{"value"=>"1922 - 1992", "type"=>"inclusive", "normal"=>"1922/1992"}
{"value"=>"2001", "type"=>"inclusive", "normal"=>"2001"}
{"value"=>"1953", "type"=>"inclusive", "normal"=>"1953"}
{"value"=>"1954", "type"=>"inclusive", "normal"=>"1954"}
{"value"=>"1981", "type"=>"inclusive", "normal"=>"1981"}
{"value"=>"1944", "type"=>"inclusive", "normal"=>"1944"}
{"value"=>"1948", "type"=>"inclusive", "normal"=>"1948"}
{"value"=>"1949", "type"=>"inclusive", "normal"=>"1949"}
{"value"=>"1952", "type"=>"inclusive", "normal"=>"1952"}
{"value"=>"1959", "type"=>"inclusive", "normal"=>"1959"}
{"value"=>"1969", "type"=>"inclusive", "normal"=>"1969"}
{"value"=>"1943", "type"=>"inclusive", "normal"=>"1943"}
{"value"=>"1950-1951", "type"=>"inclusive", "normal"=>"1950/1951"}
{"value"=>"1941", "type"=>"inclusive", "normal"=>"1941"}
{"value"=>"1946", "type"=>"inclusive", "normal"=>"1946"}
{"value"=>"1947", "type"=>"inclusive", "normal"=>"1947"}
{"value"=>"1950", "type"=>"inclusive", "normal"=>"1950"}
{"value"=>"1951", "type"=>"inclusive", "normal"=>"1951"}
{"value"=>"1975", "type"=>"inclusive", "normal"=>"1975"}
{"value"=>"1976", "type"=>"inclusive", "normal"=>"1976"}
{"value"=>"1958", "type"=>"inclusive", "normal"=>"1958"}
{"value"=>"1963", "type"=>"inclusive", "normal"=>"1963"}
{"value"=>"1974", "type"=>"inclusive", "normal"=>"1974"}
{"value"=>"1980", "type"=>"inclusive", "normal"=>"1980"}
{"value"=>"1985", "type"=>"inclusive", "normal"=>"1985"}
{"value"=>"1983", "type"=>"inclusive", "normal"=>"1983"}
{"value"=>"1984", "type"=>"inclusive", "normal"=>"1984"}
{"value"=>"1987", "type"=>"inclusive", "normal"=>"1987"}
{"value"=>"1971", "type"=>"inclusive", "normal"=>"1971"}
{"value"=>"1961", "type"=>"inclusive", "normal"=>"1961"}
{"value"=>"1938", "type"=>"inclusive", "normal"=>"1938"}
{"value"=>"1978", "type"=>"inclusive", "normal"=>"1978"}
{"value"=>"<p>This series contains correspondence, scripts, contracts, programs, production and publicity materials, and clippings documenting the numerous productions in which Berghof performed, directed, adapted, translated, or developed. The productions and projects span Berghof's entire career from the late 1920s to 1990 and range from Broadway, off Broadway, stock, and HB Playwrights Foundation, to international productions. Although Berghof mostly worked in the theater, there are also materials for film, television, and radio.</p> <p>Some of the papers are in German. Productions and projects on which Berghof worked with Uta Hagen are filed with Hagen's papers, except for <span class=\"title\">The Deep Blue Sea</span>; Hagen replaced Margaret Sullavan on the road (1953).</p> <p>Scripts and revisions with Berghof's numerous handwritten notes abound, providing a valuable window into the evolution of a theater piece, as well as Berghof's working process. Extensive research materials for many productions also give evidence to his meticulousness and thorough professionalism. Two examples of many are <span class=\"title\">The Apollo of Bellac</span> by Jean Giradoux, performed at the Herbert Berghof Studio (ca. 1954) and the Theater in der Josefstadt's proposed production of <span class=\"title\">The Merchant of Venice</span> in which Berghof was to have played Shylock (ca.1981).</p> <p>Papers relating to most of Berghof's European work in theater can be found in the Personal Papers series, except several for which there are more than just minimal materials. Included in this series are papers relating to one of his last projects before emigrating in 1938, <span class=\"title\">The Lost Melody</span>, since he continued to work on the production after coming to the United States.</p> <p>Berghof's earliest work on Broadway was staging the musical revue <span class=\"title\">From Vienna</span>, produced by the Refugee Artists Group at the Music Box Theatre in 1939. In 1940, he also staged and performed in a second revue, <span class=\"title\">Reunion in New York</span>, at the Little Theatre. Berghof was a member of the Refugee Artists Group; the papers contain a 1938 letter from Albert Einstein wishing the group well.</p> <p>He played the title role in <span class=\"title\">Nathan the Wise</span>, both at the New School and at the Belasco Theatre in 1942. Numerous roles on Broadway followed over the next two decades. Some of his most notable appearances include <span class=\"title\">The Man Who Had All the Luck</span> which marked the first Broadway production of Arthur Miller's work (1944), <span class=\"title\">Ghosts</span> and <span class=\"title\">Hedda Gabler</span> with Eva Le Gallienne (1948), <span class=\"title\">Miss Liberty</span>, the Irving Berlin musical (1949), <span class=\"title\">Tovarich</span> at City Center with Luther Adler and Romney Brent (1952), <span class=\"title\">The Andersonville Trial</span>(1959), and <span class=\"title\">In the Matter of J. Robert Oppenheimer</span> (1969).</p> <p>From the late 1940s through the early 1950s, Berghof worked extensively in stock and regional theaters, both alone and sometimes with Uta Hagen, as actor and director. These productions include <span class=\"title\">Design for Living</span>with Kitty Carlisle (1943), <span class=\"title\">Grand Hotel</span>(1948), <span class=\"title\">The Guardsman</span>, starring Jeanette MacDonald and Gene Raymond and directed by Sam Wanamaker (1950-1951), and <span class=\"title\">The Play's the Thing</span>(1941 and 1946). In 1960, Berghof played Krapp in the Cricket Theatre off-Broadway production of Samuel Beckett's <span class=\"title\">Krapp's Last Tape</span>.</p> <p>Also during the 1940s and early 1950s, Berghof worked on radio, including several appearances for the <span class=\"title\">Theatre Guild on the Air</span> in plays such as <span class=\"title\">Men in White</span> (1947), <span class=\"title\">Alien Corn</span> and <span class=\"title\">The Gentle People</span> (1949), <span class=\"title\">Blow Ye Winds</span> (1950), and <span class=\"title\">The Third Man</span>(1951).</p> <p>Berghof directed the Broadway premiere of Samuel Beckett's <span class=\"title\">Waiting for Godot</span> to critical acclaim and an all-black version in 1957 starring Earle Hyman, Geoffrey Holder, and Rex Ingram. The production file includes correspondence from Beckett. Berghof also directed <span class=\"title\">Poor Murderer</span> by Pavel Kohout at the HB Playwrights Foundation and the Broadway production, starring Laurence Luckinbill and Maria Schell (1975 and 1976). <span class=\"title\">Poor Murderer</span>is especially well-documented. His last Broadway directing credit was <span class=\"title\">Charlotte</span> by Peter Hacks, translated and adapted by Berghof, and starring Uta Hagen and Charles Nelson Reilly. (Materials relating to this production are filed with Uta Hagen's papers.)</p> <p>Films include <span class=\"title\">Five Fingers</span> (1952), <span class=\"title\">Red Planet Mars</span> (1952), <span class=\"title\">Fraülein</span> with Dana Wynter (1958), <span class=\"title\">Cleopatra</span> with Elizabeth Taylor, Richard Burton, and Rex Harrison (1963), <span class=\"title\">Harry and Tonto</span> with Art Carney (1974), <span class=\"title\">Those Lips, Those Eyes</span> with Frank Langella, Jerry Stiller, and Kevin McCarthy (1980), and <span class=\"title\">Target</span> with Gene Hackman (1985). Of particular note is a 1961 telegram from Elizabeth [Taylor] and Eddie Fisher inviting Berghof and Hagen to a party in Rome during the filming of <span class=\"title\">Cleopatra</span>.</p> <p>A large number of plays developed, presented, and sometimes directed and performed by Berghof at his studio, and later for the HB Playwrights Foundation, are represented in the papers. <span class=\"title\">The Apollo of Bellac</span>by Jean Giradoux, adapted and translated by Berghof (1954 and 1983), <span class=\"title\">The Game of Love and Death</span>by Romain Rolland (1984), <span class=\"title\">Letter from an Unknown Woman</span> (1987), <span class=\"title\">The Love Suicide at Schofield Barracks</span>by Romulus Linney (1971) which went on to an unassociated production on Broadway, Rainer Maria Rilke's <span class=\"title\">Portuguese Letters</span>, translated adapted by Berghof (1971), several staged readings in the 1960s of<span class=\"title\"> Seize the Day</span>by Saul Bellow, and<span class=\"title\"> This Side of Paradise</span>by F. Scott Fitzgerald by Sydney Sloane (1961) which opened off Broadway at the Sheridan Square Playhouse in 1962.</p> <p>Materials for proposed productions are also contained in the papers, for example, <span class=\"title\">Cold Storage</span>, <span class=\"title\">The Gin Game</span>, and <span class=\"title\">The Merchant of Venice</span>, which the Theater in der Josefstadt had hoped to present. Other professional projects included are memorial and benefit programs with which Berghof was associated, such as those for Max Reinhardt and Oscar Karlweis, and the Ivriah Springtime breakfasts. Unidentified productions and several items written by Berghof are filed at the end of the series. The writings include ideas for a screenplay in German (1938), a scenario in German re: marriage in crisis (undated), and a piece on death of Felicia Montealegre (ca. 1978).</p>"}