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Home , Ann Pennington (actress), Fay Templeton, History of theatre, Independent Theatre, Jolson, Joseph Schildkraut

NEWSLETTER OF THE LIBRARY ASSOCIATION

Volume 12, Number 4/Volume 13, Number 1 SpringISummer 1985 SPECIAL DOUBLE ISSUE

"THE THEATRE AND THEATRE COLLECTIONS" IS SUBJECT OF SIBMAS CONGRESS IN

The 1985 Congress of the Societe Inter- nationale des Bibliotheques et Musees des Arts du Spectacle was opened in London on September 9,1985, with an address by Sir Roy Strong, Director of the Victoria and Albert . In his welcoming speech Sir Roy reported on developments related to the transfer of the V&A's The- atre Museum to its own quarters in Covent Garden, a move long in the making and one which for some time had been threat- ened due to financial and political prob lems. Sir Roy was delighted to inform the delegates that the move is now proceed- ing according to schedule, and that the Theatre Museum would open in Covent Garden in 1987. The will prob ably charge an entrance fee. Addressing himself to the topic of the Congress, Sir Roy discussed the conse- quences of perpetual expansion of collec- tions and demands for more space and more staff. Clearly anti-fetishist, he urged the delegates to be more discriminating with regard to what may be gathered for posterity, and commented that the pres- sure for to provide entertain- Helen Armstead Johnson, Richard C. Lynch, and Mary C. Henderson are three of ment is being achieved at the expense of the TLA members who gave papers in London. the museum's function as repository of scholarship and learning. Harald Zielske, President of SIB- Siedhoff will be a host for the next SIBMAS collection but is tirst and foremost de- MAS, and Alexander Schouvaloff, Secre- Congress, which will be held in Bayreuth. voted to theatre material from Bergen. In tary of SI BMAS and Organizer of the Con- The history and experience of black per- her presentation, "The Heritage of Ibsen," gress, welcomed the delegates and re- formers was discussed by Dr. Helen Arm- Trine Naess of the Teatermuseet, Oslo, ported on recent activities and goals of stead Johnson, whose collection, the Arm- , discussed the positive and nega- the organization. The delegates observed stead Johnson Foundation for Theatre Re- tive effects of the lbsen tradition as well a moment of silence as a tribute to Eva search in , focuses on black art- as documentation of lbsen in Norway. Steinaa, Past President of SIBMAS, who ists. Dr. Johnson's paper, "Some Interna- "The Carl Lund Collection's Influence on died in December, 1984, after a long ill- tional Implications of an AfreAmerican Contemporary Documentation of Danish ness. President Zielske spoke of Mrs. Stei- Theatre Collection," was illustrated by Settings 1883-1925,'' presented by naa's extraordinary contributions to SIB- some fascinating slides. Cecilia Folasade Lisbet Grandjean of the Teaterhistorisk MAS and suggested that donations to the Adedji, Librarian at the Institute of African Museum, Copenhagen, , was Danish Cancer Research Fund may be Studies of the University of lbaden in Ni- nicely complemented by a paper given by made in her memory. geria, then presented a very comprehen- Barbro Stribolt, Drottningholms teatermu- The. presentation of papers was begun sive paper concerning theatre and theatre seum, Stockholm, Sweden, entitled "The by Anne BrookeBarnett, Curator of the collections in . Mrs. Adedji spoke Carl Grabow Collection in Drottningholms Bristol University Theatre Collection in not only of problems, history, and pros- teatermuseum." Bergljot Krohn Bucht, , who discussed the establishment pects regarding Nigeria, but made sugges- Kungl Teatern, Stockholm, then discussed and development of her internationally re- tions for the rest of Africa as well. the archives and the nowned collection. Bristol owns, among The next six papers of the Congress con- interplay between the theatre and docu- many other items, an extremely important cerned theatre and theatre collections in mentation institutions. A related paper, and comprehensive body of material re- . Kari Gardner Losendahl, rep presented by Pirkko Koski of Helsinki's lated to the career of Sir Herbert Beer- resenting Bergens Teatermuseum, Nor- Teatermuseum, examined the cooperation bohm Tree. Thomas Siedhoff of the For- way, discussed the "'' in modern the- of the Theatre Museum of Finland with schungsinstitut fur Musiktheater, Universi- atre production. Incorporated into her talk theatre, theatre associations, and profes- tat Bayreuth, Schloss Thurnau, , was a history of her collection, which is sionals. then gave a paper entitled "Recent the oldest in Scandinavia, having been Events-As Lost As Ancient Omra?" Mr. founded in 1919. The archive has a general Following the Scandinavian group, two Forbes-Robertson as the first of its kind. TLA AT ALA: , 1985 papers were presented by delegates from During that time the Library acquired the the lnstitute of Musicology, Belgrade, William Archer collection of 1,500 books, The Theatre Library Association's pro- Yugoslavia. Mirka Pavlovic considered the press cuttings, magazine articles, cprre- gram at the American Library Association relationship between the Natyasastra-a spondence, and other memorabilia, as convention was held on July 8. Organized treatise on Hindu and histri- well as a collection of hundreds of 19th and chaired by David Bosca of the Chi- onics - and aspects of contemporary In- century plays which had been given by cago Public Library, it was attended by dian theatrical practice. Nadezda Mosu- Granville-Barker Horace Collins contrib- fifty members and guests. The morning sova discussed the value of theatre collec- uted 144 volumes of Lacey's acting edi- session took place at the Chicago Public tions for staging classical and historical tions of plays and this gave the Library a Library/Cultural Center. Robert Brubaker, plays by Yugoslav authors. comprehensive collection of 19th century Curator of Special Collections of the Chi- The final two papers of the Congress plays. Between 1925 and 1935 the stock cago Historical Society, presented an illus- were presented by Americans. Mary Hen- of the Library grew from 6,000 to nearly trated talk on the development of theatre derson, Curator of the Theatre Collection 30,000 Today the Library has more than in downtown Chicago, from the Saga- of the Museum of the City of New York, re- 250,000 volumes which include 54,000 naush Playhouse (1837) to the movie ported on her upcoming exhaustive exhi- plays and books relating to all aspects of houses of the 1920s which combined live bition on Eugene O'Neill, her world-wide theatre and allied subjects. acts with films. Among the de- search for materials on O'Neill, and the In addition to books the Library has press scribed by Mr. Brubaker was the "fire- history of documentation of O'Neill's life cuttings, periodicals, photographs and pro- proof" Iroquois Theatre, the scene of a and work, especially as regards the collec- grams. Card catalogues include author, disastrous in 1903 caused by panic tion at the Museum of the City of New title, subject of critical works, publishing and locked exit doors rather than the ac- York. Richard C. Lynch, Assistant Curator details, type of , cast, number of acts, tual fire. Coming down to the present, Mr. of the 's Theatre availability for production both for ama- Brubaker told the audience that a Per- Collection at , presented a teur and professional, and the name of the forming Arts Center for downtown Chi- lively look at how his collection is utilized agent who controls the rights. A list of cago is under consideration. by professionals. additions to the Library is issued monthly Carolyn Sheehy, Curator of the Midwest In addition to the presentation of to members who apply for books during Archive of the Newberry Library, papers, the SIBMAS Congress was con- the month. There is a small collection of described her serendipitous discovery of cerned with various commissions and pub plays in foreign languages. rare dance materials, some dating back to lications. There were reports on SIBMAS The British Theatre Association Library the 16th century, in such unsuspected involvement in the World Encyclopedia serves all segments of the theatrical com- places as "courtesy" books prescribing of Contemporary Theatre, a four-volume munity, both amateur and professional. It deportment for ladies and gentleman, his- work covering 1945-1985, the first volume also provides sets of plays for readings torical works on native Americana, of which is scheduled to appear in 1991, and , ranging from translation of collections, and career scrapbooks. The and in the International Theatre Bibliogra- Greek , mummers plays, Eliza- Midwest Dance Archive covers dance his- phy. Full reports of the commissions and bethan and jacobean plays, Restoration tory and activities in twelve states and in- the full text of all papers from the Con- , 18th century "sentimental" cludes collections relating to dance in the gress will be published by SIBMAS in the plays, and Victorian , to mod- movies, dance instruction, extravaganzas, near future. ern works and translations of contempo- etc. The modern dance materials deal with rary European plays. The Library obtains the careers of Martha Graham, Ruth Page, materials by purchase and donation. lsadora Duncan and Pearl Primus, among Although the Library contains some others. Much of this material is uncata- BRITISH THEATRE ASSOCIA- "treasures" given by important theatrical loged, but it can be made available to TION HOSTS RECEPTION figures over the past 66 years, it is very scholars for research. Dance videotapes much a working library. Specially selected are alscl-available, not at Newberry but at lists of plays to suit members' particular the Chicago Public Library. Thanks to Ms. The opening of the SIBMAS Congress needs are regularly supplied. Press cut- Sheehy's talk, many members got impor- was preceded by a splendid reception tings are kept up to date. There is compre- tant leads to finding hidden dance materi- given for the delegates by the British The- hensive information concerning arts coun- als in their own collections. atre Association. Held in the Association's cils, arts administration, festivals, educa- The final speaker was Sheila Ryan, Ar- Library, the event brought delegates te tion, and all related subjects. The William chival Specialist for the Goodman The gether for the first time during the Con- Archer Collection has been added to by atre, which is the second oldest continu- gress and enabled them to visit one of Lon- the family since 1925. Other presentations ing producing theatre company-Cleve don's most important collections. have been made by Mrs. Gabriel Enthoven, land Playhouse is the oldest-in the coun- The British Theatre Association, former- Margaret Webster, , lvor try. Although productions started in 1915 ly the British League, was publicly Brown, Norman Marshall, St. J. Ervine, Ed- at the Fine Arts theatre, the Goodman The inaugurated on June 22, 1919, at the The ward j. Dent, Lena Ashwell, Edy Craig, atre Center did not come into formal exist- atre Royal, Haymarket. Its founder, Geof- Cyril Hogg, Athene Seyler, and many ence until 1925 when Kenneth Sawyer frey Whitworth, was a pioneer of the Na- others. Books from Council, Goodman's family presented it to the Art tional Theatre. He was supported in his B.B.C., National Operatic Association, and Institute of Chicago as a memorial to the venture by some of the most important the I.T.I. have been added more recently, young who had died in 1918. theatre people of the time. The first home and many publishers send one copy of all In 1930, various problems and financial of the Drama League was in half a room in newly published plays. Since April 7, 1983, pressures led to separation from the Art Southampton Street. Lord Howard de Wal- all plays and manuscripts in the Library Institute, and the Theatre started its own den served as the first President, Harley have been made available for the public drama school-among its graduates are GranvilleBarker was the first Chairman to read on the premises, without charge. , Geraldine Page and Theoni and Geoffrey Whitworth was Honorary The comprehensive services and collec- V. Aldredge. The Goodman has had many Secretary. The League moved to two tions of the Library are available to mem- distinguished producing directors, includ- rooms in 1921 and the Library was bers. For information please contact the ing John Reich who was a protege of Max founded with a few sets for play-readings British Theatre Association, Fitzroy Square, Reinhardt, and Gregory Mosher who has and the Horniman Company scripts used London, England. We are sure the staff just been appointed director of the Vivian at the Gaiety Theatre, Manchester. The there will respond to all inquiries as gra- Beaumont theatre at Lincoln Center in first Librarian was appointed in 1922. ciously and efficiently as they did at the New York. The Goodman Theatre Ar- The Library continued to grow and in lovely reception inaugurating the SIBMAS chives, approximately 120 linear feet, are 1925 was described by Sir Johnstone Congress. housed at the Chicago Public Library, and Ms. Ryan is involved in the dual task of tion); Genevieve Oswald, Curator, Dance CURATOR POSITION cataloging the material and preparing a Collection, The New York Public Library AVAILABLE gala 60th anniversary exhibition for the (Creating Tangible Records for an Intan- Application Deadline April 1,1986 Cultural Center. Immediately following gible Art); and Harold E. Samuel, Music Li- her talk, the group crossed Michigan Ave- brarian, Music Library, Yale University The State University is seeking a nue for a front-of-house and backstage (Yale's Archive of 20th-Century Music). qualified individual for the new position tour of the actual theatre. The program will also include receptions of Curator of the Lawrence and Lee The- After a break for lunch, the program at The New York Public Library, The Pier- atre Research lnstitute Library. The re- continued with a visit to the Auditorium pont Morgan Library, and the Rare Book sponsibilities of the Curator include the theatre which first opened in 1889. TLA and Manuscript Library, Columbia Univer- administration of all operations of the Li- members had visited it in 1976, when reno- sity. Registration fees, which must be re- brary, a newly established special collec- vation of its interior was just beginning ceived by May 26,1986, are $90 for ACRL tion comprised of extensive historical ma- after many years of neglect. Today, with members and $130 for non-members. For terials related to the theatre, in a wide its refurbished murals and staineb- glass, further information please contact RBMS assortment of media. The holdings include restored gilt stenciling, the soft lighting Preconference, ACRLIALA, 50 East Huron existing collections such as the Eileen from thousands of specially designed Street, Chicago, Illinois 60611. Attendance Heckert papers and newly acquired col- bulbs, and the superb acoustics, it offers is limited to the first 250 registrants. lections such as the Jerome Lawrence and audiences a feeling of intimacy in spite of Robert E. Lee papers. Initial duties include its size and splendor. rehousing and organizing the collection in The last theatre on the program was the newly refurbished quarters. Ongoing re- Shubert, which is currently home to . sponsibilities include collection develop The group was invited onstage to explore ment, processing of materials, providing the cat's-eye view of a junk yard. The Mas- public service, planning and promoting ex- ter for the Shubert explained hibitions, supervision of support staff, and how many of the production's effects are working closely with library development achieved and recounted some of the prob- staff. The position reports to the Assistant lems and crises that have arisen. Director, Main Library Public Services but On the way back to the Cultural Center, maintains close liaison with the Director Mr. Bosca pointed out the "hot-tix" booth as Nancy Sikes of the Theatre Research Institute. where reduced price tickets are sold for (Oliver Twist, 1912) The University offers a salary within the that day's of many current range of $22,08(r$34,920 and an excellent productions, along with full-price tickets TLA AT ALA: 1986 benefits package. Faculty rank and salary for future dates. "Hot-tix" seemed espe- are dependent upon experience and quali- cially appropriate in view of the tempera- The Theatre Library Association is plan- f ications. ture, which was in the high 90s, with hu- ning an interesting program as part of the This position appears to offer an excel- midity to match. But if clothing was damp- 1986 American Library Association Annual lent opportunity in the field of theatre ened, spirits were not, and the afternoon Conference, to be held in . librarianship. Apply by April 1, 1986, to ended with a gracious informal reception Titled The District: In Sharon A. Sullivan, Personnel Librarian, hosted by Mr. Bosca and his staff in the Archives, In Collections, In Reality, the The Ohio State University Libraries, 1858 GAR Memorial Room where a huge statue program will attempt to give an overview Neil Avenue Mall, Columbus, OH 43210. of Abraham Lincoln presided benignly of the history and tradition of the commer- Please include the names, addresses and over the scene. cial theatre district of New York City telephone numbers of at least three refer- - Dorothy L. Swerdlove through a presentation of the architectur- ences. al and production records as preserved and of the theatres as they remain stand- ALA PRECONFERENCE: 1986 ing in the district today. The event, which will take place on Monday, June 30,1986, The theme of the Twenty-Seventh An- will be divided into four parts. From 9:30- nual Preconference sponsored by the Rare 11:30 AM there will be a tour of the the- Books and Manuscripts Section of the atre district conducted by Dr. Mary C. Association of College and Research Li- Henderson, former Curator of the Theatre braries is Fine and Lively: The Arts in Spe- Collection of the Museum of the City of cial Collections. The preconference will New York and author of The City and the be held in New York City from June 24 Theatre. A buffet lunch at Sardi's, the fa- through the morning of June 27, prior to mous theatre restaurant, will follow. From the annual convention of the American Li- 2:00 to 5:00 there will be a program at the brary Association. Speakers and topics in- Lyceum Theatre, which will include a clude James Gilreath, American History multi-media presentation about Broadway Specialist, Rare Book and Special Collec- theatre history, followed by a panel of li- tions, The Library of Congress (The Decor- brarians and archivists. From 5:00 to 6:00 ative Arts and the Historical Imagination); PM there will be a reception at the Shu- Lucien Goldschmidt, proprietor of Lucien bert Archive, the largest, most comprehen- Goldschmidt, Inc. (The Arts and the Anti- sive collection of material related to one quarian Book Trade: The Inherited Past theatrical management and production and a Viable Future); Richard Martin, Ex- organization ever assembled. ecutive Director, Shirley Goodman Re- Space for this program is limited! A $25 source Center, Fashion lnstitute of Tech- registration fee, which includes the lunch nology (Materials of Fashion: Research in at Sardi's, must be received by May 30, the Arts and Professions of Apparel); Ruth 1986, but should probably be sent much Mortimer, Curator of Rare Books, Smith sooner. Please make checks payable to College (Book Illustration: the Printer as the Theatre Library Association and send Artist); Jeanne T. Newlin, Curator, Harvard with a stamped, self-addressed envelope Theatre Collection, Harvard College Li- to Richard M. Buck, Secretary-Treasurer, brary (Richard Brinsley Sheridan's Pizzaro: Theatre Library Association, 111 Amster- Sir Herbert Ekerbohm Tree A Case Study in Theatrical Documenta- dam Avenue, New York, N.Y. 10023. (Colonel Newcome, 1917) WORK IN PROGRESS 15, 1930-approximately 2,500 plays, al- in Edwardian London. By An- phabetically arranged. Entries are about drew Lamb. NY: Institute for Studies in History of the Montgomery Theatre in Ala- one hundred and fifty words in length, al- American Music, Brooklyn College, 1985. bama. William D. Eppes, 68 Bedford Street, though some major ones, such as The 86 pp. $10. New York, N.Y. 10014. Cherry Orchard and Strange Interlude, are The author describes the Edwardian Era much longer. Arrangement is by title for as "the brief but glamorous reign in which the whole decade, and includes major British musical had flourished as credits, the theatre and opening date, and never before or since." Jerome Kern made BOOK REVIEWS the length of the run. The text which fol- five separate trips to London during this lows includes important historical back- period. During these visits he contributed ground information, a summary of the Ancient and : A Historio- a number of songs to London productions, , and an idea of the critical reaction to first worked with P.G. Wodehouse, and logical Handbook. By Ronald W. Vince. the work. In addition, there are ten appen- Westport, CT: Greenwood Press, 1984.156 met and married Eva Leale. dixes, including a chronological calendar, This monograph is a revision of a 1981 pp. $29.95. year-by-year statistical breakdown of Theatre: A Historiographical limited edition study. It contains a number number of productions, award winners, a of corrections to Gerald Bordman's 1980 Handbook. By Ronald W. Vince. Westport, subject index, longest-running shows, etc. CT: Greenwood Press, 1984. 204 pp. $35. jerome Kern: His Life and Music, but in no Some of the statistical information differs way denigrates it. A great deal of research from that found in such sources as Burns has been done in the theatrical publica- These two books are not standard the- Mantle and Notable Names in the Amer- tions of the period, and even such sources atre history books. They are about theatre ican Theatre. Professor Leiter claims that as The Post Office London Street Guide, to history itself. That is, they do not deal with his work is more complete. the people, plays and dates of theatre his- try and pin down exactly where Kern The text which follows the title entries tory, but with the way theatre history was stayed, did he attend a London music pub is generally perceptive and entertaining. written and the evidence used to write it. lisher's annual staff outing, and did he Major cast members are mentioned, as Ronald W. Vince tells the reader that the travel back to America with Charles Froh- well as unusual bit players. Popular song formal discipline of theatre history is little man in 19057 titles are included, as well as such show more than a century old and he describes In addition, there is a list of Kern's com- biz anecdotes as Jolson singing "Liza" how historians' views of ancient, medieval positions from 1901 to 1910, biographical from the audience to Ruby Keeler in Show and Renaissance theatre developed with entries for Kern's British lyricists, an ap- new discoveries of evidence and new ways Girl. Occasionally other books with more pendix of some song puzzles investigated, detailed information on a particular show of interpreting that evidence. footnotes and index. There are a number or star are mentioned, but usually no The two volumes are grouped into the of interesting photographs, including one follow up information is given, such as the generally recognized divisions of classi- of Kern in 1906 seated in a theatre box fact that Candle Light became Cole cal, medieval and Renaissance theatre. watching Millie Legarde sing "How'd You Porter's musical You Never Know in 1938. Ancient and Medieval Theatre starts with a Like to Spoon with Me?" The last chapter The major advantage this set has over chapter on the origins of theatre and in- sums up Kern's later "London legacy" and other reference works is that it is alpha- cludes chapters on the theatre of , includes the interesting note that this betically arranged by title. A major disad- Rome, and the medieval period. It con- same song was included in the Trocadero vantage is that full cast and credits are not cludes with a review of medieval dramatic scene for the 1928 London production of included. Further volumes into the thirties texts. Renaissance Theatre examines Ital- . Certainly this is an important and forties are planned. ian theatre, Commedia dellfArte, the Span- addition to the Kern documentation, and a ish Golden Age, Elizabethan theatre, the must for those interested in the American French classical stage, and festivals and -Richard C. Lynch . -Richard C. Lynch pageantry. Within each chapter, Professor Vince first summarizes the major scholarship on the period and then examines the avail- able evidence. Dramatic texts, architec- tural remains, pictorial evidence, written records, and archival documents and col- lections are some of the sources surveyed. Vince describes the evidence and shows how historians used it to support their . There is a bibliography at the end of each chapter and information concern- ing major research collections. Ancient and Medieval Theatre and Re naissance Theatre offer an interesting look at how the study of theatre has changed with time, and with the influence of other disciplines such as archaeology and an- thropology. These two books constitute valuable reference tools for students and scholars. - Stephen M. Vallillo

The Encyclopedia of the New York Stage, 1920-1930. Edited by Samuel L. Leiter and Holly Hill. 2 volumes. Westport, CT: Green- wood Press, 1985. 1,331 pp. $145.

This work attempts to describe every New York legitimate and professional pro- duction from Junell6, 1920, through June , 1933 scholars, they interestingly reinforce crit- book is a precursor by twenty or thirty ical interpretation in terms of theatrical years of American regional theatre history. on the front page, are from the New Am practice. The book is not merely a companion piece sterdam Theatre exhibition and appear Three of the essays are strikingly good: to Ziegler's Regional Theatre, but delivers courtesy of the Billy Rose Theatre Collec- Michael Pennington's observations on a message to anyone concerned with the tion, The New York Public Library at Lin- are sensible and sensitive; Richard development of our own regional system coln Center. Pascoe's discussion of Timon is admirable; of localized theatre centers. and David Suchet's discussion of Caliban, The Repertory Movement is also well, if based on a subtle and thoughtful reading sparsely, illustrated and contains many of the text, is absolutely first-rate. These useful appendixes including chronologies, three essays alone make this wook well- sample programs, funding and audience worth acquiring. statistics, as well as a bibliography of -William W. Appleton some scope. Again, as with the text itself, these are of great use to the student of British and American regional theatre. The Repertory Movement: A History of -Sara Barnicle Regional Theatre in Britain. By George Rowell and Anthony Jackson. New York: Cambridge University Press, 1984. 230 pp. Truths the Hand Can Touch: The Theatre $39.50. of Athol Fugard. By Russell Vanden- broucke. New York: Theatre Communica- George Rowell, a well-respected author tions Group, 1985. 268 pp. $22.50 (cloth); on 19th and early 20th century British the- $12.50 (pbk.). atre, and Anthony Jackson, scholar and lecturer at Manchester University, have Truths is the first book-length study of co-authored a readable and informative the life and work of Athol Fugard, one of book which serves several purposes. The world theatre's most esteemed living play- first third of the text stands as a history of wrights. I did not preface "playwright" late 18th and 19th century provincial and with "South African" because author Van- independent theatre in Great Britain. The Nat C. Coodwin as Bottom denbroucke believes that the importance (A Midsummer Night's Dream, 1903) middle section discusses the rise and de of Fugard's nationality has been exagger- velopment of the repertory movement. ated, mistakenly equating the plays' set- The final chapters cover the current state tings with their ultimate meanings and em- Players of Shakespeare: Essays In Shake- of repertory theatre in Great Britain by phasizing the specifics with which they spearian Performance by Twelve Players focusing on six specific theatres: the Not- begin instead of the universals with which with the Royal Shakespeare Company. tingham Playhouse, the Citizens' Theatre they end. Edited by Philip Brockbank. NY: Cam- of Glasgow, the Salisbury Playhouse, the After summarizing the South African bridge University Press, 1985. 175 pp. Victoria Theatre in Stoke-on-Trent, the context of the plays in order to study them $22.95. in Liverpool, and the Royal Ex- as art rather than as sociological or polit- change in Manchester. Not only is the text ical tracts, the book is structured chrono- "The play's the thing." Shakespeare's based on solid scholarship, but the alter- logically. Fugard's early life and writings, words are straightforward enough, but nation of chapters by the respective au- his "Sophiatown" trilogy, and his early since the advent of Freud and Stanislavsky thors provides for an interesting variety in successes are all discussed. seem reluctant to heed them. If by what could have been typically dry pas- During the period between The Blood some miracle a dozen parallel essays by sages of historical review. Nevertheless, it Knot and Hello and Goodbye, South Afri- members of Burbage's company sudden1y contains much historical information not can law regulating public surfaced, one wonders how they would normally found in general texts which em- changed and Fugard had to decide wheth- compare to the essays in this volume. phasize London as the theatre center. er his work should be performed before Actors of any period are understand- Rowell and Jackson also illuminate 19th segregated audiences or not at all. He ably determined to make the most of their century acting and production styles and chose the former. Fugard's last play in roles. Those of the present generation are practices, subjects often disregarded al- which family relationships are explored, no exception, and they approach Shake- though, as the authors so aptly show, they Boesman and Lena, brings the narrative to speare's plays, perhaps inevitably, in terms are seminal in the creation of techniques the next phase of his career in which he ex- of . Shakespeare, for all of his and practices today. plores the theme of men and women iso- genius in creating character, like his con- It is those current practices that are of lated in an alien world as they seek to con- temporaries believed in the primacy of particular interest in this book for they nect with each other and satisfy basic plot, and was quite willing on occasion to form a detailed picture of active theatre needs. Here are discussed tele sacrifice logic and consistency to sensa- groups not well known to us in this coun- plays and filmscripts, as we!l as many fa- tion and surprise. His greatest characters try. There is much theoretical discussion mous works, such as "Master Harold. . . lie uneasily on the analyst's couch. It is of funding, audience development, new and the boys. dangerous to play games even with lesser , play selection, regional com- This book does not ignore the careers of figures by suggesting, as one does, mitment, and varied uses of buildings and Fugard the director and Fugard the actor, that at the conclusion of Twelfth Night technology, as all six model theatres differ making a well-rounded volume encom- Malvolio commits suicide. Shakespeare vastly in formation and development. passing extensive literary analysis and bio- does not invite us to speculate on the mar- That they have all arrived at essentially graphical detail based on many hours of riage of Bertram and Helena at the conclu- the same plateau after the theoretical interviews with Fugard and his family, sion of All's Well-the title is clear foundation laid by such luminaries as friends and colleagues. It includes a pro- enough-nor on such matters as the early Granville-Barker, Grein, Shaw and Jackson duction chronology, information about life of King Lear. and the explosion of post-war growth be- first performances of feature films, and an The essays in this collection vary great- comes the thrust of the book. The Reper- extensive bibliography of works by and ly in quality. Two or three are downright tory Movement, then, is of interest not about Fugard. Truths is a pioneering work silly. The majority are sincere attempts to only to anyone interested specifically in which will be of equal value and interest explore dramatic character, and while the British regional theatre, but to a student of to those who make theatre, teach theatre, actors' explorations tend to lead them to the American regional theatre movement study theatre-and attend theatre. conclusions long familiar to Shakespeare as well, for the history described in this -Adele Bellinger PUBLICATION OF NOTE Mann, David. A Concordance to the Plays of QUERY Sir . Westport, CT: Green- wood Press, 1985. 429 pp. $95. Volume 1 Number 1 of the Professors Jackson R. Bryer and Travis Quarterly was published in February by Mills, john A. Hamlet on Stage: Thq Great Bogard are editing a selected edition of Cambridge University Press. The new jour- Tradition. Westport, CT: Greenwood Press, the correspondence of Eugene O'Neill and nal, to be published in February, May, Aug- 1985. 304 pp. $37.50. Mittman, Barbara C. Spectators on the preparing a census of all extant items of ust and September, is the successor to The- Stage in the Seventeenth and Eighteenth Cen- that correspondence. They are looking for atre Quarterly, which was published f rom turies. Ann Arbor, MI: UMI Research Press, copies of any surviving O'Neill letters, 1971 to 1981. The editors of the re- 1984. 150 pp. $39.95. post cards, or telegrams, especially those launched journal are Clive Barker and Monaco, James. The Connoisseur's Guide to recently acquired by libraries, those in un- Simon Trussler. the Movies. NY: Facts On File, 1985. 313 pp. catalogued collections, or those privately The attractive premiere issue of NTQ $9.95. owned. They will be happy to defray costs contains an impressive variety of articles Morley, Sheridan. The Other Side of the of photocopying and mailing. No item will Moon. NY: Harper & Row, 1985. 300 pp. covering a broad range of theatre-related be published without prior explicit permis- $78.95. sion of its owner; and the owner's identity topics. Editorial enquiries and unsolicited Osborn, Elizabeth, ed. Dramatists Sourcebook, manuscripts may be addressed to Simon 1985-86 Edition: Complete Opportunities for will be listed only if he or she permits it. Trussler, Great Robhurst, Woodchurch, Playwrights, Translators, Composers, Lyri- All materials should be sent to Professor Ashford, Kent TN26 3TB, England. Sub cists and Librettists. NY: Theatre Communi- Bryer at the Department of English, Uni- scription orders may be sent to Cambridge cations Group, 1985. 206 pp. $10.95. versity of Maryland, College Park, MD University Press, 32 East , New Pitou, Spire. The Paris Opera: An Encyclope- 20742. Confidentiality will be respected. York, NY 10022, or Cambridge University dia of , , Composers, and Per- Press, The Edinburgh Building, Shaftes- formers: Rococo and Romantic, 7715-1815. bury Road, Cambridge CB2 2RU, England. Westport, CT: Greenwood Press, 1985. 619 The subscription price is $39 (M9) for insti- pp. $75. Slide, Anthony. Selected Theatre Criticism: tutions, $19 (MOI for individuals ordering We are sorry to report the of Ber- Volume 1: 7900-1919. Metuchen, NJ: Scare- nard Beckerman, who died on Long Island direct from the publishers and certifying crow Press, 1985. 383 pp. $29.50. that the journal is for personal use. Tan Sooi Beng. Ketai: A New Form of Chinese on October 7. Professor Beckerman was Advertising enquiries should be sent to Urban in Malaysia. Singapore: the Brander Matthews Professor of Dra- the Journals Promotion Department of the Institute of Southeast Asian Studies, 1984. matic Literature at New York or Cambridge office of Cam- (Dist. by Cower Publications, Brookfield, and a noted Shakespeare scholar. He bridge University Press. VT). 70 pp. $11 (pbk.). served as Dean of Columbia's School of Trapido, Joel, et. al., eds. An InternationalDic- the Arts from 1972 to 1976 and was the tionary of Theatre Language. Westport, CT: author of many books on theatre, includ- Greenwood Press, 1985. 1,032 pp. $95. ing Shakespeare at the Globe (1962), Dy- BOOKS RECEIVED Theatre in the 7960s Williams, Mance. Black namics of Drama (1970), On Stage, 7920- and 1970s: A Historical-Critical Analysis of Bergeron, David M. Shakespeare's Romances the Movement. Westport, CT: Greenwood 1970, which he co-edited with Howard S. and . Lawrence, KS: Univer- Press, 1985. 188 pp. $27.95. Siegman, and many other works. sity Press of Kansas, 1985. 257 pp. $25. Professor Beckerman founded the Bigsby, C.W.E. A Critical Introduction to Twen- drama department at Hofstra University tiethcentury American Drama. Volume 3: and received the seventh annual award of Beyond Broadway. NY: Cambridge Univer- the American Shakespeare Festival. In sity Press, 1985. 485 pp. $39.50. Cohen, Edward M., ed. New jewish Voices: We are eager to publish relevant news 1981 he was elected President of the Plays Produced by the jewish Repertory The- and items of interest from around the Shakespeare Association of America. atre. Albany, NY: State University of New world. In addition, we require book re- York Press, 1985. $34.50 ($10.95 pbk.). viewers in various subspecialties of the- We are pleased to report that Adele Coomeraswamy, Ananda. The Dance of Siva. atre. Please write to: Bellinger, who frequently reviews books New Edition. NY: Dover Publications, 1985. Alan J. Pally, Editor for Broadside, has been appointed Super- 139 pp. $5.95 (pbk.). vising Assistant Branch Librarian at The Dickinson, Margaret and Sarah Street. Cinema Broadside and State: The Film Industry and the British Theatre Library Association New York Public Library's Jefferson Mar- Government, 1927-84. London: British Film 111 Amsterdam Avenue ket Regional Branch, which is in Creen- Institute, 1985 (Dist. University of Illinois New York, N.Y. 10023 wich Village. Mrs. Bellinger was previously Press, Champaign). 280 pp. $33.95 (cloth); the Senior Film Specialist at the Donnell $16.95 (pbk.). Library's Media Center. Epstein, Lawrence S. A Guide to Theatre in America. NY: Macmillan, 1985. 443 pp. $60. Feydeau, Georges. Three Boulevard : A Little Hotel on the Side, A Flea in Her Ear, and The Lady from Maxim's. NY: Penguin Books, 1985. $5.95 (pbk.). Gates, Robert Allan, ed. 18th and 19th Cen- tury American Drama. NY: lrvington Pub lishers, 1984. 2% pp. $19.95 (pbk.). Haring-Smith, Tori. From to Metadrama: A Staged History of The Taming of the Shrew, 1594-1983. Westport, CT: Greenwood Press, 1985. 280 pp. $35. Hastings, Michael. Tom and Viv. NY: Penguin Books, 1985. 126 pp. $4.95 (pbk.). Honri, Peter. john Wilton's Music Hall: The Handsomest Room in Town. Hornchurc h, Essex, UK: tan Henry Publications, 1985.161 pp. 517.45. Howard, Douglas, ed. Philip Massingec A Cri- tical Reassessment NY: Cambridge Univer- sity Press, 1985. 179 pp. $22.95. Lazarus, Paul N. The Movie Producer. NY: Harper & Row, 1985. 209 pp. $6.95 (pbk.). The Theatre LANDMARK THEATRE IS SUBJECT OF EXHIBITION

- The Ziegfeld of 1913

New York's , ades of its existence as a legitimate play- Rogers, Vivienne Segal and . which flourished from 1903 to 1937, was house, the New Amsterdam offered pro- Many of the productions were staged by the subject of a recent exhibition at the Li- ductions befitting a beautiful and well-ap- and designed by Joseph brary and Museum of the Performing Arts pointed theatre. It earned a reputation as Urban. And of course there were the Zieg- at Lincoln Center. Curated by Alan Pally, a musical house, premiering works by Irv- feld girls: Gladys Glad, Lillian Lorraine, the exhibition focused on the architec- ing Berlin, George M. Cohan, Walter Don- Jessie Reed, and hundreds ture of the building as well as the many aldson, , , of others whose job it was to walk around extraordinary productions which played Jerome Kern, Franz Lehar, Richard Rod- on stage and look beautiful. there. On view were programs, photographs, gers, , , and During his years at the New Amsterdam, sheet music, memorabilia, and original . Ziegfeld produced many musicals in addi- and set designs from some of the The early musicals at the New Amster- tion to the Follies. He made most important theatrical events of the dam included spectacles such as Mother a star in the Fo/lies; he made her a super- twentieth century. Goose (1903), Humpty Dumpty (1904), and star in (1920), (1925), and Built for and Abraham Lin- vehicles for . In George M. (1928). He produced Betsy (1926) coln Erlanger-the Shuberts of their day Cohan's Forty-Five Minutes from Broad- but must not have liked the Rogers and -the New Amsterdam opened on Octo- way (1906)' Miss Templeton sang the first Hart score; he had lrving Berlin write a ber 26, 1903, with A Mid,summer Night's of many songs introduced at the theatre song for the show and that song, "Blue Dream, starring Nat Goodwin and Ida Con- which was to become a standard. "Mary's Skies," became the sensation of the eve- quest. The New York Telegraph's drama a Grand Old Name" became so popular ning. Belle Baker's rendition brought the critic reported that the opening night audi- that the circumstances surrounding its house down, and lrving Berlin took a spot- ence was divided in its interest between introduction were dramatized in Yankee lighted bow from the audience. Rodgers the performance and the decorations. He Doodle Dandy, the 1942 film biography of and Hart were not pleased. Ziegfeld's last called the theatre "a triumph of the art George M. Cohan. musical at the New Amsterdam was nouveau idea, which first found expres- Many other musicals graced the New Whoopie (1926), which starred Eddie Can- sion at the Paris Exposition of 1900." Amsterdam stage in its first decade, but tor and Ruth Etting. The Walter Donald- Today, the empty playhouse remains one the most popular and the most influential son/Gus Kahn score included "Makin' of the few examples of the art nouveau was unquestionably the American pre- Whoopie" and "Love Me or Leave Me." style in the . miere, on October 21, 1907, of Franz Although Ziegfeld was the major force A second theatre, atop the first, opened Lehar's . The Merry at the New Amsterdam from 1973 through on June 6,1904, with A Little of Everything, Widow ran for a year and was followed by 1928, many musicals appeared at the the- starring Fay Templeton. It was called the Little Nemo, perhaps the first musical atre which he did not produce. Victor Her- Aerial Gardens and had 1,200 seats, mak- based on a comic strip. Madame Sherry bert's Sweethearts opened late in 1913; Irv- ing it as large as many full-sized theatres. was 1910's big hit and included the song ing Berlin's Watch Your Step (1914) starred (The main theatre had 1,800 seats.) The "Every Little Movement." The following Vernon and Irene Castle. Revues such as chief difference between the roof theatre year the New Amsterdam offered The Pink The Cohan Revue of 1918, Ed Wynn's Carni- and other theatres was that the walls of Lady which was so popular that pink be- val (19201, Earl Carroll's Vanities (1930 edi- the Aerial Gardens were made of glass and came the fashionable color for ladiesf tion) and 's Scandals (1935 could be removed in the summer. clothes. Other musicals followed, but as edition) were also popular. The last five No expense was spared to make the the theatre's first ten years drew to a close years of the New Amsterdam's life as a New Amsterdam the most luxurious the- an event occurred which left the New Am- legitimate theatre saw the production of atre in town. The building cost $1,500,000, sterdam with the special reputation it en- Dietz and Schwartzfs a record at the time, and major artists joys today: Florenz Ziegfeld took over the (1931), which . starred Fred and Adele were engaged to design murals, terra cotta theatre and on June 16, 1913, opened his Astaire, Tilly Losch, Helen Broderick and ornamentations, painted panels, statuary Follies there. Frank Morgan. Many critics called The and other sumptuous appointments. So From 1913 through 1927, with the excep- Band Wagon the best revue of all time. much had been written about the fortune tion of 1921, the New Amsterdam was and lrving Berlin's Face the being spent that critics were surprised to home to the . The amount Music opened in 1932. It starred Mary Bo- find, not garish ostentation and glitter, but of talent involved in these productions land and included the song "Let's Have supreme good taste. Alan Dale, reviewing was staggering. Featured in the Follies Another Cup of Coffee." Roberta (1933) the theatre in The New York journal, wrote during that period were Fannie Brice, had gorgeous sets and , a cast ". . . it represents the very pinnacle of the- , Ina Claire, Leon Errol, Ruth that included Tamara, Ray Middleton, atrical possibility-as we realize it today." Etting, W.C. Fields, Gallagher and Shean, Lyda Roberti, George Murphy, , During the nearly three-and-a-half dec- Marilyn Miller, , Will Greenstreet, and, after nearly Kontinued on next page] three decades absence from the New Am- Johnstone Forbes-Robertson and Gertrude cordings from New Amsterdam shows. sterdam, Fay Templeton as Aunt M~nn~e Ell~ott.In 1916 and 1917, Herbert Beer- These included the title song from Sweet- Jerome Kern and con- bohm Tree's company appeared, perform- hearts, sung by Christie MacDonald; "A tributed one of the loveliest scores ever ing Henry VIII, The Merchant of Vehice, Pretty Girl is Like a Melody," sung by John written. The cr~ticsfound the plot weak The Merry Wives of Windsor and Colonel Steel in the Follies of 1979; "I'm an but the public loved the show. In 1934 Newcome, In 1927, a major rev~valof Tre- Indian" and "I Was a Floradora Baby." in- Dietz and Schwartz returned with Revenge lawney of the Wells starred Estelle Win- troduced by Fannie Brice in thg Follies of with Music, an unsuccessful mus~calbest wood, Helen Cahagan, Otto Kruger and 7920, "Look for the Silver Lining," sung by known for 's rendit~onof Pauline Lord Later that year Tyrone Power Marilyn Miller in Sally; and Tamara's rare "You and the Night and the Music." The and starred in lulius Cae- recording of "Smoke Gets In Your Eyes" last musical at the New Amsterdam was sar. William Cillette gave 45 performances from Roberta. Also on the tape were re- Romberg and Harbach's Forbidden Mel- of Sherlock Holrnes during his 1929 fare- cord~ngsby lesser-known artists such as ody (1936) which starred June Havoc and well tour, and in 1931, Walter Hampden, Nat Wills, who sang "If a Table at Rector's ran for 32 performances. Fay Bainter and Estelle Winwood per- Could Talk," from the Follies of 7913; Despite ~tsreputation as a musical formed In a revival of The Admirable "Take, Oh Take Those LIPS Away," intro- house, the New Amsterdam was home to Crichton. duced by Brooke Johns in the Follies of some of the most important dramat~cper- On January 30, 1933, the New Amster- 1923; and Olga Steck's rendition of formances of the twentieth century In dam accepted a transfer of the Civic Rep- "Swanee River Blues," also from the Fol- March 1904, Richard Mansf ield performed ertory's Alice in Wonderland, starring lies of 1923. . Van and Schenck, in America for the first time, playing In Josephine Hutchinson, Burgess Meredith, Bert Williams, Gallagher and Shean, the Ivan the Terrible, Beau Brurnmel, Florida Friebus, Joseph Schildkraut, How- of Paul Whiteman and George A Parisian Romance, Monsieur Beaucaire ard da S~lvaand Eva LeCallienne. The Olsen, Ruth Etting, Eddie Cantor, Fred and Dr. Iekyll and Mr. Hyde. The following company followed with The Cherry Or- Asta~reand Libby Holman were other per- year he added and chard, starring Alla Nazimova. Walter formers represented on the exhibition's Richard 111 to his repertoire but of greater Hampden, the most famous Cyrano of his soundtrack. importance was the English-language pre- time, performed that role in 1932 and The New Amsterdam Theatre exhibition miere, on April 10, 1905, of Moliere's The 1936. On May 18,1936, Hampden gave his was fourth in a series of exhibitions cover- Misanthrope. In 1907 Mansf~eldreturned 100th performance as Cyrano on the New ing ihe history of theatre in New York. Pre- in Peer Cynt and on March 23 gave the last Amsterdam stage. Early in 1937, the New vious theatres in the series were the Park performance of h~scareer at the New Am- Amsterdam closed as it had opened, with Theatre, Niblo's Garden, and Wallack'sl sterdam, starring as Baron Chevral in A Shakespeare , Brian Aherne Star. The entire project was conceived by Parisian Romance. Mansfield died on Aug- and Nan Robertson starred in a widely ac- Dr Robert M. Henderson, Chief of the ust 30 of that year. claimed production of . General Library and Museum of the Per- On October 30,1906, Shaw's Caesar and The exhibition, which was on view from forming Arts, The New York Public Library Cleopatra had its professional American May through September, 1985. was ac- at Lincoln Center. premiere at the New Amsterdam. It starred companied by a soundtrack of original re-

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