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The Women of Provincetown, 1915-1922

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The Women of Provincetown, 1915-1922 Provincetown- CHERYL BLACK The Women of Provincetown, 1915–1922 The Women of Provincetown, 1915–1922 Cheryl Black The University of Alabama Press Tuscaloosa and London Copyright © 2002 The University of Alabama Press Tuscaloosa, Alabama 35487-0380 All rights reserved Manufactured in the United States of America 9 8 7 6 5 4 3 2 1 10 09 08 07 06 05 04 03 02 Typeface: ACaslon ∞ The paper on which this book is printed meets the minimum requirements of American National Standard for Information Science–Permanence of Paper for Printed Library Materials, ANSI Z39.48–1984. Library of Congress Cataloging-in-Publication Data Black, Cheryl, 1954– The women of Provincetown, 1915–1922 / Cheryl Black. p. cm. Originally presented as the author’s thesis (Ph. D.—University of Maryland, College Park, 1998). Includes bibliographical references (p. ) and index. ISBN 0-8173-1112-2 1. Provincetown Players. 2. Women in the theater—Massachusetts—Provincetown— History—20th century. 3. American drama—Women authors—History and criticism. I. Title. PN2297.P7 B58 2002 792′.082′0974492—dc21 2001003850 British Library Cataloguing-in-Publication Data available Cover illustration: “Provincetown Playhouse 1920,” by Marguerite Zorach. Private Collection, Courtesy Kraushaar Galleries, New York. To LR, my partner in all things, and to Nathaniel, our most successful collaboration Contents List of Illustrations ix List of Graphs xiii Acknowledgments xv Introduction 1 1 Creating Women 7 2 Managing Women 32 3 Writing Women 51 4 Performing Women 74 5 Staging Women 93 6 Designing Women 112 viii Contents 7 Backlash and Aftermath 133 8 Valedictory 145 Appendix 1 The Women of Provincetown 155 Appendix 2 Charter Members of the Provincetown Players, September 1916 159 Appendix 3 Executive Committee Membership 161 Appendix 4 Productions of Plays Written or Cowritten by Women 163 Appendix 5 Provincetown Productions for Which Directing Credit Can Be Reasonably Established 167 Appendix 6 Provincetown Productions for Which Scenic Design Credit Can Be Reasonably Established 171 Appendix 7 Provincetown Productions for Which Costume Design Credit Can Be Reasonably Established 175 Notes 177 Selected Bibliography 219 Index 235 Illustrations Mary Heaton Vorse 11 Ida Rauh 12 Susan Glaspell 14 Neith Boyce 15 Marguerite Zorach with Tessim Zorach 16 Stella Ballantine 16 Louise Bryant 19 Edna Kenton, John Reed, and Ethel Plummer 21 Djuna Barnes and Mina Loy 23 Edna St. Vincent Millay 24 x Illustrations Evelyn Scott 25 Eleanor Fitzgerald and Buff 26 Kirah Markham 28 Mabel Reber 28 Edith Haynes 29 Helen Westley 29 Grace Potter 30 Neith Boyce and Hutchins Hapgood in their Enemies 54 Clark Branyon, Susan Glaspell, Ida Rauh, Justus Shef¤eld, three unidenti¤ed women, and Norma Millay in Glaspell’s Woman’s Honor 54 Norma Millay and Harrison Dowd in Edna St. Vincent Millay’s Aria da Capo 56 Dorothy Upjohn, Blanche Hays, Hutchinson Collins, Otto Liveright, Alice Macdougal, and Ida Rauh in Mary Carolyn Davies’s The Slave with Two Faces 58 The Verge, by Susan Glaspell 65 Mary Pyne 77 Illustrations xi Ann Harding 85 Margaret Wycherly 87 David Pinski’s A Dollar in rehearsal 98 Jig Cook’s The Athenian Women, directed by Nina Moise, with Cook, Ida Rauh, and others 101 John Reed, William Zorach, Martha Ryther-Fuller, and Kathleen Cannell in Louise Bryant’s The Game, directed and designed by Marguerite and William Zorach 118 Program cover design from “The Provincetown Players” 119 Edna James and Jig Cook in Pan by Kenneth MacNichol, directed by Nina Moise and designed by Marguerite and William Zorach 120 Jig Cook’s The Athenian Women, costumes designed by Helen Zagat 126 The Spring by Jig Cook, costumes by Lucy L’Engle 127 Diff ’rent by Eugene O’Neill, costumes by Blanche Hays 128 Eleanor Fitzgerald and Alexander Berkman 142 Susan Glaspell, Nilla Cook, and Jig Cook 143 Graphs 1 Number of Productions of Plays Written or Cowritten by Women 59 2 Number of Credited Productions Directed or Codirected by Women 108 3 Number of Credited Productions Scene Designed or Codesigned by Women 115 4 Number of Credited Productions Costume Designed or Codesigned by Women 116 5 Overall Percentage of Participation by Women 149 Acknowledgments This work was begun seven years ago as a dissertation topic, and during those years many individuals, organizations, and institutions have lent their support in countless ways. Two scholars have been espe- cially important to this project. Patti P. Gillespie, my longtime mentor and friend, directed the dissertation with her inimitable, ruthless enthu- siasm and has generously continued to lend her experience, insight, knowledge, humor, criticism, encouragement, and support through every step in the process of turning the dissertation into a book. Robert K. Sarlós has generously shared with me his abundant store of material and intellectual resources over the years (as well as a very ¤ne apricot brandy—the closest we could get to “Provincetown punch” on short notice). I am especially indebted to Professor Sarlós for his close read- ing of at least two versions of the work-in-progress, his invaluable criti- cal commentary, and his continuing interest and encouragement. I am also indebted to Judith Barlow, Jackson Bryer, Roger Meers- man, Deborah Rosenfelt, and Catherine Schuler for reading various manuscript drafts and offering insightful criticism and encouragement. I gratefully acknowledge individuals who have alerted me to relevant sources: Jackson Bryer, Kenneth Cameron, Leona Rust Egan, Drew Eisenhauer, Michael O’Hara, Robert K. Sarlós, and William Vilhauer. For assistance in locating or granting permission to publish photo- graphs, I thank Linda Briscoe, Daphne Cook, Valentina Cook, Daniel L’Engle Davis, Anne Easterling, Dee Garrison, Kathleen Kaplan, Mimi Muray Levitt, Paula Scott, and Jonathan Zorach. At the University of Missouri, Columbia, I am grateful to the reference librarians and staff xvi Acknowledgments of Ellis Library for their able and gracious assistance and to my Theatre 267 students (WS2000) who so enthusiastically explored the Province- town past with me and brought the plays to life in classroom perfor- mances. I wish to thank the curators, librarians, and staffs of the libraries and museums whose special collections were crucial to my research: Judy Markowitz and Beth Alvarez, Mckeldin Library, University of Mary- land; Bryan D. Rogers and Laurie Deredita, Shain Library, Connecticut College; Levi Phillips and John Skarstad, Shields Library, University of California, Davis; Marie-Héléne Gold, Radcliffe Library; Jennifer Lee, Butler Library; Kathleen Manwaring, Syracuse University Library; Alfred Mueller and Patricia Willis, Yale Collection of American Litera- ture; Fredric Wilson and Annette Fern, Harvard Theatre Collection; Marvin Taylor and Helice Kof®er, Fales Library; Stephen Crook, Berg Collection of New York Public Library; Tom Lisanti and Jeremy Meg- raw, New York Public Library for the Performing Arts; Marty Jacobs, the Museum of the City of New York; Michael Redmon, Santa Barbara Historical Society; Margaret Kulis, Newberry Library; Margaret D. Hrabe, Barrett Library; and Peter Blodgett, Huntington Library. At the University of Alabama Press, I am grateful for the assistance and support of Nicole Mitchell, Curtis Clark, Jennifer Horne, and Suzette Grif¤th and for the meticulous editing of Jonathan Lawrence. I would like to thank the editors of Theatre Survey and the Journal of American Drama and Theatre for permission to incorporate material in this study previously published in those journals. I would like to thank CaSandra Brooks, Jeff Jones, Kathleen Brant, Suzanne Hayes, Michael Kelly, and the Santvoord family—Van, Sandra, Vincent, and Sonia—for their gracious hospitality during research trips to New York and Provincetown. Finally, this book would never have been completed without the un®agging and cheerful assistance of my husband, LR Hults, who has so frequently during the past seven years set aside his own work (or recreation) to help me with “the Province- town project.” Every attempt has been made to obtain permission to reproduce copyright material and to make the proper acknowledgments. The Women of Provincetown, 1915–1922 Introduction Women . have been involved in greater numbers and in a greater va- riety of jobs than are indicated in the theatre history books. —Helen Krich Chinoy, Women in American Theatre In the ¤rst two decades of the twentieth century, an American Bo- hemia emerged. Essentially a state of mind representing a radical de- parture from traditional American customs and beliefs, this metaphoric locale eventually became a geographic reality. By the second decade of the twentieth century, Greenwich Village had become the cultural Mecca for the radical element in America: anarchists, socialists, Freudi- ans, free lovers, and feminists. At about the same time, the Villagers adopted the Cape Cod ¤shing village of Provincetown, Massachusetts, as their of¤cial summer home. In the summer of 1915, Village Bohemians who transplanted to Provincetown included labor journalists Mary Heaton Vorse and John Reed; Masses editors Floyd Dell and Max Eastman; Eastman’s wife, lawyer Ida Rauh; theatre designer Robert Edmond Jones; postimpres- sionist painters Marsden Hartley, Charles Demuth, Brör Nordfeldt, and William and Marguerite Zorach; and novelists Hutchins Hapgood, Neith Boyce, Susan Glaspell, and Glaspell’s husband, former classics professor George Cram “Jig” Cook. This group was a special one, closely related by personal
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