperately? Answers student and sophisticate, rich expressing interest came from or poor. several top theater directors. Now it is upon us — the The Arizonans suddenly Premiere Season. realized it could be done. The houselights dim. Excitement was high. A local The Royal Academy awaits its producing director was selected first American audience. to spearhead the project. He held meetings with government, educational, and cultural leaders throughout the state. Interest was keen. Finally, long distance negotiations were Mr. John Female], Principal and Ad ministrator of the Royal Academy, will direct “M acbeth.” H e has pro duced and directed for theater, films, and television continuously since 1 9 2 6 with the exception of five war years as a Naval Lieutenant Com mander. His credits cover over 3 0 0 different productions. He has di rected with the Old Vic Theater Company, the BBC television net work, the Liverpool Playhouse, the Edinburgh Festival, London's Arts Theater, as well as on Broadway. Mr. Fernald has been with the Royal Academy since 1 9 5 5 . Mr. Roger Jenkins will direct “As You Like It” for Shakespeare On The Desert. Mr. Jenkins has pro duced and directed for the BBC, ABC, Nottingham and Leatherhead Repertory Theaters, the Belgrade Theater, Cambridge Arts, Oxford Playhouse, and Associated Rediffu sion where he was Drama Director for five years.

v O U riU H you need monoural, stereo or remote TH Sit recording for radio, TV or national I l i d l release — try Copper State Recording Sells and "The Sound That Sells." Copper State Recording/815 E. Broadway, Tucson / MA 3-0318 Paul Emerson, founder & director of Shakespeare On The Desert, has been prominent in local theater since first coming to Arizona as a member of the armed forces in 1951. Emerson studied under Peter R. Marroney, head of the University of Arizona Drama Dept. He subsequently directed for the LI of A Experimental Drama Program and for the Tucson Jewish Commu nity Center. A force behind Shake speare On The Desert since its very inception, Emerson recently resigned from KOLD-TV to devote full time to his present position.

Shakespeare didn't say it, b ut... “In an actor's life, the hotel’s the thing...” That’s why the Coronet Hotel, a Ramada Inn, was chosen by the Shakespeare On The Desert troupe as its Phoenix home during the engagement of the Royal Academy of Dramatic Art.

The Coronet Hotel /1001 N. Central at Roosevelt 252-9711 / Phoenix This production is designed for an “Elizabethan” type of stage, but it makes no attempt to demonstrate the stagecraft of Shakespeare’s own time, of which many aspects still remain both controversial and obscure. Its claim is only this, that the apron stage, the ‘arras’, the easy means of access to the acting areas, and the upper gallery — features certainly possessed by the original Globe Theatre — create very practical conditions for acting plays, and particularly Elizabethan plays. Such conditions are particularly helpful to the effect of spoken verse, which can find its way simply and directly to the audiences ears unhampered by competition with elaborate scenic and lighting effects. “Modern” aids to evocativeness are not, however, here avoided: where light and sound effects can be helpful they are used to the limit of available resources. MACBETH was written sometime between 1603 and 1610 but was not pub lished until the First Folio of 1623. It comes to us in a badly printed text bustling with corruptions and obscurities. In deciding between different readings, clarity has taken precedence to scholarly conjecture, and I have tried to choose in each case what would seem to make most sense to a modern audience. A very few cuts have been made in this, the shortest of Shakespeare’s tragedies. Some are in those parts of the text not commonly attributed to Shakespeare. The third witches' scene has been slightly curtailed because I believe that modern audiences, though they will accept these creatures as agents of universal evil, do not enjoy them for their own sakes. Probably nothing in this production is less Elizabethan than the treatment of their scenes. JOHN FERNALD MACBETH CAST:

FIRST W ITC H ______Angela Twigg SECOND WITCH ______Nicola Scott THIRD WITCH ______Elizabeth Knight KING DUNCAN, of Scotland------Anthony Ainley MALCOLM, his son______Kenneth Poitevin SERGENT______Malcolm Reynolds DONALBAIN, Duncan’s other son______Norman Comer LENNOX, Scottish nobleman______Peter Mair ROSS, Scottish nobleman______Dan Caulfield ANGUS, Scottish nobleman______Andrew Morgan MACBETH, General of the King’s Army------Ronald Pickup BANQUO, General of the King’s Army------Jonathan Holt LADY MACBETH______Susan Fleetwood MESSENGER, to Lady Macbeth------PaulReynolds MACDUFF, Nobleman of Scotland------— Michael Cadman FLEANCE, son to Banquo______John Leeson PORTER______Phillip Manikum OLD MAN______Terry Hands

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MEMBER F.D.I.C. FIRST MURDERER------JohnBruce SECOND MURDERER______Andrew Morgan THIRD MURDERER______William R. Ellis LADY MACDUFF’S SON______Elizabeth Knight LADY MACDUFF------Briony Hodge MESSENGER, to Lady Macduff------Colin Bell DOCTOR______William R. Ellis GENTLEWOMAN______Angela Twigg MENTEITH (CAITHNESS), Scottish nobleman...... Phillip Manikum SERVANT TO MACBETH______Paul Reynolds SEYTON, an officer attending Macbeth______JohnBruce SIWARD, Earl of Northumberland------Terry Hands YOUNG SIWARD, his son------Malcolm Reynolds MESSENGER TO MACBETH______Colin Bell LORDS, LADIES, ATTENDANTS & SERVANTS______Angela Twigg, Nicola Scott, Andrew Morgan, William R. Ellis, Paul Reynolds, Colin Bell SOLDIERS------Terry Hands, John Bruce, William R. Ellis, Colin Bell, Jonathan Holt, John Leeson, Norman Comer, Anthony Ainley

Produced by JOHN FERNALD

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member DEPOSIT INSURANCE CORPORATION The action of MACBETH takes place in: A Deserted Heath Macduff’s castle at Fife A Camp by Forres King’s Palace in England The Royal Palace at Forres The Castle at Dunsinane Macbeth’s Castle at Inverness The Country around Dunsinane

For the Royal Academy of Dramatic Art Stage Managers — Paul Reynolds, Janet Catt-Camfield Sets Designed by Neil Hobson Costumes Designed by Peggy Smith Wigs by Wig Creations, London

THIS IS THE ROYAL ACADEMY OF DRAMATIC ART Every year the Royal Academy appears at Command Performances for nobility in several European capitals. This year they make their first U S. appearance — exclusively in Arizona. The Royal Academy was founded in 1904 by Herbert Beerbohm Tree. In 1920 it was incorporated by Royal Charter under the patronage of Her Majesty The Queen Mother. Many famous people are affiliated with the Royal Academy. Among these are Sir Laurence Olivier, Dame Edith Evans, Richard Butler, Anthony Quayle, and the Earl of Snowden — who help serve as Council for the Academy. Well-known Associate Members include Sir Alec Guinness, Sir Tyrone Guthrie, W. Somerset Maugham, and J. B. Priestlv. Former students include Trevor Howard, Vivien Leigh, Margaret Lockwood, Robert Motley, and Peter O’Toole.

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7 Convenient Locations: 32 N. STONE AVENUE • 3333 E. SPEEDWAY • 1833 S. SIXTH AVENUE 6257 E. BROADWAY • 820 E. FT. LOWELL • 3900 E. 22ND STREET • 1315 W. PRINCE ROAD Si AS YOU LIKE IT CAST: DUKE, living in banishment______Dan Caulfield FREDERICK, his brother, userper of his dominions------Jonathan Holt AMIENS i Malcolm Reynolds

LORDUES ( AH attendin8 on the banished Duke Norman Corner PAGE ) Elizabeth Knight LE BEAU, a courtier attending upon Frederick______William R. Ellis CHARLES, wrestler to Frederick______Kenneth Poitevin OLIVER / Peter Mair SECOND BROTHER - sons of Sir Rowland de Boys John Bruce ORLANDO ) Terry Hands ADAM l Ronald Pickup DENNIS ( servants to ° llver Michael Cadman TOUCHSTONE, a clown______Phillip Manikum SIR OLIVER MAR-TEXT, a minister------Andrew Morgan CORIN / , , , Colin Bell SYLVIUS \ shepherds JohnLeeson WILLIAM, a country fellow, in love with Audrey______John Bruce HYMEN______Michael Cadman ROSALIND, daughter to the banished Duke______Susan Fleetwood CELIA, daughter to Frederick______Angela Twigg PHEBE, a shepherdess______Nicola Scott AUDREY, a country wench______Briony Hodge LORDS AND LADIES..... Kenneth Poitevin, Michael Cadman, Andrew Morgan, William R. Ellis, John Leeson, Colin Bell, Ronald Pickup, Elizabeth Knight, Nicola Scott, Briony Hodge Directed by ROGER JENKINS

AS YOU LIKE IT is a play very much in the literary pastoral tradition of the 16th Century, and although the values of real life are always in the background the Forest of Arden is essentially a place where one can "fleet the time carelessly as they did in the Golden World". It is not the real Arden in Warwickshire, but a strange place where one may meet palm trees, snakes, and a lioness as well as sheepcotes and shepherdesses. And it is winter, a time ... "When yellow leaves, or none, or few Do hang upon those boughs that shake against the cold; Bare, ruined choirs where late, the sweet birds sang". ROGER JENKINS BOARD OF DIRECTORS Dr. Arthur J. Present, presid ent / Mr. Vernon Newell, treasurer / Mr. Arthur Vance, Jr., secretary / Mr. Terry Atkinson, aia / Mr. John Almquist, Jr. / Mr. George Dennis / Dr. Marion Donaldson / Mrs. R. E. Ellinwmd / Mr. James Freudenthal / Dr. Joseph Wood Krutch / Mr. Frederick 11. Lowry / Mr. Jay Miller / Mr. Sherman Miller / Miss Iris Mulvaney / Dr. Blair Savior / Mrs. Donald Starr / Mr. Paul Emerson, PRODUCINC. DIRECTOR NOTE: Tickets for the remaining productions are limited. If you have friends who enjoy fine theater, they should get their order in very soon to be assured attendance.

This program produced in the community interest by the following: Earl Wettstein, c r e a t i v e d i r e c t i o n a n d c o p y Ben Lizardi, d e s ig n Tucson Typographic Service, t y p o g r a p h y Walker Lithocraft, p r i n t i n g Judith Williams, p u b l i c r e l a t i o n s