NEWSLETTER OF THE THEATRE LIBRARY ASSOCIATION

Vol. 28, No. 2-3 TLA's 63d Annivenaw Year Fall 2000-Winter 2001 I A Call to ~ctiond

In preparing to assume our new responsibilities performing arts collector. Only one as President and Vice-president, we have officer is a librarian with a traditional conducted a critical assessment of our institutional affiliation How can association and we are concerned with what we TLA's varied membership be tapped see. Personal memberships are down. We seem a$ a source for new ideas and unable to attract a significant number of new initiatives? members and our old members are slipping away. Fewer and fewer people are willing to TLA-a ~roactiveoreanization! serve on committees, help plan and produce TLA has operated more as an programs, write for Broaukide, and engage in affiliate to other professional other activities that have been the lifeblood of associations than as a strong, TLA. Perhaps it is time to take a serious look at independent organization in the past who we are and why we exist. several years. Yet our programming at recent ALA and ASTR conferences has This sounds dour but that is not our intention. never been stronger. At November's Rather, we propose to revitalize TLA by ASTR conference in New York, our assessing what it is that makes us unique and program, "The Deconstruction and gives us a wtionale to propel us into the 21st Reconstruction of 42"d Street" hosted by century. Here's what we see: archivist-historian Mary Henderson, and featuring presentations by key 1. members hi^ players in the redevelopment of the We are a group that shares Times Square area, proved a highlight common interests NOT common of the three-day event.We have reached professions. We all are passionately out to the Music Library Association interested in the performing arts and the (MLA) to explore ideas for joint preservation of its history. We are all programming and other initiatives. avid and hquent attendees at theatre, How can we build on these successes dance, music, film, and other and make TLA proactive rather than performance events. We all care about reactive? cont. on pp. 2 the collection, reservation, and use of performing arts materials. Our professions are varied. We are IN THIS ISSUE libt.arians, archivists, curators, scholars, Editor's Note-pg. 2; TOFT Founder perfarmers, academics, historians, Retires-pg. 3; NYPL Welcomes New collectors, practitioners, and students. Executive Director-pg. 4; TLA's current slate of officers reflects Conference Reports--pg. 4; our varied membership, and includes an Upcoming Conferences-pg. 11; academic who is also a director1 Meeting Minutes-pg. 12; Election historian, a freelance researcher and Results-pg. 17; Book News and archivist, and an attorney who is also a Reviews-pg. 19; Regional News- pg. 24; Member News-pg. 27; In Memoriam-pg. 28 EDITOR'S NOTE involved. Thesc measures have proven I am delighted to have the privilege of being only moderately successful. the editor of Broahide. I look forward to What more can and should we do to receiving your articles and expanding our become a truly national association? coverage with our new Regional News don. I welcome your ideas and will 5. TW conferences. gladly accept reviews of electronic resources Other than our wonderful annual book in addition to books. EUen Truax awards (STILL one of our stellar [email protected] ewents!), our only programming in the past few years has been at a€liliate confemccs. We advocate that TLA 3, Publication-and vour sponsor a major conference every 5 to contributions. 10 years that addresses the particular Difficulties in meeting our annual interests of our membership. Naturally, obligation to publish Peqonning Arts we would invite patxipants fiom our Resources (PAR) have forced us to affiliates as well as others interested in make it an occasional publication We engaging in our topic. We devised this finally have two exciting issues together theme for our first conference: "The and coming out in 2001. Our former Documentation and Recreation of Broadside editor, Nancy Stokes, did a Performance." We tlunk this would be great job of revitalizing the newsletter. enticing to all TLA members, many We now have a dynarmc new editor, ASTR, ALA, and MLA members, and Ellen Truax. But Ellen needs input, certainly theatre, dance, music and other ideas, and solid contributions from performance professionals who are members to keep Broadside a going engaged in major revivals (The City concern. Too often in the past a few Center Encores! series, Martha Graham people have taken on the lion's share of Dance Company, the creative team that duties just to keep the organization devised Fosse, and others), or those afloat. Will you take up the challenge creating new work from archival to propose cmative ideas for sources and/or oral histories (such as publications- and then work to carry Moises Kauffman, creator of Gross them forward? Indecency: The Three Trials of Oscar Wilde and The Laramie Project, and 4. TLA- a national oreanization. Anna Dweare Smith). This conference For a long time, TLA was New York- could also serve as the foundation for a centric, or at least east coast-focused. publication of conference proceedings. We have tried hard in recent years to We propose that it be held in New York expand our purview to all of North City, to take advantage of any America by actively seeking executive appropriate productions going on at the board members from throughout the time, and in February, to take advantage U.S. and Canada We also have just of low hotel rates. Since it would take formed a group of regonal "stringers" at least three years to properly plan and who will report performance and produce such an event, we recommend archivesflibrary news from their area of mounting this in either 2003 or 2004. the country. Finally, we have begun Do you like this idea? Would you like holding one of our three Executive to serve on the planning team? Board meetings (to which ALL members are invited!) in conjunction For TLA to reach its full potential as a dynamc with the ASmAannual conference and meaningful professional association requires which is held in a different city each the contribution of all its members. Please give year to encourage local members-and us your thoughts on the issues we've raised. Or potential new ones--to become more raise other issues! We invite you to email either or both of us and share your ideas:

Vo1.28, No. 2-3 Fall 2000Minter 2001 kwinkl&n~~l.org always "Betty" to her colleagues -had been an mlomonac@fair 1.fairfield.edu assistam to theatrical producers, work she greatly TLA's listserv is another great venue for this enjoyed, but which she chose to iem behind in conversation: [email protected] favor of family life. It was only when her In the meantime, we extend our waxmest wishes children were young adults, and when videotape for a happy holiday season and terrific New technology was sufficiently sophisticated for the Year. May 2001 hdd a new beginning for task, that Betty felt ready to pursue the goal of TLA I systematically phnglive productions. She With all best wishes, pitched the idea to Performing Arts Library Kevin Winkler, Presidentelect Director Thor Wood, who was interested but had Martha LOMonaco, Vice-Presidentelect no funding to offer, merely "a desk, a phone, and three months to try and make sometlung TOFT FOUNDER RETIRES AFTER happen." Betty soon found that her most DEVELOPING VAST REPOSITORY formidable challenge would be to convince the Throughout the centuries and throughout the trade union rep-ntatives and other interested world, one constant element of every stage parties that these videos would never be performance has been its perishability; once the televised, would never become commercially show is over, the sets are struck, and the actors available, and that they would always remain have removed their stage costumes and departed, under the close supervision of the TOFT the shared event leaves no more lasting record Archive's staff. After two-and-a-half years of than does a candle after its flame has been complicated union negotiations, the major extinguished. Just as wisps of smoke linger over hurdles were cleared, and taping commenced in the candle, the memory of the performance November 1970 with The Golden Bat, a lingers for a time in the minds of those who Japanese rock musical performed in both participated as cast, crew, and spectators, and Japanese and English. Also launched in this then, like smoke, this too vanishes. period was a series of 'dialogues', interviews recorded for posterity with such luminaries as In the late 1960s, however, this seemingly George Abbott, &chard Rodgers, Uta Hagen, immutable fact of theatrical life began to change. Stephen Sondheim, Liza Minnelli, and many It was in 1%9 that Betty L. Convin founded the others. Some 230 of these inte~ewshave been Theatre on Film and Tape Archive (TOFT),now taped, with more to come. It is more than a little a permanent part of the Billy Rose Theatre ironic, considering the institutional resistance Collection of The New York Public Library for Betty faced in the Arcluve's eariy years, that the Performing Arts, a repository for well over theatre professionals have come to routinely rely 4,000 video recordings of stage performances upon this valuable tool when researclung their and related items of all kinds, and a priceless ohongoing projects. Examples of &s are treasure trove for researchers and historians. numerous, but include Stephen Sondheim and About 2,450 of these titles are performance James Lapine expandmg their one-act version of videos made by TOFT specifically for the Sunday in the park with George, videotaped by Archive, capturing productions of Shakespeare, TOFT at Playwrights Horizons, into the full- Beckett, Greek tragedy, musical comedy, serious length, Pulitzer Pnze-winning Broadway drama, farce or the indefinable what-have-you. success, based at least in part on their study of The Archive includes everything from well- the video. Other TOFT researchers prominent in known Broadway and Off-Broadway shows to the entertainment world include Harold Prince obscure but worthy 'black box' productions, as (an early and enthusiastic TOFT supporter), well as regional theatre offerings from around Joseph Challun, Blake Edwards, Mary Rodgers, the country, related documentaries, lectures, Diana Ross, Scott Rudm, and many others. Betty awards programs, and interviews with theatre Corwin rewed her full-time dmctorsh~pof the notables. The collection is accessible to theatre Theatre on Film and Tape Archive in September professionals, researchers, and students age 18 of 2000, but plans to organize special for and up. The videotapes may not be lent out, but the Archive on an ongoing basis. She leaves may be viewed on library premises with a staff TOFT with a dedxated staff of six full-time member present. In earlier years, Ms. Corwin- employees and two volunteers, who are currently

Vo1.28, No. 2-3 3 Fall 2000/Winter 200 1 busy preparing to move the Archive from the Alliance. She has been a frequent panelist for Performing Arts Library's temporary quartas in the National Endowment for the Arts and for mi&own Manbanan back to its pamanent Arts International. Ms. Davis was recognized as uptown home at Lincoln Center. And now, too, a one of eleven Olltstanding Pmentas in the U.S. project is under way which is already through a study commissioned by Pew broadcasting knowledge of the Archive around Charitable Trusts in 19% and named one of the the world: the TOFT collection is being Ten Most Influential University Presenters in the cataloged, title by title, with the ultimate goal of U.S. by International Arts Manager in 1999. putting the entire list of its contents online. To In her new position, Ms. Davis will have date, over 800 titles are searchable, anywhere in responsibility for all aspects of the operations of the~orld,viatheWeb-basedversionofthcNew the Library for the Performing Arts, including York Public Library's online database, CATNYP the completion of the renwation of LPA's at www.nypl.org. In order to see the list of plays Lincoln Center Eacility and its reopening in June cataloged thus far, the user should click on 2001. Catalogs (on tbc right-hand side of the first Kevin Wier screen) tben CATNYP (on the left-hand side of the second), then click Call Number, typt in CONFERENCE REPORTS NCOV, and Enter. To see the list of inteniews, TLA PANEL AT ASTRITLA type in NCOW and Enter. And to see the list of Mary Henderson, theatre historian and author of theatre-related tapes acquired by the Archive The New Amsterdam: the Biography of a from outside sources, type in NCOX and Enter. Broadway Theatre, was the chair of TLA's Thanks to Betty Corwin, and her TOFT crew, the plenary session, "The Deconstruction and crucial elements of a stage production- from the Reconstruction of 42"d Street," at the annual look of the costumes and sets and the sound of conference of the American Society for Theatre the orchestrations, to the very nuances of Research and the Theatre Library Association in individual performances- need no longer be lost New York on Friday, November 10. Mary to posterity when the show is over. Thousands of assembled a wonderfully knowledgeable group productions, from 1970 to the present day and of panelists who shared experiences of their onward, will be available for study, and will personal involvement in the redevelopment of therefore shape, influence and inspire the 42"d Street with the audience of over 250 productions yet to come. conferees in the Proshansky Auditorium of the Wm. Charles Morrow new CUNY Graduate Center. The speakers included Margaret Knapp, theatre professor at NEW YORK PUBLIC LIBRARY FOR THE the University of Arizona and a Times Square PERFORMING ARTS WELCOMES NEW Theater District historian; Cora Cahan, president EXECUTIVE DIRECTOR of New 42* Street Inc.; Hugh Hardy, architect Jacqueline Z. Davis has been named Executive for the renovation of the New Victory and the Director of the New York Public Library for the New Amsterdam theaters; and Todd Haimes, Performing Arts, effective September 11, 2000. artistic director of the Roundabout Theatre Ms. Davis previously held the title of Executive Company. Director of the Lied Center at the University of Kansas, a leading university arts presenter. Prior Margaret Knapp provided a review of the to becoming the Lied Center's fm director in complex history of the 42"j Street area, from its 1993, Ms. Davis was Director of the University's early years as a legitimate theatre disaict, with Concert Series where she created numerous theatres constructed on European models, performing series, including the Broadway and through the eras of vaudeville houses, burlesque Beyond, New Directions, and World series. and second-run film houses, the "ero~ication" of the area in the 1960s through 1980s with Ms. Davis enjoys a high profile in the national attendant crime, and finally, the resurrection of performing arts arena. She is a past president of the area which some critics have called the the Association of Performing Arts Presenters ''Dimeyfication" of ~2~ Street. Knapp pinted and has served on the boards of Chamber Music out that critics of the newly renovated 42 Street America, Dance USA, and the American Arts contrast the present with an "authentic" past; but

Vo1.28, No. 2-3 4 Fall 2000lWinter 200 1 just which past is quite subjective. To some it is spaces which are leased on a sliding scale on a whcn New York's theatre district was the center weekly basis to both profit and nonprofit of American entertainment; to others the past is performing arts groups. Cahan noted that only the "deuce," the edgy aura of the 1960s-1980s. one theatre remains to be leased. Throughout its history, she noted, the 42* Saet area has always attracted an audience for Hugh Hardy began by remarking that whatever it offered. Today's 42* Street, with its architecture is ephemeral, that it vanishes very legitimate theatres, wax museum, fast-food and quickly. He noted that all arts sunive more than theme restaurants, clubs, etc., reflects that architecture. Using slides to illustrate lus history. remarks Hardy gave the au&ence a tour of 42nd Street fiom the early years of the 20"' century to Cora Cahan described her experiences since the present, noting the changes of the area October of 1990, as head of an incredibly through those years. He stated that 42d Street is ambitious project to bring new life to the area really about popular culture-that what is fUn through renovation of existing structures and today looks ridiculous tomorrow. In his work, construction of new buildings. New 42"d Street Hardy said, he creates an interpretation of the Inc. was created by the city and the state as an past since he believes one can't really restore mdependent, apolitical, nonprofit entity, vested anything. With the New Victory, he commented with the responsibilities for seven theatres: The that he didn't want to make the building look Victory, Lyric, Apollo, Times Square, Selwyn, brand new, but wanted to let it keep its history, Empire, and Liberty. Cahan referred to the illustrated by the weathenng of the stone theatres as a "negative dowry" which she had bandmg and the accommodation of the exterior been given to work with, as they were all in very entry stairways to fit the sidewalk which had bad physical condition. After an extended period narrowed over the years. Hardy's before and of planning and litigation, the city and state were after slides of the New Amsterdam Theatre able to condemn two-thirds of the block using revealed the remarkable transformation of a the State's power of eminent domain, and a decayed shell into the beautifully renovated strategy was developed to fund the renovation of fapde, lobby, and stagehouse. Hardy described the theatres through a combination of for-profit the process of recreating the theatre's lost and non-profit uses of the properties. The plan architectural details, and the surprise of finding included the construction of four office buildings an oriw light fixture and structural drawings which would drive and support the renovation of between two floors of the building during its the area The first theatre to be renovated and renovation. He also commented on the opened was the New Victory, restored by Hugh difficulties of incorporating new technical Hardy and Associates. Originally built in 1900 equipment into an historic theatre, and the by Oscar Hammerstein I, and later owned by decision to reveal some of the new equipment David Belasco, the renovated theatre opened in rather than attempt to hide it fiom the adence. December of 1995, as a non-profit performance The completed renovation highlights two periods center for children and families. With of the theatre's hstory: the landmark movie performances during school days and on house marquee and lobby and the earlier omate weekends, and with an average ticket price of stagehouse. Hardy concluded his remarks by S 12, the theatre sells to 99% capacity. Cahan stating that the success of the 42"d Street also described her visit to the New Amsterdam renovation, its future history, will be determined theatre with Michael Eisner, president of Disney. by how people use it. After spending an hour touring the incrdbly decayed theatre, Eisner saw the potential for its Todd Haimes stated that as early as 1983 he had renwation. Disney's New Amsterdam opened approached the Times Square redevelopment in May of 1997, after a spectacular renovation by project staff while looking for a new home for Hugh Hardy. In addition to the renovation of the Roundabout. While he eventually went the theatres on the street, the New 42* Street elsewhere at that time, when the company was Studios building (where TLA hosted the next evicted from their space he talked to Cora conference reception on Saturday evening) was Cahan about finding a permanent home. Cahan recently completed. This building houses studio took Haimes to look at the Selwyn theatre. and

Vo1.28, No. 2-3 5 Fall 20001Winter 2001 whik the director was struck by the decrepit Bibliothbqw Nationale de France in their condition of the building he liked the shapc of recently opened building complex on Quat tbe wide stage, and the potential for an intimate Franpis-Mitterand on the Seine in southeast rehtionship between the audience and the actor. Paris. (The Department of Performing Arts will In noting the differences between designing a remain in its prtsent, more central location. theatre for an institutional organization rathex than a commercial producer, Haimes commented The theme of the conference was Pelforming that corrmEacial producers don't really take the Artr: National Heritage and information. audic~lce'scomfort into consideration as they an President Not!lle Guiben opened the Congress focused on getting audiences in for a spedic and introduced Jean-Pierre Fbl, the new show. Institutional theatres, on the other hand president of the International Federation for want audiences to be comfortable and to ftel at Theatrt Research, spoke of IFTR's aim to be a home, so that they will come back to the link bedween yesterday and today. She noted the company's thealre even if the current show isn't complementary nature of IFTR and SIBMAS, great. In order to create comfortable seating for and looks fonvard to cooperation between the his audiences 200 seats were removed from tbe two organizations. house. Additionally, a rooftop lobby and VIP lounge was constructed on top of the building, Mme. Guiben outlined the three cumnt goals of and an elevator shaft were built in the alley. In SIBMAS: 1) A new orientation, away from July of 2000, the Roundabout opened its first "national centers" - a relic of the Cold War, show, a revival of The Man Who Came to whereby representatives from eastern Europe Dinner, in its new home. Haimes noted that, "to could attend conferences - toward membership everyone's horror" the Company received a ten- by institutions and individuals. 2) Recruitment year grant from American Airlines, and renamed of new members and greater publicity via the the theatre the American Airlines Theatre for the SIBMAS/IFTR "Blue Square" publication, now duration of the gmt. Haimes concluded by edited by Nicole Leclercq, and the SIBMAS applauding the efforts of Cora Cahan and her website. 3) Convincing the authorities and the staff, and remarkijn that he finds the performing artists themselves of the heritage transformation of 42 Street very weird-that value of documentation. To this end, a new while eight years ago the area had the highest SIBMAA commission has been set up to catalog crime rate in New York City, now you see national performing am collections. She also thousands of people paradrng down the street. reiterated FQal's desire for closer cooperation He feels that the transformation reflects the between SIBMAS and IFTR. stnet's power and the energy of Broadway. Location of Theatre Archives Several papers dealt with new theatrical libraries Following the remarks of the panelists Mary and concepts. For example, the Institut del Henderson invited questions from the audience, Teatre in Barcelona is completing its work on the which prompted lively discussions of the size of Performing Arts Virtual Museum of Barcelona, seats in Broadway theatres, the renaming of which will incorporate recent advances in theatm to reflect corporate sponsorship, and the technology, so that all their holding can be effect of Manhattan Plaza on the renewal of the shown in an interactive way, with the public as 42* Street district. part of the process. Another new library is the Susan Brady Mddiathhue of Vaise in Lyon, which is comprised of three units: an adult library, a SIBMAS in Paris library for children, and a theatrical library. It The 23d Congress of the International Society of will be a contemporary text library, to be used by Performing Arts Libraries and Museums the public and theatre professionals - there are convened in Paris, September 25-30, 2000. approximately 250 theatre companies in the There were 133 registered participants, including region. In cooperation with these theatre groups, six TLA members: Jerry Bangham, Mary Strow the M6diathQue plans to be a creation site as and MySwerdlove from the US; Sidney well, providing space for rehearsals, productions, Jowers and Jane Pritchard from the UK, and Paul and exhibitions. Ulrich from Germany. We met at the

Fall 2000AVinter 200 1 The Thdtre du Parvis in Brussels was a "no- from programs and scripts to photographs, scene curtain" theatre which lasted for three seasons, designs, and 3dimensional artifacts, includmg 1970-1973; it sought to attract young audiences furniture. Since most of the objects were not by presenting free programs in a public square. made to last and were often held together by It had an audio-visual department and a press glue, scotch tape, etc., much of the work entails office which published an annual yearbook of undoing the damage and preserving the work perfonning arts. During its short lifetime, it without changing its context; "before" and presented poets and novelists as well as major "after" slides were shown to illustrate their work. Belgian actors and playwrights, and produced a Presemtion of stage costumes Ealls under the film. However, it operated without subsidies and aegis of the Ministry of Culture and was unable to survive. The Musk du Th&tre Communication. A proposal is being considered Forain (Museum of Itinerant Theatre) of Artenay to establish a national stage costume collection at developed out of a 1984 film called "the itinerant Moulm, near Lyon, to combine the costume theater of living actors" and is based on material holdings of the Paris Op&a, the Com6die pertaining to three generation of traveling actors Franqaise and the Bibliothkque Nationale, of the Theatre Cdteur-Cavalier in the 19' and includmg a workshop to train apprentices. The 20~centuries; it includes western ethnological as Center would not only restore and preserve well as theatrical archives. costumes but also would also hold exhibitions and be an educational institution. There are still The Library-Museum of the Pans Wra, many problems to be solved before the Center founded by Charles Nuiner, includes not only becomes a reality, hopefully by spring 2003. designs and memorabilia from the national Academy of Music and Dance, but also sketches Two round table discussions involving theatrical prepared for the maniage of the Dauphin and practitioners highlighted some of their Marie Antoinette and materials on Sarah differences in attitude toward documentation of Bernhardt and Mlle. George Cecile Giteay their work. The first round table dealt with Honorary Director of the Department of gesture in mime, circus, street theatre and Asian Performing Arts at the Bibliothkque Nationale, theatre, and the fact that Western definitions of described their archive of Gordon Craig material, theatre often are not relevant. The mime which was acquired in 1995-1997. The tradition is not based on written notes or stage collection covers a wide variety of textual and props, although music may play a signrficant iconographic documents, including 27 folios for role. There is often a very close master-student the years 1897-1904, which show how Craig's relationship which cannot be written down hke a projects were conceived, often conveying recipe. Film can be a means of prese~ngthe atmosphere rather than actual scenes. (A work, but an edited version may be misleadmg comprehensive article on the Craig collection by The second round tale revealed that while some Mrne. Giteau appean in the Rmtue of the professionals appreciate the importance of Bibliotheque Nationale, volume 8.) For the US, archives, others do not want to be influenced by Mary R Strow described Indiana University's work done in earlier productions. Some theatre perfonning arts collections, whlch include a wide practitioners do not wish to donate their records range of live and recorded performance, housed for fear that they will not be able to revive them in various libraries on campus; the University's again if needed, and prefer to take their notes catalogs are available on the internet. with them, as Molike's widow did when she Preservation and Documentation retlred. Also, beginning actors and directors are Preservation projects were the subject of another often too busy launching their careers to think SIBMAS session. For photographs, there are about documentation. Some drectors problems of restoring the image (from communicate with their company orally, and disintegrating nitrate, tears, discoloration etc.), while videotape or film records can fill in this but also of establishing the authenticity of the gap, there is also the danger that they will image: when it was taken and where, and for preserve mistakes (e.g. in dance) that future what purpose. Students at the Institute for the generations will assume were intended. Restoration of Works of Art in France are Speakers from Australia, Italy and France restoring a wide diversity of theatrical objects, reported on efforts in their respective countries to

Fall 20001Winter 200 1 coordinate documentation of their theatrical Commissions history. In Atmaha, whost small population is SIBMAS currently has five Commissions spread over a wide geographic area, most (wowgroups): International Bibliography of performing arts activities have been centered in Theatre, Directory of Performing Arts large dxmareas, and collection has been diffuse Collections, Website, Cataloging, and the new and localized A Performing Arts Spccial Exhibitions Commission. Rosabel Wang was Interest Gtoup has been formed as part of a not able to attend the Congress, so there was no national body of museums and libraries; it is report on the International Bibliography. Paul hopad that this group will be able to provide Ulrich reported that the Directory s without a impwed on-line access to performing arts publisher, since the James Emmett Company memorabilia In Italy, there are numy could not continue. Mr. Ulrich has decided to dcmmenWon centers in libraries and museums mount the Directory on the web, and it should be and in some theatres (e.g.. La Scala) as well as available within six months. There are 5OO0 film schools and puppetry archives, but so far entxies in the old Directory, and so far he has there is no complete listing of these facilities; 7000 entries for the new edition. He needs several projects are being considered to a&tants to locate new institutions in different coordinate infoxmation and make it available on countries and to check on the accuracy of the worldwide web. mformation. Maria-Teresa Iovinelli and Paul Ulrich are working on the SIBMAS website. It France is trying to establish a regisay of can be found at: http:// documentary sources in the area of living www.theatrelibrary.org/sibmas/sibmas.htrnl. performance, excluding music which is included Besides lists of individual and institutional elsewhere. Such a directory will differ from the members, they have included the complete current SIBMAS Directory of Performing Arts proceedings of the SIBMAS congresses from Libraries and Museums of the World, in that it 1988 (MaMheim) to 1994 (Antwerp), with some will include descriptions of actual holdings. entries for the Helsinlu Congress in 19%. They Paul Ulrich pointed out the need for a common have also indexed all papers presented in the interface between directories, and Mme. Guibert various Congresses up to the present With help said that one of SIBMAS' concerns ins this area from members, this could become a means of is to develop a universal language. Brussels has regular communication and exchange of a project for a common language on Internet, but information between individuals and institutions problems must still be solved regarding but volunteers are needed. fresuency of updating that data to get rid of outdated information and, of course, financial Claudia Balk introduced the new Commission on support (It was suggested that SIBMAS should Exhibitions and outlined some of the problems to become a guarantor.) In 1998, the International be considered, includmg organization, loan Federation of Library Associations published a contracts - every country has different conceptual model called Functional regulations and different institutions in the same Requirements for Bibliographic Records country will treat loans differently - copyright (FRBR), which is designed to apply a problems, quality of website images, financial comprehensive range of materials, from considerations, etc. There is much to be done, documents to threedimensional objects. The but it is an opportunity to exchange ideas and Bibliotheque National has developed a database information and, hopefully, exhibition materials. called BN-Online, to which was added a sub- Election and 2002 Congmss base called BN-Opaline Arts du Spectacle in Claudia Balk (Germany) was elected President. 1995. It woks with autonomous databases within Vice Presidents are Montsenat Alvarez-Masso its own institution to form a documentary rather (Spain) and Nicole Leclercq (Belgium). Claire than a bibliographic record of performance. They Hudson (UK)is the new Secretary-General and would like to cooperate with the American the Treasurer is Joel Huthwohl (France). Four Library Association's task force on cataloging members of the EXCOM and seven members of performance, and also with the Dance Heritage the Council were also elected from the Project in New York. membership. No one from the US or Canada was nominated or agreed to rqso for the next

Fall 2000/Winter 200 1 two years there will be no representation from Mary Ellen Rogan, Senior Archivist for the Bdly North Amaica on the SIBMAS governing Rose Theatre Collection at the New Yo& Public bodies. This is unfortunate, since SIBMAS is Library for the Performing Arts discussed the very much concerned with our activities, and Joseph PappMew York Shakespeare Festival could be helpful with solutions to some of our Archives, given as a gdt to the New York Public problems. It is hoped that more North Library following Papp's death in 1991. Mary Americans will participate in the next Congress, Ellen not only discussed the processing of this which will be held in Rome in 2002. mammoth archive, but also gave an historical Excursions overview of Papp and the creation of his In addition to the meetings, SIBMAS congnsses company. She discussed the young producer always include special excursions and visits, and declaring "squatter's rights" on a plot of land in this year was no exception Tours of the new Central Park to establish his free Shakespeare in Bibliothhue Nationale complex were conducted the Park offerings, his purchase of the Astor by BN staff, and there were behind-the-scenes Library on Lafayette Place as a permanent visits to the Comae-Franwse, the Paris Opdra theatre, and his colorful and headline-grabbing and the Mtre National de Chaillot (formerly clashes with various elected officials in New the The$tre National Populaire). SIBMAS Yo* City. Papp drew parallels between the members were also invited to the opening of a mission of his theatre and that of New York's major exhibition on the life and career of Sarah public library system. Both, he said, should be Bernhardt On an all-day mp to Compitgne, we freely available to everyone. Mary Ellen also visited the Impenal and CMteau theatres, and reflected on how Papp's JewishlYiddsh examined some restored historical scenery; this background and his political and social interests was followed by a tour of the Chiiteau. We also impacted the artistic direction of the NYSF. visited La Caroucherie de Vincinnes, an avant- garde theatre complex, where we had the Mary Ellen detailed the pmcular challenges her opportunity to meet Anane Mnouchkine, who staff faced with the Papp Archlves even before talked about her work with the Th&tre du Soleil. the collection arrived. At over 2,500 linear feet, Finally, one must not forget the food at the collection was the largest ever acqud by magxuficent receptions in the Hotel de Ville and the Theatre Collection. A survey of the the Bibliothhue Nationale, as well as the collection was parbcularly acult because delicious lunches each day on a houseboat- portions were stored in various locations. NYSF restaurant (Called "Le Charleston") moored on archivist, Serge Mogilat (referred to by Papp as the Seine near our meeting place. his "Boswell") created detailed lists of the files' Dorothy L. Swerdlove contents, but did not include information about duplicate files, of which there were many. The Performing Arts Archives Spotlighted at vast number of unexpected duplicates TLAIALA Program complicated the job of estimating the length of Not even torrential rains could dampen audence time required for processing, as well as the enthusiasm for the Theatre Library Association's quantity of supplies needed. panel presentation at the 2000 American Library Association annual conference in Chicago on Mary Ellen candidly lscussed the "hidden July 10~. Entitled "Their Championship losses" involved in the five-year period it took to Seasons: Joseph Papp, Lucille Lortel, and the process the collection. Staff turnover, and the Acquisition, Processing, and Use of Performing gaps in time it took to replace and orient new Arts Archives," the ninety-minute event attracted staff members, impacted the pace of processing. more than thmy attendees from a variety of Among the timesaving methods the staff backgrounds and institutions. TLA President employed was the bulk processing of the less Susan Brady introduced the panelists, who gave important series, such as the financial and the entertaining and informative presentations about publicity files. (Mary Ellen noted that this the challenges and rewards of working with decision was a good one. as no researchers have performing arts archives as mformation asked to see these particular series since the professionals, instructors, and researchers. archives were opened to the public.) So large was the Papp Archives that materials were divided into a total of thirteen series, each larger war at that moment in time. Marti completed her than most archival collections. The Theatn entataining and informative presentation with a Collection's database, Advanced Revelations generous sampling of slide images from her (AREV), provides the capability of producing a produaicm of Hair. finding aid in Enhanced Archival Descript~on (EAD) format, and finding aid links have been Camille Croce Dee turned the spotlight on created at the series- rather than the collection- another giant of the New York theatre as she level. discussed the Lucille Lortel Papers. The Project Archivist for the papers of the late producer and Mary Ellen concluded by stressing the theatre owner, Camille began with a brief importance of the Papp Archives not only to ove~ewof Lortel's life and career. Using a researchers, but also to the library community. wellchosen selection of slides, she covered The Theatre Collection staff gained valuable Lortel's early days as an actress, the openings of experience from budgeting, planning, processin& her White Barn Theatre in Westport, Connectict and storing a collection of this scope. As most and Theatre & Lys in New Yo* City's form and gam kadings are insufficient to Greenwich Village, her championing of descrii theatre-related terms, the Papp Archives playwrights like Athol Fugad, Terrence staff created new headmgs as they went along. McNally, and Lee Blessing, and the many Mary Ellen hopes to use these new headings to awards and honors Lortel received prior to her create a form and genre headings List specifically death in 1999. for the performing arts. Camille discussed the challenge of mergmg a The importance of the Papp Archives to lifetime of materials from Lortel's New York researchers was dramatically illustrated by Marti City apartment, her Westport house, and items LoMonaco, a professor and director at Fairfield previously donated to the Westport Public University in Connecticut. Marti began her Library. Because the materials in her homes remarks by praising the value of archival were unordered and those at the Westport Public collections to scholars and artists. The first Library required re-organizing to fit within a researcher to use the Papp Archives, Marti larger collection, Camille stressed the stressed the collection's importance to her when importance of Sam McGready's bio- preparing a production of Hair as part of a bibliography of Lortel as an organizing tool. She campus-wide effort entitled 'The 60s Project." provided details on her approach to organizing Her production aimed to capture the spirit of two of the larger series: production and Papp's ori@ production before it was correspondence files. Because of duplicates kept transformed into the commodified, commercial in the various locations, Camille estimated that spectacle that played successfully on Broadway the completed collection ended with only a and around the world. quarter of the material with which they began, for a total of 60 linear feet of materials plus Using the Papp Archives aided Marti in scrapbooks to be microfilmed. understanding the art history, and legacy of th~s groundbreaking musical production. First, Hair, Camille worked with two colleagues on this the show, was documented through early scripts large project, and among the problems the three and promptbooks, designs, financial records, archivists encountered was the logistical contracts, and correspondence. Marti declared challenge of working in private residences in two Hair "THE important crossover phenomenon" of different states ("Three Archivists and a Van" its time, and noted the archives' historical value was how they described their troupe!). For in tracing Hair's journey from the theatrical instance, the New York City apartment was margins to mainstream success. Finally, Marti being shown to prospective buyers during this described the Papp Archives as an important time, and the archivists were required to pack up teaching tool. Correspondence, memos, press all materials and store them in closets at the end releases, and news coverage helped place this of each day to ready the apartment for viewing. phenomenon within the context of what was Camille and the others also coped with mold and happening in theatre, politics, economics, and animal nestings that had infested some of the

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Vo1.28, No. 2-3 10 Fall 20001Winter 200 1 boxed material in Lortel's "House on the Hilln in evaluating research prom was labor intensive, Westport. A slide graphically illustrating this Nena also emphasized the value of such a class "archivist's nightmare" brought empathetic to theatre students. The students gamed solid, responses from the audience. hands-on experience in utilizing primary source materials, studying and interpreting catalog Camille ended her presentation by announcing records both for OSU and other institutions, and that the Lucille Lortel Papers would be donated conducting research in special collections to the Billy Rose Theatre Collection at the New throughout the university. York Public Library for the Perfonming Arts. Finally, she stressed the satisfaction she and ha Nena's discussion of problems and challenges colleagues felt in organizing the papers of this faced by the TRI were familiar to many in legendary lady of the theatre. attendance. The short open hours impose hardshtps on those who travel to OSU on The final panelist was Nena Couch, Cwator and research hips, as well as on the university's Assistant Professor at the Lawrence and Lee students. Specla1 collections in general are often Theatre Research Institute, Ohio State difiicult to locate within a large academic library University. Nena brought yet another setting. The elitist, "closed members," feel of perspective on the use of performing am special collections, with their daunting list of archives as she described the scope of collections rules, can intimidate potential users. at the TRI and the variety of researchers with whom she works. The TRI collects in all areas A lively question-andanswer period followed of the performing arts, including theatre, film, Nena's presentation, with many members of the dance, and music, and Nena provided slides audience staying on to discuss topics covered by illustrating the range of formats represented the panelists. The program was so well received among these subject areas. Examples of that it will serve as the basis for an upcoming costumes, photographs, design materials, volume of Performing Arts Resources. playbills, and dance notations were shown, with Kevin Winkler, New York Public Library for Nena highlighting important holdings such as the the Performing Arts Twyla Tharp Collection and matenals on vaudeville and burlesque. While many of their UPCOMING CONFERENCES outside researchers use the TRI for scholarly JOIN TLA AT MIA! pursuits, Nena noted that the collection of gossip MUSIC LIBRARY ASSOCIATION columnist Earl Wilson attracts a large number of ANNUAL CONFERENCE writers of unauthorized celebrity bios. TO FEATURE TLA EVENT AND PRESENTATIONS BY TLA Of particular interest were Nena's descriptions of MEMBERS the multidisciplinary use of the TRI. For TLA members have received invitations to the example, a physician recently studied the upcoming MLA annual conference to be held in Pulitzer Prize-winning medical drama Men in New York City at the Grand Hyatt Regency White in the Sidney Kingsley Collection in Hotel, February 21-24, 2001. TLA will be preparing an &cle on public perceptions of participating in the meeting by sponsoring a doctors. Photographs of "theatre disasters" Broadway Theatre Tour in and around Shubert (those that are weather-related and not, as Nena Alley as part of preconference activities, and was quick to point out, examples of on-stage will have a display in the exhibits area. In debacles) were consulted by students charting addition, TLA's winter Executive Board meeting weather trends. Nena devoted a portion of her (to wtuch ALL members are invited) will take talk to the TRI's close relationship with the place during the conference. on Friday, February University's theatre department, and discussed a 23rd at 290 P.M. research methods class for gxaduate students that TLA members should find many of the she recently taught. Class assignments were conference events of great interest. The opening designed to allow students to consult and study plenary session, "Documenting the Present for the various TRI collections. Wlule the Future," will feature TLA members Betty acknowledging that creating assignments and Corwin (former Director of the Theatre on Film

Vo1.28, No. 2-3 11 Fall 20001Winter 200 1 and Tape Archive at the New York Public members. Paul said that it was good news that Liiry for the Paforming Arts) and Madeleine our membership remained stable after last yea's Nichols (Onator of the Jerome Robbins Dance decision by the board to make PAR an Division at the Library for the Performing Atts), occasional publication as well as director Harold Pnnce. Susan retuned to give a brief report on the TLA Other TLA members speaking at the cod- program in Chicago which was an expansion of will include Ronald Magliozzi, Curator of the panel presented at the annual business Research and Collections at the Museum of meeting lasf year, the program featured papers Modern Art's Department of Film and Vi, on the processing of the Joseph Papp collection who will present a paper entitled "Selling Songs at NYPL (Mary Ellen Rogon), The Lucille Lortel Before Sound: Popular Music and Moving Papers (Camille Dee), the Lawrence and Lee Pictures, 1894-1928." Under the auspices of Theatre Research Institute at Ohio State (Nena MLA's Reference Performance Subcommittee, Couch) and the mveof a researcher using Thomas Heck and Nena Couch, both of Ohio the Papp Collection to reconstruct a production State University, will present a "Reference (Marti LoMonaco). She announced the TLA at Refrrs&r." Mr. Heck's topic will be ASTR prom "The Deconstruction and "Iconographic Resources for Theater and Music Reconstruction of 42nd Street" which Mary Librarians" and Ms. Couch will present Henderson was chairing the next day and which "Reference Sources for Renaissance and included Margaret Knapp (Arizona State Baroque Dance." Mary Edsall, of Temple University), Cora Cahan (The New 42nd Street University's Department of Dance, will speak on Inc.), Hugh Hardy (architect) and Todd Haimes "A Core Collection in Dance," as part of the (The Roudabout Theatre) on the panel. Bibliography Roundtable. The MLA members' reduced registration fee has Kevin Winkler announced that TLA would be been extended to all TLA members. Single day involved with the upcoming Music Library registration is also available. Association Conference in New York and would Please join MLA and TLA for this exciting sponsor a tour of Broadway musical theatres. He event! reported that the board was exploring several Kevin Winkler ideas for panels at the ALA annual conference in San Francisco next summer. Kevin announced MEETING MINUTES that the FreedleymA Book Awards will take TLA Annual Business Meeting place slightly later than usual: Friday, June 15, Location: Sardi Building, 2001 at the Kaplan Penthouse, Lincoln Center. 11 th Floor Penthouse As his first official act as presidentclect, and on Time: 5:3O to 7:3O PM behalf of the TLA executive board and Thursday, November 9,2000 membershtp, Kevin Winkler thanked Susan President Susan Brady called the meeting to Brady, TLA's outgoing president for her order around 5:40PM and welcomed everyone. outstanding efforts. Kevin said that, "Under her She asked for approval of the minutes of the last leadership, TLA enhanced its national profile. annual business meeting which was held on Susan was instrumental in developing the TLA October 15,1999. The minutes were approved website and the TLA listserv. She promoted unanimously. In her President's report, Susan more awareness on an ormodlevel of thanked everyone for the support they gave her online resources and other technological during her term as president and especially advances that have changed the landscape of thanked Kevin Winkler and Maryann Chach. librarianship. Through programming, she created opportunities for TLA to show the land Paul Newman delivered the treasureI's report. As of leadership in this area that our members are of October 3 1, TLA had a balance of $15,926 in capable of. She has been active in involving its bank account and an additional $3,973.50 in a TLA in a meaningful way with other certificate of deposit. Our current membership professional organizations, and she strengthened holds at 167 institutional, 140 personal and 3 1 TLA's relationships with the ALA, the American non-salaried or retired members for a total of 338 Society for Theatre Research, and the Music

Vo1.28, No. 2-3 12 Fall 2000/Winter 200 1 Library Association. A creative and a tireless Last but not least, the 2001 Dktqushed leader, Susan set a very high standard for those Librarian's awards were presented to ths year's who follow her in this office. So we want to recipients. Presidentelect Kevin Winkler offered give her an extended round of applause as she the following tributes to Donald W. Fowle and takes a welldeserved curtain call!" Dr. Roderick Bladel:

Maryann Chach reported that TLA has two "I have had the pleasure of worlang with our Performing Arts Resource volumes in the works: first two award recipients at the Bdly Rose Phyllis Dircks is editing a volume on Puppetry Theatre Collection of the New York Public collections and Kwin Winkler is editing a Library, and my appreciation and respect for volume of the papers from the TLAlALA their knowledge of the theatre and the principles Chicago panel. Broadside is right on schedule of librarianship have only grown during that and has a new editor, Ellen Truax from the time. University of North Texas, who was present at the business meeting. Maryann thanked Ellen for Don Fowle's service to the field is exemplary. taking on the editorship and also for making the He spent more than thuty dedicated years at the transfer of TLA's website from Brown to its new New York Public Library. Patrons have been location at University of North Texas very indebted to him for his creative help and his smooth. Maryann said she was getting responses ability to bring to their attention resources they from members for the 2001 Membership would never have known about. (Go over to the Directory and everything was on schedule. library and pull from the shelves any theatre book-hstory, biography, directory, or Former President and current Nominations encyclowa-and most likely you'll find his Committee chair, Geraldme Duclow thanked her name listed in the acknowledgements.) fellow committee members, Robert Taylor (NYPL) and Maryann Chach (Shubert Archive) He devoted himself to a major project of revising for their help in preparing an outstanding slate of the Theatre Collection's subject headings, an candidates and then announced the winners. invaluable aid to theatre scholars and Vice-president Kevin Winkler was elected researchers. Afier his retirement, he continued president of the association and his term will run as a volunteer with the Theatre Collectioq which from January 1, 2001 until December 31, 2002. only underscores his late of the collection and Marti Lo Monaco moves up from the board to his dedication to the field. the position of vice-president and her term coincides with Kevin's. Paul Newrnan remains Don has also been very supportive of younger treasurer and Camille Dee becomes the executive colleagues and generous with hs advice and the secretary. The terms for the treasurer and benefits of his experience. Truly, he is a model executive secretary are three years and run from of professionalism for the field. For all these January 1, 2001 until December 3 1, 2003. New reasons, the Theatre Library Association is very board members are Daniel J. Watermeier proud to present the 2000 Distinguished (University of Toledo), Kenneth Schlesinger Librarian Award to Mr. Donald Fowle." (LaGuardia Community College), Florence M. Jumonville (University of New Orleans) and Don Fowle very graciously accepted his award, Annette Marotta (The New York Public Library). thanked TLA and indicated that there were many Each will sewe a three-year term, 200 1 to 2003. theatre professionals working in the wilderness The board earlier today voted to appoint Ann L. who deserved such recognition. In many Ferguson (Cornell University) to fill Camille institutions, Don said, there may only be one Dee's unexpired seat on the board which runs librarian with responsibility for a theatre until the end of 2002. Susan Peters (University collection and that individual may not have of Texas), an incumbent board member, was anyone who appreciates the contributions they appointed to fill Marti LoMonaco's unexpired make. Don suggested that perhaps they should term on the board which runs until the end of nominate themselves. 2001.

Vo1.28, No. 2-3 13 Fall 20001Winter 200 1 After the applause, Kevin continued: "Dr. Roderick BladeLw Dr. Blade1 acknowledged the Roderick Bladel's immersion in the fields of award and the applause. Theatre and Drama Criticism includes a PhD. from the University of Michigan for his doctoral thesis on drama critic, Walter Ken, and active participation as a member of the University of Michigan Association of Producing Artists, an acting-producing group.

As a valued member of the Theatre Collection staff of The New York Public Library for more than 35 years, Rod has been a fiercely dedicated librarian, committed to the collection and its development. In addition, his continuing career as a professional actor in New York and in regional theaters--concurrent with his more- than-full-time &ties at NYPL-is a testament to his love of the theatre. President Susan Brady made the next two presentations: "While a graduate student at the He is deeply respected by the staff of the Theatre University of Texas, I was in the library looking Collection-indeed, by all the staff of the for information about theatre collections that Library for the Pdorrning Arts- and his depth related to my thesis topic. It was in the stacks of of knowledge of the division's holdings has been the Perry-Casteneda Library in Austin, that I of inestimable help to researchers. It is no first met Louis Rachow. Not in person of understatement to say that through his work in course, but in the form of a Haworth Press the Theatre Collection, Rod has made an publication, Theatre and Performing Arts invaluable contribution to the field of theatre Collections, which he had edited and for which research he wrote three articles. His discussion of the history of performing arts collections, the Among his many assignments, he has managed Players Club, and bibliographic control, piqued the clippings files which are one of the most my interest, and influenced my later decision to important research tools of the collection. There pursue a career in performing arts librarianship. are also many instances of his going out of his And I was far from the only young theatre way to undertake projects which have proved a enthusiast to be influenced and encouraged by boon to researchers. He organized all the 50,000 Louis. During his many yean as a theatre negatives of the White Studio Collection. He librarian Louis has touched many of us through indexed the Robinson Locke Theatrical his work, his personal interest and advice. He is, scrapbook collection, leading a task force of five as Dorothy Swerdlove has said, 'a model of who interfiled the supplementary catalog into the professionalism for the field ' main catalog in record time. He created a system for acquiring donations of screenplays and Since his first library position at York College in teleplays. To accomplish all this, he has come in his native Nebraska, Louis has worked in a early and stayed late. He has worked Saturdays, variety of libraries, but first entered the world of Sundays, and holidays. He has taken work home theatre librarianship in 1962, when he was with him. appointed librarian of the Walter Hampden Memorial Library at The Players, the prestigious His history of service to the field is exemplary. theatrical club founded by Edwin Booth in the And we are honored to honor him tonight. For late nineteenth century. He was recommended his long and distinguished career in the field of for the position by none other than George performing arts librarianship, the Theatre Library Freedley, who remembered Louis from his first Association takes great pride in bestowing the 'Theatre Literature and Librarianship' course at 2000 Distinguished Librarian Award on Dr. Columbia University, which Louis had completed two years earlier. Mr. Freedley

Vo1.28, No. 2-3 14 Fall 2000/Winter 200 1 obviously knew great talent when he saw it For Camlot. He was escorted by the doomto the many years Louis managed the Players' stage where Mr. Downing sat on the "Queen collection and assisted researchers from around GuinevereJulie Andrews" throne. 'With a royal the world. gesture and thrust of the hand,' Louis says, Downing directed him to the 'King Arthur- In 1988, Louis became director of the library of Richard Burton perch,' and there a discussion of the International Theatre Institute of the United Louis's credentials took place. Louis, we have States. ITI's charge is to systematically collect no throne here tonight, but with this plaque I and disseminate world theatre materials dating crown you recipient of the Theatre Library from World War I1 that are not readily available Association Distinguished Librarian Award for in this country; work which Louis describes as, your tremendous contributions to the field of (and I think we would all agree), 'a librarian's performing arts librarianship." dream.' Through his work Louis provides important information about world theatre to Louis thanked TLA for the honor and Americans, and assists foreign visitors who wish recognition He said the award put him in mind to learn about theatre in this country, sometimes of Addison DeWitt 's comments at the beginning by acting as liaison between them and U.S. of All About Eve. libraries. Origmally formed by Rosamond Gilder under the aegis of the American National DeWitt observed as Eve Harrington received the Theatre and Academy, it became an independent, Sarah Siddons award; an award, he opined, non-profit service organization in 1968. In known primarily to the theatrical community. November of 1999, IT1 was consolidated with Louis said that TLA's Distinguished Librarian the Theatre Communications Group in New Award was a little like the Siddons Award but York. Louis's incredible professionalism and that it meant a great deal to him and deserved to graciousness has seen the Institute through many be better known. challenging transitions and changes. Even though Mary Ann Jensen was unable to It is impossible to conceive of The Theatre attend the business meeting, Susan Brady read Library Association without Louis Rachow. A her tribute to Mary Ann and the award was given member for over forty years, Louis has served as to Ms. Jensen on Saturday evening at the an executive board member, both President and TLAIShubert Archive hosted reception. Vice-president, chair of the nominating committee, and as liaison to the Special Libraries Association, the Council of National Library Associations, and the LibraryAnformation Network-New York. During his TLA presidency the George Freedley Memorial Award was established, and he assisted in coordinating the Six* Annual Congress of the International Federation for Theatre Research in conjunction with the American Society for Theatre Research, its first meeting in the Western hemisphere. Currently, Louis is the Association's historian, and I can't tell you how invaluable he has been in sening not only as the organization's institutional memory, but as resident sage and guru as well.

Louis has written that when inteniewing for the Susan Brady Mary Ann Jensen position at The Players, he was summoned to the Majestic Theatre to speak with Robert Downing, Susan said: "On a chilly, rainy, afternoon in the secretary of the Players and the stage 1987, I entered the Museum of the City of New manager for the Broadway production of York to attend my first Theatre Library

Fall 2000/Winter 200 1 Association meeting. I had recently been essential to their research. She has published appointed an archivist at Yale and had contacted many articles relating to theatre librarianship, the President of TLA to discuss my interest in including papers for TLA's Peflonning Arts joining the otganization She invited me to a Resources, and has written theatre reviews for board meeting. Upon entering the room I was Princeonarea newspapers. She also curated greeted by the sparkling eyes and warm smile of several major exhibitions in the Princeton Mary AM Jensen, who asked me to sit not on the University Library and elsewhere. Never sidehes, but at the table with tbe board compIete1y leaving the stage, over the years she members. I immediately felt at home with TLA also found time to stage manage, direct, act in, and with my new colleagues. design and write for academic, professional and community theatre productions. Like many of us, Mary Ann's road to theatre librarianship began on the stage, where she first Mary Ann's contributions to the Theatre Library performed at the age of 25 months! In school Association are outstanding. A member of the plays, college productions, and summer stock TLA since the early sixties, Mary AM has Mary Ann developed a great love for theatre. served as a member of the executive board, as And were it not for the stage fright that she vice president, and as president from 1984 to discovered she was prone to after a summer 1990. She served on and chaired numerous TLA season in Ivoryton, Connecticut, (where she committees, including the nominating acted with James Mason, and replaced Helen committee, publications committee, and the Hayes), we would probably not be honoring her FreedleymA Book Awards Committee. in this way tonight. After a season of winter stock in her hometown of Milwaukee at a theatre Mary Ann has written that as a senior in high which eventually evolved into the Milwaukee school she had an interest in two career Repertory Company, and exploring alternative possibilities: the theatre and the minisay. careen, Mary Ann attended the University of Because, at that time, women were not eligible Wisconsin where she planned to obtain a for ordination, she chose to major in theatre. But doctorate in theatre and teach. But while several years ago Mary Ann began to pursue a working on her thesis she was hired as a typist second career and applied to study for the by the Wisconsin Center for Theatre Research diaconate in the Episcopal Church. Last (now Film and Theatre Research). Her excellent summer, after over thirty yean as a performing skills as a researcher were soon recognized and arts librarian, Mary Ann retired from Princeton she was named assistant director of the Center, a University, and is now focusing her talents on position she held for three years. her work with the Church. As Mary Ann says, 'How many people end up with two careers- In 1966, Mary Ann learned through a friend of one in each of their chosen fields?' We an opening at Princeton University for the congratulate Mary Ann on her retirement, and position of curator for the William Seymour wish her much happiness in her new profession. Theatre Collection. The rest, as they say, is history. With Mary Ann at the helm the Whether you speak with her former colleagues at collection doubled in size. While originally Princeton, with curators at other performing arts housed in four separate areas of Firestone collections, with researchers whom she has Library, Mary Ann brought the collection assisted through the years, with librarians who together into a single area of the Department of have thrived under her counsel, or with members Rare Books and Special Collections. of the Theatre Library Association with whom (Unfortunately, due to the downsizing efforts at she has diligently worked, you'll hear them all Princeton, as at many academic libraries, the sing her praises in a hallelujah chorus: Mary collection was once again separated by format in Ann is a woman with a great love of theatre, a 1992, although Mary Ann continued to have vast knowledge of the performing arts, and intelleaual control over the material.) Through someone who has dedicated her first career to it all, ha excellent collection development and theatre librarianship. It is for this dedication and research skiIls have enabled countless her many accomplishments, her willingness to mearchers to access and use material so share her expertise and to bring everyone to the

Vo1.28, No. 2-3 Fall 20001Winter 200 1 table, that we present her with the Theatre apapaonheramsticandscholartyuseofthe Library Association's Distinguished Librarian -Y opened paF.lrpMew yolk Shakespeare Award." After much applause, the meeting Festival Ardrive at NYPL. Marti is Assodate adJourned for tefreshments and conversation Professo~ of Vi& PerfOnning Arts and Maryaan Chach Dkaor of the Theaa Program at Faidicld University in Connecticut At New York ELECTION RESULTS University, she beld the post of performing arts TW Eldon Results are in for 2001 archivistatboth WagnerLabor Archivtsandthe A new Theatre Library Association board takes Tamixncnt Playhouse Archive. Ha work on office on January 1, 2001. The slate is headed Tamimnt formed the basis for ha fint book by the recently elected executive board - Kevin BrOQhYay in the Poconos: The Tarniment Winkler (2001-2002), President; Martha S. P@Wuse, 1921-1960 (Greenwood Press, 1992). LoMonaco (2001-2002), Vice President; Paul Marti has published amcles in Pedonning Arts Newman (2001-2003), and Camille Croce Dee Resotvoes, 7he Pasing Sow, The Drama Review, (200 1-2003), Executive Secretary. 7heabe S)mpodwn, and The Encylopeda ofNew Yo& City and wrote the chapter on rtgional theatre Kevin Winkler is Chief Librarian of the in the new Combri&e History of American Cirmlating Collections of The New York Public Theatre (2000). She is working on her second Library for the Performing Arts. Vice president book, "Summer Stock NOT The Movie: A History of TLA from 1999 to 2000, he served as program of An Amencan Phenornenoq" whch is largely coordinator for the FreedleymA book awards based on arcluval sources and oral history. for the past four years, Book Review editor for Broadside and chair of the strategic planning Paul Newrnan is not the actor and purveyor of committee. He presented papers at conferences salad dressing, but a private collector of of the American Society for Theatre Research theatrical memorabilia and books. He is a (ASTR), and the International Federation for practicing corporate lawyer in San Francisco, Theatre Research (FIRTLFIR). Kevin California, and maintains a residence in New contributed to Performing Processes: Creating York City as well. Mr. Newman has served as a Live Performances (Intellect Books) and the Director of the Performing Arts Library and forthcoming encycloma volume of Passing Museum of San Francisco and has served on the Performances: Queer Readings of Leading Board of the Theatre Library Association for two Players in American Theater History (University terms. During his second tam, he was appointed of Michigan Press). He is co-author of an article by the Board to fill the unexpired term of the on performing arts libraries for International resigning Treasurer, and has served in that Dictionary of Library Histories (Fitnoy capacity since November 1998. Dearborn) to be published in 2001 and has published articles in Theatre History Studies and Elected to the TLA board in 1999, Camille Croce Performing Arts Resources. A former Dee was an adminisbative assistant at the professional dancer, he holds an M.S. in library Dramatists Guild from 1973-75. She has been science from Columbia University, an M.A. in assistant editor on the annual Best Plays series theatre hm Hunter College, and a B.A. in since 1974, with specific responsibility for theatre hmSan Diego State University. documenting Off Off Broadway. At the Museum of the City of New York, Ms. Dee worked in the Since 1996, Maxtha S. LoMonaco has wed on Department of Rints and Photographs hm1977 TLA's board where she chaired the nominating to 1978 and the Theatre Collection from 1983 to committee for two yean and was a member of the 1988. Since 1988, Ms. Dee has bear a firelance WASTR joint committee to assess the researcher for numerous projects, publications and relationship between the two organizations. collections in theatre, film and television - Subsequently, she was elected TLA liaison to the including a stint as assistant photo librarian at the ASTR executive board and co-chred the local Billy Rose Theatre Collection (NYPL), processor arrangements committee for the 2000 AS'IRTLA of the RaAbdoh Papers (NYPL) and project New York conference. At the American Library archivist for the Lucille Lortel Papers (Lucille Association conference this summer, she delivered Lortel Foundation). For the recent TLA panel at

Vo1.28,No. 2-3 17 Fall 2000/Winter 200 1 the aunual ALA conference, she delivered a paper worked in the research collections of Time Inc., on the processing of the papers of the actns, Metropolitan Opera and the Kurt Weill producer, and bcn&ctor Lucille Lortel. She holds Foundation for Music. He has an M.F.A. in a B.A in Theatre fiom Hunter College and an Dramaturgy and Dramatic Criticism from Yale M.L.S. hmPratt Institute. School of Drama, and an ML.S. from Pratt Institute's School of Information and Library The four new board members who were elected Science. He is currently Board President of to serve a threeyear term from January 1, 2001 Stephan Koplowitz & Company, a site-specific to December 3 1, 2003, were Daniel J. dance group, as well as President of Beta Phi Watermeier, Kenneth Schlesinger, Annette My Ratt's library honor society. He has been a Marotq and Florence M. Jurnonville. TLA member since 1985.

Watemeier is a Professor of Theatre at the Annette Marotta is mntly a Theatrical University of Toledo. He received his doctorate Researcher and Reprographic Coordinator in the from the University of Illinois and is the Billy Rose Theatre Collection of The Library of authorl~~buthorleditorof five books, including the Performing Axts where she has worked since Edwin Booth 's Performances (1990), 1996. Previously, she was a Media Coordinator Shakespeare Companies and Festivals: An and Librarian for a number of private schools in International Guide (199% and most recently, New York City where she managed the library, The History of North American Theatre: The created and developed the school media center United States, Canada and Mexico from Pre- and coordmted the film program with the Columbian Times to The Present (with Felicia Independent Film Cooperative. Marotta worked as Lon&, 1998). He contributed numerous articles production coordinator for the network daytime to leading theatre arts periodicals and television drama "Ryan's Hope," and researched publications, including the Cambridge Guide to and wrote for the award-winning "mscovery World Theatre and the Cambridge History of Program" as well as other television American Theatre. Watermeier has been active documentaries produced by Jules Power in the American Society for Theatre Research Productions. Her publishing experience includes governance, sewing two separate terms on the editonal work at Franklin Watts Publishing where ASTR Executive Committee and on various she researched, ed~ted and wrote biographical ASTR standing and ad hoc committees, introductions to published anthologies, raiewed includmg the Hewitt Award Committee. He held books, films, and recorcfings and researched and visiting appointments at the University of wrote book jackets for newly published materials. Southern California and at the University of She has been active in small theatre groups in Brighton (UK), and is a former Guggenheim and New York City and was a Production Associate Folger Shakespeare Library Fellow. His under Joseph Papp at the New York Shakespeare professional memberships include the American Festival. Her acting experience includes stints in Theatre and Drama Society, the International summer stock, the New York Shakespeare Shakespeare Society, and the Shakespeare Festival and the New York Educational Radio Society of America He has been a long-time Station WNYE. She holds an MLS fiom Pratt member of TLA. Institute, a BA from Hunter College in Drama and has accreditation toward a second MA in Theatre. Presently Director of Media Services at LaGuardia Community College (CUNY), Florence M. Jurnonville has been Head of Kenneth Schlesinger was Foundmg Archivist of Louisiana and Special Collections at the Earl K. Thvteen/WNETs Tape Archive, where he Long Library at the University of New Orleans assembled and organized 25,000 videotapes since 1997 where her responsibilities include related to public television's programming special collections pertaining to theatre, music, history, 1970 to the present. Part of ths and television in the South. Previously, she initiative included the Broadway Theatre sewed for twenty years as head librarian at the Archive, in which nearly 100 landmark dramatic Historic New Orleans Collection. Working with programs from the 1970s were restored and rare books and ephemera sparked an interest in digitally remastered Previously Mr. Schlesinger the history of the book, and Dr. Jumonville has

Vo1.28,No. 2-3 18 Fall 20001Winter 200 1 published extensively on printing, publislmg, Modern British Dram in the En- readin& and libraries in Louisiana. Because Dcpartmnt Prior to ber work at Emory, she New Orleans was a nineteenth- center for was a bibliographer at the Univmity of theatre and opera, local presses abundantly Maryland and taught in the English Department produced materials associated with the at Hood College and Mt St. Mary's College. A performing arts. Recently Dr. Jumonville TLA member for seven years, she has been a presented papers pertauung to sheet music and to board member for one tern Active in ALA, theatre-related ephemera (TLA conference, Peters was the program chair for the joint 1999). A former editor of LLA Bulletin (the TLAIALA program "Beyond the Stage Door ..." Louisiana Library Association's quarterIy She received her PhD. from the University of journal) and, in the less busy 1980s, a volunteer Maryland, where she wrote her dissertation on in the libmy at Le Petit ThGtre du View Cad, Noel Coward and British playwrights of the she holds mastefs degrees in libmy science, 1920s and 1930s She has contributed an essay education, and history, and a Ph.D. in education. to Literature in English: A Guide for Librarians Memberships include TLA, ALA, ACRL, SLA, in the Digital Age (Chicago: ALA, 2000). the Ephemera Society, and the Amtican Maryann Chach Antiquarian Society. BOOK NEWS The board voted to appoint Ann L. Ferguson to ,!GziGG] fill Camille Dee's board seat which runs until the The TLA Book Awards returns to the end of 2002. Ferguson is the Bernard F. spectacular Kaplan Penthouse in 2001! Burgunder Curator of George Bernard Shaw and The 33rd annual Theatre Library Assoclation Theatre Arts Collections at Comell University. Book Awards will be presented on Friday, June Prior to her appointment at Comell in 1995, she 15, 2001, at 6:00 P.M. The ceremony will be was a reference librarian at Yale University's held in the Kaplan Penthouse on the 10~floor of Sterling Memorial Library for eight years. For the Rose Buildmg (enter on 3" floor plaza level), the past two years, Ms. Ferguson has been 165 W. 65" St, at Amsterdam Ave. in New heavily involved in the establishment of the York City. Please mark the date and join us at Global Performing Arts Coalition (GloPAC). the Kaplan Penthouse for this exciting event! Her work with GloPAC has focused on the creation of an international digital performing BOOK AWARDS arts prototype database. She recently traveled to The following article appeared in the June 3, Russia with a small GloPAC team to work with 2000, issue of The New York Times ARTS & archivists at Russian theatre museums in St. IDEAS section: Petersburg and Moscow who are pamcipating in A biography of the playwright Edward Albee the project. Ms. Ferguson holds a Ph.D. in and an examination of Hollywood movies before Theatre from Indiana University and a M.S. in censorship began in 1934 were among the Library Service from Columbia University. She winners of the 2000 Theater Library Assoclation has taught theatre courses at Indiana and Yale Book Awards, presented last night at the Kaplan and has presented papers and published essays Penthouse at Lincoln Center. on American theatre and George Bernard Shaw. Edward Albee: A Singular Journey:A Biography" (Simon & Schuster) by Me1 Gussow, The board also approved the appointment of an arts reporter for The New York Times, won Susan Peters, current board member, to Lo the George Freedley Memorial Award, named Monaco's board seat which expires at the end of for the first curator of the New York Public 2001. Formerly the Chief Coordinator for the Library's theater collection and the first Department of Collection Management. president of the association The prize is given Woodruff' Library, Emory University, Peters annually for the best book about live theater recently assumed a new position at the published in the United States the prevtous year. University of Texas, Office of Advancement in The artist A1 Hirschfeld whose caricatures also Galveston. At Emory, she selected all materials appear in The Times, was awarded the Freedley in Theatre, as well as American, English, Honorable Mention citation for his book Spanish, and Italian literature, and taught "Hirschfeld on Line" (Applause Books). Pre-Code Hollywood: Sex, Immorality titled "Reunions and Revivals (1973-1998)." and Insurrection in American Cinema, 1930- These chapters prove why this innovative series 1934 (Columbia University Press) by Thomas deserves this recognition, as it broke free from the stock format of previous variety shows and Doh* . . earned the 2000 Theater Library Asaxahon Award for excellence in writing set a new starxiard for all series to follow. about film and broadcasting. Honorable mention Erickson uses one par&~cularepisode per season went to Eric Schacfer for his work Bold! to demonstrate what went into a typical show- Daring! Shocking! True! A History of beginning with the writers, to the rehearsals, and Exproitation Films, 191 9-1959 @Ilre the tapings. He also pulls no punches in telling University Prtss). The George Freedley that what worked so well in the early years Memorial Award and the Theater Library became stale by the fifth and sixth seasons. The Association Award each carry a cash prize of most disturbing fact that emerges fiom $250; the honorable mentions, S 100. Erickson's tome is the revelation of the constant in-fighting that went on between Rowan and BOOK REVIEWS Martin on one side and Schlatter and co-producer Erickron, Hal. From Beautijiul Downtown George Friendly on the other, with each side Burbonk": A Critical History ofRowan and claiming that it was their contribution that made Martin 's Laugh-In, 1968-1973. Jefferson, NC: the show a success. Erickson does a wondefl McFarland & Company, Inc., 2000. ISBN: O- job presenting both sides of the story. On a 7864-0766-2, cloth, $45.00. lighter note, the book touches upon the clever fashion of how Schlatter would trick the on-set "Ver-r-ry interesting." Tlus catchphrase uttered NBC censor to get the jokes he wanted aired. Of numerous times by comdan Arte Johnson on course Rowan and Martin's Laugh-In's success Rowan and Martin S Laugh-In, completely sums was also due to its zany cast of talented actors. up author Hal Erickson's latest book " From Erickson pays tribute to not only the major Beautiful Downtown Burbank": A Critical Laugh-In regulars-Arte Johnson, Ruth Buzzi, History ofRowan and Martin 's Laugh-In, 1968- Joanne Worley, Henry Gibson, Judy Came, Gary 1973. Erickson provides an exhaustive, well- Owens, Gol&e Hawn, Alan Sues, Teresa Graves, written, meticulously researched narrative of the and Lily Tomlin-but the lesser regulars as well. development, launch, and six-year run of this Erickson also brings to light little known or now innovative comedy hit from the sixtieslearly completely forgotten trivia-Dick Martin was seventies. Using recent interviews and the original recipient of a bucket of water during numerous source materials, Erickson the "Sock It to Me" sketches before British lass entaLainingly takes the reader through the trials Judy Carne co-opted it; former Dodge Rebellion and tribulations that Dan Rowan and Dick girl Pamela Austin was the show's first dumb Martin and producer George Schlatter went blonde (not Goldie Hawn) but never signed as a through in putting Laugh-In on the air week after regular because "her representatives had bigger week. The book also provides insights into the plans for her," and that Robin Williams was a television industry in regards to network Laugh-In cast member during the show's revival censorship practices during that period as well as in 1977. a sociologml look at the decade itself For the casual Laugh-In fan or the uninitiated Erickson's book is eficiently organized into five this book will reveal why the show was such a parts. Part I focuses on the early career of phenomenon in its day but the lack of a single comedians Rowan & Martin and producer photograph will hamper their enjoyment. As a George Schlatter, the effect comic genius Ernie research tool this book is highly recommended Kovacs had over them, and events leadmg up to and should be on the shelf of every library and Laugh-In's development. Part I1 looks at Rowan university. The episode guide alone detailing all and Martin 's Laugh-In Special, Parts In and IV the show's guest stars and major skits makes the on the first five seasons including a chapter book a must. Erickson completely succeeds in entitled "Merchandising, Look-dikes, Spin-offs demonstrating why Rowan and Martin S Laugh- and Cash-ins (1%8 onward)." Part V concludes In is one of the most important and hghly with the final season of the show and a chapter influential series of the sixties and seventies as it

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Vo1.28, No. 2-3 20 Fall 2000lWinter 200 1 still inspires sketch series (Saturday Night Live, This book will be invaluable as a reference and MacZTV, ctc.) to this day. - Tom Limnti, Tbe research guide in many disciplurts, from tbe New York Public Library. obvious - performing am - to black Greek societies; ethnic studies; religious shdm, and Bean, Annernarie, editor. A Sourcebook of United States cultural history, 1965-1990's. Afiican-American Performance: Plays, People, Student lewd or audience for this source is Movements. London and New York: Routledge, probably more dktcd towards tbose in colleges 1999. ISBN: 0-415-18235-2, paper, $24.99. and universities, with perhaps seniors and some juniors in high school also benefiting. The contents of the Sourcebook include Additionally, some mid to large publidsped previously published literature from The Drama libraries with emphasis/intereSt in the performing Review (TDR) and new material provided by arts, as well as those needmg information in prominent individuals within the performing arts. those areas cited previously, will be well served Included also are two plays: Sally's Rape (1994 if they include this source in their collection. - - actually written in 1984, but not published Monica J. Burdes, Perfowing Arts until 1994) by Robbie McCauley; and The Librarian, CaMornia State University, America Play (1994) by SW-Lori Parks. Tbe Northridge America Play was commissioned by Theatre for a New Audience. HiU, John and Pamela Church Gibson, editors. World Cinema: Critical Approaches. Setting the stage forldirecting these performance New York: Oxford University Press, 2000. writings towards appreciationfawareness and ISBN: 0-19-874282-7, paper, $21.95. knowledge of African-American performance is the editor Annernarie Bean. The Introduction is As defined by editor, John Hill, in the General entitled, "Performing Beyond Pre-formations Introduction, "World Cinema.. . is devoted to and Between Movements: Thuty Years of non-Hollywood cinemas, both in the sense of African-American Performance." Essentially films that are geographically outside Hollywood this time period corresponds to "between and and films which have adopted a merent beyond the Black Arts Movement of the 1960's aesthetic model of filmmalung bm and the New Black Renaissance of the 1990's." Hollywood." These world cinemas encompass Performance is taken to not only include "a the European countries of Italy, France, panoply of genres ranging from play, to popular Germany, as well as those in "East Central entertainments, to theatre, dance, and music Europe Poland, Hungary, Czechoslovakta, [but], to secular and religious rituals, to Romania, Bulgaria, and the former East 'perfonnance in everyday life', to intercultural Germany and Yugoslavia]". English cinema experiments... ." includes England, Ireland, Australia - and in the North American continent - Canada. Asian After the Introduction, the volume is orgaxuzed cinemas are represented by In@ Chm, Hong in four parts: Part One - Theatrical Kong, Taiwan and Japan. Concluding these In(ter)ventions of the Black Arts Movement - world cinemas are those from Africa and South beginning with an assessment (by Ed Bullins) America. that "black theatre is a 'cultural paradigm."' Part Two - Free Southern Theater and Community The organization of hs source begins with a Activism (from 1965- ). Part Three - Moving General Introduction. Following which are Beyond the Center ("black folk roots"). Part "Redefining cinema: international and avant- Four - Contemporary Challenges to garde alternatives", and "Redefining cinema: Representations: African- American Women other genres." Withm these two sections the Playwrights. Complimenting and enhancing the authoritative contributors have attempted to - very worth of this Sourcebook are the and basically succeeded in - "defin[ing] Bibliographies, illustrations, Notes and themselves by dtfferentiation from, or opposition photographs, many of whch were provided by to Hollywood norms.. .." They accomplished the Hatch-Billops Collection. tlus by "discussions on national cinema, the avant-garde, third cinema documentary and

Vo1.28,No. 2-3 2 1 Fall 2000/Winter 2001 animation" Area studies in world cinemas - lives hat it became a force to help them adapt to excepting the United States (Hollywood) - their new country. The !kt troupes brought follows. Concluding this book is the &on over typically Italian entertainment, some of it in "Redefining cinema: film in a changing age," dialect, which relied heavily on nineteenth which discusses "the changing character of century sentimental melodrama and native cinenra in an era of new technologies and coddell'm, but, like its audiences, it, delivery systems..." i.e., electronic and digital too, be= a process of assimilation In time, technologies. both the performers and the material they performed reflected the impact of the American Each article provides illustrations, historical experience on the immigrants. Along the way, anttccdents/events, definitions of terms, and the troupes of performers produced their own bibliographies - those sources discussed in the "starsn and created a touring circuit mostly in the articles, as well as others deemed to be pertinent. nortbeasf but it spread to other large cities where An asterisk denotes "particularly useful texts.. . there was a sizeable Italian immigrant for further reading.. .." An Index of Selected population. They played in eve- from Names and Film Titles concludes the makeshift playhouses to the Thaha and other "authoritative guide to international film.. .." Boway theatres and the Brooklyn Academy of Music. Other forms of immigrant entertainment Academics, librarians, and undergraduates not appeared. Beginning as caffe concerto in the only in cinema/film/media studies, but also those Italian coffee houses and bars, Italian vaudeville in world cultures or foreign language took its place alongside American vaudeville and departments will find their search for knowledge outlasted it by thlrty years. Its liveliness attracted considerably enhanced by using World Cinema: reviews by such august establishment critics as Critical Approaches. - Monica J. Burdex, Edrnond Wilson and Carl Van Vechten. When Performing Arts Librarian, California State the Depression decimated live theatre during the University, Northridge thirties, the acton took to the airwaves on Italian-language stations and purveyed not only Aleandri, Emelise. The Italian-American products but also their own form of soap opera. Immigrant Theatre of New York City. Its listeners were as mpt and loyal an audience as (Charleston, SC: Arcadia Publishing, 1999) the devotees of American soap opera. Like There is so little written about immigrant theatre Yiddish theatre actors, several of the Italian in America (with the possible exception of the actors slipped gracefully into the mainstream Yiddish theatre) that I immediately requested a theatre in America, Vincent Gardenia, the son of copy of this book for review. What arrived was a the head of a company of actors, is one of several rather unpnpossessing soft-cover edition, which, graduates of the immigrant theatre, who went on after I read it, was axiomatic proof that you to play in the theatre, movies, and television. Dr. never can judge a book by its cover. The format Aleandri's books are laced with brief, delightful of the book, written by Emelise Aleandri, anecdotes relating to many of the performen and presents the wealth of information about Italian- their experiences. A crushing blow to the language theatre in short snatches: a one page immigrant theatre was rendered by the quota introduction to each of the six chapters and long provisions in the immigration laws of 1924. informative captions to the more than two With the flow of Italians to America all but hundred illustrations. Somehow, it all works. stopped, only one generation of Italian-spealung Italian-born Dr. Aleandri, described as a New Americans survived to appreciate immigrant York producer, director, writer, actress, and theatre, but it grew old and its descendants were singer, found photographs and enough gradually enveloped into American culture, information about the acton and producers, losing a good deal of their national identity and singers and variety artists they depict, to astound the language of their ancestors. Dr. Aleandri's the reader by the sheer breadth and depth of the book fills an important gap in American theatre Italian immigrant theatre which began around the history and should be followed by other books turn of the twentieth century. Not only was the on immigrant theatre, which almost certainly theatre a vital part of the immigrants' existence existed, but we have as yet no written accounts. but it became in time so interwoven with their Together they would reveal much about the

Fall 2000/Winter 200 1 many forces that shaped American playwrights Elkins, Manlyn, editor. August Wilson:A and players, and brought into being our unique Casebook. New York: Garland Publishing, CullUraI history. 2000. ISBN: 0-8 1533434-9, paper, $24.95. Mary C Henderson, Author and Theatre Historian Erskine, Thomas L. and James M. Welsh. Edeo Versions: Film Adnptations o/Plays on Video. THEATRE LIBRARY ASSOCIATION BOOKS Westport, CT and London: Greenwood Press, RECEIVED 2000, Part I1 2000. ISBN: 0-3 13-30185-9, cloth, $59.50. Alliana of Artists' Communities. Artists Communities: A Directory ofResidencies in the Friedmann, Julian. How to Make Money United States That Oger Time and Space for Scriptwriting, t"d edition. Exeter, UK and Creativity, y, ~dition.New York: Allworth Portland, OR: Intellect Books, 2000. ISBN: 1- Press, 2000. ISBN: 1-581 15444-X, paper, 84 l5OM)2-X, paper, $24.95. $18.95. Gazetas, Aristides. An Introduction to World Anduson, Ann. Snake Oil, Hustlers and Cinema Jefferson,N.C.: McFarland, 2000. Hambones: The American Medicine Show. ISBN: 0-7864-0809-X paper, $35.00. Jefferson, N.C.: McFarland, 2000. ISBN: O- 786448004, cloth, $38.00. Goldman, Mchael. On Drama: Boundaries of Genre, Borders of Sev Ann Arbor: University Armstrong, Richard. Billy Wilder,American of Michigan Press. 2000. ISBN: 0-472-1 10 11 - Film Realist. Jefferson, N.C. : X. cloth. $39.50. McFarland, 2000. ISBN: 0-7864-082 1-9, cloth, $32.00. Hainaux, Rene, editor. Les Arts du Spectacle: Books in French About Theatre, Music, Dance, Bigsby, Christopher and Don B. Wilmeth, Mime, Puppetry. Light Entertainment. Circus, editors. The Cambridge Histoy ofAmerican Radio, Television, Cinema Published Between Theatre, Volume Three: Post- World War II to 1960 and 1985. Brussels: Editions Labor, 1989. the 1990s. Cambridge: Cambridge University ISBN: 2-8040-0394-9, cloth, $47.95. hess, 2000. ISBN: 0-521-66959-6, cloth, $79.95. Hardmg, James M., editor. Contours of the TheatricalAvant-Garde: Performance and Bloom, Martin. Accommodating the Lively Arts: Texrualiry. Ann Arbor: University of Mclugan An Architect's View. Lyme, N.H.: Smith and Press, 2000. ISBN: 0-472-06727-3, paper, Kraus, 2000. ISBN: 1-57525- 128-0, paper, $22.95. $16.95. Hamngton, Bob. The Cabaret Artist 's Brine, Adrian and Michael York. A Handbook Edited by Sherry Eaker. New York: Shakespearean Actor Prepares. Lyme, N.H. : Back Stage Books. 2000. ISBN: 0-8230-8852-9, Smith and Kraus, 2000. ISBN: 1-57525-189-2, paper, $18.95. paper, $19.95. Innes, Christopher with Katherin Carlstrom and Dixon, Michael Bigelow and Amy Wegener, Scott Fraser. Twenrieth-CentutyBritish and editors. Humana Festival 2000: The Complete American Theatre: A Critical Guide to Archives. Plays. Lyme, N.H.: Smith and Kraus, 2000. Aldershot, UK:Ashgate, 2000. ISBN: 1-85928- ISBN: 1-57525-226-0, paper, $ 19.95. 066-8, cloth, $104.95

Daniels, Rebecca. Women Stuge Directors Konijn, Elly A. Acring Emotions: Shaping Speak: Exploring the Influence ofGender on Emotions on Stage. Amsterdam: Amsterdam Their Work Jefferson, N.C.: McFarland, 2000. University Press, 2000. ISBN: 90-5356-4444, ISBN: 0-78644965-7, paper, $20.00. Paper.

Vo1.28,No. 2-3 23 Fa11 2000Winter 200 1 Lee, Joann Faung Jean. Asian American Actors: Waldman, Hany. Missing Reels: Lost Films of Oral Histories From Stuge, Screen, and American and European Cinema. Jefferson, Television. Jefferson, N.C.: McFarland, 2000. N.C.: McFarland, 2000. ISBN: 0-7864-0724-7, ISBN: 0-7864-0730-1, paper, $32.50. cloth, $55.00.

Lofficer, Jean-Marc and Randy Lofficier. Webb, Graham. The Animated Film French kience Fiction, Fantacy, Horror and Encyclopedia: A Complete Guide to American Pulp Fiction: A Guide to Cinema, Television, Shorts, Features, and Sequences, 1900-1979. Radio, Animation, Comic Boob and Literature Jefferson, N.C. and London: McFarland, 2000. From the Middle Ages to the Present. Jderson, ISBN: 0-7864-0728-8, cloth, $125.00. N.C.: McFarliu4 2000. ISBN: 0-7864-0596-1, paper, $95.00. Broadride is proud to announce that a new Olton, Ben. Arthurian Legends on Film and system for covering regional news is now in Television. Jefferson, N.C. : McFarlad, 2000. plact. With the incorporation of regional ISBN: 0-7864-07 18-2, cloth, $3 9.95. "stringers", it will now be possible to report theatrical news that spans all areas of our Robinson, Marc, &tor. The Theater ofMaria membership. And now without further ado, Irene Fornes. Baltimore and London: Johns Broadside proudly announces the new regonal Hopkins University Press, 2000. ISBN: 0-801 8- reporters: 6154-3, paper, $19.95. Susan Chute-New York Linda Hardberger-South Shakespeare, William. Coriolanus. mted by Stephen Johnsodanada Lee Bliss. Cambridge: Cambridge University Steve Kuehler-New England Press, 2000. ISBN: 0-521-29402-9, paper, Brigitte Kueppers-Southern California $11.95. Rob Melton-Mid-West Jason RubieMid-Atlantic Silverberg, Larry. The Sanjord Meisner Alicia Snee-Northern California Approach: Workbook Four: Playing the Part. Angela Weaver-Metro DC area Lyme, N.H.: Smith and Kraus, 2000. ISBN: 1- 57525-2 12-0, paper, $ 14.95.

Smidt, Kristian Ibsen Translated:A Report on David James, librarian in the Acquisitions English Versions ofHenrik Ibsen 's Peer Gvnt Department at the Milton S. Eisenhower Library and A Doll's House. Portland, OR: International at Johns Hopkins University in Baltimore Spedized Book Services, Inc., 2000. ISBN: (Institutional Member). reports that the Lester S. 82-560-1210-2, paper, $28.00 Levy Collection of Sheet Music is in the process of adding sound samples of the music to its Souile, Lesley Wade. Actor as Anti-Character: location on the Hopkins Web site. The Lay Dionysrts, the Devil, and the Boy Rosalind. Collection is arranged in 38 topical categories. Westport, CT and London: Greenwood Press, The Collection contains over 29,000 pieces of 2000. ISBN: 0-3 13-3 13044, cloth, $65.00. music and focuses on popular American music spanning the period 1780 to 1960. All the sheet Stemberg, Pamcia and Antonina Garcia. music in the collection is indexed, and a search Sociodrama: Who's in your Shoes?, 2"d Edition. will retrieve a catalog description of each piece. Westport, CT and London: Greenwood Press, If the music was published before 1923 and is in 2000. ISBN: 0-275-96300-4, cloth, $24.95, the public domain, an image of the cover and each page of music may be retrieved. Thistle, Louise. Dramatizing Myths and Tales: TLA member Judith S. Markowib sends a Creating Plays for Large Groups. Palo Alto, report about the Performing Arts Library in the CA: Dale Seymour Publications, 2000. ISBN: O- newly opened Clarise Smith Performing Arts 8665 1-832-0, FF~, $19.95. Center on the University of Maryland College Park Campus. The main reading room and

Vo1.28, No. 2-3 24 Fall 2000/Winter 200 1 reference section for music, theater, and dance DigitaI Development Recently, the New Yo* arc on the first floor, and the circulating section Public Library for the Performing Arts has is on the second. The library boasts that it has 58 enhanced its pages recommending Performing stateaf-the-art multimedia workstations situated Arts resources on the Internet, particularly in the in individual carrels on both levels. In addition, areas of theatre, film, arts administration, the Special Collections Reading room holds television and radio. The pages can be accessed material in music, theater, and dance, including at hCtD://ww~.ml.ordre~earcM~a~internet~. the International Piano Archives at Maryland, Also, an online finding aid for the newly which consists of piano recordings, 8,000 piano available collection of avant-garde scores as well as 2,500 books about pianos and produccr/dircctor Reza Abdoh had been added to pianists. -Jason Rubin approximately 100 Billy Rose Theatre Collection finding aids, available from the New Yo* Public An Urban Legend. From October 10 to Library Digital Library website December 16, 2000, an exhibition titled mtal.nwl.or~/findiw.htm) or from the "Architect of Dreams: The Theatrical Vision of home page of the Theatre Collection Joseph Urban" was on view at the Miriam & Ira (httD://www.ml.ore/researcMDa/the/tbc.html).- Wallach Art Gallery at Columbia University. - Susan Chute, regional New York stringer Curated by Arnold Aronson, the exhibit focused on architect Joseph Urban's designs for the Overview of Studio Archives Ziegfeld Follies and the Metropolitan Opera In recent years, Hollywood studos have become between 1915 and 193 1. Included were aware of the tremendous value of their watercolors, set models, drawings and accumulated records referred to as company photographs taken from approximately 17,000 assets and began to take care of their historical items in the Joseph Urban archives, part of the materials by establishmg archives programs. Dramatic Museum collection a! Columbia. A While approaches vary the goals are similar. catalog of the exhibit, with essays by Aronson, Here is some basic information gathered in a Derek E. Ostergard and Matthew Wilson Smith, brief questionnaire about the program or is available for $30 by writing The Miriam and department and the direction each of the studios Ira D. Wallach Art Gallery, Columbia is taking. University, 1190 Amsterdam Ave, MC55 17, New York, NY 10027, or by calling 212-854- The Walt Disney Company has been 2877. conscientious of its hstory since the 1970s and Columbia Pictures established its archive in the Burrowing in the Archives. The Billy Rose 1980s due to the need for companylstudio Theatre Collection of The New York Public recognition and identification when it was Library for the Performing Arts has recently purchased by SOW and relocated to the old received the papers of Abe Burrows, the prolific MGM lot. A veritable Hollywood archlve playwright and director who brought Guys and movement started with Warner Bros. and Dolls, How to Succeed ... , Can-Can and Silk Twentieth Century-Fox in 1992 and three other Stockings to the stage. Included are production studios followed suit, Dreamworks in 1994, files, scripts, photographs and posters, and an Paramount in 1997, and Universal in 1998. especially rich series of correspondence. The Information on MGMIUA is not available at this collection will be made available when time. processing is completed. Just now, on view at Museum of the City of New York until June 10, Three archives report to someone wibthe 2001 is an exhibition celebrating the 50" corporate adnunistration: Walt Disney - anniversary of the musical Guys and Dolls. The Corporate Adrninistration/Administrative exhibit chronicles the creation of the musical and Assistant to the Chairman of Board & CEO; provides historical and cultural context for its Warner Brothers - Vice Resident of Corporate subject. More information can be found at Se~ces;Twentieth Centu~y-Fox- Cha~man, www.mcnv. org. Fox Filmed Entertainment; Dreamworks - Feature Animation and Corporate. Columbia and Universal are part of Studio Operation, the

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Vo1.28,No. 2-3 2 5 Fall 2000/Winter 2001 latter rccently realigned with Corporate Records being saved. Warner Brothers ' main archival or as two departments under one director. research partner-depaxtments are the Warner Paramount is the exception in being solely a Research Library, the FilrnlArchive Vaults, and Photo Archive and reports Myto the Senior the Stock Footage Library. Twentieth Century- Photo Editor/Publicist. Fox has an independent Photo Archive, Scripts Archive, and Legal Records Center. Collection activities for Walt Disney center Dreamworks needs to work very closely with all around the central mission to collect "...all its depositing departments because many hold materials relating to the Disney family and the onto their materials for an extended time. company, its movies, its theme parks, and its Columbia has archivaVhistorical records at the various subsidiaries". A similar statement was Legal and Television Department and is submitted by Warner Brothers which " .. .saves gradually expanding the scope of its holdings. anythmg of import to the history of the studio Universal interacts with Central FileslCorporate that might be used to understand, enhance and Records, Feature MarketinglStills and the Stills promote that history". Universal Studios is Vault for all photographic materials, with finalizing policies and guidelines for appraisal Universal Creative for theme parks, rides and and acquisition of corporate records, production tour designs and plans, with Feature documentation (props, wardrobe, artwork), and ProductiondAsset Management for wardrobe, materials created by numerous departments props, and production artwork, and with wib each company group: Filmed Consumer Products for selected merchandise. Entertainment, Recreation (theme parks, rides The company-wide survey will bring many more and tours), Consumer Products, and Studo depamnents into closer contact with A&C. Opexmons. The Universal Music Group is managing its own archival collections. All studio archives are primarily created for use Twentieth Century-Fox collects production assets by company departments, Walt Disney 's major (props, artwork, special effects materials), users are the Legal Department and Consumer publicity and promotional assets (posters, Products with a multitude of reference questions promotional materials, key art) and looks out for and it responds to reference questions from the " . ..undervalued and under-uulized assets that general public. The archive has published two fall into no one else's domain". Columbia books, Disney A to 2, the Olficial Encyclopedia concentrates on publicity materials (stills, and Disney, the First 100 Years. It is the only posten) and production materials (props and studio which presents orientations to new wardrobe) while Dreamworks policy includes employees on the company's history and besides production materials and publicity traditions on a regular basis. Warner Bros. photography animation artwork, music mounts major exhibits in its Museum for visitors recordings, marketing and advertising materials, on the studio tour, assists departments with video assets and development art work. hstory-related projects, and provides corporate Paramount's Photo Archive naturally does not archive assets to WB productions or special actively collect other than photographic materials events as needed. Twentieth Century-Fox serves from recent productions and focuses on as a resource for information needs rewngthe inventories and preservation of the studios studio history, marketing and publicity and is photographic holdings responsible for displays and exhibitions, Internet auction support, dgital database development, A company archve does not operate in a production asset management, and archival vacuum. At the Walt Disney studio archival product development. Dreamworks, Paramount principles are operating at the Mam Files and Columbia focus on organizing, inventorymg (corporatdegal records), Imagineering (designs, and preservation of their holdings and servicing blueprints for parks), Feature Animation company departments. With the exception of (animation artwork), Publishing (book art), Dreamworks, they handle approved requests Records Center (business records). The archive from outside the company. Universal mounts also interacts with several departments annually several small exhibits and is responsible throughout the company where smaller for a monthly film series with an introduction by collections of primarily recent materials are staff or guest speakers. It assists company

Vo1.28,No. 2-3 26 Fall 2000Ninter 200 1 departments with materials for projects and MEMBER NEWS research, ananges for loans to institutions, and Sidney P. Albert recently published the makes materials, mainly photographs, available following articles in SHAW: The Annual to outside researchen with approval from the Bernard Shaw Studies, vol. 19, 1999: appropriate legal department "Evangelizing the Garden City?" and "Ballycorous and the Folly: IN Search of When asked about future plans the responses Perivale St Andrews." He also published were as follows: Walt Disney, operating already "Remembering Eleanor Robson Belmont" in The for three decades, is aslang for some increase in Independent Shavian: The Journal of the Bernard staff. Warner Bros. plans a reevaluation of Sbaw Society, vol. 38. no. 102. The Sidney P. collections and materials on hand and their final Albert Collection is not located at Brown processing in a database system for company University. wide on-line use. Short- term goals for Twentieth Century-Fox include the renovation of Ralph Allen has retired as Professor of Drama at storage areas for posters and art work, displays Queens College C.U.N.Y., but continues to teach and exhibits, the creation of a production asset and direct as visiting professor most recently at management program, an inventory of and Bradley University in Peoria He has written a subsequent release of excess materials, and the new revue, Scandals, wluch has a preview development of a digital inventory database. engagement at Theatre Virginia. Now starring The long-term goal is to make it available to the Jackie Mason, it opens in Minneapolis next May entire studio system. Dreamworks' short-term with Broadway as its eventual destination. goals are a proposal to collect costumes and Allen's lecture, The Rhythns Style and Meaning props and to strengthen its collection relating to of Jokes, was an uproarious success at the ATF the founding of the studio. Its long-term goal is meeting at the Ke~edyCenter. He is open to to position itself to play a lead role in mda and invitations to give it at appropriate institutions. asset management. Columbia plans to expand its collection activity to Corporate Documents in "Red, Hot and Blue: A Srnithsonian Salute to support of its collection of corporate and studio American Musicals," origmlly presented at The lot photographs, expand staff and space an4 over National Portrait Gallery in 1996-97, is in its the next two years, establish a preservation second year of a national tour. It will be at the program. Universal is expecting the capital Goodspeed Opera House, East Haddam CT, improvement of its storage space, will create a from September 30 through December 17, 2000. database system and then transfer data from Offering a biograplucal survey of the musical on already inventoried and processed collections stage and screen, the exhibition was orgaruzed and prepare on-line condition reports for by Srnithsonian historians Dwight Blocker individual costumes and props. A company- Bowers and Amy Henderson. wide mey, department by department, will be conducted over several years to iden*, appraise James Fisher (Wabash College) was named the and transfer so far unknown archival materials. McLain/McTurnan/Arnold Research Scholar for Proposals await approval for an increase in 1999-2000. He also received an International processing staff by at least one permanent, Studies Course Development grant for summer paraprofessional archive assistant position in 2000. His article "Tony Kushner" appeared in addition to occasional interns and for a position the Dictionary of Literary Biography. v. 228 of a professional photo archivist Among the Twentieth Century American Dramatists. Second more long-term goals are an oral history program Series, 2000; and "Plrandello and Fo: and the processing of the art-on-paper collections FooVPuppet Masters" in the Puppetq Yeahook, in consultation of specialist. And very long-term v. 4, 2000. He has had numerous book dews goals are a research facility and a museum. At published in Theatre History Studies, Theatre Paramount the work with photographic materials Survey, and The Journal of Dramatic Theory and will continue without change for the time being. Criticism Several production reviews were -Brigitte Kueppers Universal Studios published in the Journal of Dramatic Theory and Criticism, The Eugene O'Neill Review, and Theatre Journal.

Vo1.28, No. 2-3 27 Fall 20001Winter 2001 a paper, "Theatricality Facts the Camera: The Living Legend Igo Honored in October Earliest Photographs of Actors," for the Working John Igo has been a fixture of the San Antonio Group on European 'Theatre Iconography theaa scene for nearly fifty years. In addition (Poggio a Cano, July 2000); ad directed to his career as a teacher at Trinity University Montcverdi's L'Incoronazione di Poppaea for and San Antonio College beginning in the Boston baroque (October 2000). He was the 1950's, he served as resident theatre critic for the program chair for the annual meeting 2000 of Sun Antonio Light and the North Sun Antonio ASTR/TLA in New York City. Times for more than twenty years. He is also a published poet and playwright who has authored Sor~Velez (NYPL for the Performing Arts) co- more than twenty books, including Day of pnsented a preconference workshop "Basic Elegies, Tropic of Gemini, and Srens. John Care and Management of Sound Recordings" at Igo'r plays have been produced widely, and in the Association for Recorded Sound Collections 1985,hc shared an Emmy Award for his writing (ARSC) Conference in Chapel Hill, NC in May and editing on Our Children: The Next 2000. She is the co-chair of the ATSC Generation at KHJ-TV in Los Angeles. In 1992, Education and Training Committee. In he taught playwntmg at the University of the September 2000, she wrote an article and Incarnate Word and later that year was cited by bibliography, "Latin Music Research the Alamo Theatre Arts Council for Speaal Resources," for the National Academy of Recognition of his many achievements in theatre. Recorded Arts and Sciences OIJARAS) which Since 1976, he has served as Project Manager of was published on the web at -wwwWWW.grammYYco_m. the Theatre Archive of the San Antonio Public Library and is widely held to be the most IN MEMORIAM knowledgeable authority on the history of San Mary Hunter Wolf, 1904 - ZOO0 Antonio theatre and live performance from the Broadway director and innovative arts educator mid-1800's to the present. Mary Hunter Wolf died in Hamden, Connecticut, on 3 November 2000. A longtime Theatre Edward Mapp (Borough of Manhattan Library Association member, described by Community College) deposited 27 framed Tennessee Williams as "one of the most original one sheets from his black cast film intelligent people" he had ever met, Ms. Hunter poster collection at the Black Film Wolf was 95. CenterIArchive of Indiana University, Bloomington campus. During a distingutshed career in the theatre lasting nearly 70 years, Mary Hunter Wolf The film depaxtment of the Museum of Modem assembled an impressive roster of friends and Art (MOMA) named its department of stills and colleagues including, among others, Agnes de film portraits after Paul R Palmer. Mr. Palmer Mille, Katherine Dunham, Horton Foote, Jerome continues to give the collection stills and Robbins and Thornton Wilder. One of the first photographs from his personal collection of woman directors on Broadway, Ms. Hunter Wolf photos from 1912 to the present. In 1999, Mr. made her debut with Mr. Foote's "Only the Palmer established a fund to support the Heart" in 1944, followed the subsequent year by collection and preservation of stills and portraits "Carib Song," Broadway's first black musical, in the museum which is know for its rich film starring Ms. Dunham. In adbtion, she directed and video resources. all but one of Jean-Paul Same's plays, including a successful Broadway run and tour of "The Laurence Senelick (Tufts) published "Thus ReqxcUU Prostitute." Later she served as conscience dies make cowards of us all: new associate director of Jerome Robbins' production documentation on the Okhlopkov Hamlet," of "Peter Pan," staning Mary Martin. Balagan (July 2000); "Chekhov's plays in In 1947, Hunter Wolf was selected to direct a Enghsh," North American Chekhov Society new Broadway musical, "High Button Shoes," Bulletin (Spring 2000); entries on F. Anstey and but was replaced with George Abbott before John Maddison Morton in The Cambridge rehearsals began. She sued the producers, Bibliography of English Literature. He delivered alleging discrimination due to being female, a

Vo1.28, No. 2-3 28 Fall 20001Winter 2001 landmark case upheld by New York Supreme SAVE THE DATE: Court two years later. MONDAY, JUNE 18,2001 Born in Bakersfield, California, on 4 December TLA at ALA! 1904, Mary Hunter Wolf attended Wellesley College and the University of Chicago. She boldly embarked on her directmg career with a AMERICAN LIBRARY ASSOCIATION staging of a 17~century Spanish verse play, ANNUAL CONFERENCE TO "Los Moms y los Cristianos," performed on FEATURE TLA PROGRAM ON horseback. She became involved with Chicago's PRESERVING THE PERFORMING first interracial theatre, the Cube, where she ARTS IN SAN FRANCISCO directed Katherine Dunham in her theatrical debut. Please join us on Monday morning, June In the 1950s Mary Hunter Wolf turned her 18&, at the annual conference of the attentions to theatre in Connecticut educational American Library Association when institutions. In 1952 she founded the Amrican TLA will present "Documenting the Shakespeare Theater in Stratford with Lawrence Performing Arts in San Francisco," a Langner, serving as executive director, associate producer and director of educational programs. program spotlighting the work of Her initiatives have served as a model for the librarians, archivists, historians, and development of arts-in-education programs at filmmakers who are preserving the work Shakespeare festivals nationwide. of performing artists in the Bay Area. "Horrified by the way the arts were treated in the public school system," she founded in 1970 the The program will take place at the San Center for Theater Techniques in Education, Francisco Performing Arts Library and which introduced dramatic training into cunicula Museum (SFPALM) fiom 9:00 to 10:30 to foster creative expression, vocational A.M., with a tour of the facility to follow development and approaches to problem solving. the presentation. This program is still affiliated with two magnet schools in New Haven, and has influenced arts education in Connecticut over several decades. Speakers will include: Kirsten Tanaka, Head Archivist1 Last year she donated her extensive papers to the Librarian, SFPALM. Yale Collection of American Literature at the Jeff Friedman, Founder and Beinecke Rare Book and Manuscript Library in New Haven. Along with correspondence Director, LEGACY, a dance oral documenting her collaborative efforts with history project for the San Robbins, Wilder and Williams, the collection Francisco Bay Area. consists of reviews, manuscripts, scores and David Weissman, Producer and scrapbooks. Co-Director of The Cockettes, a A memorial service was held on December 4' at feature-length documentary on the Long Wharf Theater in New Haven. - the San Francisco-based Kenneth Schlesinger theatrical troupe. Other speakers to be announced. Please plan on joining TLA for this exciting event!

Fall 2000Ninter 200 1 CALENDAR January 12-16,2001, ALA Midwinter in Wasbgton, DC February 21-25,2001, TLAMLAIDLC in New Yo* City February 23,2001, TLA Executive Bwrd Meeting Conference), 2:00-5:00 P.M. June 15,2001, George Freedley/TLA Book Awarrh in New York City, Kaplan Penthouse, Rose Bldg June 1419,2001, ALA Annual in San Francisco, CA June 18,2001, TLA Program (ALA Conference), 990-10:30 AM. July 9-14,2001, FIRT/IFTR Conference in Sydney, Australia Officers of the Theatre Library Association (founded 1937): President (2001-2002), Kevin Winkler, The New Yo* Public Library; Vice President (2001-2002). Dr. Martha S. LoMonaco, Faidield University; Executive Secretary (2001-2003), Camilk Cmce Dee, Independent researcher; Treasurer (2001-2003), Paul Newman, Private collector/lawyer Executive Board: Pamela Bloom (New York University), 2000-2002; AM L Feqpson* (Cornell University), 2000-2002; B. Donald Grose (University of North Texas), 1999-200 1; Mary Ann Jensen (Princeton University Library, retired), 1999-2001; Dr. Florence M. Jumonville (University of New Orleans), 2001-2003; Brigitte J. Kueppers (Universal Studios Archives), 1999-2001; Annette Marotta (The New York Public Library for the Performing Arts), 2001-2003; Susan L Peters* (University of Texas, Medical Branch), 1999-2001; Jason Rubin (Washington University), 2000-2002; Kenneth Schlesinger (La Gw&a Community College, CUNY), 2001-2003; Dr. Daniel J. Watermeier (University of Toledo), 2001-2003; Joseph M. Yranski ('The New York Public Library, Domell), 2000-2002. *appointed to fill unexpired board term TLA Website: httD://tla.libraw.unt.edu TLA Listserv: To Subscribe: 1) Send email (notlung in the subject) to: [email protected]) In the body of the email message type the following line: SUBSCRIBE TLA-L your name Broadside ISSN: 0068-2748, published quarterly by the Theatre Library Association, c/o Shubert Archwe, 149 West 45' St, New York, NY 10036, is sent to all members in good standing. Editor Ellen Tmax, University of North Texas. TLA memberslup (annual dues: $30 personal, $30 institutional; $20 non-salaned members) also includes Performing Arts Resources, published annually. Current members may purchase past issues of PAR, $10 prepaid, and Broadside, $2 prepaid.

THEATRE LIBRARY ASSOCIATION U.S.POSTAGE C/O Shubert Archive NEW YORK, N.Y. 149 West 45* St. PERMIT NO. 2632 New York, NY 10036