------NEWSLETTER OF THE THEATRE LIBRARY ASSOCIATION

Volume 15, Number 2IVolume 15, Number 3 FallIWinter 198711988 SPECIAL DOUBLE ISSUE

THEATRE AND DANCE ASSOCIATIONS SPONSOR INTERNATIONAL SYMPOSIUM ON POPULAR ENTERTAINMENT

Midway between its quadrennial Con- gresses (Glasgow in 1985, Stockholm in 1989), The lnternational Federation for Theatre Research (IFTR) holds meetings of its Plenary and Executive Committees to conduct the necessary business of the or- ganization. The 1987 meeting was held in New York City, October 7-12, under the leadership of the Federation's President, Dr. William Green of the English Depart- ment at Queens College. In recent years, these Committee meetings have been fol- lowed by a Symposium on a topic organ- ized by a committee in the host city. Since the U.S. affiliate of the International Fed- eration is the American Society for The- atre Research (ASTR), which traditionally conducts a joint fall meeting with the The- atre Library Association, the Boards of these two organizations appointed a com- mittee to plan a symposium. The Society of Dance History Scholars accepted an in- vitation to participate as the third sponsor- ing organization. Popular entertainment was chosen as the subject because of its increased relevance since the very suc- cessful conference on American Popular Entertainment that was sponsored by ASTR and TLA in 1977, and because this was a unique opportunity to hear foreign scholars discuss the state of popular enter- tainment in their countries. The Commit- Louis Rachow and Elizabeth Burdick at TLA's 50th birthday party, which opened symposium tee spent two years assessing and assign- ing papers to various panels, planning so- cial events and booking special guests, and arranging hotel accommodations for foreign and out-of-town participants. The Executive and Plenary Committees of the International Federation for Theatre Re- search began their meetings on Wednes- day, October 7. In the evening they at- tended a reception at the Shubert Archive, hosted by Archive Director Dr. Brooks McNamara and Archivist Maryann Chach. It was a joyous reunion for many and a chance for all to meet researchers and ar- chivists from various countries. Registra- tion for the Symposium per se began on Thursday afternoon at which time the Boards of the American Society for The- atre Research and TLA met in adjacent rooms at the "Symposium Hotel," the Roosevelt. On Thursday evening, all Sym- posium participants were invited to a reception and lecture in the Vincent Astor Gallery at Lincoln Center where there was an exhibition of Max Waldman dance and IFTR President Bill Green (center, facing left) GALA BIRTHDAY PARTY OPENS SYMPOSIUM

panels arranged for topical interest, all of the panels attracted large audiences, whether held in the third floor studio or in the more accessible auditorium. After the third popular theatre panel, most of the delegates went back to the Roosevelt Hotel for a cocktail reception followed by an hour with vaudevillian Joey Faye and his wife Judy. Nearly half of the Symposium delegates stayed for this evening event, which perhaps proved that it is important for a conference on this topic to have sessions with practitioners and that delegates to a theatre-oriented conference in New York are not automat- ically drawn to the high-priced theatre, especially if they are offered an interest- ing free event. Early on Sunday morning, the under- signed moderated the Theatre Library As- sociation session of the Symposium, con- sisting of a panel of five librarians and curators (Mary Ann Jensen, Princeton The- atre Collection; Paula Morgan, Princeton Music Collection; Jeanne Newlin, Harvard Richard Lynch, Judy Brill, Alice Adamczyk Theatre Collection; Louis A. Rachow, Hampden-Booth Library at the Players; theatre photographs. The featured speak- was very well attended and was a most er, dance photographer William Ewing, en- auspicious start for the full weekend to countered transportation difficulties but come. Following the reception, guests Barbara Cohen-Straty ner, co-curator of trooped back across the street to the the Waldman exhibit, presented an excel- CUNY Graduate Center Mall for a Russian lent talk on the dance photograph trea- Cabaret performance reconstruction, also sures in the New York Public Library's per- very well attended. forming arts collections. On Friday morn- On Saturday morning, October 10, the ing, Symposium registrants were treated to annual business meetings of ASTR and morning coffee in the Music Division of TLA were held simultaneously at the Grad- the Performing Arts Research Center at uate Center (minutes of the TLA Annual The New York Public Library at Lincoln Meeting will be published in the next Center and viewed special exhibitions on Broadside), followed by the second na- popular entertainment in the Dance Col- tional identity panel. The delegates had lection, the Music Division, and the Billy lunch in the Colonial Room of the Roose- Rose Theatre Collection. velt Hotel with Dr. Kalman A. Burnim, After welcoming remarks by Harold M. President of ASTR, presiding. The ASTR Proshansky, President of the City Univer- Awards and Fellowships were presented, sity Graduate Center, the first panel of the and nearly all of the young scholars re- Symposium began shortly after 2:00 pm on ceiving awards were present as guests Friday afternoon. Current definitions of of the Symposium. The Barnard Hewitt popular entertainment were discussed by Award, for the best book in the year past host and moderator, Dr. Marvin Carlson about American theatre history or by an and by Dr. McNamara and Dr. Don B. Wil- American theatre historian, was presented meth. This was followed by the first of to Jared Brown for The Fabulous Lunts three national identity panels. Since the (Atheneum). This award had been adminis- preliminary announcement for the Sympo- tered by the American Theatre Associa- sium was mailed to all TLA members, a tion until its demise and is now under the listing of all the panels and papers will not aegis of ASTR. be repeated here. The Opening Night Re- On Saturday afternoon three panels on ception of the Symposium was held in the popular theatre were presented, two of Trustees' Room of The New York Public them simultaneously. This also occurred Library. It marked the Official Celebration on Sunday, when the two dance and spec- of the 50th Anniversary of the Theatre Li- tacle panels were presented simultane- brary Association and honored Past Presi- ously with two of the variety entertain- dents of the TLA. Current President Mary ment panels. This is the first time that Ann Jensen introduced all of the Past ASTR and TLA have programmed double Presidents present: Louis A. Rachow, Rob sessions at any of their conferences or Lawrence Cioppa ert M. Henderson, Brooks McNamara, and meetings, and the organizing committee Dorothy Swerdlove. Ms. Jensen read a debated such a step at some length. It was and Dorothy L. Swerdlove, New York Pub message from Marguerite MacAneny, the finally decided upon in order to secure lic Theatre Collection) talking about popu- only living Past President who was unable broad coverage of the topic and to give as lar entertainment materials in their collec- to attend. All personal members of TLA many overseas delegates as possible a tions. A lively discussion period ensued. were invited to this event, and it provided chance to be on the program and thus This was followed by panels on variety an opportunity for them to meet the dele- facilitate their travel. As it turned out, with entertainment and dance and spectacle. gates to the Symposium. The reception a registration of over 200, and with the Then the delegates walked or ran in the THEATRE LIBRARY ASSOCIATION TURNS 50 rain to Sardi's Restaurant, where they en- joyed a buffet luncheon and were treated to an excellent talk by performance artist Bill lrwin who gave his thoughts on his art and the new vaudeville. Mr. lrwin was so pleased at the opportunity to meet with such an audience that he flew to New York from a film location shoot in Indianapolis at his own expense. He received the heart- felt thanks of all those present. In the afternoon, the delegates returned to The Graduate Center for the second set of panels on dance and spectacle, and the last of the three national identity panels. Another cocktail reception followed, this time in the Grand Ballroom of the Roose- velt. The evening concluded with a magic show by George Schindler and his wife Nina, followed by David Jasen presenting a ragtime lecture-demonstration. Nearly half of the delegates stayed for the enter- tainment. Monday, October 12, Columbus Day, began with a panel on environmental en- tertainments which was well attended for the last morning of a four-day conference. The final session, the Symposium Sum- Joanna Spiess and Dorothy Swerdlove (both standing)

Robert M. Henderson and Richard M. Buck Maryann Chach and Emily; Wendy Warnken and Emma mary, was presented by David Mayer, a they had fought so long and hard to in these fields, and by working to change scholar now at the University of Manches- achieve, namely, to create respected and the emphasis of theatre departments to- ter in England. In assessing the 36 papers legitimatized theatre departments in col- ward "performance studies," as some have presented, almost half of which were from leges and universities where theatre had already done. delegates outside the United States, he not been considered a serious area of We hope that the published proceedings noted that there were whole areas of pop- study until a short time ago. (It was also of this Symposium will be available in a ular entertainment that had not been cov- observed that other societies and associa- couple of years. Please secure a copy and ered (e.g., film and television), and he sug- tions are organizing whole conferences discuss the contents with your colleagues. gested that popular entertainment should around the study of film, television, and Should these organizations plan another include almost all forms of leisure pur- other types of popular entertainment.) The conference, perhaps in 1991, and attempt suits. During the discussion following Dr. question now remains whether the organ- to cover the past and current popular en- Mayer's remarks, and overheard in conver- izations that sponsored this Symposium tertainment topics that were omitted in sations during the Survivors' Champagne wish to continue efforts to make these 1977 and 1987? Perhaps by 1991 some of Reception that ended the Symposium, one areas of popular entertainment legitimate them, at least, will have become more le- got the feeling that he had touched a topics of serious academic study by con- gitimate areas of study, due in part to the nerve. Some were concerned that Dr. tinuing to sponsor such conferences, by ground broken in 1977 and 1987. Mayer's views undermined the progress urging their students to do more research -Richard M. Buck BOOK REVIEWS and colleague, produci~gand/or directing fith in the starring role several Evans productions on stage, film Evans freely admits that he doesn't like and television. to waste money. What others may call All This.. .and Evans Too! A Memoir. By In the postwar period, Evans turned to penny-pinchmg, he regards as canny busi- Maurice Evans. Columbia: University of G.B. Shaw and presented both Man and ness pract~ce.He is forthright in express- South Carolina press, 1987. 331 pp. $22.95. Superman and The Devil's Disciple in New ing his general philosophy and opinions York and on tour. He did a stint as Honor- of various theatrical practices. He is gen- To the under-30 group, or even the ary Artistic Advisor for New York's City erous in his praise of many of his col- under-40 crowd, Maurice Evans is known Center, adding drama to a schedule which leagues but is also frank about the short- as Samantha's warlock father in the televi- until then had concentrated on opera and comings of others. While his personal life sion series Bewitched or as the philos- ballet. With Lawrence Langner, a Connec- does not figure largely in this account, opher-scientist orangutan, Dr. Zaius, in the ticut neighbor, he embarked on an adven- there are descriptions of the various movie Planet of the Apes. This informal turous jeep ride along the marshy banks of houses he has owned and trips he has memoir- Evans considers "autobiogra- the Housatonic River in search of a site for taken for various purposes. phy" too pretentious a description-re a Shakespearean festival in Stratford, CT. Although this book is called a "mem- minds us of his rich background on the The book includes an interesting account oir," it has been carefully constructed in stage in a range of productions stretching of how the original concept of a tent with a straightforward chronological arrange- from Shakespeare and Shaw to Dial M for a simple platform stage gradually grew ment, with a useful index and a list of Murder and the musical, Tenderloin, as into a large-scale enterprise that became Evans' written works and recordings. The well as his success as a producer of the economically unworkable. book is informal, informative and highly award-winning Broadway productions of In 1953, the Hallmark of Fame series enjoyable. Teahouse of the August Moon and No began, and Evans re-created many of his - Dorothy 1. Swerdlove Time for Sergeants. Shakespearean roles for television. Live Evans was born in 1901 in Dorchester, performances were the rule at this time, Caught in the Act: New York Actors Face England, deep in Thomas Hardy country, necessitating an undignified off-camera to Face. By Susan Shacter and Don one of five children. His father was a phar- slide down a fireman's pole in order for Shewey. New York: New American Library, macist by profession, but both parents Richard II to descend from the battle- 1986. 304 pp. $22 95. were active in amateur theatricals, and it ments of Flint Castle in time for the next was natural for their son to turn to the scene with Bolingbroke. They also hit A more popular approach to a collec- local stage as a relief from his regular job upon an ingenious method of audience tion such as this would be hard to imagine. as cashier in a music-publishing house. measurement by checking with local Fifty-four interviews with photographs of Evans soon turned professional, eventual- water boards as to the increase in water actors (no ladies present), some famous, ly finding his way to the West End and consumption during the half-time com- some not, are included. The term "New then the Old Vic, where he received his mercial, and were gratified at the number York actor" is defined as one who "trained, grounding in the classics. of "bathroom breaks" which this indi- made (his) name, continues to work on In 1935, Guthrie McClintic invited Evans cated. stage, and/or appear in films ostentatious- to come to New York to play Romeo oppo- Returning to the stage, Evans co-pro- ly set in New York"-thus the subjects site Katharine Cornell's Juliet and the duced and played Captain Shotover in an range from Phillip Bosco and Barnard Dauphin to her Saint Joan. Soon after- allstar revival of Heartbreak House, which Hughes to Kevin Bacon and Christopher ward, thanks to the generosity and faith of involved the de facto dismissal of Harold Reeve The men are of varying ages, act- Joseph Verner Reed, he became an actor- Clurman as director (although he received ing styles, and recognition levels; "stars" manager, working very closely with direc- credit in the program) because the cast such as William Hurt are in with "support- tor Margaret Webster in developing pre felt they were receiving no direction from ing" actors David Rasche and Anthony ductions. Both as dramatic actor, (Richard him. During this period there was also a Zerbe. Shewey's interview questions en- II, Hamlet) and clown (Falstaff, Malvolio), new film version of Macbeth, co-starring courage short but dense answers, leaving Evans' performances received generally Judith Anderson and directed by Ceorge no room for gossip and name-dropping, rave reviews-many excerpts are quoted Schaefer, the musical Tenderloin directed creating an impression rather than a how- in the book-with the notable exception by George Abbott, The Aspern Papers with to of what a working actor does. They talk of Rosamund [sic] Gilder of Theatre Arts Margaret Webster at the helm, and A Pro- about acting as a job, an art form, and a magazine, who was always rather cool to gram for Two Players, consisting of selec- way of life. They describe the realities of his efforts. The general reception was tions from Shakespeare which Evans and bankability and the choices one makes, equally enthusiastic outside New York, Helen Hayes performed on a bus-and- from the soaps to the plays and movies. with Variety reporting "boffo" business truck tour covering 69 cities in 19 weeks. Some of their responses are cosmic, some throughout his various tours. From 1964 on, a series of television shows are crazy, one (Matt Dillon) is so cryptic Granted U.S. citizenship in 1941, Evans and films occupied his time, although he that his interview is in prose. The appen- soon found himself in the US. Army, did return to the stage once more, at age dix, listing each actor and his credits, is ex- where he was put in charge of the Army 80, to appear in On Golden Pond at a Flor- cellent. The black-and-white photographs Entertainment Section in the Central ida theatre. are evocative, reflective of current trends Pacific Area. Pursuing his philosophy that All This. . . is a candid account of a pro- in both stylization and portraiture. This soldiers conscripted from all walks of life fessional life in the theatre. Along with his book has something for everyone-a cof- should be treated as adults who could various successes, Evans recounts his fail- fee-table book doubling as a satisfying in- enjoy a wide array of entertainments, ures and disappointments. Among the lat- sight into "lives of performers." Evans' group provided theatrical fare ter is the dramatization of The Teahouseof -Adele Bellinger ranging from a show called Four jerks in a the August Moon, which he decided to The Mahabharata. By Jean-Claude Carri- leep to Hamlet (in which he starred), produce in large part because he hoped to ere. Translated by Peter Brook. New York: shortened to comply with military curfew play Sakini, the Okinawan interpreter. Un- Harper & Row, 1987. 239 pp. $18.95. regulations, to personal appearances by fortunately, early on there was a serious Jack Benny, Bob Hope, Yehudi Menuhin falling out with the playwright, which pre- The Shifting Point: Theatre, Film, Opera, and other U.S.O. stars. He also arranged cluded any such development; in fact, at 1946-1987. By Peter Brook. New York: for Gertrude Lawrence to appear in Blithe the celebratory opening night party, john Harper & Row, 1987. 255 pp. $22.50. Spirit, which Noel Coward had written for Patrick hurled a full glass of champagne krbut which she had never played on the at Evans the moment he appeared. Happi- Unquestionably Peter Brook's epic pro- commercial stage. During this period he ly, things went much more smoothly in duction of The Mahabharata, staged at recruited Sergeant George Schaefer into Dial M for Murder and No Time for Ser- BAM's reconditioned ruin of a theatre, his unit; Schaefer became a close friend geants, which brought fame to Andy Grif- Brooklyn's Majestic, in the autumn of 1987 was the theatre-event, possibly even the his continuing search for theatre's es- are Rorschach tests for audiences and pre cultural event, of the season. True, it sences. The Shifting Point, unlike the voke intense and divided reactions-one didn't have much competition. But by any earlier work, which is a fundamental anal- of the true tests, surely, of possible genius. standards, Brook's Mahabharata was a ysis of the kinds of theatre now extant, What is unavoidably lacking in his book major undertaking and a magnificent with their powers and problems, is an ab is the perspective of time. In themselves achievement. Nonetheless, there were sorbing collection of pieces Brook has the chapters read like lead articles for the some professional critics who were not written over five decades. Sunday sections. They are interesting, give moved nor much impressed, wanting Quite aside from the often profound one the pleasing sense of backstage eaves- either less or more. The three parts of this and provocative insights Brook offers on dropping, and, are, unfortunately, quite Hindu religiehistorical myth, not counting theatre, opera, film, performance, person- without perspective. Nevertheless, one intermissions, took nine hours to perform alities, and culture in general, the essays must be grateful to Mr. Zadan for collect- in marathon. For some specialists and are also eminently readable and enjoy- ing the raw materials for future historians spectators, that was just too long. Others, able. They reveal much of Brook's own of the musical theatre. Would that other however, aware of the depths of meaning charm, enthusiasm, and thoughtfulness. such accounts existed for earlier plays and and the epic scope of the original Maha- This past autumn, at the CUNY Graduate musicals. His book, however, contributes bharata texts, complained variously that Center, I conducted a seminar surveying little to our understanding or appreciation Brook's version didn't contain enough. all aspects of Brook's long career, includ- of Sondheim's talents. For such insights we didn't go deeply enough into the many ing opera, theatre, dance criticism, film- must turn instead to more reflective meanings, or that it was, in some sense, an making, TV directing, and theatre re- pieces such as the composer's own illumi- unfair appropriation of an ethnic master- searches. To that end, I had searched the nating article, "The Musical Theatre," in piece by non-ethnics, and a veritable files of British newspapers and journals for The Dramatists Guild Quarterly (1978), and UNESCO of them at that. early comments by Brook on theatre and John Lahr's brilliant evaluation of Sond- In Mother India, where specific parts of its allied arts. Many of the best appear In heim in Automatic Vaudeville (1984). the Mahabharata, performed as dance-the- The Shifting Point, especially Brook's com- Edward Jablonski's Cershwin is also, in a atre, puppet-play, or live drama, may ments on Shakespeare and his portraits of sense, a revision. His earlier book on the themselves exceed the "two-hours traffic Craig and Beckett. But there are some, composer, published in 1958, was subse- of our stage," attempts to present the en- such as his thoughts on Musique Concrete, quently altered and improved in 1973. His tire panorama, it's reported, have taken that one would also like to have readily new biography is so thoroughly revised it some forty days. Because Brook and Carri- available. Next collection? is, in fact, a new book. His scholarship is ere, themselves first fascinated by this There are at least three aspects of The up-to-date and he is well aware of recent work in short sessions of story-telling by Shifting Point which make it an essential finds of Cershwin material. To cite an ex- Philippe Lavastine, experienced the effec- theatre reference, even if at first it appears ample: Cershwin's one-act opera, Blue tiveness of the work in India through story- to be only a random selection of essays. Monday, which expired after one perfor- telling as well, that is the direct and simple They are, in fact, organized by themes and mance in George White's Scandals of 7922, route they chose for making this notable chronology. Many of them deal specific- is no longer briefly dismissed, but in his poem accessible to western audiences. ally with notable Brook productions which new book discussed in detail, not for its in- Purists may regret the loss of some mem- are now part of theatre history, making trinsic value, but as an early step towards orable events or major characters, but the them valuable documents in the study and Porgy and Bess. Similarly, Let 'Em Eat Cake adapters had to draw the line somewhere. appreciation of the Brookian creations. (19331, earlier also given short shrift, is The result, in Brook's straightforward Eng- Brook's astute critical judgments about recognized as an even more important lish, is a compelling and cautionary tale the performing arts permeate the essays as stepping-stone towards Porgy. In addition, about the lust for power and riches, the well. Finally, as a partial panorama of Jablonski has meticulously revised his quest for love and justice, and the final Brook's work and developing thought, be- earlier check list of George and Ira's com- possibility of human survival on this earth. cause the writing is so direct and personal, positions to include many new titles. Those are of course large themes, and The Shifting Point is also a kind of Brook Through the years Jablonski's knowledge they are largely explored in a vivid series autobiography. and understanding of the composer have of confrontations-also visually vivid in -Glenn Loney greatly deepened. His early book, designed Brook's stage evocations-linked by two for coffee-tables of the better sort, was a mythic story-tellers, Vyasa and Canesha, Sondheim & Co. Second Edition. By Craig respectable one, but his new study seems the Elephant Cod. For those who missed Zadan. New York: Harper & Row, 1986. viii guaranteed to become the standard work the BAM production, Brook's published + 408 pp. $27.95. on Cershwin. Fifty years have passed since text may actually be a small blessing, in the composer died. To the raw materials that they will lose no word of the epic tale Cershwin. By Edward Jablonski. New York: which Jablonski gathered earlier, he has in the reading, as some spectators com- Doubleday, 1987. xv + 436 pp. $21.95. added new data and fresh insights-aided plained they did, hearing some roles by the perspective of time. Perhaps, after played in alien accents. What readers Seesaw and No, No, Nanette have a similar passage of time, Zadan can per- have lost in the visual dimension, how- launched a new type of theatre book. form a similar service for Stephen Sond- ever, they will have to make up in their They are curious works, the product of the heim. imaginations, which Brook would surely tape-recorder and the diary, transcribed, -William W. Appleton welcome. The power and the simplicity of cut and pasted together for instant con- this new Mahabharata drama will surely sumption. Craig Zadan's Sondheim & Co. is The Theatre of lnigo Jonesand JohnWebb. also inspire some capable readers to emu- just such a book-which is not to say that By John Orrell. New York: Cambridge Uni- late Brook with productions-or at least it is without merit. To the first edition of versity Press, 1985. xiv + 218 pp. $42.50. scenes-of their own. this book (19741, long out-of-print, he has Together with The Empty Space, now added material, updating it to include In a field as well trodden as the seven- virtually a bible to many drama students, even a brief account of the genesis of Into teenth-century English playhouse, it is sur- Brook's collection of essays, The Shifting the Woods, currently running on Broad- prising that the best surviving evidence, Point, certainly helps document and ex- way. Not only the creative artists behind offered by lnigo Jones and John Webb, has plain the evolution of a theatre prodigy, an these works, but also the stars of the not been studied in its entirety before. enfant terrible, into the innovative, exper- shows, and others associated with them, John Orrell now expertly supplies the imental theatre theorist and director that have been interviewed in detail and their omission with this major new book. Ex- Peter Brook has become. Even those crit- observations skillfully woven together. To cluding the masque designs that have ics who have complained of specific stag- his credit, the author in no way glosses been well documented already, he focuses ings usually express their respect for his over the troubles that have beset Sond- on the architectural plans for theatres and undenied talent and their admiration for heim. As every playgoer knows, his shows stages Jones and his junior associate pre- pared between 1605 and 1665. Although NEW MAGAZINE COVERS AUSTRALIAN THEATRE SCENE most of them were built at Court, they were mainly designed for staging dramas Every theatre collection will want to and suggest that the 1987 issues be ac- rather than spectacular masques, and subscribe to the Australian Theatre Rec- quired as well. Subscriptions are available used by professional players. ord, a new periodical which provides a at As125 overseas airmail, A890 overseas Each venue has a separate chapter to it- wealth of information concerning theatri- seamail. Checks should be made payable self illustrated with relevant plans and cal events across Australia. Modelled after to the University of New South Wales and sections which are painstakingly analyzed the London Theatre Record, the main fea- mailed to Australian Theatre Studies Cen- in their own right and in terms of other ture of the new magazine is the monthly tre, University of NSW, PO Box 1, Kensing- documentary evidence. Particularly full is reproduction of all published reviews of ton, Australia 2033. For further informa- the discussion of drawings at Worcester professional theatre productions. In read- tion please contact Jeremy Eccles at that College, Oxford, be1ieved by some author- ing these reviews, one is impressed by the address. ities since 1973 to be for the Cockpit (or vitality and variety in the theatre scene, Phoenix) in Drury Lane. Built by Christo- which offers productions of the classics, pher Beeston in 1617, the Cockpit survived international hits, contemporary foreign as a theatre well into the 1660s and consti- plays, and perhaps most significantly, new tutes a vital link between the Jacobean pri- Australian plays. The ATR plans to expand vate playhouse and the Restoration the- coverage to include New Zealand in the atre. Although absolute proof is lacking, near future. Orrell argues in support of the Cockpit The Australian Theatre Record began identification of the drawings, and shows publication in January 1987. The recently how resourcefully Jones applies Serlian published Index 1987 includes lists of the techniques to transform a cockpit into a year's productions by title and creator, crit- highly flexible and successful professional ics' summaries of the 1987 theatre scene, theatre. The concern here and elsewhere and a fascinating report, Theatre Criticism to elucidate the classicism Jones absorbed in Australia: Filling the Hole, based on con- from Serlio, Palladio and other sources, is ferences held in 1985 and 1986. one of the strengths of the book. Another We heartily recommend this important is the way Orrell illuminates the working, contribution to theatre documentation relationship of the two men and shows how Webb continued the practices of his mentor at Court in the 1660s when scenery was being introduced for the first time to the public stage. Above all, the book suc- ceeds in doing full justice to Jones and Webb as outstanding theatre architects who experimented during an era when staging methods in England underwent a profound revolution. -James Fowler BOOKS RECEIVED

Branson, Clark. Howard Hawks: A lungian Study. Dario Fo's Trumpets & Raspberries, Sydney Shakespeare's The Winter's Tale, State Theatre Santa Barbara, CA: Capra Press, 1987. 332 Festival. Photo by Richard Turner Company of Australia, Adelaide. Photo by pp. 510.95 (pbk.). David Wilson Gurr, Andrew. Playgoing in Shakespeare's Lon- don. New York: Cambridge University Press, 1987. 284 pp. $49.50. Happe, Peter, ed. Four Morality Plays: The Cas- tle of Perseverance; Magnyfycence; King lohan; Ane Satire of the Thrie Estaitis. New York: Penguin Books, 1988. 709 pp. 87.95 (pbk.1. Lahr, John, ed. The Orton Diaries. New York: Harper & Row, 1987. 304 pp. $19.45. Lomax, Marion. Stage Images and Traditions: Shakespeare to Ford. New York: Cambridge University Press, 1987. 202 pp. 837.50. London, Todd. The Artistic Home: Discussions with Artistic Directors of America's Institu- tional Theatres. New York: Theatre Commu- nications Croup, 1988. 92 pp. $3.95 (pbk.). Menander. Plays and Fragments. New York: Pen- guin Books, 1988. 265 pp. $6.95 (pbk.). Oggel, L. Terry, ed. The Letters and Notebooks of Mary Devlin Booth. Westport, CT: Creen- wood Press, 1987. 166 pp. $32.95. Richel, Veronica C. The German Stage, 7767- 1890: A Directory of Playwrights and Plays. Westport, CT: Greenwood Press, 1988. 230 pp. 839.95. Sanders, Leslie Catherine. The Development of Black Theatre in America: From Shadows to Selves. Baton Rouge: Louisiana State Uni- versity Press, 1988. 252 pp. $25. Wickham, Glynne. The Medieval Theatre. Third edition. New York: Cambridge University Press, 1987. 260 pp. $44.50 (812.95 pbk.). Nigel Triffitt's The Fall of Singapore, Spoleto Festival, Melbourne. Photo by Jeff Busby LONDON HAD A THRIVING YIDDISH THEATRE, TOO

Joseph Sherman (center) with a Yiddish company on tour in Manchester in the mid 1930s

The surprisingly rich tradition of Yiddish theatre in London was the subject of an exhibition held at the National Theatre last summer. The exhibition, which was on view in the Lyttleton Circle Foyer from June 30 to August 8, 1987, focused on the leading venues for Yiddish drama in the East End of London, such as the Hebrew Dramatic Club, Spitalf ields; the Pavilion Theatre, Whitechapel; the Feinman Peo- ple's Theatre in Commercial Road; the Adler Street New Yiddish Theatre and the beloved Grand Palais in Commercial Park. The origins of Yiddish theatre in the small Jewish communities of Eastern Europe were also explored, as were the rich cen- ters of Poland and New York. London's Mu- seum of the Jewish East End prepared the exhibition, which included a wealth of newly discovered photographs, programs, posters, original sheet music, and personal props. Much of this material was on dis- play for the first time.

,.OL. "OW.. ..."..I Lt"t..DB .I.. C.O... Y. ..I, CI". w. 10SSO.~. *. ".CI..L.O* David Segal in the Yiddish version of James Lcenced by tne Lord Cltarnbcrl.~m n. S. lknlcr Anna Held Bridie's Tobias and the Angel at the Adler In arwiatinn with the Arts Cnunrll nf Great Hritm'n E Hall, 1946 FOLK HOUSE. ADLER STREET. COMMERCIAL ROAD. E. I n-yr.= .I# :;:::.c:* "A*...": cwowr NELSON KING ~-mLmc~MILmuu# THEATRE LIBRARY ASSOCIATION OFFICERS President: Mary Ann Jensen, Curator, Willlam Seymour Theatre Collection, Princeton University Library, Princeton. NJ 08544 (609) 452-3223 V~ce-President:James Poteat, Manager. Research Services, Television Information Off~ce,745 F~fthAvenue. New York, NY 10151 (212) 759-6800 Secretary-Treasurer: Richard M. Buck, Assistant to the Chief, Performing Arts Research Center, The New York Publ~cLibrary 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, Archiv~st,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. Ass~stantProfessor, Department of Communication Arts, University of Wisconsin Center, Fond Du Lac, WI 54935 (414) 929-3600 Brigitte Kueppers, Theatre Arts Librarian. Un~versityof California Librar~es,Los Angeles, CA 90024 (213) 825-4880 Richard Lynch, Assistant Curator, Billy Rose Theatre Collection, The New York Public Library at Lincoln Center, 111 Amsterdam Avenue, New York, NY 10023 (212) 870-1637 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 Don Stowell, Jr., USITT, Box 12484, Atlanta, GA 30355-2484 Bob Taylor. Curator, Theatre Collection, Museum of the City of New York. Fifth Avenue at 103rd Street, New York, NY 10029 (212) 534-1672 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, Guelph, Ontario, Canada N1H 2Y1 (519) 763-0264

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

Offtcers of the Theatre Library Association (founded 1937) President. Mary Ann Broadside ISSN: 0068-2748, published quarterly by the Theatre L~braryAssoc~at~on, lensen. Curator, the Willlam Seymour Collect~on.Pr~nceton Un~versity L~brary. 111 Amsterdam Avenue, New York. N Y 10023, is sent to all members ~ngood stand- Prmceton. New Jersey. V~ce-Pres~dent,James Poteat. Manager, Research Serv~ces. Ing Editor: Alan J. Pally, Theatre Library Association, 111 Amsterdam Avenue, New Telev~s~onlnforrnatlon Off~ce.New York C~ty.Secretary-Treasurer. Richard M Buck. York, N.Y. 10023 TLA rnernbersh~p(annual dues. $20 personal. $25 ~nst~tut~onal)also Ass~stant to the Chlef, Perforrn~ngArts Research Center. The New York Publ~c ~ncludesPerforming Arts Resources, publ~shedannually Current members may L~braryat Lincoln Center. New York Ctty; Recordmg Secretary, Lois E McDonald. purchase past Issues of Performing Arts Resources. $10 prepa~d,and Broadsrde. $2 Assoctate Curator, the O'Ne~llTheater Center. Waterford, Connect~cut prepa~d

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