The Fellows Gazette 1

The Fellows GazetteVolume 56 Published by the College of Fellows of the American Theatre Summer 2011

Launching our Fiftieth!

The 2011 meeting of the College of Fellows inWashington, DC, welcomed four new Fellows, set inmotion our 50

thAnniversary celebration in 2015, and

expanded the participation of Fellows in ceremoniesand panels during the weekend.

The College of Fellows Wishes to ThankDean Emeritus Scott J. Parker

forHis Years of Service

as a Member of the Board of Directorsand

for His Stewardship as Dean of the College

Despite a holiday weekend, over sixty-five memberscame together, mixing business and pleasure, for areception at the Cosmos Club and the day-longevents at the Kennedy Center. The Roger StevensAddress brought together Fellows Jack O’Brien andWilliam Ivey Long for an introduction of good-natured bantering as the two collaborators reviewedtheir partnerships on Broadway in Hairspray andCatch Me If You Can as prelude to O’Brien’saddress. The Broadway director then talked aboutthe extraordinary avenues that opened up during theearly part of his career, but in his closing remarks hetalked with sobering reflection about the vanishingcareer-paths for today’s young professionals andthe need to preserve an increasingly endangered artform impacted by extraordinary cost-cuttingmeasures across the land.

At the Cosmos Club, there was evidence of earlyplanning for our 50

thcelebration. A PowerPoint

presentation, prepared by Felicia Londré and BobSchanke, brought familiar faces from past meetingson-screen during the reception. It is the intention ofthe PowerPoint creators to add images over the nextfour years in order to make visible in April of 2015our fifty years of good fellowship.

Following the investitures of four distinguished newFellows in the Kennedy Center’s Opera Tier Box,

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In the Spotlight:

R. Keith Michael

I first met Fellow R. Keith Michael in 1956 whenKeith, his wife, Marion, and I were pursuing graduatestudies in theatre at the University of Iowa. More andmore, I have come to believe that some things aboutKeith never change. He retains his refreshinglyyouthful sense of wonderment about the things hehas yet to discover in the world, particularly – butcertainly not exclusively – in the world of theatre andof art. His eagerness to see, explore, and absorbhere, there, and elsewhere is infectious, but is likely,at times, to cause problems: Getting in touch withKeith can prove difficult. “Sorry to be so late gettingback to you, but Marion and I just returned from . . .[fill in New York,London, Berlin,Paris, Beijing, orlocations in anyof more thansixty countries]where we saw[fill in plays,theaters,museums,fascinatingcustoms,intriguingsights].” In the photo, Keith is standing next to afriend he met in India.

As a boy in a small rural town in Pennsylvania, Keithhad never had any experience on a stage until hewas a freshman art major in a college in yet anothersmall town in Pennsylvania. He was cast in a studentdirected one-act play. As a result, he was proddedby a professor during the following year to try outfor a main-stage production of Yellow Jack. ToKeith’s “amazement”, he was tapped to play thelead. Robert Porterfield of the Barter Theatre, oncampus to give a lecture, saw a dress rehearsal andasked Keith to come to New York to audition for aslot at the Barter. This led to a summer job as thejuvenile with the Barter’s second company in Luray,Virginia, after which Porterfield offered Keith the roleof the Gentleman Caller in a national tour of TheGlass Menagerie beginning in the fall. Keith

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explained the situation to me in the following way: “Iwas astonished. So was Bob Porterfield when Ireplied, ‘Mr. Porterfield, I can’t do that. I have to goback to college.’ ‘You haven’t graduated?’ ‘No sir.’”Hence, no national tour, but two more years ofsummer seasons – this time with the main companyof the Barter as an actor and production stagemanager. And the rest, as they say, is history.

Through all the many years of acting, directing,studying, teaching, consulting, and producing, Dr. R.Keith Michael remains in many ways, the same soft-spoken, unpretentious, and refreshing younggentleman that I first knew at Iowa. Now, fifteenyears after his formal retirement from his position asProfessor and Chair of Theatre at Indiana University,he is as keenly open as ever to being astonished byall the wonders that await him today and in the yearsahead. I always look forward to seeing Keith andMarion. I like fresh air.

Theodore Herstand ■

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there was a post-luncheon panel along withconversations with the newly-invested Fellows.First, the three editors (Felicia Londré, RobertSchanke, and Barry Witham) of the 50

thanniversary

volume discussed their plans for the anniversaryedition and called for volunteers to update entriesfrom earlier volumes. And, your Dean announcedthat the Gala Planning Committee, chaired byBonnie Nelson Schwartz and David Young, isorganizing with plans to meet next year torecommend site-selection, events, and “soft-shoe”numbers to celebrate our Fiftieth!

Moreover, one-on-one conversations with the newFellows were orchestrated by James Still, DonWilmeth, Don Drapeau, and Gresdna Doty in asetting where the conversations gave insight intothe careers of artistic director Ed Stern, theatrescholar/author Franklin Hildy, theatre-for-youtheducator Roger Bedard, and Broadway designerJohn Lee Beatty.

For those unable to attend the weekend, you missedan invigorating and joyful celebration of ourcollegiality as we look forward to 2015. Until nextApril 21-22—same times and same places!

Wishing all of you a pleasant summer,Milly S. Barranger, Dean ■

Assisted by Dean Emeritus Scott Parker, JohnLee Beatty signs the official Register.

IN MEMORIAM

Romulus Linney(1930-2011)

When Romulus Linney left us in January 2011 at 80,we lost one of our trulyoriginal voices, aproductive and innovativeplaywright who, thoughnever a commercialsuccess or as famous assome of hiscontemporaries,nonetheless made anindelible mark on theAmerican theatre with hismore than 40 plays—plusthree novels, short stories,

and librettos for two operas. As significant as hiswriting career was, I would stress another aspect ofthis unselfish and generous man. As I discovered inApril 1986, when I had the good fortune of firstmeeting and interviewing Romulus and thusinitiating a friendship of a quarter of a century, hehad a unique ability to mentor and teach youngwriters and thus inspire the next generation oftheatre artists in the U.S.

Romulus Zachariah Linney IV was born inPhiladelphia but grew up largely in the South,moving at 13 to Washington, DC. He graduated fromOberlin College, spent two influential years in thearmy and later earned a MFA in directing at the YaleSchool of Drama (he frequently directed his ownplays).

Romulus, who was inducted into the Fellows in1998, began his career writing prose fiction beforeturning to the stage. His plays were often influencedby his experience in the military, Appalachia, hisimmersion in history, biography, literature, and hisdedication to regional theatre and grassroots drama.He adapted several contemporary novels, wroteabout the Nuremberg trials and the Vietnam War,and penned plays about Strindberg, Wilde, DelmoreSchwartz, and poet Anna Akhmatova. Ben Brantleywrote in 1996 that Linney was one of our bravestplaywrights, “running from rural dramas abouthillbilly homicides to lush meditations on LordByron’s ghost and Frederick the Great.” MartinGottfried called Linney “A playwright of trueliteracy” and Mel Gussow termed him “poet ofAmerica’s heartland.”

If his critically-acclaimed plays were not well knownto Broadway audiences, he was certainlyestablished in the regions, Off-Broadway (he was thefirst playwright given a full season by the Signature

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Theatre in 1991-2), international repertory venues,and academic theatres (his work was always notedfor its intellectual underpinning, artistic seriousness,yet he was clear about always striving forentertainment value and telling a story). His playsran the gamut in theme, content, mood, andstructure. Among his works were The Sorrows ofFrederick (1967), The Love Suicide at SchofieldBarracks (1972; his only Broadway production), HolyGhosts (1976), Childe Byron (1978), Tennessee(1979), Pops (1986), Unchanging Love (1991), TrueCrimes (1996), A Lesson before Dying (2000),Ambrosio (1992), and Love Drunk, one of his lastplays.

In 2005 Romulus delivered the Roger L. StevensLecture and inspired the Fellows with his topic,“Teacher,” a moving address on the power ofmentors and the importance of teachers affectingstudents. And Romulus was a living example of thiskind of generosity of spirit. While writing, he wasalmost always teaching (at Columbia, Princeton, theUniversity of Pennsylvania, Hunter College, andBrooklyn College, among others). He was frequentlyhonored for his work, including an Obie forSustained Achievement in Playwriting, Guggenheimand Rockefeller Fellowships, American Arts andSciences awards in Literature and Drama, etc. Hewas thrice married, most recently to Laura Callanan,and he had two daughters, one being theextraordinary actress Laura Linney.

Don B. Wilmeth, Dean Emeritus ■

“Fifty for the Fiftieth” Campaign

Within four years, we will be celebrating our“golden” anniversary.

The following Fellows have contributed generouslyto our campaign to provide early support for theanniversary volume and the work of the planningcommittee for our celebration in 2015.

Albee, Edward Crawford, JerryBank, Rosemarie Davis, JedBarranger, Milly Corey, OrlinBerman, Karen Corey, ShirleyBrandt, Carole Distler, TonyBrooks, Avery Dolan, JillCarter, Dan Doty, GresdnaCauble, John Drapeau, DonChurch, Jeff Dyke, MarjorieClay, Jack Eek, NatCole, Art Eigsti, KarlConlin, Kathleen Evans, TomCook, Doug Ezell, JohnCooper, Judith Flatt, Robyn BakerCorey, Orlin Fletcher, Winona

Heinig, Ruth Beall Reid, BarbaraHerstand, Theodore Rosenblatt, BernardHill, Ann Rubin, JoelHuerta, Jorgé Sabinson, HarveyJennings, Coleman Schanke, Robert A.Jewell, James Schwartz, Bonnie NelsonKoep, Jeffrey Shaw, AnnKorf, Jean Smiley, SamLazier, Gil Smith, WallaceLondré, Felicia Stein, HowardMason, Marshall Sumner, MarkMcGraw, William Terry, MeganMedoff, Mark Walker, EthelMichael, R. Keith Weiss, DavidMuller, Alfred White, GeorgeMurphy, Donn Whitmore, JonOaks, Harold Wilmeth, DonO’Brien, Jack Witham, BarryParker, Scott Wright, JackPawley, Tom Young, David

News of the Fellows

MILLY BARRANGER: Milly has been named a HarryRansom Center Research Fellow, The University ofTexas at Austin, and awarded a travel fellowship tocomplete research on literary agent AudreyWood for a book entitled Audrey Wood and thePlaywrights.

KAREN BERMAN: In March, Karen directed thepremiere production off-Broadway of MilledgevilleMemoirs. The development of Milledgeville Memoirsbegan with oral history interviews of the citizens ofMilledgeville, Georgia's antebellum capital. The playwas based on those interviews and the productionincluded video, photographs, original music anddance. Love stories, poignant World War II stories,and powerful race relations stories created thelandscape for this play.

JAMES BRANDON: James recently published fivearticles: “Approved andDisapproved Kabuki and Neo-Classic Plays: December 1945,”“Three Kabuki War Plays During theWar of East Asia” (also inJapanese), “Translation of theKabuki Play Mussolini,” “A ShortHistory of the Association for Asian

Performance,” and “Earle Ernst: Founder of AsianTheatre Studies.” Some of these articles areavailable in print or electronically (send requeststo jbrandon@hawaii.rr.com). He is currently writing abook-length analysis of post-war censorship ofKabuki by the American-led Occupation (1945-1952).

JERRY CRAWFORD: Jerry’s wife, Pat, who battledWaldenstrom blood cancer and COPD, died on June26.

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mailto:jbrandon@hawaii.rr.com

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JILL DOLAN: Jill will receive the 2011 OutstandingTeacher Award from the Association for Theatre inHigher Education in August. She edited and wrotethe introduction to A MenopausalGentleman: The Solo Performancesof Peggy Shaw, due out fromMichigan this summer. She haswritten essays most recently forPerformance Research, TheatreSurvey, and Performing ArtsJournal. She will spend the summerin Galway, Ireland, teaching aPrinceton Global Seminar at National University ofIreland with Stacy Wolf.

BERNARD DUKORE: In Winter 2010, Modern Dramapublished his article “Seriousness Redeemed byFrivolity: Ayckbourn’s Intimate Exchanges.” He justreturned page proofs of two articles that will be inthis year's (2011) SHAW: The Annual of BernardShaw Studies, published by Penn State UniversityPress: “Sophoclean Shaw with Solos” and “How toWin an Election.” The latter is a revised version ofan oral presentation delivered at a plenary sessionof the conference of the International Shaw Societyin Washington, D.C. in 2008.

NAT EEK: Co-authors Nat Eek and Ann Shaw havejust finished Volume II of The History of ASSITEJ(The International Association of Theatres forChildren and Youth)-1976-1990, published bySunstone Press, Santa Fe, NM in April, 2011. Theyare now at work on Volume III (1991-2005) which willcomplete the history. Volume I was published inApril 2009. They document the growth anddevelopment of professional theatre for youngaudiences in the U.S., and also other countries.

GIL LAZIER: Gil directed a sold-out production ofAugust: Osage County for theFUSION Theatre Company inAlbuquerque. Then Gil andKathryn took a wonderful trip toHong Kong and Bali. Upon theirreturn, Kathryn had three piecesaccepted in the New MexicoFiber Arts Fiesta, one of whichtook second prize. Gil directsSteven Dietz's Becky's New Car for the BanyanTheater Company in Sarasota in June, followed bythe Southwestern premiere of Yasmina Reza's Godof Carnage in July.

SAMUEL L. LEITER: Sam had tickets to fly to Japanfor a research trip on April 1, but the earthquakes,tsunami, and nuclear meltdowns of March made himrethink his priorities. After all, it's not easy beinggreen. He now plans to go in October, when hehopes to acquire the material he needs to finish hisnew book, now called Ebi-Sama! Kabuki at the

Crossroads, 1952-1965.

FELICIA LONDRÉ: Felicia will give nightlyShowTalks for Heart of America ShakespeareFestival’s 2011 production of Macbeth. Then shetravels to Nancy, France, to give a paper at theTennessee Williams centennial symposium onWilliams’s European connections. Her paper is titled“En Avant! Tennessee Williams Between Hyperboreaand the Mediterranean.”

DONN B. MURPHY: Donn retired from thepresidency of Washington's National Theatre atmidnight, last New Year’s Eve, and is enjoying thenew responsibility of developing his personalwebsite, at nowstar.net. He celebrated with a cruiseon The Oasis of the Seas, the largest cruise shipafloat. An excellent production of Hairspray wasamong the entertainments aboard.

BARBARA REID: Barbara was sorry to miss the lastgathering, because of a scheduled trip to London tovisit her daughter. She is now off to spend twomonths at their cabin near Blowing Rock, N.C. to geta little writing time. She’s trying to become a poet inher semi-retirement from acting! However, in earlyJune she did a reading of a new play written by aformer student, and with several other formerstudents in the cast. It was a lot of fun to be withthem again.

BERNARD ROSENBLATT: Bernie has been electedChair-elect of the Knoxville Museum of Art Board ofTrustees, President of the Knoxville JewishCommunity Family of Funds ( a communityfoundation) and Chairperson of the S.E.Consortium Partnership with the Hadera-EironRegion in Israel.

ROBERT SCHANKE: In August,Bob is appearing on two panels atthe annual convention of ATHE andis presenting a eulogy for DoricWilson at the pre-conference ofthe LGBTQ Focus Group. Hecontinues as editor of the Theaterin the Americas book series forSouthern Illinois University Press,which has just published its 21

stbook. He has just

published with Palgrave Macmillan his tenth book, abiography of a forgotten, award-winning, pioneeringplaywright, titled Queer Theatre and the Legacy ofCal Yeomans.

BONNIE NELSON SCHWARTZ: Founder ofWashington, DC’s Helen Hayes Awards for theatricalachievement, Bonnie presented the new HelenHayes forever stamp before a crowd of 2,700 at the2011 Helen Hayes Awards at the Warner Theatre.Schwartz said, “25 years ago when the Awards were

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founded, Helen Hayessaid, ‘Well, I’ve been anactress all my life, and NOW, Iam an award.’ If she were withus today, Helen would say,‘…and now I’m a stamp!’”

JAMES STILL: In March, Jim presented the keynoteaddress, “The Peaceful Warrior: What's FabulousGot to Do With It?”, at the New Works Festival inAustin, Texas. In April, his play, And Then TheyCame For Me, was performed in Beijing in April by aU.S., British and Australian cast, and he was a Writerin Residence at the Weston Playhouse in Vermontwhere he worked on a new play, The House ThatJack Built. This fall he is directing his new play, ILove to Eat, a play about American culinary iconJames Beard at the Indiana Repertory Theatre.

DON B. WILMETH: Don has written book reviews forTheatre History Studies, The Brecht Yearbook,Choice, and The Journal of American History. He iscompleting his second year (of six) as a juror for theGeorge Freedley Theatre Book Award. The 29

thbook

in his Palgrave Macmillan series will be published inJune. In March he was a featured speaker at theannual meeting of the Ephemera Society of Americain Old Greenwich, CT, on the subject of TheatricalPlaybills.

“The View from the Trenches”

Roger L. Stevens Address

by Jack O’Brien

[What follows is anedited transcription of

O’Brien’s 40 minuteaddress.]

When I was about to do this address, they asked mefor a copy, and you can tell right now, that’s notgoing to happen. They asked for a title” I said,“Yes.” The title is The View from the Trenches,because at that time I was finishing my stewardshipin San Diego. And I thought, my God, after an excessof 25 years I must have some perspective on what itis we’re doing. I don't write anything down, let alonea speech, basically, because of fear. By that I meanI’m not quite sure where I’m going with this. I havesome notes here, a few. But without the element ofuncertainty . . . I don't think there is any real passion

in theater. If you play it safe, if I’m safe, you’ll beface down in the carpet in 12 minutes, but becauseyou think, oh, my God, he doesn’t know where he’sgoing with this address. [laughter] And I encourageyou to hold onto that thought.

I really wanted to call the address, not The View fromthe Trenches, but The View from the Life Boats. AndI will be a little bit more clear about that after I tiptoethrough the history lesson. I’m going to try to do thisas quickly as possible, because I do findbiographies that are not one’s own biographystultifyingly boring. If I am in the next 20 minutesstill discussing my third appearance in my secondgraduate year, you will start flinging things at me.

If there was an epiphany in my life, it happened inthe early sixties at the University of Michigan (whichwas basically Roger Stevens’s alma matter as well)where I sat one night at the Lydia MendelssohnTheater in my then-accidental role of reviewing forthe campus newspaper. The theater company wasthe young itinerant APA repertory, the Associationof Producing Artists, headed by Ellis Rabb, and hiswife at the time, Rosemary Harris. The productionwas Sheridan’s School for Scandal. I’d never seenanything like it. I’d never seen anything soremarkably fitting, so economical, so original, socontemporary, so elegantly perfect as thatproduction. I was stunned.

And I made it my irritating job over the interveningtwo or three years to try to infiltrate that group ofpeople. I cannot tell you how many times Iauditioned for Ellis Rabb as a young actor. He didn’tlike me at all. And it says something about oursurvival in these situations that I didn’t understandthat. I just thought it was a test of my endurance.And meanwhile my hair kept going and going andgoing. I started writing lyrics. I started writing plays.And after I went to New York and taught for a coupleyears at Hunter College, Ellis took me on as hispersonal assistant, and that began the journey. Thatgroup of people included John Houseman, whocame in as a producer, T. Edward Hambleton of thePhoenix Theatre, Eva Le Gallienne, Alan Schneider,and Stephen Porter. Those were the directors, andthere was one assistant, and that was me. I sat witheach of those people and took their notes. I haveoften thought that what really separates our art fromany other art is that you really cannot get it from abook.

If you’re lucky enough to sit with people like that andwatch the production evolve and take their notesand, more importantly, see them fail—not succeed.Success feels great. Failure teaches you what to doand how you evolve. It was, I contend, thepostgraduate training of my generation. And over sixyears with that company I watched them do the most

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extraordinary pieces. You Can’t Take It With Youwith Rosemary Harris as the ingénue, to myknowledge, began the commercial revivals on

Broadway of American plays. Noone had done that. We in APA hadlost our Ford Foundation Grant thatwas to permit us a season at theLyceum. We were stuck in AnnArbor. Ellis saw the production run-through [of You Can’t Take It WithYou] and said, “I would like thecompany, to go into New York forsix weeks, just so they know that weexisted and that they will rememberus.” It was the biggest success ofthe year; it ran two years while wegot our funding back and againrisked breathing life into a moribundsituation.

Ladies and gentlemen, for the better part of four orfive years, APA was employed for 52 weeks onBroadway, in Los Angeles, and in Toronto. Playingrepertory! This is never mentioned in reviews. APAfinished in 1970. It had been ten years of brutal,exhausting touring and repertory production. It wasan extraordinary group, a collective group of actorsand directors and an experiment perhaps never tobe returned to.

After which, John Houseman took me to Juilliard,where for two years I directed people like GregoryMosher, Christine Baranski, Christopher Reeve,Robin Williams, Patty LuPone, and Kevin Kline. Andfor two years I worked with them as their associateartistic director. You know what that meant—I got tobe my own boss. Isn’t life amazing? The jobs thatyou think are going to bear fruit very often don’t.And the ones that no one is paying attention tosuddenly make some cosmic connection.

[While at Juilliard, O’Brien worked on a productionof a “perfectly terrible opera” with John DeMain,who also happened to be the music director of theHouston Grand Opera.]

It was the Bicentennial, and they [Houston GrandOpera] were doingPorgy and Bess forthe first completeproduction of theopera as Gershwinwrote it, uncut. Theywanted Hal Princeto direct it. Whowouldn't? Hal wasbooked for twoyears and couldn't

find the time. But they were under the constraints ofsaying, “Look, we’ve got to do this in the

bicentennial.” And so they picked me because Johnand I were having such a good time with thisperfectly terrible opera. I was the last person hired,the whitest person you have ever seen enter a room.It was a trial by fire and one that was the making ofmy life and career.

It went on to win a Tony. I got my first nomination in1976-77. And it changed my life. From there, CraigNoel, who had hosted me earlier out at the Old GlobeTheater, eventually invited me out to the Globe. Ifany of you ever knew Craig, he would be the lastperson you’d want to see walk away. So when I tookover, I kept him there, a) because he was a fount ofinformation; b) because he was one of the bestdirectors I knew; and c) because I loved him. And tomy knowledge that may be the only businesssituation where a CEO picks another CEO to takeover and doesn’t leave. In all the years that we werethere together, we never had a moment’sdisagreement, never an argument. It was awonderful relationship. He died just a just a year anda half ago, in his nineties—beloved, cherished andremembered forever.

But that gave me the opportunity to become what Icalled the “poster boy” for regional theater. For 25years basically I ran that theater with him, with TomHall as my managing director. There was a traditionstretching back to 1935 with names like B. IdenPayne, of Shakespeare being done outside in BalboaPark. And in those 25 years, if you looked up fromyour position in the country, you saw extraordinarymen and women doing what I was doing in differentplaces—Dan Sullivan up in Seattle, Des McAnuffacross the town from me, Mark Williams at theHuntington. I mean, we were all children of atradition. I didn’t have a choice. Houseman, LeGallienne, Ellis Rabb, Rosemary Harris, AlanSchneider—they fed me; they were candid; theywere honest; they were straightforward. They weregenerous.

They taught me everything I knew. And I felt I had anobligation to return the favor, an obligation basicallyto stand up for American classical work, to try tofind a way that we could do primarily Shakespeare inthe summer but everything else as well. Now, to callartists from all over the country to come there andserve the text, which is absolutely visceral for me. Idon't feel the need to write my name on anyproduction. I honestly think if you don't see my workI’ve done the best job; because the writer and theactor are basically what unites, and we are onlythere as directors, as facilitators, to make the badmoments go away, not necessarily to draw attentionto ourselves.

But like the boy in the barnyard lifting the calf, Ididn’t choose all the assignments myself, but those

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of you who have run departments, companies,anything, you know that eventually somebodydoesn’t show up. They either have a better job or aworse excuse. But you’re left basically with a showand no director. And what does an artistic directordo? Picks up the show and does it. Some of thethings I chose for myself were not necessarily thebest things that I had done. Some of the things that Ithought—how do I put this?—beneath me? And overthose 27 years, basically, I realized that I had anadvantage that many people never have, which is towork in all these different fields.

And so when that chapter of my life closed—and,believe me, I thought it was closing—low and beholdI have the third act. The Globe was doing 12 to 14shows a year toward the end of my tenure, andyou’re bound to get lucky sooner or later. Some ofthem went East, and I went with them. And when Ifinally stepped away from the Globe, there wasanother chapter of my life—going on to New York.

When Gregory Mosher and André Bishop shiftedaway from Lincoln Center, I did a piece for themcalled Two Shakespearean Actors on the Broadwaystage. That was great fun with Brian Bedford andVictor Garber, but lots of interesting young actors ina company of 28 people. We had a great time.

Then came Damn Yankees, which started at theGlobe, and the book for which I wrote with George

Abbott. He was 105. He diedat 107, fueled by two years ofunmitigated anger at me. Ashe famously said to RobMarshall, “The kid . . .” Hecalled me “the kid.” He was105; of course, I was the kid.“The kid says everythingnice to you and then goesahead and does exactly what

he wants.” I read a vote of confidence in thatcomment.

But basically I ended up with alist of productions in New York,different from what I thought Iwas starting out to do orfinishing. The Full Montyopposite Stoppard’sConvention of Love, giving riseto many people saying, “Wait aminute—this is the same guydoing two shows in the sameyear.” And I thought—get aregional job; you’ll figure thisout. Henry IV for Lincoln Center with Kevin Kline,then Hairspray, Stoppard’s The Coast of Utopia, andrecently Catch Me if You Can. It’s been anextraordinary ride.

So where does the trench leave off and the life raftstart? In the years that I was at the Globe, there wasa publication, something called The Artistic Home. Idon't know if any of you remember it, but it had to dowith nurturing. It had to do with my garden producesbegonias and yours produces lilacs; how in thisextraordinary country of ours different communitiesgive rise to different artistic voices. We were veryaware in the nineties, Des McAnuff and I, being inSouthern California with two theaters literally tenminutes car journey from each other, of thedifferences in our programming and what that meantto a vivid, exciting community. The fact that we weregood friends was one thing; the fact that we werecompetitive was thrilling. Because we weredesperately not only trying to identify what in ourown group was the work we believed in, we wereoffering it up as proof positive that we were worthfunding.

In this country we have a problem that we build abirdhouse and hope the birds will come. But Jean-Louis Barrault, who headed Théâtre Marigny inFrance when it first started, and Madeleine Renaud,his wife, said famously, “The subsidy is not for theyears when we’re good; it’s for the years when wearen’t good. Because nobody can do that.” And nowI look around and I see that we are fighting for ourartistic lives. Fundraising is difficult, money is tight,people are conservative. I mean, I was appalled toopen the New York Times yesterday to see theannouncement that The Intiman Theatre in Seattlehad released its birds to go feed elsewhere and thatthey would not be completing their season. Theystopped. One hopes that that is a temporarysituation; one fears it is a trend.

Now when someone comes up to me and says,“How did it happen? How did you get started? I haveto confess that the path by which I came to this spottoday is completely overgrown and has dissipated. Itdoesn’t exist anymore. I don't know where to sendthem. If I were starting out, I’m not all togethercertain that I would choose to be the artistic directorof an organization that needed me primarily as afundraiser. It’s not basically that we were producingart worth funding. We are now trying to fundsomething that could become art. We have got tolook around us at the imaginations of young menand women who are passionate as we have beenpassionate, who believe as we all believe, who willpick up a standard and raise it and say, “Follow me!”because without that thrilling sense of leadership,what’s on the stage will be conservative, predictableand simply useful, more or less.

I don't know what to tell you because I’m worriedabout this. I don't know where the leaders are goingto come from. I look at that vast spread of regionaltheaters that are doing so well just trying to keep

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their constituency and raise money for theirpayrolls, and I know that Rocco Landesman, for one,has said an alarming thing, that some of themshouldn't be funded because we’re funding theorganizations, not the art. That is fighting words and. . . and true. We must wake up. We must igniteyoung men and women to feel as Ellis Rabb and BillBall did in the fifties when they stood at the top ofthe Eiffel Tower and did not look at Paris on their tripabroad but argued where the nunnery scene shouldbe in Hamlet instead—isn’t that adorable? Where isthe hunger? Where is the passion to dig a trenchfrom which you cuddle and huddle with thosepeople who believe as you do, that what you’redoing matters – not just fulfilling the coffers butsaying something about the work.

Years ago when our British cousins did a piececalled Noises Off and everybody got just giddy withexcitement, I got angry. George Kelly did that in aplay called The Torchbearers. And as an exercise, Isuppose, I scheduled The Torchbearers—cut theliving daylights out of that bitter, angry third act, butdid something that Ellis taught me to do. When hedid the great production of You Can’t Take it WithYou, he said, “Here’s the French’s acting edition. Wewill now do everything in it.” I was appalled. Ithought that that’s the last thing the director shoulddo. He said, “Don't you understand? There on thepage from the stage manager’s book, the marks areGeorge S. Kaufman’s directions—where peoplewent, what they did, and how it worked. I want YouCan’t Take it With You in our repertory as sanctifiedas Stanislavsky’s production of The Seagull is withMoscow Art Theater.” And so we did. Now, he, withRosemary Harris and Clayton Corzatte, DonaldMoffatt and all the rest of them, he actually put adifferent mantle on Kaufman’s work. But there itwas. I had been told all my life that the funniest actin comedy ever written in America is the second actof The Torchbearers—that’s George Kelly’s directionin that book. And you know what? I did it. I changedthe third act, and I worked on the first act, but thesecond act I followed every direction. And therewere moments, ladies and gentleman, so filled withlaughter, the audience could not hear the actorsspeaking. To be funny 50, 60, 70 years later, or, inthe case of Shakespeare, 400—that’s pretty goodwriting. That’s a tradition worth maintaining.

I see from my vantage point some spars in the water.I see occasionally a collection of flowers, and it maymean there’s dry land ahead. I’m not despondent.I’m not despairing, and I hope I’m not alone when Isay I’m now just simply going to pick up my oarsand row, and I hope you’ll come with me.

Thanks for listening to me. ■

Needed for 50th Volume

Fellows inducted prior to 2005 need to send BobSchanke a 100 word mini-citation that can be usedfor publication. It should summarize the originalcitation plus add later achievements.

Also needed are volunteers to write 100 wordcitations of deceased Fellows.

Finally, anyone who has photos of our meetingsprior to 1999 should contact Bob or Felicia Londré.

Minutes of the Annual Business

MeetingCollege of Fellows of the American Theatre

Sunday, April 24, 2011Kennedy Center, Washington DC

Dean Milly S. Barranger, PresidingMinutes submitted by Jon Whitmore, Secretary

1. Attendance Roll Circulated. 28 Fellows signed theroll for the Annual meeting [Names held inSecretary’s files]68 Fellows are attending the weekend events

2. Call to Order and Welcome: Dean Barranger3. Greetings and Regrets:

Dean Barranger listed those who sent regrets onthe meeting agenda.

4. In Memoriam: A moment of silence was observedfor the loss of four outstanding Fellows:Craig Noel (April 3, 2010)Helen Krich Chinoy (May 24, 2010)Oscar G. Brockett (November 7, 2010)Romulus Linney (January 15, 2011)

5. Recognition of Service to the College of Fellowsduring the Year:Dean Barranger thanked the Board: the terms ofBob Schanke, Scott Parker, and Jon Whitmorehave expired. Whitmore will stay on to fill a oneyear unexpired term and remain Secretary.Thanks went to Bonnie Nelson Schwartz forCosmos Club arrangements, including thePowerPoint presentation, created by FeliciaLondré and Robert Schanke. Thanks went to allcommittee heads for their service this past year.

6. Approval of the Minutes for 2010 GeneralBusiness MeetingUnanimous approval of minutes as distributed.

7. Treasurer’s Report: Scott Parker substituted forRuth Heining. Income and expenses werereviewed (details were presented in a handout).The College invested $15,000 in Dryfus fund andthe money grew considerably. Final calculationof funds cannot be made until June—the end ofthe fiscal year. The interim budget was approvedunanimously.

Minutes continued on page 9

The Fellows Gazette 9

Minutes continued from page 8

8. Investment Committee Report, prepared by GilLazier, Chairman, presented by Dean Barranger.This new committee was appointed by DeanBarranger at the behest of the Board. It wasthought that having a small group of fellows planthe College’s investment strategy, assisted bythe Treasurer, might be a useful way of sortingthe many financial options in a volatileinvestment world. Early signs are that thecommittee has made wise choices.

9. GAZETTE Report: Robert A. Schanke, EditorBob Schanke handed out a written analysis ofthe year’s activities. $160 was left over in theaccount. 46 Fellows receive the Gazette on line[$16 per Fellow is saved by taking it on line].Bob was thanked for the meticulous way hemanages the information and budget of thisvaluable communication tool for the College.

10. Report of Corporate Secretary, submitted byJohn Cauble, presented by Dean Barranger.The only new event was the changing of somewording on the website.

11. Video Living History Report: Donald DrapeauEight new members were taped this year. 60people still have not been interviewed. Donagreed to send the questions to Robert Schanketo include in the next newsletter. All were urgedto be creative in helping each other record theirexperiences in the theatre for inclusion in thearchive held at the University of Texas at Austin.Any taping format is acceptable.

12. Remaining Old Business--None13. New Business

Election of Dean-ElectDr. Felicia Londré was elected Dean-Elect, totake office in April 2012.Karen Berman has been elected as a new boardmember, with one more person to be announcedafter confirming contact is made.

14. Several announcements were made about theupcoming 50

thAnniversary.

American Theatre Fellows 50th

AnniversaryVolume 1965-2015:

Felicia Londré, lead editor, with co-editorsRobert Schanke and Barry Witham.Marilee Hebert Miller is business advisor

Gala Anniversary Planning Committee Chairs:Bonnie Nelson Schwartz & David Young

Dean Barranger will be appointing a new 50th

Anniversary Fundraising Committee to raise theadditional funds needed to pay for the 50

th

Anniversary events, book, etc.Fifty for the Fiftieth Campaign:

John Cauble started this extra fundraisingeffort. He raised over $3,000 this year.

15. Announcements:Please send Email Directory changes toRobert A. Schanke for the GAZETTE.Future Meeting Dates:

April 21-22, 2012 and April 20-21, 2013Dean Barranger outlined the remaining events ofthe day.

16. Business meeting adjourned

Living History Theatre Project

We cannot complete the interviews using only thedays of our annual April gathering, so Fellows areencouraged to interview each other. As of July 2011,the following Fellows have not been interviewed.The interview format is provided below.

James Brandon John CaubleAvery Brooks Larry ClarkLloyd Burlingame Shirley Trusty CoreyDonald Drapeau Calvin PritnerWeldon Durham Barbara ReidRonald Engle Bernard RosenblattTom Evans Peter SargentJohn Ezell Harvey SabinsonRichard Fallon Bonnie Nelson SchwartzZelda Fichandler Ed SherinLinda Hartzell Megan TerryJames Hatch Sr. Francesca ThompsonRuth Beall Heinig Jennifer TiptonTheodore Herstand Ethel Pitts WalkerDale Huffington Daniel WatermeierColeman Jennings George WhiteJulie Jensen Jon WhitmoreFay Kanin Judith WilliamsGil Lazier Ronald WillisSamuel Leiter Barry WithamKristen Linklater Alan WoodsMark Medoff Jack WrightAlfred Muller Lin WrightDonn Murphy David YoungHarold Oaks Suzan Zeder

INTERVIEW FORMAT

Interviewer begins with: “Welcome to the College ofFellows of the American Theatre Living Historyarchive taping of an interview with .It is (note the date) and we are at (give location) and Iam Fellow .

I first met (name of person) (tell a short story of firstmeeting or your first knowing of the person beinginterviewed to set a relaxed tone.)”

Then segue into these interview questions:

1. What was your first experience in theatreand how has that impacted your career?

2. Place of birth, names of parents… siblings?3. Outline education/preparation/early activities in

theatre. Who are the teachers or mentorswho had impact or inspired you?

4. Questions to evoke a review of the highlights ofcareer. (The subject may want to supply theinterviewer with a few suggestions prior tomeeting in Washington.)

At the end of the interview, close with: “Thanks to(name of person) on behalf of the Fellows and theLiving History Project.”

The Fellows Gazette 10

College Contributions

LIFETIME BENEFACTORSRosemarie Bank Jorgé HuertaMilly S. Barranger Julie JensenKaren Berman James JewellCarole Brandt Jeffrey KoepBen Cameron Jean KorfDan Carter Gil LazierJohn Cauble William McGrawLarry D. Clark R. Keith MichaelJack Clay Donn B. MurphyMartha Coigney Harold R. OaksKathleen Conlin Jack O’BrienJudith Kase Cooper Scott J. ParkerJerry L. Crawford Calvin L. PritnerJed Davis Barbara ReidPaul A. Distler Bernard S. RosenblattJill Dolan

(in honor of Helen Chinoy)

Gresdna Doty Robert A. SchankeDonald A. Drapeau Megan TerryTom Evans George ThornJohn Ezell Dorothy L. WebbDonn Finn Jon WhitmoreRobyn Baker Flatt Don B. WilmethWinona Fletcher Margaret WilkersonAdrian Hall Jack WrightRuth Beal Heinig Susan L. ZederAnn Hill

CONTRIBUTING FELLOWS HonoreesBarranger, Milly Vera Mowry RobertsBerman, KarenDavis, JedDistler, Paul Monroe LippmanDoty, GresdnaEigsti, Karl Bill HarbinEvans, TomFletcher, Winona Lorraine BrownFletcher, Winona Oscar BrockettHeinig, Ruth Oscar BrockettHerstand, Theodore Oscar BrockettJennings, ColemanLondré, FeliciaMuller, AlfredPawley, ThomasPerkins, Kathy Lorraine BrownPronko, LeonardStill, James Oscar BrockettTerry, Megan Geraldine Brain Siks

and Agnes HaagaWebb, Dorothy Lowell SwortzellWhite, George C.

Fellows interested in becoming Lifetime Benefactorsor in contributing to the endowment are encouragedto send their checks to:

Fellow Ruth Heinig1805 Chevy Chase, Kalamazoo, MI 49008

Citations of the 2011 New

FellowsNew Fellow: John Lee Beatty

Citation by

Don B. Wilmeth, Dean Emeritus

In the late 60s I encountered an undergraduate whowas then a budding theatre artist: playwright,director, actor, scenic designer, costume designer,and poster artist. John Lee Beatty, unlike someyouthful prodigies, never slowed down, and

consequentlyhe has left anindelible markon the

Americantheatre. FromBrown he wentto Yale, wasmentored byMing Cho Lee;studied with

DonaldOenslager and Jo Mielziner. His professional careerbegan as an assistant to Douglas Schmidt; in the1970s he first established his own reputation withthe Manhattan Theatre Club and the Circle RepertoryCompany.

Since then, his work has been seen constantly onBroadway, Off-Broadway, the regions, etc. He isarguably the most prolific scenic designer today,with as many as 6 Broadway shows runningsimultaneously, over 90 in all, and some 200professional credits total; recent ones include theBroadway production of Driving Miss Daisy, therevival of Chicago, the Lincoln Center production ofOther Desert Cities, the current hit Good People,Theatre for a New Audience’s Merchant of Venice,the national tour of The Color Purple, and as healways does, advisory work on scenic environmentsfor City Center’s Encores! musicals, most recentlyWhere’s Charley?.

Recognitions include 13 Tony nominations, a Tonyfor Talley’s Folly, election to the Theatre Hall ofFame in 2002, and a Lucille Lortel Award recognizingthe body of his work. John’s design credits read likea history of contemporary theatre: Rabbit Hole,Doubt, Who’s Afraid of Virginia Woolf?, WonderfulTown, Dinner at Eight, Morning’s at Seven, Proof,Footloose, The Little Foxes, A Delicate Balance, TheHeiress, Redwood Curtain, The Destiny of Me, Ain’tMisbehavin’, Fifth of July, Knock Knock, TwelfthNight, etc. etc.

Let me conclude with two comments that typify

Citations continued on page 11

The Fellows Gazette 11

Citations continued from page 10

opinions by his peers and colleagues. Ming Cho Leewrote in his seconding letter: “Unlike many of hiscontemporaries . . . John Lee has remained truthfulto the essence and the core values of the play. Hissettings always feel right—a place where people live.John Lee is an actors’ designer.”

Seconder Marshall Mason wrote: “. . . for twentyyears he made Circle Rep excellence in scenedesign equal to our recognized excellence in actingand creating new American plays.” Marshallconcluded that each era in the American theatre hashad an outstanding scenic designer whose work hasserved as a beacon of excellence to his fellows.Among those he lists Robert Edmond Jones, JoMielziner, Donald Oenslager, Ming Cho Lee, and“surely for the current theatre, John Lee Beatty.”

Please help me to welcome into the College ofFellows, the extraordinary Mr. John Lee Beatty. ■

New Fellow: Roger L. Bedard

Citation by

Lin Wright, read by Orlin Corey

Roger Bedard has made remarkable contributionsnationally andinternationallyto theatre foryouth. Rogeris a scholarand hasedited severalbooks, hislatest being

DramaticLiterature forChildren: ACentury in

Review; and he has written numerous articles. Heis a director and particularly at Virginia Techdemonstrated his artistry with productions forchildren and adults.

He is an outstanding teacher and mentor and is nowan endowed professor at Arizona State University.But his major contributions to the field have beenthe creation and maintenance of major programsand institutions in the field.

He created the MFA in Children’s Theatre at VirginiaTech. He designed and has administered, with amaster’s hand, the Ph.D. in Theatre for Youth atASU, the first of its kind in the country. He continuesas director of both the MFA and PhD Theatre forYouth programs at ASU. With this program he hasmade significant national and internationalconnections for students and visiting scholars.

Because of the remarkable nature of the work, thecollege received the sizable Kax Herbergerendowment for ARTSWORK, a program thatpromotes research and community partnerships forchildren and the arts. The concept is Roger’s and hecontinues as director of the program.

It was Roger Bedard who masterminded the creationof the American Alliance for Theatre and Education,the national TYA association developed after thedemise of ATA. He was its first Executive Directorand by bringing the organization to ASU helped itgrow and develop until it was ready to more toWashington, D.C. He has also been an active boardmember of ASSITEJ and is a trustee of theChildren’s Theatre Foundation of America.

Last year, Roger received the Campton Bell LifetimeAchievement Award for his “outstandingcontributions to the field” from the AmericanAlliance for Theatre and Education. His awards fromAATE started with his being named the first WinifredAward Scholar. He has also received the SaraSpencer Child Drama Award and the BarbaraSalisbury Wills Alliance Award from AATE.

Roger is a man of vision, a significant contributor totheatre for youth in our generation. He richlydeserves his election to the College of Fellows. ■

New Fellow: Franklin J. Hildy

Citation by

Felicia Londré, Dean Elect

Some would say that Franklin J. Hildy is best knownas co-authorwith OscarBrockett(since the 8thedition) of themost widelyused theatretextbook inAmerica,History of theTheater.Others wouldcite FrankHildy’srenown as a major player in the design andoperation of Shakespeare’s Globe playhouse inLondon and Director of the Shakespeare GlobeCentre (USA) Research Archive. Still others are mostaware of Frank Hildy’s international leadership of anIFTR working group on Theatre Architecture witheminence grounded in Frank’s field research athundreds of historic theatres and theatre ruins fromancient times to the 18th century.

Citations continued on page 12

The Fellows Gazette 12

Citations continued from page 11

Those are but a few of Frank Hildy’s many and multi-faceted accomplishments that include internationalarchitectural consulting, service as NEH HumanitiesAdministrator, scholarly residencies at four differentuniversities in Taiwan, three editorial boards, andlong lists of grants, offices held in professionalorganizations, papers presented at internationalgatherings, and publications. He teaches and directsdoctoral dissertations in the Department of Theatreat the University of Maryland where he has alsoserved as chair of his department and asdepartmental director of graduate studies in theatre.

Our late Fellow Oscar Brockett wrote a glowingseconding letter based upon a close acquaintancewith Dr. Hildy since the early 1990s. Oscar Brockettsought to entrust the continuation of his History ofthe Theatre to one who would protect his rights andtake responsibility for any changes. Drs. Brockettand Hildy worked together for eleven years and foureditions, during which time Frank earned OscarBrockett’s praise for his depth of knowledge and hiszeal to keep the text up to date.

Daniel Watermeier’s seconding letter recallstramping around ancient Greek and Roman theatreruins in Greece and Turkey. “With each passing dayand theatre site,” Dr. Watermeier wrote, “my respectfor Frank grew. He wears his considerable depth ofknowledge and erudition lightly, and he is anexcellent traveling companion.”

Let us welcome to the Fellows this serious scholarand jolly traveling companion: Frank Hildy. ■

New Fellow: Ed Stern

Citation by

Felicia Londré, Dean Elect

One of thepre-eminent

directors inthe nation, EdStern deeply

understandsplays of all

kinds(classics, newworks indevelopment,

musicals),actors (of all

kinds), production elements, and audiences. He cantake a play you thought was a klunker and invest itwith power and poignancy. He uses the resources ofthe stage in fresh ways but always in service to theplay. And he knows his audiences well enough thathe can stand at the entrance to his home theatre andgreet by name virtually every arriving theatregoer.

But he doesn’t hesitate to challenge audiences aswell as actors to move beyond their comfort zone.When he guest directs at another regional theatre,the sense of heightened standards is palpable.

In 1972, Ed Stern co-founded Indiana RepertoryTheatre, where he served eight years as artisticdirector and directed more than two dozen plays. Hejoined the faculty at Rutgers University to teachdirecting and also taught acting in the William EsperActing Studio in New York. For the last eighteenseasons, he has been producing artistic director atCincinnati Playhouse in the Park. As Fellow JackWright’s seconding letter states, Ed Stern “elevatedthat theatre to superstar status.”

One of Ed Stern’s greatest contributions toAmerican theatre has been the nurturing of newplays. He has served year after year on the BarrieStavis play-reading committee for the NationalTheatre Conference, and he has shown unerringjudgment in selecting new plays for full productionat Cincinnati Playhouse in the Park. As Fellow ScottParker noted in his seconding letter, “when Ed Sternspeaks, everybody listens.”

Finally, you need to know how Ed Stern broughthome the regional theatre Tony Award to theCincinnati Playhouse in 2004. He arranged areception for the theatre’s donors, staff, and artisticcompany, and had everyone stand in a circle aroundthe room. Next to the door was the widow of thetheatre’s founder. Through the doorway someonehanded the Tony to her, so that she could beperceived as the first to hold it. The Tony was thenpassed hand to hand around the room so that eachperson could be recognized as helping to earn it.Doesn’t that say a lot about Ed Stern’s ability toforge an artistic ensemble? ■

The Fellows Gazette 19

Necrology of the

Fellows(* Lifetime Benefactor)

H. Darkes AlbrightRalph G. AllenJoseph Anthony

Paul BakerLucy BartonHoward Bay

Bernard BeckermanJerry Blunt

* Oscar G. BrockettDeMarcus BrownLorraine BrownKarl C. Bruder

Isabel B. BurgerKal Burnim

Harold Burris-MeyerJames H. Butler

Helen Krich ChinoyRichard Coe

* Leslie Irene CogerEdward C. ColeRobert Corrigan

Sheppard EdmondsKeith Engar

Dina Rees EvansMary Jane Evans

Gregory FallsJohn Gassner

Rosamond GilderArnold Gillette

Mordecai GorelikKenneth Graham

Lewin GoffMoses GunnAgnes Haaga

Claribel B. HalsteadWilliam HalsteadBilly Joe HarbinAurand Harris

Father Gilbert HartkeHubert Heffner

Julia Dorn HeflinBarnard Hewitt

Errol Gaston HillBurnet Hobgood* Francis HodgeNorris HoughtonEsther JacksonMichael Kanin

Robert Kase* Tim Kelly

George KernodleLeonard Lee Korf

Paul KozelkaJerome Lawrence

Kate Drain Lawson

Robert E. LeeLeonard Leone

Romulus LinneyMonroe Lippman

Margaret LynnDavey Marlin-Jones

Nellie McCaslinPatricia McIlrath

Brooks McNamaraWilliam M. Melnitz

Lee MitchellRichard MoodyJack MorrisonArnold MossCraig Noel

Frederick O’NealB. Iden Payne

Norman PhilbrickThomas PoagJosé Quintero

John ReichLloyd Richards

* Vera Mowry RobertsHorace RobinsonDouglas RussellGeorge Schaefer

Bob SchnitzerDorothy Schwartz

Samuel SeldenGeraldine B. Siks

Sara Spencer* August Staub

Barry StavisRoger L. Stevens

Ezra Stone* James F. Stuart

Willard Swire* Lowell Swortzell

William TalbotAndrew Tsubaki

Abbott Van NostrandLillian Voorhees

John WalkerWalter Walters

Nicholas WandmacherWinifred WardMelvin White

Frank M. WhitingHenry Williams

Barbara Salisbury WillsLoren WinshipGarland Wright

John Wray Young

Mark

Your

Calendar

Future Dates for the Annual

Meetings in Washington DC

April 21-22, 2012

April 20-21, 2013

THE

FELLOWS

GAZETTE

Published byThe College of Fellows of the

American Theatre

Submit Information to:

Robert A. Schanke, Editor498 Edgewood Lane

Pleasant Hill, IA 50327

or send email to:schanker@aol.com

The Fellows Gazette 20

Fellows Photo Gallery

Photos Courtesy of Fellows Bob Schanke & Felicia Londré and guest Kris Hildy