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The History of the Hartman Theatre, 1938-1963

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The History of the Hartman Theatre, 1938-1963 This dissertation has been microfilmed exactly as received 69-11,698 RODGERS, Charles Andrew, 1932- THE HISTORY OF THE HARTMAN THEATRE, 1938-1963. The Ohio State University, Ph.D., 1968 Speech-Theater University Microfilms, Inc., Ann Arbor, Michigan THE HISTORY OF THE HARTMAN THEATRE 1938 - 1963 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Charles Andrew Rodgers, B„Sc0, M.A„ ****** The Ohio State University 1968 Approved by p/ p s Adviser PREFACE The popular, even the scholarly, concept of the American theatre has tended to center about theatrical ac­ tivities in New York City0 Only recently, with increasing emphasis placed upon educational, community, and summer theatre, has there arisen increasing recognition of the theatrical world outside New York. And though the ex­ istence of the road has long been acknowledged, a substan­ tial part of that theatre history--made when the theatre’s most important personalities in their original roles were criss-crossing America--still remains to be written. In the professional theatre of the nineteen sixties the road is confined to a relatively small group of larger cities privileged to view Broadway successes and mediocrities Columbus, Ohio is one of these cities. Over the years Columbus has had many legitimate playhouses (Market House, Comstock's Theatre, The Great Southern Theatre), but the Hartman Theatre, since its opening in 1911, has been the busiest and most important theatre in central Ohio. From its opening until the present except for a period of dark­ ness between 1963 and 1964, the Hartman has made profes­ sional theatre available to Ohio audiences. It is the purpose of this dissertation to examine the history of the Hartman Theatre between the years 1938 and 1963, the period during which it was managed first by Robert F„ Boda, and later by his wife Lydia, to gain in­ sight into the character of the offerings at the theatre, their historical significance, the theatre’s management and operation, and the public reaction and reception to the entertainment offered. In addition, trends in the quality and quantity of the road productions are also traced. The Hartman Theatre was selected for study in this dissertation because of the availability of materials relating to its history, because of the presence of individuals connected with its operation, and because of its proximity to The Ohio State University. Material for this study was obtained from Columbus newspapers, from a collection of programs, publicity releases, and scrapbooks in The Ohio State Univer­ sity Theatre Collection, and from personal interviews with individuals associated with the Hartman in various capac­ ities. From standard, published works on the American thea­ tre came information treating first dates of production of various plays, and also debuts and general reputations of many of the performers who played the Hartman. The first three of these sources furnished original data on the ap­ pearance and reception of productions in Columbus. Within themselves these sources provide checks upon accuracy: the newspapers were in keen competition, offering a natural check on each other and a check also on information obtained from interviews. Throughout the twenty-five years discussed in this study the Bodas presented a wide variety of theatrical fare at the Hartman Theatre. This dissertation has attempted to classify each production into one of six major categories-- comedy, farce, drame, melodrama, musical, or tragedy. Though any discussion of many forms of dramatic entertain­ ment involves the difficult problem of classification, it is an almost impossible task to attempt any sort of classifica­ tion of the humorous kinds of productions that appeared at the Hartman between 1938 and 1963. The line between comedy and farce is at best tenuous, and in many cases the division must remain tentative because numerous works lie somewhere between the two forms. Most of the serious plays analyzed in this study are included under the elastic categories drame or melodrama. In order to differentiate between the two, plays with serious themes which escaped the exaggera­ tion of melodrama are classified as drames. Classification was approached in the following manner. Whenever scripts were available, they became the primary indicators of clas- I sification. Works on the'American theatre were consulted to see how the various plays have been classified there. If nothing was available from these sources, then information given in advertisements, publicity releases, and local re­ views was analyzed. Because of the many productions presented at the Hartman during the period under study, separate treatment of each of the performances individually would be both pointless and prohibitive. Wherever feasible however, note­ worthy productions are selected for extended discussion. Special attention is also devoted to the world premieres, any unique incidents that occurred at the Hartman during the Bodas’ management, and to the repertory companies. By this means, the overall picture may be ascertained without center­ ing on needless details which would certainly add nothing constructive to the discussion, and indeed would make the study lengthy and tedious. Of all the elements that make up a theatrical pro­ duction, the acting is the most ephemeral. Sets may remain to be examined, and photographs and scripts may be avail­ able for study, but the acting is evanescent. It is there­ fore difficult to study, and thus difficult to analyze with­ out actually having seen it. Since this dissertation is partially concerned with the actors’ performances on the Hartman Theatre stage, the critical judgments and reactions to the many acting performances are taken from the reviews of the local dramatic critics. These reviews offer keen insight into acting styles and techniques of the various v performers and the Columbus audiences' reaction to the pro­ ductions presented. A history of a theatre would be incomplete without some indication of the character of its audiences. Audience information such as the different stratas of society that attended the Hartman, their preferences for certain forms of entertainment, and the overall behavior of Columbus audiences through the seasons was obtained from personal interviews, newspaper articles, and reviews. ACKNOWLEDGMENTS My greatest thanks must be given to Mr. Samuel T. Wilson, Mr. Norman Nadel, and Mrs. Franklin Trannett for the information they contributed to this study. Without Mr. Wilson’s help it would have been impossible to write The History of the Hartman Theatre, 1938 - 1963. Deepest appreciation is also given to my advisors, Dr. Roy H. Bowen, Dr. John C. Morrow, and Dr. George P. Crepeau, for their guidance in the preparation of this dissertation. Mention must also be made of the encouragement, patience, and help my parents, Mr. and Mrs. Stafford Rodgers, and my wife, Patricia, gave me during my work on this study. vii VITA August 7, 1932 „ . Born - Santa Barbara, California 1962 ........ B.Sc., The Ohio State University, Columbus, Ohio 1962-1964. Speech and English teacher, Grandview Heights High School, Grandview Heights, Ohio 1964 o o o o o o M.A., The Ohio State University, Columbus, Ohio 1964-1965. Graduate Assistant, Department of Speech and Theatre, The Ohio State University, Columbus, Ohio 1966-1969, Instructor, Department of Speech and Theatre, The Ohio State University at Lima, Ohio viii CONTENTS Page PREFACE ................ ii ACKNOWLEDGMENTS.............. vii VITA .............. viii CHAPTER I, Robert and Lydia Boda - The Theatre .... 1 II. The Pre-War Years: 1938-1941 . 13 III. The War Years: 1941-1945 ................. 78 IV. The Post-War Years: 1945-1950 119 V. The Final Years of Robert B o d a ............ 168 VI. The Final Years of Lydia B o d a .............. 216 VII. Epilogue ................. 242 APPENDIX A .... ................................... 251 APPENDIX B . ................................ 269 APPENDIX C ........ ......................... 270 APPENDIX Do.... .......................... .... 271 APPENDIX E ....... ......... ........ 278 BIBLIOGRAPHY.............. 279 ix CHAPTER I Robert and Lydia Boda - The Theatre From 1938 to 1963 the destiny of the Hartman Theatre was controlled by Robert F. Boda and his wife, Lydia Wilson Boda. To gain a full understanding of the Hartman’s history during the twenty-five years covered in this study, it is necessary to briefly describe several of their personality traits together with certain aspects and practices of their management. The information used in this dissertation per­ taining to the Boda’s personalities and managerial charac­ teristics was obtained from interviews with Samuel T„ Wilson, The Columbus Evening Dispatch dramatic critic; Norman Nadel, dramatic critic for The Columbus Citizen; Mrs. Virginia Trannett, the Hartman Theatre’s publicity chief; and from various issues of the three Columbus, Ohio news­ papers that were published during the period under study. Robert Boda’s first connections with the Hartman Theatre began in 1914 when at twenty-seven he assisted his father, Lee Boda, with the management of the Valentine Company. This operation, which helped break the monopoly of the Shuberts on the road business, was a chain of theatres that 1 included, as well as the Hartman in Columbus, playhouses in Dayton, Toledo, and Indianapolis. For the next seventeen years the younger Boda continued to help his father
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