- unitid
-
{"value"=>"Sc MG 539", "type"=>"local_mss"}
{"value"=>"MssCol Sc MG 539", "type"=>"local_call"}
- unitdate
-
{"value"=>"1930s-1994", "type"=>"inclusive", "normal"=>"1930/1994"}
{"value"=>"1940s-1950s", "type"=>"bulk", "normal"=>"1940/1959"}
- unittitle
-
{"value"=>"Hilda Simms papers"}
- physdesc
-
{"format"=>"structured", "physdesc_components"=>[{"name"=>"extent", "value"=>"59 boxes, 4 volumes", "unit"=>"containers"}, {"name"=>"extent", "value"=>"27.86 linear feet", "unit"=>"linear feet"}]}
- repository
-
{"value"=>"<span class=\"corpname\">Schomburg Center for Research in Black Culture, Manuscripts, Archives and Rare Books Division</span>"}
- abstract
-
{"value"=>"Hilda Simms (1920-1994) was an actress best known for playing the title role in the American Negro Theater production of <span class=\"title\">Anna Lucasta</span> that moved successfully to Broadway in 1944. Her acting career also included film, television, and radio broadcasts. The Hilda Simms papers date from the 1930s to 1994 (bulk dates 1940s-1950s) and document her career as an actress; her work on creative arts and drug treatment programs in New York; and her personal life."}
- langmaterial
-
{"value"=>"English"}
- prefercite
-
{"value"=>"<p>[Item], Hilda Simms papers, Sc MG 539, Schomburg Center for Research in Black Culture, Manuscripts, Archives and Rare Books Division, The New York Public Library</p>"}
- bioghist
-
{"value"=>"<p>Hilda Simms (1920-1994) was an actress best known for playing the title role in the American Negro Theater production of <span class=\"title\">Anna Lucasta</span> that moved successfully to Broadway in 1944. Her acting career also included film, television, and radio broadcasts. Simms was born Hilda Therese Moses to Lydia and Emil Moses in Minneapolis, Minnesota, and was one of nine children.</p> <p> Simms was awarded a scholarship to St. Margaret's Academy, and was the first person of color to graduate from the institution. She took courses at the University of Minnesota, and was a member of a university drama group. Simms received a B.S. from Hampton Institute (now University) in Virginia. She was also awarded a teaching fellowship from Hampton, and taught English and drama while pursing her degree. Additionally, she studied Shakespeare with Harry Wagstaff Gribble; dramaturgy and voice with Dorothy Mower at the Goodman Theatre in Chicago; and speech and movement with Betty Cashman at Carnegie Hall in New York City, among other arts and language lessons.</p> <p> She married William Simms in 1941. They divorced after a couple of years, but she retained his surname. In 1943, Simms moved to New York City, and worked at the Caribbean desk for the Office of War Information; where she wrote, produced, and acted in radio dramas for troops aboard. She also joined the American Negro Theater, which lead to her title role in <span class=\"title\">Anna Lucasta</span>. After receiving strong reviews, the production moved to the Mansfield Theatre (1944). It was the first all-black cast on Broadway acting in a drama unrelated to racial issues.</p> <p> Simms followed the production when it toured Europe as well. In London, she married American actor Richard Angarola, but they later divorced in 1962. While overseas, Simms also starred in <span class=\"title\">The Gentle People</span> (1950) and <span class=\"title\">Hassan</span> (1951) in the United Kingdom; and sang in Paris nightclubs under the name Julie Riccardo.</p> <p> When Simms returned to the United States in the 1950s, she acted in <span class=\"title\">The Joe Louis Story</span> (1953) and <span class=\"title\">The Black Widow</span> (1954) films; and <span class=\"title\">The Nurses</span> (1962-1964) television series. She was also the host of her own New York WOV radio program, <span class=\"title\">Ladies' Day</span>.</p> <p> In the 1960s, Simms was the director of the Creative Arts Program for the New York State Commission for Human Rights, where she focused on discrimination and the lack of roles for non-white actors in film and television. In the 1970s through the early 1990s, Simms was a vocational specialist at the Addiction Research and Treatment Corporation, where she created a \"theatre therapy\" program, and did other creative initiatives with participants in the clinics.</p> <p> Her professional affiliations included the Actor's Equity Foundation and the Screen Actors Guild, among other organizations. Simms received honors and awards from the Minneapolis Urban League (1953); New York City YMCA (1954); the Harlem Hospital School of Nursing (1956); and the National Council of Negro Women among others.</p> <p> Simms died of pancreatic cancer at her sister's home in Buffalo, New York in 1994.</p>"}
- scopecontent
-
{"value"=>"<p>The Hilda Simms papers date from the 1930s to 1994 (bulk dates 1940s-1950s) and document her career as an actress; her work on creative arts and drug treatment programs in New York; and her personal life. The collection consists of correspondence, scripts, programs, clippings, photographs, sound recordings, moving images, reports, notes, ephemera, and writings. It is not a comprehensive record, but it does highlight many of her endeavors; especially her title role in the <span class=\"title\">Anna Lucasta</span> play; her WOV <span class=\"title\">Ladies' Day</span> radio show; her work on the New York State Commission for Human Rights and the Addiction Research and Treatment Corporation programs; and her commitment to various organizations. The bulk of the collection is correspondence, both professional and personal, and tracks the development of her career, and details Simms's relationships. Simms's time in Europe during the late 1940s to early 1950s is also represented here through theater files, a diary, notes, expense lists and receipts, and souvenirs.</p> <p> Researchers should consult the related photograph and portrait collections that were separated from these papers. Sound recordings and moving images are unavailable pending digitization.</p>"}
{"value"=>"<p class='list-head'>The Hilda Simms papers are arranged in two series:</p>\n<ul class='arrangement series-descriptions'>\n<li><div class='series-title'><a href='/scm/20901#c1404344'>Series I: Professional</a></div>\n<div class='series-date'>1937-1993</div>\n<div class='series-extent'>17.3 linear feet</div>\n<div class='series-description'><p>Series I dates from 1937 to 1993 and details Hilda Simms's career, but it is not a full representation of the many roles she played or the positions she held. The series leads with Theater, Radio, Film, Television, New York State Commission on Human Rights, Addiction Research and Treatment Corporation; and other materials arranged alphabetically by category thereafter.</p> <p> The Theater files document some of Simms's early work through correspondence, play scripts, sheet music, programs, and sound recordings. The correspondence is primarily about role offers and possible productions. The scripts are from various playwrights. <span class=\"title\">Anna Lucasta</span> and many others are clean copies; but there are a few with actor notes such as <span class=\"title\">Hassan</span> by James Elroy Flecker, and <span class=\"title\">Dulcinea</span> by Gaston Baty. Programs from her plays as a cast member include <span class=\"title\">The Afro-Philadelphian</span> (1920); <span class=\"title\">The Captain's Paradise</span> (1961); and <span class=\"title\">The Gentle People</span> (1950). <span class=\"title\">Anna Lucasta</span> programs from productions at the Civic Opera House in Chicago (1945) and the Mansfield Theatre in New York (1944) are also present (all programs mentioned are in box 3, folder 20). The run of <span class=\"title\">Anna Lucasta</span> at His Majesty's Theatre in London, England is one of the more featured productions in the collection through letters, opening night well wishes, and reviews. Other materials related to this title role include narratives Simms wrote about her experience, and information regarding publicity.</p> <p> Radio files primarily relate to the development of her WOV <span class=\"title\">Ladies' Day</span> daily morning program, which is documented through numerous scripts, playlists, and sound recordings. The commercials and public service announcements demonstrate the program's influence in the local community; and the post cards with song requests display trends in music during that time period.</p> <p> Film and Television files contain schedules, call sheets, and a moving image clip for the <span class=\"title\">Joe Louis Story</span> (1953); a synopsis for <span class=\"title\">Black Widow</span> (1954); and correspondence and scripts for <span class=\"title\">The Nurses</span> (1962-1964). This area of the collection is scarce.</p> <p> Simms's duties as director of the Creative Arts Program for the New York State Commission for Human Rights is reflected through agendas and press releases for public hearings; surveys; and reports related to minority actors. These files also indicate how the program initiatives aimed to improve the working conditions of artists of color.</p> <p> Simms's long-term position with The Addiction Research and Treatment Corporation is represented though memorandas; a couple of research notes on substance abuse; original poetry by her participants; and copies of scripts possibly used during her workshops. These materials communicate Simms's intersecting work; and track the development of her \"theatre therapy\" program.</p> <p> The Agents and Managers files hold correspondence about scripts and payments; receipts; and contracts related to the William Morris Agency, Al Parker Ltd, and a few other agencies.</p> <p> The Appearances files include request letters from various individuals and organizations. These materials give an account of Simms's involvement in her community. An example is a 1944 letter from Publicity Limited confirming Simms as the guest of honor at the Woman Pays Club event (box 27, folder 10). The club was a group of self-supporting women in the arts. Another instance is when Simms served as the official hostess of the 1956 Exposition of Progress event held in New York City. The event was dedicated to the cultural and economic growth of black people; and is recounted here through posters, press releases, letters, and a schedule.</p> <p> A few of Simms's awards are present in the collection, including a program for the Citizens Achievement Day Committee of the Abyssinian Baptist Church, where Simms was honored with a public service award; and an award for the special distinction in the field of stage, radio, and television from the National Council of Negro Women.</p> <p> The clipping scrapbooks feature reviews of productions and profiles of Simms, primarily regarding <span class=\"title\">Anna Lucasta</span>.</p> <p> Other professional correspondence includes requests from service men and fans asking for autographed photos; and organizations seeking appearances or other forms of support.</p> <p> Lucky Lakes estates, a New York summer community, appears to be a business venture Simms participated in with her husband Richard Angarola based on the visitor registers, newsletter production documents, and promotional radio scripts held in the collection.</p> <p> Notes and Research Materials consists of loose paper, index cards, and a few notebooks that record some of Simms's ideas on various topics, notes on acting and theater, and some lists of names.</p> <p> The Office of War Information files contain a studio pass, purchase vouchers, a few letters, and a script written by Simms.</p> <p> Organization files convey Simms's commitment to various civil and political organizations through membership letters; copies of the by-laws and the constitution from the American Negro Theater; contracts and letters from the Actor's Equity Association; agendas, notes, and meeting minutes from the American Federation of Television and Radio Artists; and a transcript of proceedings from the Conference on Creative Use of Minorities in Theatre (1946).</p> <p> Pariscope was an American news-room project created by Simms and her husband Richard Angarola to chronicle the news, events, and activities of American artists in Europe. The collection contains a manuscript, agreement, and a few pitch letters about the project.</p> <p> Simms's writings express many of her views on social, cultural, and political issues through her addresses, speeches, and drafts of a few articles. Examples include an address delivered for the National Andrew Jackson Oratorical Contest at the Washburne Trade School (1946); \"The Negro in America Theatre\" speech; as well as a narrative draft retelling her experience at Camp Wo Chi Ca, an interracial organization for children to work and play in a democratic atmosphere (box 40, folders 8 and 9). There are also drafts of her \"The Living Arts\" column from the <span class=\"title\">Tuesday</span> publication (1960s).</p></div></li><li><div class='series-title'><a href='/scm/20901#c1404524'>Series II: Personal</a></div>\n<div class='series-date'>1930s-1994</div>\n<div class='series-extent'>6.98 linear feet</div>\n<div class='series-description'><p>Series II dates from the 1930s to 1994 and concerns Simms's private life. The series is arranged alphabetically by category. The bulk of this series is correspondence, including a few letters pertaining to her divorce from Williams Simms; many affectionate exchanges between Simms and her husband Richard Angarola during their marriage; and greeting cards and telegrams from other family and friends.</p> <p> Biographical information consists of resume drafts, identification cards, educational degrees and alumni newsletters, a will, and a few obituaries. Financial Records include itemized expense lists, invoices, and receipts; a 1949 European income tax form; and a 1957 United States tax form filed jointly with Angarola. The materials illuminate the finances of a working woman and artist during the mid-twentieth century.</p> <p> Simms's time in France is documented here through a diary of daily updates, brief observations, and a list of her appointments; a notebook in French; and another notebook of expenses (box 55). Additionally, the collection holds ephemera and souvenirs from Paris.</p> <p> Personal writings contain original poetry written by Simms and Angarola; such as an untitled poem Simms wrote in 1959 about their separation.</p></div></li></ul>\n", "type"=>"arrangement"}
- acqinfo
-
{"value"=>"<p>Donated by Evelyn B. Sharp, 1995.</p>"}
- separatedmaterial
-
{"value"=>"<p>See the Photographs and Prints Division for the Hilda Simms photograph collection and Hilda Simms portrait collection.</p> <p>See the Moving Image and Recorded Sound Division for the Hilda Simms audio and moving image collection, Sc MIRS Simms 1994-08.</p>"}
- processinfo
-
{"value"=>"<p>Compiled by <span class=\"name\">Joyce Joseph</span>, <span class=\"date\">2017</span>.</p>"}
{"value"=>"<p>Materials is this collection were previously arranged.</p>"}
- accessrestrict
-
{"value"=>"<p>All reproduction requests subject to limitations noted in divisional policies on reproduction. Sound recordings and moving images are unavailable pending digitization.</p>"}
- userestrict
-
{"value"=>"<p>Information on copyright available from repository.</p>"}
- revisiondesc
-
{"value"=>"Separation note updated by Denise Mantey.", "date"=>"2024 September 27"}
- date_start
-
1930
- keydate
-
1930
- date_end
-
1994
- date_inclusive_start
-
1930
- date_inclusive_end
-
1994
- date_bulk_start
-
1940
- date_bulk_end
-
1959