Found 88 collections related to Theater -- Production and direction

Typescript notes of the director Elia Kazan are from rehearsals and performances of the pre-Broadway tryout in New Haven of A Streetcar Named Desire starring Jessica Tandy and Marlon Brando. Includes script called "Revised Version for Rehearsals, October 6, 1947" with some staging directions in pencil, a program from the Broadway production dated December 8, 1947, and one folder of notes on Tandy's performance by her husband Hume Cronyn. Notes were taken by Mary Boehlert Katz, assistant to Kazan. less

Robert B. Sinclair (1905-1970) was a director who was primarily active in the theater in the 1930s and 1940s. His productions on Broadway included For Services Rendered (1933), The Women (1936), and Without Love (1942). The Robert B. Sinclair scrapbook documents productions that he worked on from 1931 to 1943. The scrapbook chiefly contains clippings and programs. It also contains letters from Fay Bainter, Edna Ferber, and Alexander Woollcott. This collection was previously cataloged with the call number MWEZ + n.c. 24,908. less

Actor, director and producer, Edwin T. Emery was the director of the WPA's Federal Theatre Project's Gilbert and Sullivan unit. He began his stage career in 1893 appearing with leading stock companies and working with Maude Adams and E. H. Sothern among others. In his later years he directed Gilbert and Sullivan revivals and was a dramatic coach in his own studios. He died in 1951 at the age of 78. Consists of lists of cast and musicians, lighting, costume and property plots, notes on scenery, and programs for the production presented by the Drama Department and Music Department of the Emergency Relief Bureau Works Division of the Department of Public Welfare in New York City. The opera, which opened on October 19th, 1934, was directed by Edwin T. Emery at Ascension Hall, Church of the Ascension on Jarvis St. in Brooklyn. less

Mervyn Nelson acted, wrote, produced, and directed for stage and film. He began in vaudeville at the age of five and worked on Broadway (1940-1960), appearing in TIS OF THEE (1940) and THE SNARK WAS A BOOJUM (1943), and directing BABES IN ARMS (1951), THE SECRET LIFE OF WALTER MITTY, and TICKETS, PLEASE. His writing included a play, THE IVY GREEN, and films, SOME OF MY BEST FRIENDS ARE..., and FUN AND GAMES. He also wrote and produced THE JAZZ TRAIN (1955), an all black revue that toured the United States and Europe, and directed stage shows for the Roxy Theatre in New York City. In his later years he taught acting and was a consultant to the Producer Circle Company. The collection, from his late career, primarily focuses on a projected filming of a second international tour of THE JAZZ TRAIN, this one to the Far East. It contains correspondence, notes and photocopies of photographs from the earlier production. Also included is material from other productions with which Nelson was involved: a contact sheet (1983) from LA CAGE AUX FOLLES, cast notes and ad layouts for FUN AND GAMES, and a program and flyer from CHEATERS which he directed in 1990; as well as two greeting cards. less

Walter Fried was a producer and general manager of Broadway plays. His productions included DEATH OF A SALESMAN, COME BLOW YOUR HORN, MAN OF LA MANCHA, FESTIVAL, LIFE WITH FATHER, MIDDLE OF THE NIGHT and RAISIN IN THE SUN, to name a few. The papers of Walter Fried consist of business correspondence, financial papers and box office statements dealing with his productions from 1954 until 1963. Some productions included are FESTIVAL, MIDDLE OF THE NIGHT and COME BLOW YOUR HORN. less

Florence Ryerson (1892-1965) was an American playwright and screenwriter. Collection consists of Ryerson's diaries, correspondence, notes, and memoranda. Work diaries kept by Ryerson, chiefly at her homes in Beverly Hills and Canoga Park, California, describe her life and work; the writing of her plays with the aid of her husband, Colin Clements, including "Harriet," based upon the life of Harriet Beecher Stowe, "June Mad," "Strange Bedfellows," and "Welcome Home"; her work as a screenwriter for Metro-Goldwyn-Mayer; and her personal life. Also, correspondence with literary agents and producers, and production notes and memoranda relating to the staging of "Harriet" in New York City in collaboration with Charles MacArthur and Helen Hayes. Includes references to stage and screen personalities and Ryerson's reaction to international events in the World War II period. less

Gertrude Appelbaum (also known as Apple) worked in the theater as a casting and production assistant for various producers including Howard Lindsay, Russel Crouse and Guthrie McClintic. She was also a business manager for the Theatre Guild (1964-1965), and personal manager for various actors. In 1947 she formed an investment syndicate comprised of investors with small sums to invest in Broadway productions. Collection consists of incoming letters to Appelbaum, mostly letters of thanks for her notes, from actors, producers, playwrights, drama critics and others. Correspondents include Peter Cushing, Paul Ford, Guthrie McClintic, and Burgess Meredith. less

The bulk of the Charles Gordone Collection pertains to the author's Pulitzer-prize winning play "No Place to Be Somebody," which includes several versions of the play script, programs, letters, playbills, flyers, posters, production and showcase materials, press, and two files for awards Gordone received from the Pulitzer Prize and the National Institute of Arts and Letters in 1970 and 1971, respectively. less

Collection consists of correspondence and other papers of Hyde. Includes correspondence with French actors and dramatists, and correspondence while Hyde was in Paris acting as foreign agent for the New Theatre in New York City. Topics include the building of the theater, financial and policy matters, and choosing and producing plays. Also, documents relating to the organization of the New Theatre. Correspondents include Winthrop Ames, Gabriel Astruc, Eugène Brieux, Lucien and Sacha Guitry, Jean Richepin, and Henry R. Winthrop. less

An actor and producer, A. Lincoln Harris reportedly was the first black playwright to feature black people in dramatic works. He produced several plays among them "The Advanced Negro," " Waena," "High Life in Haiti" and "A Trusted Friend" that featured the Lincoln Harris Players founded by Harris. Advertisements and reviews of plays comprise the contents in the scrapbook. The majority of articles, however, deal with the accomplishments of black people especially in sports. less

Rowland Stebbins (1882-1948) was a New York theatrical producer who worked under the name Laurence Rivers, Inc. He began his professional life as a stockbroker, started producing plays during the 1920s, and in 1929 became a full-time theatrical producer. Collection consists of correspondence and production records of Laurence Rivers, Inc. Correspondence, 1933-1947, with playwrights, actors, agents, theatrical unions and organizations, theater managers, and others, reflects the day-to-day operation of the firm's office. Also includes circulars, legal agreements and other communications from the League of New York Theaters; and Stebbins's correspondence with Union College, 1935-1947. Production records contain correspondence, memoranda, financial papers, legal documents, photographs, and printed matter. less

William Churchill De Mille (1878-1955) was an American playwright, producer and director. He wrote a number of stage plays and produced them with David Belasco from 1902 to 1914 before becoming one of the pioneers of the motion picture industry. He founded the drama department at the University of Southern California and taught there until 1953. Collection consists of manuscripts and typescripts of De Mille's writings. Writings include play scripts, scenarios, lectures, reminiscences of his career in the motion picture industry, and typescript of children's fairy tale he co-authored. less

Victor Samrock (1907-1995) was an American theatrical business manager, active in New York theatre from the mid-1930s to the mid-1980s. From 1938 to 1960 he was the general manager of the Playwrights' Company. The Victor Samrock professional files contain business files pertaining to productions managed by Samrock, the records of the Playwrights' Company, and a small amount of personal correspondence. less

The National Repertory Theatre was an American theatre company founded by Michael Dewell and Frances Ann Hersey, which produced touring productions of classic and modern plays. This collection consists of the records of the National Repertory Theatre, and other companies run by producer Michael Dewell, including the Phoenix Theatre, the American Festival, and the Los Angeles Free Shakespeare Festival. Materials in this collection include photographs, scripts, scrapbooks, publicity materials, and administrative files. less

Jeffrey Richards Associates is a New York City-based theatrical press agency and production office founded in 1977 by press agent and producer Jeffrey Richards. The records contain press materials for the Broadway and Off-Broadway shows that the agency represented from 1976 to 1994 and, to a lesser degree, the agency's shifted focus from publicity to production in the mid-1990s. less

The Theatre Guild, established in 1919 by Theresa Helburn, Lawrence Langner, Philip Moeller, and Helen Westley, is an American theatrical association. Since its inception, the Theatre Guild has produced over 200 original theatrical productions, many of which have become Broadway classics. The Theater Guild records (1949-1952) document the Theatre Guild's administrative activities during the planning and execution of the production of Carousel at the Stoll Theatre in London in 1950, and Oklahoma! for the 1951 Berlin Arts Festival. less

The American Educational Theatre Association, was formed in 1936 by a group of drama teachers to encourage high standards of teaching, production and scholarship; to disseminate information concerning developments in the theatre; and to initiate and support national legislation. Membership was composed of teachers, actors, students, directors, and other people involved in educational theatre. Known later as the American Theatre Association, the organization developed and published materials for use in childrens, school, college and university, and community theatres; promoted touring theatre groups; and stimulated creative activity and scholarship in educational theatre and allied fields. Records of the Association consist of correspondence, reports, minutes, directories, application forms, and printed matter with some materials of other organizations involved with the ATA. Presidential papers, 1949-1956, cover the administrations of Hubert Heffner, Monroe Lippman, Lee Mitchell, William P. Halstead, Barnard Hewitt, Horace Robinson, and Frank Whitney. Official and general papers, 1944-1960, include general correspondence, directories of members, subject correspondence, committee reports and minutes, and printed matter. less

Jean Rosenthal (1912-1969) was a stage lighting designer whose work included productions of the Martha Graham Dance Company, the Metropolitan Opera, the Dallas Civic Opera, the American Ballet Theatre, and Broadway shows such as A Funny Thing Happened on the Way to the Forum (1962) and I Do! I Do! (1966). She founded a theatrical supply business, Theatre Production Service, in 1940. The Jean Rosenthal professional files date from 1954 to 1970 (bulk 1961 to 1969). The collection contains business records; clippings about Rosenthal and productions she worked on; programs from her productions; articles by Rosenthal, including drafts with handwritten corrections; and resumes and promotional photographs of Rosenthal. Business records pertain to Rosenthal's work as a designer, especially for the Martha Graham Company; her work as a theater consultant; and the Theater Production Service. The business records contain documents such as contracts, expense reports, production schedules, job applications, and related correspondence. Martha Graham Dance Company files contain memoranda and reports from the company's board of directors, in addition to materials directly concerning Rosenthal's employment. The business records include a file on a lighting design class that Rosenthal taught at the Lester Polakov Studio of Stage Design. The collection also contains design documents for the Martha Graham Dance Company at the American Dance Festival in 1967, consisting of two light plots, a dimmer schedule, and a lighting instrument schedule. less

The Lenox Hill Players was a theater company that was active in New York City in the 1920s. The company's board of directors included Jerome Seplow, who went on to sit on the board of the Ensemble Theatre in 1934. The Lenox Hill Players records date from 1922 to 1930 and include meeting minutes, correspondence, scripts, financial records, legal records, a scrapbook, ephemera such as tickets, and Seplow's 1929 day planner. Meeting minutes date from 1926 to 1929 and document administrative and financial decisions as well as the company's creative decision-making process. There is correspondence between the Lenox Hill Players and playwright Lynn Riggs regarding his play A Lantern to See By, which was produced by the company in 1928. The collection contains a script for The Subway by Elmer Rice (produced by the Lenox Hill Players in 1929) and two versions of the script for A Lantern to See By. Financial records include a list of subscribers for the company's first, second, and third seasons from 1926 to 1929. Legal records include actors' contracts for The Dark Mirror (1928). The scrapbook contains clippings about the company's productions from 1922 to 1929. Ensemble Theatre records date from 1934 to 1935 and consist of meeting minutes, multiple versions of the script for A Character Intrudes by Charles S. Costello, and a letter from the company to drama critic John Mason Brown. The letter describes the Ensemble Theatre's approach to drama and the influence of the Moscow Art Theatre on their acting technique. less

Diana Hunt worked in the theater from the 1920s through the 1990s, first as a performer, and later as a production assistant to the Shubert family, as a talent agent, and sometimes as a director. Her papers date from 1926 to 1995, and include biographical information, business correspondence, photographs, and contracts. The collection contains her letters to, from, and regarding her clients, and photographs of clients such as Paul Roebling, Billy Dee Williams, Cherry Hardy, and Hunt's friend Beverly Sills. There are contracts for Maria Karnilova and Theodore Ward. The bulk of the correspondence is short letters. The collection includes a copy of a three-page letter from David O. Selznick, dated 1956, in which he critiques Hunt's proposed contract for Roebling. There are also memoranda to and from John Shubert, dating from 1944 to 1950, when Hunt was his assistant. The collection includes some production photographs, notably of The Corn is Green (1948), which Hunt co-directed. There is a letter, a program, and photographs from the Broadway-Hollywood Revue with Perry Como, which Hunt directed in 1949. The earliest materials in the collection are 1926 photographs of Cherry Hardy and of vaudeville performers Virginia and Maxine Loomis. less

Richard Meyer was technical director for the Mabou Mines production of Through the Leaves. The show was produced at the Women's Interart Center (1984) and the Public Theater (1985 and 1990), and was also presented at the Festival de Théâtre des Amériques in Montreal in 1985 and the Israel Festival in Jerusalem in 1986. The show's set design was by Douglas Stein and lighting design was by Frances Arsonson. The Richard Meyer production files for Through the Leaves date from 1984 to 1990 and document the technical aspects of constructing, maintaining, and reproducing the show in different venues. Documents in the collection include lighting hookups and cues, sound cues, stage manager's checklists, and technical drawings such as light plots and ground plans. The collection also contains programs from the Festival de Théâtre des Amériques and the Israel Festival. less

Theatrical producer, Dwight Deere Wiman produced 56 plays and musicals in 26 years on Broadway making his most distinctive imprint in the musical comedy and revue fields. He was born on August 8, 1895 in Moline, IL, a direct descendant of John Deere, inventor of the steel plow and founder of what became Deere and Co., the farm equipment company and family business in Moline. After World War I service, graduation from Yale, and two years in the family business, Wiman and friends organized an independent film production company, Film Guild, in Astoria (Queens), 1920-1924. When that dissolved due to marketing difficulties, he formed a partnership in 1925 with William A. Brady, Jr. presenting 23 plays in New York of which 5 or 6, including Road to Rome, were profitable. That partnership ended on friendly terms in 1929 as only Wiman was interested in musical theater. From 1930 until his death on January 20, 1951, Wiman produced and occasionally directed his own shows including works by Paul Osborn, John Van Druten, Clifford Odets and others, and had a long association with Rodgers and Hart. During World War II he was director of entertainment for the Red Cross in Britain. Papers consist of draft and mimeo scripts by Marc Connelly, Howard Lindsay, Clifford Odets, Paul Osborn, Robert E. Sherwood, John Van Druten, and others; programs and playbills; press books; and miscellaneous production materials including set designs by Jo Mielziner. Represented are "Babes in Arms" (1937), "Command to Love" (1927), "The Gay Divorce" (1932), "I Married an Angel" (1938), "Letters to Lucerne" (1941), "The Little Show" (1929), "Morning's At Seven" (1939), "On Borrowed Time" (1938), "The Racket" (1927), "The Road to Rome" (1927), and many other titles. Also included are miscellaneous business records and correspondence, as well as several orchestrations by Frederick Loewe and Arthur Schwartz. A single 1922 contract is all that pertains to his film production company. There is no personal material in the collection. less

The Neil McFee Skinner papers date from 1921 to 1957 and document his career as an actor and managing director of the Wharf Theatre and the Martha's Vineyard Playhouse. The collection holds correspondence, programs, reviews, photographs and business records. less

Guy Bolton (1884-1979) was a British-American playwright, librettist, and novelist. He wrote more than 50 plays and musicals, many of which were collaborations with P.G. Wodehouse and George and Ira Gershwin, including Oh, Lady! Lady!, Oh, Boy! Oh, Kay!, and Anything Goes. The American Play Company records on Guy Bolton date from 1911 to 1965 and contain correspondence, contracts, financial statements, and other legal papers that document the negotiation process and royalty agreements made for Bolton's compositions represented through the American Play Company. less

Peter Mark Schifter (1949-1993) was an American theater, opera, and television director and writer. The Peter Mark Schifter papers hold production files, correspondence, photographs, and other material documenting his career as a director, designer, and writer. less

Mary Frank (circa 1911-1988) was an American theatrical producer, investor, and the president of the New Dramatists Committee. The Mary Frank papers contain production files from plays produced or invested in by Frank; submitted scripts; reports on plays and books seen and read; and administrative records of the New Dramatists Committee. less

Florence Ryerson (1892-1965) and Colin Clements (1894-1948) were a married American writing team who created plays, novels, and short stories. The Florence Ryerson and Colin Clements papers date from 1909 to 1965 and contain scrapbooks, typescripts, notes, and correspondence. less

Stuart A. Sherman (1945-2001) was a New York-based visual, film, and performance artist. The Stuart A. Sherman artist files date from 1959 to 2000 and contain articles and essays, production files, and publications that document his work across various artistic mediums. less

William Woodman was a director and stage manager for regional theater productions. The William Woodman papers (1914, 1955-1992) contain annotated scripts and scores and other production materials from shows that Woodman directed. The collection also contains programs, promotional material, clippings, employment contracts, and other materials from the American Shakespeare Festival Theatre and Academy, where Woodman worked as an assistant stage manager from 1957 to 1961. less