Found 24 collections related to Shaw, Bernard, 1856-1950

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

The Holly Hill-St. Joan reseach files consist of correspondence, articles, resumes and programs from the research done on her book, Playing Joan: Actresses on the Challenge of Shaw's St. Joan. Correspondence is from notable American and British actresses who have played the role of George Bernard Shaw's St. Joan. Correspondents include Zoe Caldwell, Judi Dench, Wendy Hill, Siobhan McKenna, Sarah Miles, Joan Plowright and Lynn Redgrave. less

The Sara Greenspan Theatre Guild Files chiefly contain correspondence relating to activities of the Theatre Guild during some of its most significant years of operation. Sara Greenspan, who began as secretary with the Guild in 1925, served as the business manager of the prestigious production company for twenty years before retiring in 1963. less

Consists of ten slides with accompanying documentation: a detailed listing in English and an article about the fate of Bilinsky's designs by René Clémenti Bilinsky in French from CinemAction (no. 97, 2000). Slides consist of a set design for the movie MONTE-CRISTO (France, 1929), a costume design for the opera PELLÉAS ET MÉLISANDE at the Royal Opera of Covent Garden in London (1937), set and costume designs for the movie AMORE IMPERIALE (Italy, 1941), set design for the movie SENZA CIELO (Italy, 1941), costume design for the play IL TENENTE VIRGOLA at the Odeon Theatre in Milan (1941), set design for the play SAINT JOAN at the Argentina Theatre in Rome (1943), and two women's costume designs from unidentified productions. less

The collection is almost entirely bound promptbooks, annotated with notes and cues by Prentice, for the plays he produced. The extensive handwritten staging directions as well as many loose lighting and property plots, cast lists and set design diagrams provide substantial documentation of these productions of the regional British theater in this period (1920s-1950s). There are also some autobiographical writings, notes and drafts for speeches he gave, a small amount of correspondence, mostly with playwrights, photographs from unidentified productions and some photographs of Prentice with colleagues. 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

Richard Mansfield, actor, was born in Berlin in 1854. He began his career on the London stage but by 1882 he had migrated to the United States and was appearing in the New York theater. Mansfield was instrumental in introducing the works of George Bernard Shaw to the American stage. In his last theatrical performance he played the title role of PEER GYNT in the first English language production of that play. Transcribed letters, carbon copies, from George Bernard Shaw to Richard Mansfield and/or his wife, Beatrice Cameron, concerning Mr. Shaw's plays. less

Mary Anderson was an American actress who performed in both the United States and England in the 1870s and 1880s, retired from the stage in 1889, married, and spent the remaining fifty years of her life in England. Born in Sacramento, California in 1859, Mary Anderson grew up in Kentucky, where her family moved during her childhood, and was educated at the Ursuline Convent in Louisville. She was determined to become an actress from an early age, and at age 15 read for Charlotte Saunders Cushman, who suggested she train in New York. Mary Anderson made her stage debut as Juliet in a Louisville production of ROMEO & JULIET in 1875, toured the country, then made her New York debut in THE LADY OF LYONS (1877). After touring the United States for the next six years, she made her London debut in INGOMAR (1883). During the six years which followed Mary Anderson travelled between America and England, becoming renowned for her Shakespearean performances, especially as Rosalind, Hermione, and Perdita, and starring in several plays by W.S. Gilbert. In 1889 she suffered a nervous breakdown and permanently retired from the stage. In 1890 Mary Anderson married Antonio de Navarro, settled in Worcestershire, England, and worked on occasional literary projects, including a memoir, A FEW MEMORIES (1896), a play, THE GARDEN OF ALLAH (1911), which she co-authored with Robert Smythe Hichens, and a second volume of memoirs, A FEW MORE MEMORIES (1936). Mary Anderson de Navarro died in 1940 at the age of 81. The Mary Anderson papers consist of letters written by Mary Anderson, or on her behalf, between 1910 and 1940, mostly during the last eighteen years of that period, all of them addressed to Charles L. Wagner of New York City. Wagner, who was the manager of Irish tenor John McCormack, supplied Anderson with newspaper clippings and news updates on theatrical and musical doings in the U.S., and in return she wrote him about her friends and acquaintances, including George Bernard Shaw, Helen Hayes, John Gielgud, Cedric Hardwicke, the Charles Dickens family, Neville Chamberlain, and others. She also includes commentary on the American and European political situations, Franklin and Eleanor Roosevelt, Adolf Hitler, and U.S. Ambassador Joseph P. Kennedy and his children. Several of the last letters, written when she was ill, were penned on Mary Anderson's behalf by family members or nurses. less

The Theatre Guild Technical Drawings and Other Production Materials primarily consist of miscellaneous technical drawings and other items documenting various productions put on by the independent production company. The contents of the individual files on productions, mainly dating from the 1920s and 1930s, vary, but may include ground plans, stage plans, and light and/or property plots. less

Scenic designer Richard Harrison Senie, born in 1916 in New Hampshire, designed sets for several television shows, many of which were produced by NBC Studio, such as I remember Mama, the Armstrong circle theatre, and The Gabby Hayes show. In 1951, Senie also designed the sets for Broadway's St. Joan, which opened in Oct. 1951 at the Cort Theatre. He died in 1986 in New York City. Originals and copies of set designs, sketches, and technical drawings such as elevations, floorplans, and hanging plots. Designs are primarily for television sets of shows produced by NBC, but also include designs and a three-dimensional stage model for St. Joan, Senie's only theatrical production. less

Bramwell Fletcher (1904-1988) was a British stage, film, and television actor best known for his work in plays by George Bernard Shaw, and for his one-man show, The Bernard Shaw Story. The Bramwell Fletcher papers (1934-1981) document his career in theater and television through photographs; annotated scripts and readings; and business papers. less

The papers of Lucille Lortel relate the details of her life and career from teen years to her death in 1999, and include correspondence, production files, scripts, programs, production photographs, personal and family photographs, organization files, clippings, memorabilia, and scrapbooks. Lucille Lortel's life spanned the twentieth century, so in addition to providing details of her family and personal life her papers encompass many aspects of the theatrical history of her era. Lortel is credited with fostering the Off-Broadway movement and providing a forum for avant-garde and experimental work at her Theatre de Lys. Lortel's productions at the White Barn and the ANTA Matinee Series at the Theatre de Lys brought works by Jean Genet, Sean O'Casey, Athol Fugard, and others to a wider audience. Many of these productions are represented in the collection by correspondence, programs, photographs and clippings. Over the years Lortel also worked closely with several non-profit theaters as a donor and mentor. Her affiliations with Circle in the Square, Circle Repertory Company, Goodspeed Opera House, Yale Repertory Theatre, and other companies are documented in the organization files. less

The Lillian Gish papers (75 lf.) span the years 1909-1992 and consist of correspondence including letters from friends, family, fans and business associates, personal papers, business, legal and financial documents, scripts, writings, photographs including early D.W. Griffith silent film photographs both candid shots taken during shooting and film stills, portraits by famous photographers, personal and family photographs, publicity and production photographs and snapshots, scrapbooks on the careers of both Dorothy and Lillian Gish, programs for early silent films and theatrical productions, clippings and ephemera that document the life and career of Lillian and Dorothy Gish from the early 1900's until Lillian's death in 1993. less

Ray Henderson, advance man and publicist, promoted many of the well-known actors of the early 20th century, among them George Arliss, Katharine Cornell and E. H. Sothern and Julia Marlowe. His papers document this relationship with these theatrical personalities through correspondence, press releases, clippings and tour materials. less

The Romney Brent papers document his career and contain correspondence, photographs and two scrapbooks. The collection is incomplete in that it contains only correspondence from his later years and photographs and scrapbooks from his early career. Correspondents include: Ilka Chase, Helen Hayes, Lillebil Ibsen, Alfred Lunt, Armina Marshall, Mary Martin, Cornelia Otis Skinner, Emlyn Williams and Peggy Wood. There is a large gap in the materials for the 1940s and 1950s. Some production photographs were separated to the Theatre Collection photo files. The photographs remaining in the collection are special appearances, the State Department sponsored tours and personal photographs. less

The Robert Benney research materials include photographs, clippings, posters, playbills, and ephemera relating to his career as a portraitist of stage and screen personalities. The bulk of the material spans 1926 to 1947, and consists of photographs, and clippings of Benney's work depicting New York stage performers in their roles. Many photographs and clippings depict entire stage scenes, and, in addition to stage actors, there are photographs and clippings of musicians, dancers, comics, and radio personalities, and a small number of items relating to films of the period. 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

E.Y. "Yip" Harburg, Academy Award winning lyricist created the lyrics for the Academy Award winning film The Wizard of Oz, as well as the Broadway shows Finian's Rainbow, Bloomer Girl, and Flahooley . Among his principal collaborators were Harold Arlen, Vernon Duke, Burton Lane, Arthur Schwartz and Jerome Kern. He died in Los Angeles in 1981. The collection is primarily business papers, scripts, research notes, notes for lyrics and production ideas from 1929 to 1981. Papers deal mainly with the professional life of Harburg. His political ideology and opinions can be seen in his lyrics, research notes and clippings files. Though there is little mention of his being blacklisted in 1945, his attitudes on government and politics indicates how he may have fallen victim to the McCarthyites and the House Un-American Activities Committee. less