Found 74 collections related to Theatrical producers and directors

The Rhoda Levine Papers document the career of the opera director, mainly through files on each of the many stage and opera productions on which she worked as dancer, choreographer or director. The papers contain annotated scores and libretti; costume, stage and set designs; choreographic, rehearsal and performance notes; programs; clippings; photographs; and audio/visual recordings. less

The Chamberlain and Lyman Brown Papers are 351 linear feet and contain business and personal correspondence, scrapbooks, autographs, legal and financial papers, scripts, photographs, clipping files, and production materials documenting their work as theatrical agents, managers, and producers. The papers provide a history of the entertainment industry from the end of the 19th century through the middle of the 20th century. A number of family and personal papers are also included. less

The Meredith Monk Archive documents the art of Meredith Monk and the history of The House Foundation For The Arts, Monk’s management and production company. The Archive contains correspondence, media clippings, concert programs, publicity material, writings, piece and project files, scores, business and financial papers, photographs and drawings, posters, and books. less

Contains promptbooks, scripts and programs for plays produced and/or directed by Arthur Hopkins, scripts and articles he wrote, a small amount of correspondence and legal papers, drafts and notes for a biography about him, photographs, and scrapbooks of clippings. less

Correspondence including telegrams, copies of outgoing letters, and some typed transcripts of telegrams and letters, inventories, financial papers, notes and plans, clippings, programs, announcements, and drafts of contracts and reports relating primarily to the early activities of Sergei Diaghilev in bringing Russian ballet and opera to Western Europe. Between 1907 and 1913 Diaghilev collaborated with Astruc regarding the organization of his various artistic enterprises, including the Paris seasons of ballet and opera, negotiations for tours to the United States and South America, summer performances at Deauville in 1912, and a ballet season in Lyons in 1913. Documentation of the first Saison Russe presented by Diaghilev at the Théâtre du Chatelet in Paris in 1909 is particularly thorough and includes inventories of costumes and scenery for the works presented and a confidential report on the season which Astruc sent to Baron Frederiks, Chief Minister of the Russian Imperial Court. Astruc's dealings with Ida Rubinstein and Natasha Trouhanova regarding enterprises undertaken independent of Diaghilev are also documented. less

The Living Theatre was founded by Judith Malina and Julian Beck in 1947. The records consist of scripts and related performance papers. Also included are business papers, financial records, clippings, diaries, photographs and correspondence. There is little material reflecting the personal lives of Malina and Beck. less

Ken Harper was the producer of the popular Broadway musical The Wiz. Born in New York, Harper became a radio disc jockey in the army. In the late 1960's and early 1970's he worked for radio station WPIX (New York), and later left his job to begin a full time fund raising effort for his musicals. Harper died in 1988 without finding financial support for his second musical production entitled BAMBOO. The collection consists almost exclusively of recordings of the unproduced musical Bamboo. There is a complete recording of the music from the show as well as a demo recording and several recordings of single songs. less

Gene Feist (1923-) is an American artistic director, playwright, producer, director and teacher. In 1965 he co-founded the Roundabout Theatre Company, of which he served as Artistic Director until 1988. The Gene Feist Papers document the personal and professional life Gene Feist and the history of the Roundabout Theatre Company. Types of materials in this collection include personal correspondence, production files, topical files, drafts of scripts, photographs, playbills and programs, reviews, publicity materials, business files and personal ephemera. less

Edward Padula is a producer, director and writer for the American theater. He produced BYE BYE BIRDIE on Broadway at the Martin Beck Theatre in 1960. Collection consists of the typescript of his memoirs on producing the show and a souvenir program from the 1960 production of BYE BYE BIRDIE. less

The Manhattan Theatre Club was founded in 1970 by Albert E. Jeffcoat, Margaret Kennedy, Philip Barber and A. Joseph Tandet. In 1972, Lynne Meadow was hired as Artistic Director. In 1975, Barry Grove was hired as Managing Director. Due to their working relationship, one of the most long-standing in the non-profit community, the Manhattan Theatre Club produces "works of the highest quality by both established and emerging American and international playwrights" (website quote)-e.g. Bad Habits, Crimes of the Heart, Ain't Misbehavin', The Singular Life of Alfred Nobbs, and Frankie and Johnny in the Claire de Lune. Correspondence with financial and theatre related agencies, artistic personnel connected with both proposed and produced productions, and with Manhattan Theatre Club staff makes up a considerable portion of this collection. This collection also contains papers that illustrate the practical business of running a theater company such as literary office reports, meeting minutes, and guidelines, as well as a significant amount of production related material including casting information, production reports, programs, and general publicity. 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

The Richard and Edith Barstow Papers document the careers of the sister and brother, both as dancers, then as choreographers and directors, for stage, screen, television, the Ringling Brothers Barnum and Bailey Circus, nightclubs, and industrial shows. less

This collection contains manuscripts, manuscript copies, printed scores, and parts belonging to choreographer, director, dancer, and composer Richard Barstow, whose varied career included directing for Ringling Brothers Barnum and Bailey Circus, industrial shows, and for stage, screen, and television. less

The Robert Klein papers consist of both personal and professional correspondence, papers from organizational affiliations in the United States and Europe, materials regarding projects, articles written by Klein and ephemera documenting his careeer both in the United States and in Europe. The materials are in English and German and there is much in the collection from the 1930s dealing with Max Reinhardt. Later materials in the collection document his career as a professor of drama in United States colleges. less

Sergei Denham is most prominently known as the director of the Ballet Russe de Monte Carlo. The Sergei Denham Papers consist of correspondence, legal, financial, and personal papers that document his life outside of his work with the Ballet Russe, predominantly his career in the banking world. less

Philip Ben Greet (1857-1936) was an English actor and theater manager. Collection consists of papers reflecting Greet's career in the theater. Includes correspondence, 1881-1936, concerning his American productions of Shakespeare's plays; notes on Shakespeare and on Greet's lectures and stage productions; forewords by A.J. Lofvgren to various Shakespearean plays; a synopsis by Elma Dangerfield of a film version of Julius Caesar; records of the Shakespeare Film Society in London; accounts, tour lists and cue sheets; and other papers. less

Theatrical director. The papers consist of scrapbooks of clippings from the gay, underground and mainstream press and production scripts of one- and two-act plays. Included are scripts of "Prisoner of Love" by Richard Hall; "Bill and William" by James Shannon; and "The West Street Gang" by Doric Wilson. less

The majority of the Knorr papers is comprised of set designs and production materials. The collection illustrates Knorr’s multiple talents and his unifying role as a producer. The designs and plans include Knorr’s early work for the Capitol and Roxy theaters, a formative time in his career. Amongst the designs are those of the Milton Berle shows (1948-1952) and the Miss Universe and Miss USA pageants in the early 1960s. less

Harold Prince (b. 1928), is a producer and director of theater, film and opera, but is best known for his work on Broadway musicals. Prince, who is commonly known as Hal Prince, began his career in 1948 as an assistant in the office of Broadway director and producer George Abbott. During his early years with Abbott, he made valuable connections with Robert E. Griffith, who would later become his producing partner and Ruth Mitchell, who would be his longtime assistant and production supervisor. Griffith and Prince scored a huge success in their first producing project, The Pajama Game (1954) and had many subsequent Broadway hits until Griffith's death in 1961. Prince began directing with the play, A Family Affair (1962). He has gone on to have a notably prolific career, directing and/or producing many landmark Broadway musicals, including Cabaret (1966), West Side Story (1957), Fiddler on the Roof (1964), Follies (1972), Evita (1979) Sweeney Todd: The Demon Barber of Fleet Street (1979) and The Phantom of the Opera (1987). Principal collaborators on musical theater productions include the songwriters Stephen Sondheim; Jerry Bock and Sheldon Harnick; John Kander and Fred Ebb; Larry Grossman; Betty Comden and Adolph Green; and Andrew Lloyd Webber. In addition to musicals and plays, Prince also has directed operas and two feature films, and appeared in many documentaries and tributes; in 1974 he published an autobiography, Contradictions: Notes on Twenty-Six Years in the Theatre. This collection consists of scores to Broadway musicals directed and produced by Harold Prince from the 1950s through the 1980s, arranged alphabetically by show title and by song title within each show. In the cases of Sweeney Todd and certain conductor scores for A Doll’s Life, as noted, where the complete score existed, it has been left in running order. The bulk of the collection consists of scores from A Doll’s Life, by Larry Grossman and Betty Comden and Adolph Green, including oversized conductor scores and full orchestra parts. The collection also covers, with near completeness the scores to Andrew Lloyd Webber and Tim Rice’s Evita, (1979) Jerry Bock and Sheldon Harnick’s She Loves Me (1963) and Stephen Sondheim’s A Little Night Music, (1973) Side by Side by Sondheim (1977) and Sweeney Todd (1979). Items of special interest in the collection are unused materials from A Doll’s Life and Pacific Overtures. less

The Lawrence Langner Papers include scripts by Langner and others, and speeches, articles and miscellaneous writings by Langner. The collection contains over 30 scripts by Langner, and several adaptations by him. Many of the scripts are annotated, and a few include related material including programs, light plots, and prompt books. Langner's writings and speeches include memorial addresses for Ferenc Molnar and Joan McCracken, seminars on playwriting, and works on the future of the theater, morals in mass media, and some material relating to his interest in inventions and patent law. less

The diaries of Judith Malina include personal reflections, a history of many aspects of The Living Theatre, and a view of the avant-garde cultural life of New York in the 1940's and 1950's. Malina documents her own struggles as a young woman and artist and also the struggle, together with Julian Beck, to create The Living Theatre. Among their contemporaries and collaborators were James Agee, John Cage, Joseph Campbell, Merce Cunningham, Dorothy Day, Richard Edelman, Paul Goodman, Lou Harrison, Alan Hovhaness, Lester Schwartz and Philip Smith. Malina discusses her work on various productions including: THE AGE OF ANXIETY, DR. FAUSTUS LIGHTS THE LIGHTS, THE IDIOT KING, PHEDRE, AND TONIGHT WE IMPROVISE. Personally, Malina discusses her relationships, her family, her views of the world of the 1950's and her commitment to pacifism. Her involvement as a pacifist, and her imprisonment with Dorothy Day and others, is described in some detail. The final years of the diary (Feb. 1956-June 1959) are incomplete. They relate to the search for and renovation of the 14th Street theater, which opened in 1959. These entries are written by several people who are not identified. less

: Katharine Cornell was an American actress and producer. Guthrie McClintic was an American director and producer. They both worked the New York theater from 1915-1960. This collection includes correspondence, personal files, scripts, production materials, programs, photographs, scrapbooks and oversized items. less