NEWSLETTER OF THE THEATRE LIBRARY ASSOCIATION

- - -- Volume 14, Number 4/Volume 15, Number 1 SprindSummer 1987 SPECIAL DOUBLE ISSUE

THEATRE LIBRARY ASSOCIATION PRESENTS ANNUAL BOOK AWARDS

The Theatre Library Association pre- sented its annual awards at a reception at Lincoln Center on May 22, 1987. The George Freedley Award, representing ex- cellence in writing about the theatre, was given to Mary C. Henderson for her book, Theatre in America: Two Hundred Years of Plays, Players, and Productions (Harry N. Abrams). The presentation was made by producer Alexander H. Cohen, who praised Dr. Henderson for her dedication to the theatre community. Dr. Henderson, who is Curator of the Mulholland Library of Con- Production Design at the American Mu- a former Curator of the Theatre'Collection juring and the Allied Arts in Los Angeles. seum of the Moving Image in New York. of the Museum of the City of New York, is In his book one meets Harry Kahne, the The presentation was made by Broadway also the author of The City & The Theatre: Multiple Mental Marvel, who could write set designer Robin Wagner, whose credits New York Playhouses from Bowling Green five words simultaneously with pieces of include A Chorus Line and Dream Girls. to Times Square (James T. White, 1973), chalk held in each hand, each foot, and The Freedley Award is named for which has become indispensible to re- in his mouth. One also encounters Max George Freedley, the first Curator of the searchers of New York theatre. Malini, who could sit at a dinner table for Theatre Collection of The New York Public The Theatre Library Association Award many hours, never leave, then lift his hat Library and first President of the Theatre for excellence in writing about film, televi- to reveal a large block of unmelted ice. Library Association, which he was instru- sion or radio, was presented to Ann M. That one also reads about Toby, the Amaz- mental in founding in 1937. In this, the Sperber for her book, Murrow: His Life and ing Pig of Knowledge, is obvious from Mr. Association's 50th year, TLA is proud to Times (Freundlich). CBS News correspon- Jay's title, and there are dozens of other have been able to add cash prizes to the dent Charles Osgood made the presenta- characters too strange to mation in this awards. The Freedley and TLA Award win- tion and spoke of his great admiration for publication. Appropriately enough, the ners received cash prizes of $250. The Murrow and for Ms. Sperber's remarkable, award to Mr. Jay, who has been called the Honorable Mentions received 5100. comprehensive work. "scholar of the unusual," was presented The Theatre Library Association pre Two honorable mention awards were by Avner Eisenberg, also known as "Avner sents its awards to bring attention to signi- presented this.year. The Freedley Award the Eccentric." ficant contributions in the fields of theatre Honorable Mention was presented to The Theatre Library Association Award and live entertainment, film and broad- Ricky Jay for his extraordinarily informa- Honorable Mention was given to Donald casting. The Chairperson of this year's tive and delightful work, Learned Pigs and Albrecht for Designing Dreams: Modern awards committee was Martha Mahard, Fireproof Women: Unique, Eccentric and Architecture in the Movies (Harper & Row). TLA Vice-president and Assistant Curator Amazing Entertainers (Villard). Mr. Jay is Mr. Albrecht, an architect, is Curator of of the Harvard Theatre Collection. TLA MEMBERS CELEBRATE AWARD-WINNING AUTHORS

Front Row, from Left: Ann Sperber, Mary Henderson, Charles Osgood, Robin Wagner

Mary Henderson

Lucille Lortel, Martha Mahard, Mary Ann Jensen

Ann M. Sperber and Charles Osgood

Paul Myers and Brooks McNamara Lucinda Ballard ANOTHER BRITISH THEATRE COLLECTION MOVES

The movers -or removers -of theatre archives in London are doing good busi- ness these days, thanks to the relocation of the Mander and Mitchenson Collection, the Victoria and Albert's Theatre Museum and the British Theatre Association. This is good news, for although these projects were in progress for some time and came up against what seemed to be insurmount- ' able obstacles, the moves indicate a recognition that growing theatre collec- tions require adequate housing and com- fortable study areas. The British Theatre Association, which moved to Regent's College last Septem- ber, was founded in 1919 and has been housed at Fitzroy Square since 1935. In its 50 years there the collection grew more than tenfold-from 30,000 to 300,000 vol- umes, in addition to press cuttings, peri- odicals and index systems. The loss of Arts Council funding also necessitated the re- location, since the BTA had to sell the Fitz- roy Square building in order to alleviate a serious financial situation. The new premises, whose headlease is H.M. The Queen Mother cuts the symbolic tape at the opening of the BTA on February 17 1987 owned by Rockford College, Illinois, will allow the British Theatre Association to agents of unpublished plays, organizing The move to Regent's College heralds a continue to provide and expand its many evening and full-time courses in all theatre new beginning which will involve compu- services. These include reference facili- skills, and, in general, fulfilling founder terization and the expansion of activities, ties, hiring sets of plays to theatre cbmpa- Geoffrey Whitworth's aim of representing including exhibitions and programs. The nies around the world, answering ques- all those involved in any aspect of the the- new address will be British Theatre Asso- tions regarding copyright and history of atre. There will also be room for a can- ciation, Regent's College, Inner Circle, Re- a play's performance, locating authors' teen, a bar, a bank and a shop. gent's Park, London NW1 4NS, England.

The British Theatre Association's new Play Library in Regent's College BOOK REVIEWS ples generously studded with quotes. The emerged in recent years. It discusses films New Yorker's Henry R. Martin provides rather than theories of film. some lively cartoons to underline the au- As the so-called "teen movie" genre American Musician in Germany 1924-1939: thor's points. demonstrates, Hollywood has increasingly Memoirs of the Jazz, Entertainment, and The importance of communications such addressed specific audiences. It has also Movie World of Berlin during the Weimar as letters, brochures, posters, ads, and com- located the commercial potential of a new Republic and the Nazi Era-and in the mercials is surveyed, with emphasis on mak- female consumer. In addition, the women's United States. By Michael Danzi, as told ing the right point in the right way to the movement has produced films, offering to Rainer E. Lotz. Hatboro, PA: Legacy target of the message. One hopes many radically different representations of Books, 1986. 292 pp. $32.50. performance groups-not to mentim li- women. Groups of feminists are mobiliz- braries, preservation and conservation ing as filmmakers, distributors, and exhibi- Actually the title tells only half the groups, and charities-will digest this text tors, reflecting diverse concerns and giv- story, as Danzi's memoirs continue in the thoroughly before sending out one more ing a new meaning to the notion of "films United States from 1939 up to the early flyer that is hideous, cluttered, and hard to for women." 1970's. He was a musician and the banjo read. Or one more letter "we never fin- After a general introduction, the book is was his principal instrument. In Berlin he ished reading." divided into groups in which the articles played in the orchestras of several leading While some of Reiss's ideas are very sometimes overlap and sometimes contra- theatres, worked with Kurt Weill on The fresh and exciting, others are just good dict. The films considered in the Docu- Threepenny Opera and Mahagonny, and common sense. But they seem to be un- mentary section together illustrate some worked on the film The Blue Angel. Aside known to a host of arts fund-raisers, as concerns of documentary filmmaking: the from helping to finance the escape of Jew- well as performance public relations and attempt to provide filmic accounts and ish musician friends, he pretty much ig- audience development personnel, who also interpretations of existing social real- nored the political situation and stayed as need to be able to adapt the fund-raising ities. The articles raise questions about long as he dared - until October of 1939. principles and ploys to their own cam- what documentary film-in this case, par- In New York during the war Danzi paign needs, which can range from filling ticularly feminist documentary film--is played in night clubs, theatres and on the the seats to getting schools interested in and can be. The illustration accompany- radio. His description of the tragic end of theatre. ing the piece on Not A Love Story provides Hungarian composer Paul Abraham is one -Glenn Loney food for thought: it shows an advertise of the more poignant moments in the ment for the film with the subtitle "a film book. After the war he performed at Radio Comedy from Shakespeare to Sheridan. against pornography," yet its non-theatri- City, worked again on The Threepenny Edited by A.R. kaunmuller and J.C. Bul- cal study guide in the USA (uncited) calls Opera-having an interesting confronta- man. Newark, DE: University of Delaware it "a film about pornography." tion with Lotte Lenya-and toured with Press, 1986. 290 pp. $37.50. Part I1 discusses Fictions, including the The Boy Friend. Shakespeare and the Victorian Stage. work of Chantal Akerman, Jan Oxenberg, The book has several appendixes and an Edited by Richard Foulkes. New York: and Margarethe von Trotta. Part II I, Holly- index. While the work is primarily a Cambridge University Press, 1986. 311 pp. wood, considers films as diverse as recollection of where he played and with $44.50. Mahogany, Personal Best, Coma, and Lian- whom, if the names Dajos Bela, the Adlon na, with a passing nod to the "weepies" of Hotel, and Marek Weber mean anything to Thoughtful essays such as these on the 30's and 40's. The collection is diverse you, then you will enjoy Michael Danzi's comedy, farce and romance are most wel- enough to include articles from Screen to memoirs. come, especially when studies of tragedy lump Out to The Village Voice. Richard C. Lynch - still dominate library shelves. In Comedy There are omissions. For example, the from Shakespeare to Sheridan, overviews American film Daughter Rite is discussed Cash In! Funding and Promoting the Arts. are offered by Kenneth Muir, G.K. Hunter in detail but its current distributor, Women By Alvin H. Reiss. New York: Theatre Com- and R.A. Foulkes, and there is an entire Make Movies, is not (the Exhibition and munications Group, 1986. 230 pp. 512.95. section on Shakespearean comedy in Distribution section is wholly British in which Alvin Kernan considers the Bard's focus). The filmography is skimpy. Never- This is not only a book that lots of the- courtly audience. theless, the continued emergence of women atre-oriented readers are going to want After Jan Kott's modernist vision of directors in Hollywood mainstream movies to refer to. It is also a how-to reference Shakespeare, it is fascinating to rediscover and in independent film demonstrates the which can be invaluable to those theatre Victorian approaches and attitudes about continued debate and relevance of this librarians and archivists who desperately his plays. In Shakespeare and the Victorian book. need to raise money for special purchases, Stage, historical and contemporary Shake- -Adele Bellinger exhibitions, maintenance, and daily opera- speare, as well as Irving's Bard, provincial tions. One of Reiss's strong points, in this productions and Shakespeare abroad-in Isadora: Portrait of the Artist as a Woman. highly readable compendium of innova- France and Germany-are areas of inves- By Fredrika Blair. New York: William Mor- tive and sensible fund-raising strategies, is tigation by such scholars as Simon Wil- row, 1987. 470 pp. $14.95 (pbk.). "adapt, don't adopt." liams, Cary Mazer and Richard Foulkes. To some, the idea of enlisting celebrities Both volumes are stimulating reading and "Art gives form and harmony to what in in the arts to aid a library in need of addi- will prove valued references for scholars life is chaos and discord," wrote lsadora tional funding may seem embarrassing or and students alike. Duncan in her 1927 autobiography, My improper, something more appropriate to - Glenn Loney Life. Perhaps no truer words were ever the Mark Taper Forum or the Metropolitan spoken about Duncan's triumphant and Opera. At Lincoln Center, however, as well tragic life. Aside from her own book, Dun- as at the 42nd Street home of The New Films for Women. Edited by Charlotte can's art and life have inspired numerous York Public Library, it has been repeatedly Brunsdon. London: BFI Publishing, 1986. books by friends, lovers, and dance schol- and glamorously demonstrated that cele- 236 pp. $1 3.95 (pbk.). ars. But in Isadora: Portrait of the Artist as brities-given the right challenge and pay- a Woman, author Fredrika Blair has power- back in public relations-not only attract This collection of articles traces chang- fully captured both the artist and the and encourage high-powered donors, but ing attitudes towards women and film woman in the first major biography of they often attract the general public, inter- since the late 1960's. Its scope is broader Duncan in twenty years. Blair's artist-as- esting them in. exhibitions, fund drives, than the title implies; it also looks at the woman focus is significant, as Duncan's and making greater use of the library facil- representation of women in the movies, at stage life cannot be easily separated from ities. Reiss explains how various strategies films made by women, and at films for the the turbulence.of her personal life. Strong- can work, frequently using specific exam- different types of audiences that have ly influenced by the men in her life, her ex- traordinary family, and the lives and shat- international. Broadway's musical shows ship totaled 518-264 personal, 254 instk tering deaths of her small children in a are now popular in Tokyo, Berlin and, of tutional. There is a checking account bal- freak auto accident in 1913, Duncan's course, London. This bibliography is di- ance of 112,591.83, a bank certificate complex and contradictory personality vided into five parts: general reference worth 11,618.23, invested at 10.5 percent, brought to twentieth-century art, and works, the stage musical, the stage mus- and a money market certificate worth dance in particular, "the evocative, the ical outside North America, the film mus- 13.000, invested at Z5 percent. selective, and the expressive" in place of ical, and performers and creators. Most Martha Mahard, Chairman of the 1987 the literal and the staid forms that had citations are for readily obtainable books FreedleyITLA Awards Committee opened mummified the arts in the late nineteenth or periodicals in English, but there are discussion on the suggestion to give an century. those from Chile, Warszawa and Sofija honorarium with the awards. It was then The major strength of Blair's suberb that could present problems. As research established that there would be a cash study is her scholarly and clear-eyed view in this field continues to escalate, this is award of 1250 for the Freedley Award, of the elusive Duncan, whose serious 'an indispensable reference source that 1250 for the TLA Award, and 1100 for hon- achievements have too often been ob- one hopes will be continued on a regular aable mention in each category. Funds scured by speculation and exaggeration basis. for the cash awards could come from the about her off-stage excesses. Blair also ad- -Richard C. Lynch interest on the checking account. dresses much of the traditional hyperbole Barbara Naomi Cohen Stratyner then re- ported on Performing Arts Resources pub- about Duncan, correcting errors in many Ten Seasons: New York Theatre in the Sev- lications in progress. In addition to the an- Duncan biographies, including Duncan's enties. By Samuel L. Leiter, Westport, CT: own book. Blair adeptly sorts through sur- nual volumes of PAR, TLA will be publish I Greenwood Press, 1986. 245 pp. 135. viving evidence. much of it previously un- ing A Management Manual for Performing Arts Collections, which will consist of arti- publi;hed, clarifying vaguely remembered Professor Leiter's Encyclopedia of the I cles on archive and collection manage- incidents that have been distorted over New York Stage, 7920-1930- also Green- ment. A TLA Style Manual is also in prog- the years. With the exception of Fran- wood-has already proved itself an inval- ress. Elizabeth Burdick spoke of Rosa- cis Steegmuller's excellent Your Isadora, uable reference, to be complemented by mund Gilder, who died recently at the age which only chronicles the tempestuous re decadal increments in later volumes. Ten of 95. Ms. Gilder was a founder of TLA, lationship of Duncan and Edward Cordon Seasons could be seen as an attempt to President and Founder of the International Craig, Blair's book may serve as the best bridge that gap temporarily, but it has a Theatre institute Worldwide, and Presi- available source on Duncan. As Blair her- different, highly appropriate format and a dent of the United States Center of ITI. A self notes, most of the books written different, admirable purpose. Instead of memorial service was held on Tuesday, about Duncan were written by people who listing and documenting individual plays November 4, at La Mama. Dick Buck knew her and they "usually focus on that and productions in chronological order, noted that TLA's 50th anniversary will take period of the dancer's life which they Leiter has classified them by subject mat- place in 1987, and asked for suggestions knew best, to the exclusion of others." ter-with some overlapping of categories from the membership as to how the occa- Blair brings all of these witnesses together, -and several other criteria. This facili- sion could be celebrated. Don Stowell simultaneously clearing up many inconsis- tates his discussion of patterns to be de- then reported that USlTT is running a tencies while maintaining the immediacy tected in 1970s theatre. placement service through the Atlanta of the witnesses' accounts and their indi- Just as Otis Guernsey has provided an- office. vidual perspectives. nual overviews to the state of New York The following members were elected to In a final chapter titled "lsadora's Leg- theatre in the Best Plays series, so does the Executive Board for three-year terms, acy," Blair offers a simple and direct esti- Leiter survey the entire decade. He writes 1987-1989: Elizabeth Burdick, Librarian, mation of Duncan's lyrical modernist style in a brisk, popular manner; there is noth- International Theatre Institute, New York; and her pervasive influence on contempo- ing tedious or stuffy about his marshalling Brigitte Kueppers, Theatre Arts Librarian, rary dance. Although there are few wit- of theatre fact and rumor-much of it im- University of California Libraries, Los An- nesses surviving able to offer first-hand portant for theatre historians and current descriptions of Duncan's unique style, practitioners as well; nor are his own ob geles; Louis A. Rachow, Librarian-Curator, Blair brings together many evocative ac- servations and judgments lacking in de- Hampden-Booth Theatre Library, The Play- counts, especially Craig's, that at least tailed support and often penetrating in- ers, New York, and Richard Wall, Theatre capture the impact of the dancer's art: sights. Librarian, Queens College, City University ". . .she was telling the air the very things His characterizations of specific groups, of New York. There being no other busi- we longed to hear and till she came we such as Mabou Mines, or of directors, such ness, the meeting adjourned and was fol- never dreamed we should hear; and now as Cordon Davidson of the Mark Taper, or lowed by a reception and a program con- we heard them and this sent us all into an of critics, such as John Simon, will surely cerning private collections. unusual state of joy, and 1-1 sat still and be of value to those who do not know - Lois E. McDonald, speechless." these groups or talents. Those who do may Recording Secretary The book includes many excellent pho- well find that Leiter has briefly and effec- tographs and drawings (although one pho- tively captured some vital essences. tograph of Craig is printed backwards) and -Glenn Loney JOIN NYLC an interesting appendix of correspon- dence between the author and surviving The New York Library Club, founded by members of Duncan's circle and some of ANNUAL BUSINESS MEETING Melvil Dewey, is beginning its second hun- Duncan's correspondence. A useful bibli- dred years of existence and is making a ography is included, but a comprehensive The annual business meeting of the The- major effort to attract new members. one is still needed. Blair's fine lsadora will atre Library Association was held on Octo- Dues are a very modest 115 annually and be welcomed by those fascinated with ber 21,1986, at the Shubert Archive, Lyceum entitle members to three issues of The Bul- modern dance and fin de siecle art. Theater, New York City. Vice-president letin, invitations to the annual banquet, -James Fisher Martha Mahard welcomed the members the oneday bus tour held every spring, the and read a letter from President Mary Ann fall cocktail party and lectures by promi- The Musical: An International Annotated Jensen, who was unable to attend as she nent authors. The Club brings together Bibliography. Edited by Hubert Wildbihler was preparing two exhibitions at Prince people from all types of libraries, as well and Sonja Voelklein. New York: K.G. Saur, ton. as publishers and vendors, in a convivial 1987. 320 pp. $60. After the minutes of the 1985 meeting social setting. For a membership form, were approved, Secretary-Treasurer Dick please write to The New York Library Club, Almost without our realizing it, the Buck distributed a detailed financial Rockefeller Center Station, Box 1052, New American musical has suddenly become report. As of October 1986, the member- York, NY 10185.

Marcel Marceau in Creation of the World, photographed by Max Waldman, is one of the many images on view in Max Waldman: Photosrapher. The exhibition, which will be on view in the Vincent Astor Gallery at The New York Public Library at Lincoln Center through October 17,1987, includes nearly 100 black-and-white prints of actors and dancers. Nearly 600 of Waldman's photographs will be donated to the Library's Performing Arts Research Center. THEATRE LIBRARY ASSOCIATION OFFICERS President: Mary Ann Jutsen, Curator, William Seymour Theatre Collection, Princeton University Library, Princeton, NJ 08544 (609) 452-3223 Vice-president: James Poteat, Manager, Research Services, Television lnformation Office. 745 Fifth Avenue, New York, NY 10151 (212) 759-6800 Secretary-Treasurer: Richard M. Buck, Assistant to the Chief, Performing Arts Research Center, The New York Public Library at Lincoln Center, 111 Amsterdam Avenue, New York, NY 10023 (212) 870-1644 Recording Secretary: Lois E. McDonald, Associate Curator, The Eugene O'Neill Theater Center, 305 Great Neck Road, Waterford, CT 06385 (203) 443-0051 EXECUTIVE BOARD Elizabeth Burdick, Librarian, International Theatre Institute of the US, 220 W. 42nd St., New York, NY 10036 (212) 944-1490 Maryann Chach, Archivist, Shubert Archive, Lyceum Theatre, 149 West 45th Street, New York, NY 10036 (212) 944-3895 Geraldine Duclow, Librarian, Theatre Collection, Free Library of Philadelphia, Logan Square. Philadelphia, PA 19103 (215) 686-5427 John W. Frick, Assistant Professor, Department of Communication Arts, University of Wisconsin Center, Fond Du Lac, WI 54935 (414) 929-3600 Brigitte Kueppers, Theatre Arts Librarian, University of California Libraries, Los Angeles, CA 90024 (213) 825-4880 Martha Mahard, Harvard University Library, Cambridge, MA 02138 (617) 495-2445 Audree Malkin, c/o Theatre Arts Library, University of California Libraries, Los Angeles, CA 90024 (213) 825-4880 Louis A. Rachow, Librarian-Curator, Hampden-Booth Theatre Library, The Players, 16 Gramercy Park. New York, NY 10003 (212) 228-7610 Anne G. khloucr, Director, Louis B. Mayer Library, American Film Institute, 2021 North Western Avenue, Los Angeles, CA 90027 (213) 856-7600 Don Stowell, Jr., USITT, Box 12484, Atlanta, GA 30355-2484 Richard Wall. Theatre Librarian, Paul Klapper Library, Queens College, Flushing,.NY 11367 Wendy Warnken. formerly Associate Curator, Theatre Collection, Museum of the City of New York; present address: 23 Durham Street, Cuelph, Ontario, Canada N1H 2Y1 (519) 763-0264 EX OFFlClO Alan J. Pally, General Library and Museum of the Performing Arts, The New York Public Library at Lincoln Center, 111 Amsterdam Avenue, New York, NY 10023. Editor, BROADSIDE (212) 870-1614 Barbara Naomi Cohen Stratyner, 265 Riverside Drive, 7C. New York, NY 10025. Editor, PERFORMING ARTS RESOURCES (212) 222-2172

Officers of the Theatre Library Awociation (founded 1937): President, Mary Ann Broadside ISSN: 0068-2748, published quarterly by the Theatre Library Association, ]ensen, Curator, the William Seymour Collection. Princeton University Library, 111 Amsterdam Avenue. New York. N.Y. 10023, is sent to all members in good stand- Princeton, New Jersey; Vice-president. lames Poteat, Manager. Research Services, ing. Editor: Alan I. Pally, Theatre Library Association, 111 Amsterdam Annue, New Television lnformation Office, New York City; Secretary-Treasurer,Richard M. Buck, York, N.Y. 10023. TLA membership (annual dues: $20 personal, $25 institutional) also Assistant to the Chief, Performing Arts Research Center, The New York Public includes Performing Arts Resources, published annually. Current members may Library at Lincoln Center. New York City; Recording Secretary. Lois E. McDonald, purchase past issues of Performing Arts Resources, $10 prepaid, and Broadside, $2 Associate Curator, the O'Neill Theater Center, Waterford, Connecticut. prepaid.

Theatre Library Association NONPROFIT ORG. 111 Amsterdam Avenue U.S. POSTAGE New York, N.Y. 10023 PA1D NEW YORK, N.Y. PERMIT NO. 2632

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