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A Historical Study Of Katharine Cornell As An Actress-Producer, 1931-1960

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A Historical Study Of Katharine Cornell As An Actress-Producer, 1931-1960

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Content INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1.The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. Silver prints of "photographs" may be ordered at additional charge by writing the Order Department, giving the catalog number, title, author and specific pages you wish reproduced. 5. F'LEASE NOTE: Some pages may have indistinct print. Filmed as received. Xerox University Microfilms 300 North Zeeb Road Ann Arbor, Michigan 48106 74-21,492 MOSS, Lynda Tow le, 1939- A HISTORICAL STUDY OF KATHARINE CORNELL AS A N ACTRESS-PRODUCER, 1931-1960. U n iv e rs ity o f Southern C a lif o r n ia , P h .D ., 1974 T h e a te r University Microfilms, A X ER O X Com pany, Ann Arbor, Michigan © 1974 LYNDA TOWLE MOSS ALL RIGHTS RESERVED THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED. A HISTORICAL STUDY OP KATHARINE CORNELL AS AN ACTRESS-PRODUCER, I 9 3 I - I 9 6O by Lynda Towle Moss A D i s s e r t a t i o n P re s e n te d to th e FACULTY OF THE GRADUATE SCHOOL UNIVERSITY OF SOUTHERN CALIFORNIA In P a r t i a l F u l f i l l m e n t o f the R equirem ents f o r th e Degree DOCTOR OF PHILOSOPHY ( Communication—Drama) June 1974 UNIVERSITY O F S O U T H E R N CALIFO RN IA T H E GRADUATE SC H O O L U NIVERSITY PA RK LOS A N G ELES. CALI FO R N IA 9 0 0 0 7 This dissertation, written by ......................... I#Ada..T.QJKLe..M QSJS............................. under the direction of his..... Dissertation Com mittee, and approved by all its members, has been presented to and accepted by The Graduate School, in partial fulfillment of requirements of the degree of D O C T O R OF P H IL O S O P H Y Dean Date£)LQjLU^dATl3 J ^ DISSERTATION COMMITTEE TABLE OF CONTENTS LIST OF LIST OF LIST OF C hapter I . I I . I I I . TABLES FIGURES MAPS . INTRODUCTION ....................................................................... S tatem en t o f th e Problem J u s t i f i c a t i o n o f th e Problem L im ita tio n s o f th e Study D e f i n i t i o n s o f Terms Review o f th e L i t e r a t u r e Methodology Preview o f Remaining C h a p te rs HISTORICAL PERSPECTIVE AND BACKGROUND . . American T h e a tre from 1920 to i 960 K a th a rin e C o r n e l l 's E a r ly C a re e r Summary THE PRODUCTION COMPANY: ITS MEMBERS AND BASIC OPERATIONS .............................................. Form ation o f C. & M. C. P r o d u c tio n s , In c . O ther P ro d u c e rs and I n v e s t o r s S e le c tio n o f P la y s S e l e c t i o n o f C ast and Crew Role o f S tage Manager Role o f P re s s Agent T h e a tre S e l e c t i o n and A rrangem ents Compensation P aid C a s t, Crew, and O thers A s s o c ia te d w ith P ro d u c tio n s D i s s o l u t i o n o f th e P ro d u c tio n Company Summary Page v v i v i i 1 15 45 ii C h ap ter IY. THE PRODUCTIONS— INDIVIDUAL ANALYSIS . . . . The B a r r e t t s o f Wimpole S t r e e t The C l a s s i c a l P la y s Shaw P la y s Comedies P la y s by American A uthors European Dramas Road F a i l u r e s Summary V. ROAD TOURS ................................................................................. Tour A rrangem ents D u ra tio n and S uccess o f Tours Records Set Comparisons w ith O ther Touring Companies Summary VI. THE PRODUCTIONS— OVERVIEW OF FINANCIAL SUCCESS ................................................................................. Most S u c c e s s f u l P ro d u c tio n s Trends Cost o f P ro d u c tio n s Broadway Runs Summary V I I . CRITICISM ................................................................................. C a te g o r iz in g th e I n d i v i d u a l Produc t i o n s The B a r r e t t s o f Wimpole S t r e e t T o p -ra te d P ro d u c tio n s P la y s R e c e iv in g Very Good Reviews P la y s R ec e iv in g Good Reviews P la y s R e c e iv in g Mixed Reviews P la y s R e c e iv in g M ix ed -to -P o o r Reviews Summary V I I I . SUMMARY, CONCLUSIONS, AND RECOMMENDATIONS . Summary C o n clu sio n s Recommendations BIBLIOGRAPHY Page APPENDICES..................................................................................................... 267 APPENDIX A. C o rp o ra te P ap ers ,.......................................... 268 B. L i s t s o f I n v e s t o r s ..................................... 282 C. S a la r y S ch ed u les .......................................... 288 D. P ro d u c tio n Cost S ta te m e n ts . . . . 293 E. A ccounting S ta te m e n ts ................................ 325 P. C o n t r a c t s .............................................................. 332 G. C o r r e s p o n d e n c e ............................................... 339 H. Touring I n s t r u c t i o n S h e e ts to T h e a tre Managers ..................................... 3^6 I . I n d i v i d u a l Tour G r o s s e s ........................... 352 J . Ray H enderson R e l e a s e s ........................... 358 K. M is c e lla n e o u s (P re s s L i s t s . A d v e rtise m e n ts and Program) . . . . 386 iv LIST OP TABLES Table Page 1. T o ta l G ro sses f o r I n d i v i d u a l P ro d u c tio n s . . . 179 2. Average Weekly G ro sses f o r I n d i v i d u a l P roduc t i o n s ........................................................................................... 180 3. Summary o f T o ta l and Average Weekly G rosses by Decade, 1931-1960 ........................................................ 181 4. Summary o f T o ta l P r o f i t s and Losses by D e c a d e s ...................................................................................... 185 5- C o s ts, P r o f i t s , and L osses ............................................... 188 6 . P ro d u c tio n C o sts Average by Decade, 1931- 1960 ................................................................................................ 189 7. S u e c e s s - F a ilu r e o f Broadway P ro d u c tio n s . . . 192 8 . Number o f Weeks and Perform ances f o r New York Engagements, 1931-1960, in C h ro n o lo g ic a l O r d e r ........................................................................................... 195 9. T o ta l Number o f T h e a tre Weeks— New York and on Tour, 1931-1960 ............................................................. 197 10. C r i t i c s ’ Reviews o f K a th a rin e C o r n e ll P roduc t i o n s A ccording to C ategory .................................... 199 v LIST OP FIGURES Figure Page 1. T h e a tre Weeks on Tour, 1931-1960 ..................................... 171 2. Average Weekly G ro sse s, by C ateg o ry , 1931-1960 (Broadway, Pre-Broadw ay Tour, and Post-B roadw ay Tour C a te g o r ie s ) .......................... 182 3. A verage Weekly Gross Graph of I n d i v i d u a l P r o d u c tio n s , 1931-1960 ........................................................ 183 4 . P r o f i t - L o s s Graph, 1931-1960 ............................... . . . 186 5. P r o d u c tio n Cost Graph, 1931-1960 ..................................... 190 6 . T h e a tre Weeks i n New York, 1931-1960 ........................... 193 vi LIST OP MAPS Map Page I . The B a r r e t t s o f Wimpole S t r e e t T o u r ...................... 136 I I . R e p e rto r y T o u r ...................................................................... 139 I I I . No Time f o r Comedy T o u r .................................................. 146 IV. The C o n sta n t Wife T o u r .................................................. 150 V. Dear L i a r T o u r ...................................................................... 154 V I. Romeo and J u l i e t T o u r ....................................................... 159 V I I. That Lady T o u r ...................................................................... 1 61 V I I I . The D o c t o r 's Dilemma and Rose Burke Tour . . 164 vii I I CHAPTER I | INTRODUCTION i K a th a rin e C o r n e ll, alo n g w ith Helen Hayes and Lynn | | F ontanne, was one o f th e le a d in g a c t r e s s e s o f h e r tim e . iHer a d m ire rs deemed h e r th e F i r s t Lady o f th e American IT h e a tre . In a d d i t i o n to many a p p e a ra n c e s on th e Broadway s ta g e , she to u re d e x t e n s i v e l y th ro u g h o u t th e r e s t o f th e j U n ite d S t a t e s . Thus, she was one o f th e b e s t known and imost a c t i v e a c t r e s s e s o f h e r day. S ta te m e n t o f th e Problem i The g e n e r a l pu rp o se o f t h i s s tu d y was to a s c e r t a i n j what im pact K a th a rin e C o r n e ll had a s an a c t r e s s - p r o d u c e r on j i th e American t h e a t r e . To acco m p lish t h i s , th e fo llo w in g p rim a ry q u e s ti o n s were e x p lo re d : j 1. What were th e com m ercial ach iev em en ts o f th e j K a th a rin e C o r n e ll p r o d u c tio n s ? 2. What were th e c r i t i c a l accom plishm ents o f th e K a th a rin e C o r n e ll p r o d u c tio n s ? 3 . What changes in th e c o u rse o f American t h e a t r e can be a t t r i b u t e d to K a th a rin e C o rn e ll? 1 J u s t i f i c a t i o n o f th e Problem A lthough numerous a r t i c l e s have been w r i t t e n ab o u t I ! K a th a rin e C o rn e ll in new spapers and m agazines, no d o c t o r a l s tu d y h a s examined h e r c a r e e r a s a w hole. On th e few o c c a s io n s she has been m entioned by t h e a t r e h i s t o r i a n s in I ' i i s c h o l a r l y r e s e a r c h , C o r n e ll i s u s u a l l y l i s t e d w ith a group o f o t h e r a c t r e s s e s , o r m entioned b ecau se o f h e r s u c c e s s f u l j a c t i n g r o l e s . R a re ly i s she m entioned a s a p ro d u c e r o f j j n o te . S in ce h e r r e t i r e m e n t from th e t h e a t r e in i 9 6 0 , j C o r n e ll h a s been n e g l e c t e d a lm o st e n t i r e l y . j D uring th e 1 9 2 0 's , th e p la y s a p p e a rin g on Broadway, | ! a s w e ll as th o se i n which C o r n e ll a p p e a re d , ten d ed to be | m elodram as, t r i t e com edies, and s a c c h a rin e m u s ic a ls . In 1 1931 she bro k e w ith t h i s ty p e o f t h e a t r e , and p r e s e n te d The B a r r e t t s o f Wimpole S t r e e t , a p la y o f p o e t i c e x c e l le n c e . I n th e e n su in g y e a r s , she produced many c l a s s i c s and e l e v a t e d th e q u a l i t y o f th e American t h e a t r e . K a th a rin e C o r n e l l 's p ro d u c in g o r g a n i z a t i o n e v o lv ed ' i n t o th e le a d in g t o u r in g company o f i t s tim e . While th e S h u b e rts , Eva L e G a llie n n e , and th e T h e a tre G uild had to u r in g com panies, th e y d id n o t a c h ie v e th e r e c o g n i t i o n o f C o r n e l l 's g ro u p . Her company to u re d more sm a ll towns than any o f th e o t h e r com panies and exposed th e s e t h e a t r e g o e r s to g o o d - q u a l it y drama. C o r n e ll pro v ed t h a t th e American p u b l i c would tu r n o u t to see f i r s t - r a t e t h e a t r e . In a l l a s p e c t s o f h e r p ro d u c tio n s., C o r n e ll Btrove j ; ! f o r e x c e lle n c e . She alw ays s e l e c t e d th e b e s t a v a i l a b l e j ia c to r s , a c t r e s s e s , s e t d e s ig n e r s , and so f o r t h . Her | ■ re p e rto ire in c lu d e d th e b e s t from th e c l a s s i c s as w e ll a s j the best from modern playwrightB. Not only were these pro- j d u c tlo n s a r t i s t i c a c h ie v e m e n ts, b u t th e y were g e n e r a l l y i i i j f i n a n c i a l l y p r o f i t a b l e . D uring th e same p e r io d o f tim e , I I ;Broadway had few economic successes and a large number of failures. C o rn e ll had one o f th e l o n g e s t c a r e e r s i n modern j American t h e a t r e . She worked f o r ty - o n e y e a r s as a le a d in g | i 'a c t r e s s , a r e c o r d exceeded o n ly by H elen Hayes and Lynn j 1 I F ontanne. In a d d i t i o n , she was busy a s a p ro d u c e r d u rin g I tw e n ty -n in e o f th o s e f o r t y - o n e y e a r s . L i m i t a t i o n s o f th e Study T his s tu d y i s p r i m a r i l y d e v o ted to th e p e r i o d from 1931, when K a th a rin e C o r n e l l 's p r o d u c tio n c o r p o r a t i o n was ■ founded, to i 9 6 0 , which was th e l a s t y e a r i n which she was an a c t r e s s - p r o d u c e r . The s tu d y does n o t d e lv e i n t o th e p e r s o n a l l i f e o f C o r n e ll, n o r i s i t an a tte m p t to a n a ly z e h e r a c t i n g s t y l e i n d e p th . Much o f th e d a ta c o n c e rn in g p r o f i t and l o s s , p r o d u c tio n c o s t s , g r o s s r e c e i p t s , and so on h a s been p r e s e n te d in c h a r t s , g ra p h s, and t a b l e s , r a t h e r th an in th e lo n g e r n a r r a t i v e form. 4 D e f i n i t i o n s o f Terms P ro d u c tio n c o s t s . — P ro d u c tio n c o s ts a r e th o se expenses i n c u r r e d p r i o r to opening a show o u t o f town. O p eratin g c o s t s . - -O p e r a tin g c o s ts a r e th o se weekly expenses i n c u r r e d a f t e r a show h a s opened, w h eth er i t be lout o f town o r in New York. Box o f f i c e r e c e i p t s . —Box o f f i c e r e c e i p t s a r e th e income d e r iv e d from t i c k e t s s o ld , e x c lu d in g a l l t a x e s . Gross receipts.— GrosB receipts are the same as box office receipts. O p e ra tin g p r o f i t . - -The o p e r a tin g p r o f i t i s th e company sh a re o f box o f f i c e r e c e i p t s a f t e r d e d u c tin g o p e r a t i n g c o s t s . Net p r o f i t . — Net p r o f i t i s th e company s h a re o f a l l income d e r iv e d l e s s p r o d u c tio n c o s t s , o p e r a tin g c o s t s , and any o t h e r expenses c o n n ected w ith a g iv e n p r o d u c tio n . K a th a rin e C o r n e ll P r o d u c t i o n s . —A ll p r o d u c tio n s in which C o r n e ll ap p e a re d from 1931-60 a r e c a l l e d K a th a rin e C o rn e ll P r o d u c tio n s , a lth o u g h , a s e x p la in e d s u b s e q u e n tly , she was n o t th e a c t u a l p ro d u c e r. 5 | Review o f th e L i t e r a t u r e I K a th a rin e C o r n e ll h a s been one o f th e most o v e r - j looked f i g u r e s i n American t h e a t r i c a l h i s t o r y . A lthough many w r i t e r s have r e f e r r e d to h e r as a le a d in g a c t r e s s o f th e American s ta g e , few m ention th e r e a s o n s f o r h e r acclaim .: Fewer s t i l l make any m ention o f h e r c a r e e r a s a p ro d u c e r. ! The two p la y s most a s s o c i a t e d w ith C o r n e ll i n m ajor t h e a t r e i r e f e r e n c e s a r e e i t h e r A B i l l o f D iv o rcem en t, th e f i r s t p l a y j in which she was n o t i c e d by th e c r i t i c s , o r The B a r r e t t s o f ! r | Wlmpole S t r e e t , th e p la y i n which she a c h ie v e d n a t i o n a l j stardom . R a re ly a r e h e r t o u r s m entioned. I The most d i r e c t l y r e l a t e d seco n d a ry so u rc e m a t e r i a l s on K a th a rin e C o r n e ll a r e th e b io g r a p h ie s w r i t t e n by o r ab o u t h e r . I Wanted To Be an A c tr e s s has been r e f e r r e d to j as an a u to b io g ra p h y , b u t i t a p p e a rs to have been w r i t t e n j by a g h o s t w r i t e r , Ruth Woodbury Sedgwick. The b u lk o f th e book c o n s i s t s o f a s e r i e s o f a n e c d o te s d i r e c t l y r e l a t e d i to C o r n e l l 's work in th e t h e a t r e . The v a lu e o f t h i s book i s th e l i s t i n g o f p r o d u c tio n s in which C o r n e ll a p p eared o r w hich she p roduced p r i o r to 1938* The b io g ra p h y C u rta in Going Up by G ladys M alvern was w r i t t e n f o r e le m e n ta ry and j u n i o r h ig h s c h o o l s tu d e n t s and i s o f l i t t l e s c h o l a r l y u s e . A lthough i t was o r i g i n a l l y a d v e r t i s e d a s a book a b o u t h i s a c t r e s s - w i f e , G u th rie M c C l i n t i c 's book Me and K it d e a l s p r i m a r i l y w ith th e a u t h o r 's l i f e , e s p e c i a l l y d u rin g th e 1 9 2 0 's . M ention i s made o f K a th a rin e C o r n e ll and p r o d u c tio n s such a s The B a r r e t t s o f Wimpole S t r e e t , Romeo and J u l i e t , and L u c re c e , b u t o n ly aB th e y a p p ly to h i m s e l f . I i Q u ic k s ilv e r by F i t z r o y D avis i s a f i c t i o n a l i z e d j i a c c o u n t o f th e C o r n e ll to u r in g company in 1933-34• ; The B.O.W .S. , by Margalo G illm o re and P a t r i c i a | C o llin g e , iB an a c c o u n t o f C o r n e l l 's w artim e o v e r s e a s t o u r o f The B a r r e t t s o f Wimpole S t r e e t i n 1944-45. The b e s t so u rc e o f in fo r m a tio n on G u th rie j 1 j M c C l i n t i c 's c a r e e r i s a d i s s e r t a t i o n w r i t t e n in 1964 by j John K e ith T i l l i n g h a s t e n t i t l e d " G u th rie M c C lin tic , D ir e c - j i t o r . " The stu d y i n c l u d e s most o f th e a r t i c l e s w r i t t e n by and ab o u t M c C lin tic . T i l l i n g h a s t d i s c u s s e s M c C l i n t i c 's j i r e h e a r s a l and d i r e c t i n g p ro c e d u re s and d e s c r i b e s two o f j C o r n e l l 's p r o d u c tio n s i n d e t a i l , Romeo and J u l i e t and The j 2 Three S i s t e r s . j The m ajor s o u rc e s on a c t i n g make l i t t l e o r no men- I j t i o n o f C o r n e ll. The a n th o lo g y A c to rs on A c tin g , e d i t e d by j Toby Cole and Helen K rich Chinoy, m en tio n s C o r n e ll once, * 3 ' in c lu d in g h e r i n a l i s t o f a c t o r s . In a n o th e r h i s t o r y o f ; a c t i n g , The Length and Depth o f A ctin g by Edwin D u err, one Margalo G illm o re and P a t r i c i a C o H in g e , The B.O .W .S. (New York: H a rc o u rt, B ra c e , 1945)• ^John K e ith T i l l i n g h a s t , " G u th rie M c C lin tic , D ir e c t o r " (u n p u b lis h e d Ph.D. d i s s e r t a t i o n , I n d ia n a U n i v e r s i t y , 1964). ^Toby Cole and Helen K rich Chinoy, e d s . , A c to rs on A ctin g (New York: Crown P u b l i s h e r s , 1 9 6 4) , p . 465. r .......................... ' ' .................. 7 i m ention i s made o f C o r n e ll becoming a s t a r o v e r n ig h t in A ; 1 4 I B i l l o f D ivorcem ent and n o th in g e l s e . A H is to r y o f Amer- j ! le a n A ctin g by G a r ff W ilson i s p r i m a r i l y co n cern ed w ith ! i n i n e t e e n t h - c e n t u r y a c t o r s . However, W ilson does d i s c u s s j i C o r n e ll b r i e f l y u n d e r th e s e c t i o n e n t i t l e d Contem porary | A c tin g ." He s t a t e s t h a t J u d i t h Anderson, Helen Hayes, and j K a th a rin e C o rn e ll co u ld cla im k in s h ip to th e c l a s s i c school,j | as th e y had perform ed r o l e s o f h ig h s e r i o u s n e s s i n a v a r i - j ■ i e t y o f c l a s s i c and modern p l a y s . He m entions C o r n e l l 's s u c c e s s f u l r o l e s i n th e 1 9 3 0 's : Joan, J u l i e t , and E l i z a b e th B a r r e t t . He a l s o e x p la in s t h a t Hayes, A nderson, and C o r n e ll had c a r e e r s which resem b led th e i d e a l s o f th e c l a s s i c sc h o o l in th e i n t e g r i t y , d e v o tio n , and h ig h s ta n d - 5 I a r d s which th e y had m a in ta in e d in th e t h e a t r e . C o r n e l l 's work a s an a c t r e s s i s d is c u s s e d i n two ! i n t e r v i e w s . The f i r s t a p p e a rs i n T h e a tre A rts m agazine in J a n u a ry 1937 .> and i s r e p u b l is h e d i n Morton E u s t i s ' P la y e r s f\ i a t Work. The second a p p e a rs i n A c to rs T alk About A c tin g , i e d i t e d by Lewis Funke and John E. Booth in 1961. In th e s e ^Edwin D u e rr, The Length and Depth o f A ctin g (New York: H o lt, R in e h a r t & W inston, 1962), p. 460. ^ G a rff W ilson, A H is to r y o f American A ctin g (Bloom in g to n : In d ia n a U n i v e r s i t y P r e s s , 1966), p . 281. ^Morton E u s t i s , P la y e r s a t Work (New York: T h e a tre A rts Books, 1937)., p p . 59-73- 8 i n t e r v i e w s C o r n e ll d i s c u s s e s h e r a c t i n g te c h n iq u e and h e r 7 p r e p a r a t i o n f o r a r o l e . Of th e m ajo r t h e a t r i c a l h i s t o r i a n s ,, O scar B r o c k e tt o m entions th r e e p la y s i n which C o r n e ll a p p e a re d . Macgowan and M e ln itz l i s t h e r name alo n g w ith th o se o f s e v e r a l o t h e r a c t o r s o f th e 1 9 2 0 's .^ F re e d le y and Reeves r e f e r to h e r as an a c t r e s s - p r o d u c e r and l i s t s ix o f h e r l a t e r p l a y s . In a d d i t i o n * th e y m ention h e r p r o d u c tio n s in s e p a r a t e s e c t i o n s u n d e r th e i n d i v i d u a l p l a y w r i g h t s . ^ H a r t n o l l g iv e s a s h o r t summary o f C o r n e l l 's c a r e e r and in c l u d e s s e v e r a l o f h e r a c t i n g r o l e s . She i n a c c u r a t e l y c i t e s M c C lin tic a s th e p ro d u c e r ( r a t h e r th an a s th e d i r e c t o r ) o f The B a r r e t t s o f Wimpole S t r e e t . No m ention i s made o f C o r n e ll a s a to u r in g 11 p ro d u c e r. Two g e n e r a l s o u rc e s seem to g iv e th e b e s t th u m b n ail s k e tc h e s o f C o r n e l l 's c a r e e r as an a c t r e s s and p ro d u c e r a r e The New T h e a tre Handbook, e d i t e d by B ern ard 7 'Lew is Funke and John E. B ooth, e d s ., A c to rs T alk About A ctin g (New York: Avon Books, l § 6 l ) , P a r t I I , pp. 121-54. O O scar B r o c k e t t , H i s to r y o f th e T h e a tre (B oston: A lly n and Bacon, 1 9 6 8) , p . 640. ~ ^Kenneth Macgowan and W illiam M e ln itz , The L iv in g Stage (Englewood C l i f f s , N . J . : P r e n t i c e - H a l l , 1955)* p . 4£6. ■*"°George F r e e d le y and John A. R eeves, A H is to r y o f th e T h e a tre (New York: Crown P u b l i s h e r s , 1 9 6 8), pp. 880-81. 11 P h y l l i s H a r t n o l l , e d . , The Oxford Companion to th e T h e a tre (3 rd e d .j London: Oxford' U n i v e r s i t y P r e s s , 1957), p. 208. Sobel* and The B io g r a p h ic a l E n c y c lo p e d ia and Who's Who o f th e American T h e a tre , e d i t e d by W a lte r Rigdon. Due to th e d a te o f p u b lic a tio n * th e f i n a l seven y e a r s o f C o r n e l l 's work a r e n o t in c lu d e d i n th e S obel book* b u t a l l o f C o r n e l l 's p r o d u c tio n s a r e in c lu d e d i n th e Rigdon b i o g r a p h y . 12 In American t h e a t r e h i s t o r y sources* B a rn a rd H ew itt m erely r e f e r s to th e tim e C o r n e ll had s p e n t w ith th e W ashington Square P l a y e r s * 1^ w h ile Alan H ew itt e x p l a i n s t h a t he h as seen th e a c t r e s s i n f i v e o f h e r most 14 im p o rta n t r o l e s . In Glenn Hughes' book* C o r n e l l 's name i s l i s t e d tw enty s e p a r a t e tim es in c h r o n o l o g ic a l o r d e r o f lg Broadway t h e a t r e s e a s o n s . ^ D a n ie l Blum a r r a n g e s h i s book c h r o n o l o g ic a l ly a c c o rd in g to Broadway seasons* and in fo rm a t i o n i s g iv en a b o u t each o f C o r n e l l 's p r o d u c tio n s alo n g w ith a l a r g e a s s o r tm e n t o f p h o to g ra p h s from th e m .1^ 1 P B ern ard Sobel* ed.* The New T h e a tre Handbook (New Yorki Crown P u b lis h e rs * 1959), PP. 141-42; W alter' Rigdon* ed.* The B io g r a p h i c a l E n c y c lo p e d ia and Who's Who o f th e American T h e a tre (New York: James H. Heineman* 1 9 6 6 )* P. 374. 1^B arnard Hewitt* T h e a tre U.S.A. (New York: McGraw- H ill* 1959), P. 327. l4 Alan Hewitt* " R e p e rto ry to R e s id u a ls * " i n The American T h e a tre : A Sum o f I t s P a r t s (New York: Samuel French* 1971), pp. 90-91. 1^Glenn Hughes* A H is to r y o f th e American T h e a t r e * 1700-1950 (New York: Samuel French* 1951)• "I / “ D a n ie l Blum* A P i c t o r i a l H is to r y o f th e American T h e a tre , 1860-1970 (New York: Crown P u b lis h e rs * 1959)'• Many o f the books written by theatre criticB o f her j day c o n ta in v a lu a b le in fo r m a tio n ab o u t C o r n e ll. Brooks | A t k in s o n 's Broadway and Lloyd M o rr is ' C u rta in Time b o th g iv e a f a i r l y good d e s c r i p t i o n o f C o r n e l l 's t h e a t r i c a l | 17 a c t i v i t y p r i o r to World War I I . 1 Three c r i t i c s , George j 18 10 20 ' Jean N athan, John Mason Brown, ~ and Howard Taubman, | compare C o r n e l l 's a c t i n g a b i l i t y w ith t h a t o f Helen Hayes | and o t h e r le a d in g a c t r e s s e s o f h e r p e r i o d . The re m a in d e r j o f th e a r t i c l e s by c r i t i c s c o n c e n t r a t e s on re v ie w in g i n d i - ! I v id u a l p r o d u c tio n s o r d e s c r ib in g C o r n e ll in a g iv en r o l e . 21 In Broadway S crapbook, A tk in so n re v ie w s two o f C o r n e l l 's p r o d u c tio n s , No Time f o r Comedy and C a n d id a . In Broadway 22 i n Review, Brown i n c lu d e s a re v ie w o f No Time f o r Comedy, i 2 V ! S ta r k Young' s Im m ortal Shadows J h a s h i s re v ie w s o f fo u r ; ^Brooks A tk in so n , Broadway (New York: M acm illan, 1970), pp. 3 6 0- 6 5 ; Lloyd M o rris, C u r ta in Time (New York: Random House, 1953), PP. 348-51• 18 George Jean N athan, The T h e a tre o f th e Moment ( R u th e rfo rd , N . J . : P a r le ig h D ick in so n U n i v e r s i t y P r e s s , 1936), pp. 71-77. John Mason Brown, Broadway i n Review (New York: W. W. N orton, 1940), pp. 109-12. 20 Howard Taubman, The Making o f th e American T h e a tre (New York: Coward-McCann" I 9 6 5 ) , PP* 3 5 9- 6 0 . p "| BrookB A tk in so n , Broadway Scrapbook (New York: T h e a tre A rts Books, 1947), PP. 11-14, 208-12. p p Brown, pp. 8 3 - 8 7 . 2^ S ta rk Young, Im m ortal Shadows (New York: H i l l and Wang, 1948), pp. 133-3?, 169-72, 2 3 6 - 3 9 . 11 ; j | d i f f e r e n t p r o d u c t io n s : h u c r e c e , A n tig o n e , Hie W ingless V i c t o r y , and C a n d id a . j i i The a r t i c l e which gave C o r n e ll th e most p u b l i c i t y , ; w r i t t e n by h e r g r e a t e s t a d m ire r A lex an d er W o o llc o tt, r e - I ; t ; i l a t e d th e s t o r y o f th e C o r n e ll company p la y in g The B a r r e t t s | o f Wimpole S t r e e t a t 1:00 A.M. to a w a itin g S e a t t l e a u d i - j 24 ! e n ce. j i ! M ethodology | | The fo llo w in g methods were u t i l i z e d to o b ta in th e j ; I r e s e a r c h d a t a c o n ta in e d i n t h i s s tu d y . j i A l l th e m a t e r i a l in th e K a th a rin e C o rn e ll C o lle c tio n a t th e L in c o ln C e n te r f o r P erform ing A r ts L ib r a r y , New York i C ity , was th o ro u g h ly re v ie w e d . I t i s th e most com plete j c o l l e c t i o n o f C o r n e l l 's c a r e e r . The c o m p ila tio n h as o v er f o r t y sc rap b o o k s o f C o r n e l l 's a c t i n g and p ro d u c in g c a r e e r , | and in c l u d e s new spapers and m agazine a r t i c l e s , re v ie w s, | p ro g ram s, and a d v e r t i s e m e n t s . In a d d i t i o n , t h e r e a r e o v er | t h i r t y f o l d e r s in which can be found f i n a n c i a l s ta te m e n ts f o r many p r o d u c t io n s ; c o n t r a c t s w ith a c t o r s , s ta g e h a n d s, d e s i g n e r s , p r e s s a g e n t s , and t h e a t r e s ; t o u r i t i n e r a r i e s ; p r o p e r t y l i s t s ; l i g h t i n g p l o t s ; r e h e a r s a l s c h e d u le s ; p r e s s : r e l e a s e s ; c o rre sp o n d e n c e betw een a c t o r s , p la y w r ig h ts , and P 4 A lex an d er W o o llc o tt, "Miss K i t t y Takes to th e R o a d ,” S a tu rd a y Evening P o s t , August 18, 193^, PP. 14-15, 7 0-72. 12 d e s ig n e r s ; and f l o o r p la n s o r b l u e p r i n t s f o r th e s e t t i n g s . j ;Promptbooks o r ty p e s c r i p t s , which were a v a i l a b l e f o r ! tw en ty -o n e o f th e t w e n ty - th r e e p l a y s , were s tu d i e d f o r | p r o d u c tio n d e t a i l s and r e h e a r s a l , p r o p e r t i e s , c a s t s , and J o t h e r l i s t s which were n o t in th e f o l d e r s o r s c ra p b o o k s. ! i The c o l l e c t i o n d id n o t c o n ta in a l l o f C o r n e l l ’s j j i re v ie w s from th e m ajor new spapers and m agazines. I t was | t h e r e f o r e n e c e s s a r y to examine th e R e a d e r 's Guide to P e r i - j i o d i c a l L i t e r a t u r e , th e New York Times In d e x , th e D ram atic i I n d e x , th e E d u c a tio n I n d e x , and th e New Y o rk er Index to o b t a i n th e m issin g re v ie w s . The m ajor New York new spaper re v ie w s were in c lu d e d u n d e r each p r o d u c tio n i n th e C o l l e c ti o n o f New York T h e a tre C r i t i c s ' Review s, a s p e c i a l c o l l e c t i o n o f re v ie w s com piled by th e New York P u b lic L i b r a r y . ; In a d d i t i o n , a l l p r o d u c tio n s a f t e r 19^0 were a ls o c o n ta in e d j i n th e New York T h e a tre C r i t i c s ' R ev iew s. A ll i s s u e s o f V a r i e t y , a w eekly tr a d e p u b l i c a t i o n , from 1930 to i 960 were s t u d i e d . The p a p e r u s u a l l y p r i n t e d re v ie w s o f b o th th e o u t o f town and New York shows. V a r i e t y a l s o had e s tim a te d g r o s s r e c e i p t s f o r each week a p r o d u c tio n p la y e d i n New Y ork. These e s tim a te d r e c e i p t s were a l s o p r e s e n t e d when th e t o u r was in a la r g e c i t y such a s B o sto n , P h i l a d e l p h i a , o r C hicago. I t was n e c e s s a r y to r e s e a r c h th e V a r i e t y f i g u r e s b e cau se th e a fo re m e n tio n e d c o l l e c t i o n d id n o t have a l l th e f i n a n c i a l s ta te m e n ts f o r th e 1930fs . The e s tim a te d g r o s s e s i n V a r i e t y h e lp e d f i l l j i n th e weeks f o r which e x a c t f i g u r e s were n o t a v a i l a b l e . j A l l t a b l e s i n t h i s s tu d y showing t o t a l g r o s s r e - j j c e i p t s and av erag e w eekly g r o s s were com piled from th e raw ; ;data found in th e C o r n e ll c o l l e c t i o n and V a r i e t y . j Due to p o o r h e a l t h , C o r n e ll was n o t a v a i l a b l e f o r j ; | p e r s o n a l i n t e r v i e w . I n s t e a d , G e rtru d e Macy was in te rv ie w e d .j : I :Macy h a s been C o r n e l l 's b u s in e s s manager and companion j ! | s in c e th e 1930’ s . Macy f u r n is h e d a box o f m a t e r i a l which j had n o t been tu rn e d o v e r to th e C o l l e c t i o n , in c lu d in g an i ! u n p u b lish e d m a n u sc rip t by G u th rie M c C lin tic , p r o d u c tio n j c o s ts f o r te n p l a y s , and p r o f i t and l o s s in fo r m a tio n from j 1 9 3 1 to 1944. ! The New York S e c r e t a r y o f S t a t e p ro v id e d a copy o f ! th e o r i g i n a l A r t i c l e s o f I n c o r p o r a t i o n o f C. & M. C. P ro - I d u c tio n s , I n c . P review o f Remaining C h a p te rs C h ap ter I I g iv e s h i s t o r i c a l p e r s p e c t i v e to C o rn e ll's ! c a r e e r by exam ining th e e v e n ts and p e o p le who were im por t a n t in th e American t h e a t r e d u rin g h e r f o r t y - y e a r c a r e e r . The c h a p te r a l s o d e s c r i b e s h e r a c t i n g c a r e e r in thfe 1 9 2 0 's b e f o r e she became a p ro d u c e r. C h ap ter I I I o u t l i n e s th e c r e a t i o n and f u n c tio n in g o f C o r n e l l 's p r o d u c tio n c o r p o r a t i o n , lo o k in g a t such m at t e r s as i n v e s t o r s and th e r e s p o n s i b i l i t i e s o f o t h e r s a s s o c i a t e d w ith th e c o r p o r a t i o n . r ‘ .................. ........... .... . . .. . . . . . . . .. . . . . . . . . .. . . . . . . . . .. . . . . . . . . .. . ... .................. ..................... " ’ “ ......... i 4 C h a p te r IV d e a l s w ith each o f th e C o rn e ll p ro d u c - ’ j i t i o n s , and e s p e c i a l l y w ith t h e i r com m ercial s u c c e s s . Each | ! ! 'i n d i v i d u a l p r o d u c tio n i s s e p a r a t e l y t r e a t e d . j C h a p te r V a n a ly z e s th e im pact th e C o rn e ll ro ad t o u r s made on th e American t h e a t r e and compares t h e i r s u c c e s s w ith t h a t o f o t h e r t o u r in g com panies. C h a p te r VI reviewB th e p r o d u c tio n s from an o v e r a l l j v a n ta g e p o i n t . The p r o d u c tio n s a r e compared w ith each o t h e r , a g a in s t r e s s i n g th e f i n a n c i a l s u c c e ss o r f a i l u r e o f th e p r o d u c t io n s . C h a p te r V II i s co n cern ed w ith th e a r t i s t i c accom p l i s h m e n t s o f th e v a r io u s p r o d u c t io n s . The em phasis h e re i s on how th e c r i t i c s t r e a t e d each o f th e p r o d u c tio n s . C h a p te r V I I I summarizes th e f in d i n g s o f th e stu d y j and p r e s e n t s p o s s i b i l i t i e s f o r f u t u r e r e s e a r c h . | CHAPTER I I | ; | HISTORICAL PERSPECTIVE AND BACKGROUND ! ; | American T h e a tre from 1920 to i 960 j | P r i o r to and d u rin g th e 1 9 2 0 's th e p r e v a i l i n g forms ! S o f Broadway p o p u la r t h e a t r e were m y stery p l a y s , s e n tim e n ta l idramas, d o m estic com edies, o p e r e t t a s , and th e n i n e t e e n t h c e n tu r y - ty p e m elodrama. These p o p u la r g e n re s were g e n erally ! form ula p l a y s t h a t were sh a llo w i n c o n te n t w ith s te r e o ty p e d i c h a r a c t e r i z a t i o n . A sam pling o f m y stery p la y s in c lu d e s i j .The T r i a l o f Mary Dugan, Cock R obin, W hispering W ire s, The | N ig h tc a p , and The B a t , which p la y e d 8 6 7 tim e s . P o p u la r comedies in c lu d e d To th e L a d ie s , S a l l y , I r e n e and Mary, j L a d ie s N ig h t, I s Z at So?, S eventh Heaven, and S t r i c t l y D is - h o n o r a b l e . 1 These g e n re s r e p r e s e n t e d th e s ta n d a rd t h e a t r e ! ; 1 1 i i - j f a r e f o r th e m a j o r i t y o f Broadway t h e a t r e g o e r s . | At t h i s same tim e th e n a t i v e e x p e rim e n ta l American t h e a t r e was u n d e rg o in g s i g n i f i c a n t , s u b s t a n t i a l d e v e lo p m ent. Two m ajo r f a c t o r s c o n t r i b u t e d to t h i s grow th. "''Burns M antle, e d . . The B e s t P la y s o f 1920-31 (New York: Dodd, Mead, 1 9 21-31); D a n ie l Blum, A P i c t o r i a l H is t o r y o f th e American T h e a tre , i 8 6 0 -1970 (New York: Crown P u b l i s h e r s , 1 9 6 9 )i Glenn Hughes, A H is to r y o f th e American T h e a tre , 1700-1950 (New York: Samuel' F ren ch , 1951) j PP* 4 04-405. 15 ! ' 1 6] ' t F i r s t was th e fo rm a tio n in 1919 o f th e T h e a tre Guild., which j i sou g h t to improve th e l e v e l o f American t h e a t r e by p r e - j ;se n tin g th e b e s t a v a i l a b l e p l a y s , b o th European and Amer- i i c a n . Second was th e p l a y w r i ti n g c o u rse and workshop con- j i d u c te d by George P ie rc e B aker a t H arv ard . The workshop was I a t te n d e d by many who would l a t e r become A m e ric a 's m ajor j p l a y w r ig h ts , such as P h i l i p B a rry , S idney Howard, Eugene O 'N e i l l , and R o b ert Sherwood. The 1 9 2 0 's a ls o saw in n o v a tio n in scene d e s ig n w ith ! i e x p e rim e n ts b e in g made in e x p re s s io n is m and o t h e r European j movements le d by Lee Simonson, R o b e rt Edmond J o n e s, Jo sep h | i iUrban, Donald O e n sla g e r, Norman B el Geddes, and Jo j i M ie lz in e r . These d e s ig n e r s b e l i e v e d t h a t each p la y sh o u ld I 2 i be co n ceiv ed and d e sig n e d i n d i v i d u a l l y . The T h e a tre G uild a f f o r d e d American t a l e n t , i n c lu d in g w r i t e r s , p r o d u c e rs , and a c t o r s , th e o p p o r tu n i t y to u t i l i z e t h e i r s k i l l s . Thus i n 1922 A rth u r Hopkins produced j i a lo n g -ru n n in g Hamlet which s t a r r e d John Barrym ore and in j • 3 ! which R o b e rt Edmond Jo n e s d e sig n e d th e s c e n e ry . N in eteen tw e n ty - fo u r saw A lf re d Lunt and Lynn Fontanne p a i r e d t o g e t h e r f o r th e f i r s t tim e i n M o ln a r's The Guardsman, and ^A. S. G i l l e t t e , "American Scenography: 1716-1969 j " in The American T h e a tre : A Sum o f I t s P a r t s (New York: Samuel F rench, 1971) j P* 194. ^B arnard H e w itt, T h e a tre U .S .A . (New York: McGraw- H i l l , 1959) j PP- 344-48. T h is p r o d u c tio n o f Hamlet was one o f th e few S hakespearean playB seen on th e American s ta g e in th e 1 9 2 0 's . '..................................................................................... ” ’ 17 j two y e a r s l a t e r th e co u p le p a r t i c i p a t e d i n th e r e p e r t o r y ! ; | company c r e a t e d by th e T h e a tre G u ild . Many im p o rta n t p la y s j l t ;were produced., in c lu d in g Pygmalion (Shaw), R ig h t You Are I f j You Think You Are ( P i r a n d e l l o ) , P orgy, The D o c t o r ’s P i - j ; 4 ! lemma, S tra n g e I n t e r l u d e , and A Month i n th e C ountry. j r i Eugene O ' N e i l l ’s f i r s t long p la y s were produced j d u rin g th e 1 9 2 0 's b e g in n in g w ith Beyond th e H orizon, f o l lowed by Anna C h r i s t i e , The Emperor J o n e s , The H a iry Ape, D e s ire Under th e Elm s, and The G reat God Brown.^ | ; I I During th e l a t t e r p a r t o f th e 1920's and th e e a r l y | p a r t o f th e 1930' s , a group o f American d r a m a t i s t s were p ro d u c in g f i r s t - r a t e w orks. They in c lu d e d Elmer R ice w ith I S t r e e t Scene and h i s h i g h l y e x p r e s s i o n i s t i c work The i | Adding M achine, and Maxwell A nderson, who jo in e d w ith Lawrence S t a l l i n g s f o r a l u s t y comedy a b o u t w ar, What P r ic e G lo ry ?, and who was to l a t e r w r i t e E l i z a b e t h th e ; Queen, Mary o f S c o tla n d , High T o r, and W i n t e r s e t . R o b ert Sherwood w rote s e v e r a l p l a y s d u rin g t h i s e r a in c lu d in g Reunion i n V ien n a, I d i o t ' s D e lig h t, There S h a l l Be No N ight The P e t r i f i e d F o r e s t , and Abe L in c o ln in I l l i n o i s . Two w r i t e r s o f h ig h comedy a l s o g a in in g r e c o g n i t io n ; d u rin g th e l a t e 1 9 2 0 's were P h i l i p B a rry , a u t h o r o f 4 / Ja c k P oggi, T h e a te r i n America ( I t h a c a , N .Y .: C o r n e ll U n i v e r s i t y P r e s s , 1 9 6 8) , pp. 128-29. c; ^Glenn Hughes, A H is to r y o f th e American T h e a tr e , 1700-1950 (New York: Samuel F rench, 1951) j PP. 399-401. i . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ” '..18 i com edies w ith p o e t i c o v e r to n e s such a s H o lid a y , H o te l U n i- j ! ! v e r s e , and The P h i l a d e l p h i a S to ry , and S. N. Behrman, a w r i t e r o f s h a r p e r , more i n c i s i v e com edies such aB B io g rap h y ; and End o f Summer. S idney Howard became famous a s a w r i t e r j o f s o c i a l drama w ith such p la y s a s They Knew What They j W anted, Yellow J a c k , and The S i l v e r C o rd .^ j ' i At th e same tim e a s c h o o l o f b r i l l i a n t American j | s a t i r i c p la y s came from a number o f ex-newspapermen tu rn e d j a u t h o r s , known as th e A lgonquin Round T able Group. They i in c lu d e d F r a n k lin P. Adams, R o b ert B en ch ley , and George S. j i I Kaufman. Kaufman had c o l l a b o r a t e d w ith Marc C o n n elly to j w r i t e DuIcy and B eggar on H o rse b a c k . Kaufman, t o g e t h e r w ith Edna F e r b e r, w ro te The Royal F am ily , D inner a t E i g h t , and Stage D oor. He jo in e d Moss H art to w r i t e The Man Who Came to D inner and You C a n 't Take I t W ith You, and w ith M orrie R yskind and George and I r a Gershwin to do th e p o l i t i c a l , s a t i r i c m u sic a l Of Thee I S in g . Moss H art w rote Lady i n th e Dark a lo n e , w h ile Marc C o n n e lly w ro te h i s own B i b l i c a l f a n t a s y The Green P a s t u r e s . A nother im p o rta n t c o l l a b o r a t i o n was Ben Hecht and C h a rle s M acArthur, who 7 teamed up to do The F ro n t P ag e, a s a t i r e o f th e p r e s s . George K e lly was a s a t i r i s t and m o r a l i s t who w rote g W a lte r M eserve, An O u tlin e H i s to r y o f American Drama (Totowa, N . J . : L i t t l e f i e l d , Adams, 1965)* PP* 240-41. ^Brooks A tk in so n , Broadway (New York: M acm illan, 1970), pp. 2 3 0- 3 8 ; M eserve, pp. 286-88. The Show-Off, C r a i g 's W ife, and The T o r c h b e a r e r s . j During th e 1920 ' s and 19301s th e American t h e a t r e j Iwas b l e s s e d w ith an e x c e l l e n t group o f d ra m a tic c r i t i c s w ith such l e a d e r s a s Heywood Broun, John Mason Brown, | j Jo sep h Wood K ru tch , S ta r k Young, and A lexander W o o llc o tt. j O th ers in c lu d e d Burns M antle, John Anderson, George Je a n | N athan, Brooks A tk in so n , John Chapman, P ercy Hammond, G i l b e r t G a b r ie l, R o b ert G arlan d , R o b ert B en c h le y , Kenneth i Macgowan, E d ith I s a a c s , and Rosamond G ild e r . Each had an j en th u sia sm f o r b e t t e r t h e a t r e which was b o th e f f e c t i v e and j c o n ta g io u s . j Between 1926 and 1933 Eva L e G a llie n n e o p e r a te d th e j C iv ic R e p e rto ry T h e a tre on F o u r te e n th S t r e e t In New York C ity and produced many a r t i s t i c p la y s and t r a i n e d s e v e r a l j s u c c e s s f u l a c t o r s . During th e D e p re ssio n , th e C iv ic 1 R e p e rto ry T h e a tre f a i l e d b ecau se o f th e heavy l a b o r c o s ts 8 ' i n changing s c e n e ry each n i g h t from one p la y to a n o th e r . j About 1928, j u s t b e f o re th e c o l l a p s e o f th e s to c k i m ark et, l e g i t i m a t e t h e a t r e in New York, which had en jo y ed i g r e a t p r o s p e r i t y d u rin g th e e a r l y 1 9 2 0 ' s , began to e x p e r i ence a d e c l i n e i n th e h e i g h t s p r e v i o u s l y e n jo y e d . T h e a tre b u i l d i n g s were c o n v e rte d i n t o p a rk in g l o t s . On F o r ty - second S t r e e t , f i v e t h e a t r e s were tu rn e d i n t o h o n k y -to n k s, and many th e a tr e B on Broadway were c o n v e rte d i n t o m otion ^H e w itt, p. 3 6 6 ; P oggi, pp. 138-41. ’p i c t u r e h o u se s. The S h u b e rt b r o t h e r s and Marcus Helman formed th e U n ite d Booking O ffic e i n an e f f o r t to s a lv a g e | th e few "road" t h e a t r e s t h a t rem ain ed . The T h e a tre G uild j combined i t s s u b s c r i p t i o n system w ith th e S h u b ert system to j form th e American T h e a tre S o c ie ty i n 1932* which o p e r a te d Q ! in e ig h te e n to tw e n ty - fo u r c i t i e s f o r many y e a r s . ' | Among th e c h i e f r e a s o n s f o r th e d e c l i n e o f th e American t h e a t r e a t t h i s tim e were th e r i s i n g c o s ts o f p r o - j i 1 j ducing a p la y . The e n tr a n c e o f la b o r u n io n s i n t o th e t h e - j ; I a t r i c a l c r a f t a c c e l e r a t e d i n c r e a s i n g e x p e n d i t u r e s . Then* j as Broadway p r o d u c tio n s became more e x p e n siv e to mount, th e j chances f o r f i n a n c i a l f a i l u r e became g r e a t e r . U n less i t j a p p eared r e a s o n a b ly c e r t a i n t h a t a new p r o d u c tio n would ! make money, t h e r e was a ten d en cy to c lo s e a p la y e a r l y . A c c o rd in g ly , th e m o d e ra te ly s u c c e s s f u l p la y became l e s s common. F i n a l l y , th e a tr e g o in g began to r e c e i v e c o m p e titio n ; i i from l e s s e x p e n siv e forms o f e n t e r t a i n m e n t. In 1927 th e j f i r s t t a l k i n g m otion p i c t u r e was made and drew la r g e a u d i - j e n c e s . Two y e a r s e a r l i e r th e f i r s t r e c e i v i n g s e t s f o r I r a d io were p u t on th e m a rk e t. These forms o f in e x p e n s iv e e n te r ta in m e n t drew some p o t e n t i a l t h e a t r e g o e r s away from th e t h e a t r e o r cau sed them to a t t e n d l e s s f r e q u e n t l y . ’1 '® ^ v a r i e t y , June 7, 1 9 6 7, p. 64; P oggi, p. 1 3 3 . Poggi d is c u s s e s th e T h e a tre G u i l d 's r e l a t i o n s h i p w ith th e S h u b ert o r g a n i z a t i o n in d e p th . Poggi, pp. 138-41; H e w itt, p . 3 8 2 . j . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 ; i The developm ent o f th e t a l k i n g m otion p i c t u r e drew ; I many o f the b e s t p la y w r ig h ts and a c t o r s away from New York j : i to Hollywood, which R o b e rt Sherwood d e s c r ib e d a s " th e f e a r - | 11 * f u l devouring o f t a l e n t by th e i n s a t i a b l e s t u d i o s . " A l- j ; i though many a c t o r s rem ained m otion p i c t u r e s ta rs ., many o f j th e w r i t e r s , in c l u d i n g George S. Kaufman, Thornton W ild e r, | and P aul Green, d is e n c h a n te d w ith Hollywood, came back to j :New York and w ro te q u a l i t y p l a y s . O th ers such a s Maxwell j Anderson, R o b e rt Sherwood, C l i f f o r d O dets, L i l l i a n Heilm an, j Sidney Howard, and S. N. Behrman commuted betw een th e E a s t j and West C o a sts. ! I Almost e v e ry p la y w r ig h t o f e s t a b l i s h e d r e p u t a t i o n a s | w e ll as b e g in n e r s o f e x c e p t i o n a l prom ise became i n - | volved in th e Hollywood e x p e r ie n c e . The p a t t e r n e x - j tended to th e f r e n z i e d p u rc h a s e o f smash Broadway i h i t s by th e s t u d i o s f o r a d a p t a t i o n to th e movie i s c re e n . . . . There were th e young d r a m a t i s t s o f shimmering p o t e n t i a l who "were w hisked to Hollywood and n ev er h e a rd from a g a i n . "12 Thus by the end o f th e 1920, s and i n t o th e 1 9 3 0 's much o f ! th e e f f o r t t h a t m ight have o th e r w is e been d e v o te d to th e t h e a t r e was now b e in g c h a n n e le d i n t o th e m otion p i c t u r e i n d u s t r y . 11 R o b ert E. Sherwood, "F o o tn o te to a P r e f a c e , " in The P a s s io n a te P la y g o e r, ed. by George Oppenheimer (New Yorki Viking P r e s s , 1 9 6 3 ) , p . 228. ■^John Edward S c h u l t h e i s s , "A Study o f th e 'E a s te rn ' W r ite r in Hollywood i n th e 1930, s" (u n p u b lis h e d Ph.D. d i s s e r t a t i o n , U n i v e r s i t y o f S o u th e rn C a l i f o r n i a , 1 9 7 3 )i PP- 1 6 2- 6 3 . ; ' ....... 22 In 1931 some o f th e younger members o f th e T h e a tre | | Guild., le d by H arold Clurman, i t s p l a y r e a d e r ; C heryl ! ; i Craw ford, i t s c a s t i n g d i r e c t o r ; and Lee S tr a s b e r g , who had a c te d i n some o f th e G uild p l a y s ; formed th e Group T h e a tr e , i I t was an i d e a l i s t i c ex p erim en t which hoped to form an j ia c tin g company s i m i l a r to th e ensemble c r e a t e d by th e Moscow A rt T h e a tre . The T h e a tre G uild gave th e new Group T h e a tre i t s b l e s s i n g and some f i n a n c i a l a s s i s t a n c e , p l u s j ' | one o f i t s own p l a y s , P aul G re e n 's The House o f C o n n e lly . The i n i t i a l a c t i n g company in c lu d e d Mary M o rris, j S t e l l a A d le r, F ra n c h o t Tone, M orris Carnovsky, John | G a r f i e l d , J . Edward Bromberg, and l a t e r M arg aret B a rk e r, j E l i a Kazan, and R o b e rt Lewis. Kazan, Lewis, and Clurman j IS e v e n t u a l l y became o u ts ta n d in g d i r e c t o r s . 1 In 1933 th e Group T h e a tre a c h ie v e d p o p u la r and f i n a n c i a l su c c e ss w ith t h e i r p r o d u c tio n o f Men in W hite by J Sidney K in g sle y . I t was th e p la y s o f C l i f f o r d O dets, ! Awake and S in g , W aitin g f o r L e f t y , and Golden Boy, t h a t p a r t i c u l a r l y s u i t e d th e a c t i n g s t y l e o f th e company. The G en tle P eople by Irw in Shaw and My H e a r t ' s i n th e H ig h lan d s by W illiam Saroyan were a l s o produced by th e Group T h e a tre b e f o r e i t d isb an d e d in 19^ 1 . In 1935 th e U n ited S t a t e s Government, u n d e r th e s p o n s o rs h ip o f th e Works P ro g re s s A d m in is tr a tio n , 13Poggi, p. 1 5 1. ; ................ " " " 23 | ; e s ta b lis h e d a netw ork o f t h e a t r i c a l u n i t s th ro u g h o u t th e j | c o u n try e n t i t l e d th e F e d e ra l T h e a tre P r o j e c t . Under th e | le a d e r s h i p o f H a l l i e F la n a g a n , i t was s e t up to p ro v id e ; employment f o r needy p r o f e s s i o n a l t h e a t r e p e o p le . The P r o j e c t a t t r a c t e d la r g e new a u d ie n c e s to th e t h e a t r e by j p r e s e n t i n g p r o d u c tio n s a t p o p u la r p r i c e s . W r ite r s were en - I couraged to ex p erim en t i n t h e i r work w h ile d i r e c t o r s , a c t o r s , and scene d e s ig n e r s s tim u la te d i n t e r e s t in t h e i r c r a f t s on a n a tio n w id e b a s i s . In 1939 Congress d is c o n tin u e d i t s su b sid y o f th e P r o j e c t due to c o m p la in ts i t had r e c e iv e d co n cern in g rum ors o f L e ft Wing a c t i v i t y w ith in th e o r g a n iz a - 14 t i o n . One o u tg ro w th o f th e o r g a n i z a t i o n was th e Mercury : j ;T h ea tre, u n d e r th e d i r e c t i o n o f Orson W elles and John | Houseman. T o g e th e r th ey produced s e v e r a l e x c i t i n g p ro d u c t i o n s in c lu d in g a m o d ern -d ress v e r s io n o f J u l i u s C ae sar; a I 1 I i p r o l e t a r i a n drama w ith m usic, The C rad le W ill Rock by Marc B l i t z s t e i n ; and th e bawdy The S hoem aker's H olid ay by lg Thomas Dekker. J \ The o u ts ta n d in g p la y w r ig h ts o f th e 1930, s , o t h e r j th a n th o se m entioned p r e v i o u s l y , were L i l l i a n Heilm an, who w rote The C h i l d r e n 's Hour, The L i t t l e F oxes, and Watch on th e R h in e , and Sidney K in g sle y , who w ro te Dead End, Men in W hite, and The P a t r i o t s . 14 P h y l l i s H a r t n o l l , e d . , The C oncise Oxford Companion : to th e T h e a tre (London: Oxford P r e s s , 1972), p . 174'.' ■^A tkinson, p p . 300-308. ; ........................ 24 During th e D e p re ssio n d ecad e, th e T h e a tre G uild | produced O’N e i l l ' s m a s te r p ie c e Mourning Becomes E l e c t r a , j i which d e s p i t e i t s f i v e - h o u r p la y in g tim e a c h ie v e d g r e a t j ! I p o p u l a r i t y and was i n s t r u m e n t a l in w inning th e Nobel P r iz e i f o r i t s a u th o r in 1936. O th er im p o rta n t G u ild p r o d u c tio n s j were works by Anderson, Behrman, and O ' N e i l l ’ s o n ly comedy, | A h ,W ild e rn ess, s t a r r i n g George M. Cohan. | In 1935 th e G uild produced Porgy and B e s s , a work j ■destined l a t e r to become th e am bassador o f American c u l t u r e j 1 1 th ro u g h o u t th e w o rld . O th er p la y s in c lu d e d Amphitryon 3 8 , | iwhich s t a r r e d th e L u n ts; The S e a g u ll by Anton Chekhov; The P h i l a d e l p h i a S t o r y , which s t a r r e d K a th a rin e Hepburn; and The Time o f Your L if e by W illiam S aroyan. j An im p o rta n t group o f American p la y w r ig h ts whose : 1 p la y s had been l a r g e l y p roduced by th e T h e a tre G uild j formed t h e i r own company to p roduce t h e i r own p la y s i n | 1938. The o r i g i n a l fo u n d e rs o f th e P la y w r ig h ts ' Company 1 were Maxwell Anderson, S. N. Behrman, R o b ert E. Sherwood, 1 Elmer R ic e , Sidney Howard, and John D. W harton, t h e i r j a t t o r n e y . Among th e im p o rta n t p la y s pro d u ced by th e P la y w r ig h ts d u rin g th e f i r s t decade a f t e r i t came i n t o e x i s t ence were Abe L in c o ln in I l l i n o i s , Dream G i r l , Joan o f L o r- : r a i n e , D arkness a t Noon, and The E o u r p o s te r . A f te r World War I I , th e P la y w r ig h ts ' Company, g r e a t l y s tr e n g th e n e d by th e a d d i t i o n o f Roger L. S tev en s in 1952 , produced s e v e r a l h i t p la y s in c lu d in g Tea and Sympathy, Cat on a Hot Tin j 16 i Roofj and The Bad S e e d . ' | The p ro d u c e r began lo s in g h i s dom inant p o s i t i o n in :American t h e a t r e when he ceased owning th e t h e a t r e s t h a t | ; | p r e s e n te d h i s p l a y s . He no lo n g e r fin a n c e d h i s p r o d u c tio n s j 17 ! w ith h i s own money b u t sought o u t s i d e b a c k in g . In d e p e n d - j e n t p ro d u c e rs o f th e 1 9 3 0 's in c lu d e d Jed H a r r i s , who p r o duced two o f Thornton W i l d e r 's p l a y s , Our Town and The Skin o f Our T e eth ; G i l b e r t M i l l e r , who d id The C o n sta n t W ife, j t , 1 „' ■ ■ ■ ■ ■ r — 1 ■ j : j The P e t r i f i e d F o r e s t , and V i c t o r i a R e g in a ; and Max Gordon, j who d id The Women and D esign f o r L i v i n g . Added to t h i s j group were such p ro d u c e rs a s Kerm it B loom garten, C heryl j : I : I Craw ford, Brock Pem berton, George A b b o tt, Herman Shumlin, ! I and A rth u r H opkins. | A lthough th e s o c i a l - r e a l i s t i c p la y s were th e most d i s t i n c t tr e n d o f th e 1930’s, th e y c o n tin u e d to r e p r e s e n t o n ly a s m a ll p r o p o r t i o n o f th e t o t a l p la y s produced in New ;York. Those who w ished to u se th e t h e a t r e a s an escape c o n tin u e d to f r e q u e n t th e i n s i p i d s e n ti m e n t a l dramas and comedies which were alw ays in p l e n t i f u l s u p p ly . The lo n g e s t- r u n n in g h i t p la y o f th e 1920' s , A b ie 's I r i s h Rose, which p la y e d 2 ,3 2 7 p e rfo rm a n c e s, was o u t d i s t a n c e d in th e "^M eserve, p . 322; A tk in so n , pp. 2 6 7- 8 3 . ^ H e w i t t , pp. 4 l 4 , 423. 1930’s by L if e w ith F a th e r , which ra n 3,224 tim e s , and j iTobacco Road, which ra n 3*182. j For Broadway th e 1 9 2 0 's r e p r e s e n t e d th e a l l - t i m e j ;peak In th e number o f p r o d u c tio n s , from 126 In 1 9 1 6 -1 7 to ; i 264 In 1927-28. Many new t h e a t r e s were b u i l t d u rin g th e j 1 9 2 0 's , b u t 1928 s ig n a le d th e end o f p r a c t i c a l l y a l l j 1 ft I t h e a t r e b u i l d i n g . The S h u b ert b r o t h e r s , who had a boom- ! in g $ 2 5 , 0 0 0 ,0 0 0 e n t e r p r i s e i n th e 1 9 2 0 ' s , d e c la r e d ban k r u p tc y In 1931- During th e 1930-31 season th e r e were 187 new p r o d u c tio n s and by th e 1939-40 se a so n , th e number o f new p r o d u c tio n s had d e c lin e d to n i n e t y - o n e ." ^ On th e ro a d th e d e c lin e came tw enty y e a r s e a r l i e r . Between 1908 and 1918 th e number o f t h e a t r i c a l companies on : t o u r dropped from 313 to f o r t y - o n e . During th e 1 9 2 0 's th e i number o f companies I n c re a s e d s l i g h t l y to an a v erag e o f j ; s i x t y - f i v e , b u t dropped s h a r p ly to an a v erag e low o f ! 20 tw en ty -o n e d u rin g th e 1 9 3 0's.~ In 1931 V a r i e t y i n d i c a t e d t h a t th e ro a d season j would be ending by March 15, th e e a r l i e s t c lo s in g th e ro ad 21 had ever exp erien ced . 1 ft The number o f t h e a t r e s i n New York jumped from f o r t y - n i n e i n 1 9 1 9 -2 0 to a h ig h o f s e v e n t y - s i x in 1 9 2 7- 2 8 , a number which h a s n e v e r been e q u a l l e d . S ource: P oggi, p . 48. " ' " V a r i e t y , j une 7, 1 9 6 7* pp. 64, 6 7 . 20P oggi, pp. 30-31- 2" V a r i e t y , February 4 , 1931* P- 7 0 . In "The American T h e a tre Goes B r o k e / ' A rth u r Mann d is c u s s e d th e f i n a n c i a l c r i s i s th e American t h e a t r e was f a c in g in c lu d in g th e s i t u a t i o n on th e ro a d i n 1 9 3 3 s At th e peak o f th e season now draw ing to a c lo s e t h e r e were 6,000 d arkened t h e a t r e s th ro u g h o u t th e c o u n try . About h a l f o f them were abandoned l e g i t i mate t h e a t r e s which had been w ire d f o r t a l k i n g p i c t u r e s . T his t o t a l h as mounted in th e l a s t th r e e months., and i t w i l l be f u r t h e r i n c r e a s e d w ith th e coming o f summer. The empty t h e a t r e s h o ld th e v a n is h in g hopes o f some 8,500 unemployed a c t o r s and a c t r e s s e s . They a r e monuments to th e f o l l y o f c o u n t l e s s b a n k ru p t p ro d u c e rs and ow ners. Up to f i v e y e a r s ago th e r e were 410 c i t i e s i n th e U n ited S t a t e s and Canada i n which d ra m a tic and m u sic a l p r o d u c tio n sh o u ld be p la y e d f o r from two o r th r e e days to two o r th r e e weeks. Today th e r e a re o n ly tw elve c i t i e s o u t s i d e G r e a te r New York to which a Broadway p la y may be s e n t . These dozen s p o ts r e p r e s e n t what i s l e f t o f "th e r o a d . "22 J a c k P u la s k i w ro te in V a r i e t y in 1934 a summary o f th e e x a c t s t a t e o f th e ro ad d u rin g th e e a r l y 1 9 3 0 's . Comparable to t h a t e r a when h a l f a dozen o r more ro a d shows o f Broadway s u c c e s s e s to u re d th e e n t i r e la n d , even i n t o alm o st f o r g o t t e n h id eaw ay s, tim es when r o u ti n g was an a r t , t h e r e now i s no ro a d . . . . 20 shows have gone i n t o key c i t i e s and s t i c k s b u t few have accom plished 40 weeks on th e ro a d . Pew a t t r a c t i o n s now g e t p a s t Chicago and few er ran g e i n t o th e S outh. Fewer to u r beyond th e R o ck ies and th e C oast i s on i t s own. At one tim e t h e r e were 1,500 t h e a t r e s on th e Klaw & E r la n g e r t o u r i n g s h e e t s . . . . In t h a t h e y day t h e r e were 50 " c i t y shows" fram ed f o r th e key s ta n d s , th e b a la n c e b e in g one, two and t h r e e n i g h t s ta n d s p la y e d by f a b r i c a t e d companies o f th e l a r g e r s ta n d a t t r a c t i o n s . . . . D e s p ite th e s h rin k a g e o f op A rth u r Mann, "The American T h e a tre Goes B ro k e ," American M ercury, A p r i l, 1933^ PP. 417-23. th e r o a d , h o o k e rs say th e r e a r e s t i l l betw een 200 to j 300 p la y a b le t h e a t r e s a t th e p r e s e n t t i m e . 23 j i Whereas d u rin g th e 19201s and 1930’ s s e v e r a l tr e n d s j had been d i s c e r n i b l e i n th e t h e a t r e in s o c i a l r e a l i s m , j s a t i r e , comedy, and melodrama, th e p e r i o d d u rin g and imme d i a t e l y fo llo w in g World War I I had no s i g n i f i c a n t d e v e lo p m ents u n t i l th e ad v e n t o f p s y c h o lo g i c a l r e a l i s m in th e p la y s o f T ennessee W illia m s and A rth u r M i l l e r . Many l e g i t im ate p la y s were p roduced f o r s h e e r e n te r t a i n m e n t, such as Jo se p h K e s s e l r i n g ’s A rse n ic and Old Lace and Noel Cow ard's i B l i t h e S p i r i t . Mary C h ase’ s H arvey, a comedy ab o u t an i n v i s i b l e r a b b i t , r a n f o r 1,775 p e rfo rm a n c e s and won a 2 4 P u l i t z e r P r iz e . i In 19^5, a new p la y w r ig h t named T ennessee W illiam s | a p p e a re d on th e Broadway scene w ith The G lass M en ag erie, i n ! which L a u r e t t e T a y lo r gave h e r g r e a t e s t p e rfo rm a n c e . j W illia m s w ro te h i s b e s t p la y in 19^7, A S t r e e t c a r Named ; D e s ir e , p roduced by I r e n e S e lz n ic k , s t a r r i n g Marlon Brando j and J e s s i c a Tandy, and d i r e c t e d by E l i a Kazan. W illia m s | i s n o te d f o r h i s themes o f v io le n c e and l o n e l i n e s s couched in superb p o e t i c d i c t i o n . O ther im p o rta n t p la y s by ^ J a c k P u l a s k i , "The Road, Or What Road?" V a r i e t y , J a n u a ry 2, 193^, P* 117 • 0 J1 MeBerve, p. 3 2 8. 1................................................................................................ 29 : ! W illia m s in c lu d e Cat on a Hot Tin Roof., N ight o f th e | 25 ‘ Ig u a n a , Suddenly L a s t Summer, and Sweet B ird o f Y o u th . ! The o t h e r m ajo r p la y w r ig h t o f th e 1940*s and 1 9 5 0 's . I i s A rth u r M i l l e r , whose f i r s t m ajor Broadway s u c c e ss was iAll My Sons in 194-7^ a s e a r in g commentary on w artim e p r o f - | ■ i i t e e r i n g . M i l l e r 's g r e a t e s t s u c c e ss came i n 1949 w ith j ;D eath o f a Salesm an, which d e p ic te d th e sh a llo w dream o f j i s u c c e ss by an o r d in a r y i n d i v i d u a l . A nother im p o rta n t p la y ! | by M i l l e r i s The C r u c i b l e , which so u g h t to draw a p a r a l l e l j b etw een th e McCarthy S en ate h e a r in g s and th e s e v e n te e n th - j c e n tu r y w i t c h c r a f t t r i a l s in Salem, M a s s a c h u s e tts . The m ajor themes o f M i l l e r 's p la y s d e a l w ith m o r a li t y and 26 I s o c i a l c o r r u p t i o n . The realiB m o f M il l e r and W illiam s i had changed so r a d i c a l l y from what had p r e v i o u s l y been c a l l e d r e a l i s m t h a t i t was now c a l l e d " p s y c h o lo g ic a l r e a l i s m . " While th e s o c i a l - r e a l i s t i c p la y s o f th e 1 9 3 0 's d e a l t w ith th e s o c i a l problem s p r e v a l e n t in .s o c ie ty , th e j :plays s t i l l p r e s e n t e d b a s i c a l l y a s u r f a c e r e a l i s m i n which j th e p la y w r ig h ts d e p i c t e d c h a r a c t e r , b u t d id n o t show i n n e r 27 m o tiv a tio n . However, p s y c h o lo g ic a l r e a l i s m , which 2^Marion G e is in g e r , P la y s , P la y e r s & P la y w rig h ts (New York: H a rt Publishing"^ 1971), pp. 553-90. 26I b i d ., pp. 591-95- 27 'Eugene O 'N e i l l a tte m p te d to p ro b e man’ s p e r s o n a l i t y d u rin g th e 1 9 2 0 's and 1 9 3 0 ' s , u s in g a v a r i e t y o f d e v ic e s i n c lu d in g masks, v o ic e o v e r s , e x p re s s io n is m , and th e Greek choru s . igained im p etu s by th e e a r l y 1 9 5 0 's , was co n cern ed w ith th e j dinner n a t u r e o f man. A d i f f e r e n t type o f a c t i n g was needed | :to p o r t r a y th e s e new c h a r a c t e r r o l e s which were co n cerned j I w ith th e f r u s t r a t i o n s o f d a i l y l i f e . T his s t y l e o f a c t i n g , ; which was p u b l i c i z e d th ro u g h th e work o f Lee S tr a s b e r g a t ! j th e A c t o r s ’ S tu d io , was concerned w ith th e n a t u r a l n e s s o f j i 28 ’ speech o n s ta g e and v e ry l i t t l e em oting. | A f te r y e a r s o f e x p e rim e n ta tio n Eugene O’N e i l l went back to th e w ell-m ade p la y w ith th e i n s i g h t s he had g a in e d from h i s e a r l i e r y e a r s . New p la y s produced a f t e r World War I I in c lu d e d The Iceman Cometh, which showed man’ s need f o r i l l u s i o n , th e a u to b i o g r a p h ic a l Long Day’ s Jo u rn e y I n to ! ; ; N ig h t, and A Touch o f th e P o e t . | O ther im p o rta n t p la y w r ig h ts o f th e p o stw a r e r a I in c lu d e W illiam In g e , who w ro te ab o u t l o n e l i n e s s and d e s o - I l a t i o n in such playB as Come Back L i t t l e Sheba, P i c n i c , Bus S to p , and The Dark a t th e Top o f th e S t a i r s ; Sidney :K ingsley, who w ro te a somber p la y on Communism, D arkness a t Noonj Carson M cC ullers, who w rote The Member o f th e Weddingj R o b e rt A nderson, who w ro te ab o u t a boy s u sp e c te d o f h o m o se x u a lity in Tea and Sympathy; and L i l l i a n Heilman, who w ro te A nother P a r t o f th e F o r e s t , The Autumn Garden, and Toys i n th e A t t i c . The Caine M utiny C ourt M a r t i a l , which s t a r r e d ^Hewitt, p. 484. 3i i Henry Fonda and Lloyd Nolan* was p r e s e n t e d w ith s c e n e ry . A nother p la y alo n g s i m i l a r l i n e s was th e d ra m a tic r e a d in g I o f Shaw 's Don Juan In H e ll, which p la y e d a l i m i t e d en g ag e- | ;ment In New York b u t was e x tre m e ly s u c c e s s f u l b ecau se o f th e u se o f m icrophones i n la r g e a u d ito riu m s th ro u g h o u t th e ; c o u n t r y . 2^ : | In th e 1 9^0’ s th e m u sic a l comedy form re a c h e d f r u - i I i t i o n , b e g in n in g w ith Oklahoma i n 19^3 j fo llo w e d by C arou- i I s e l i n 19^5j and f i n a l l y w ith South P a c i f i c i n 19^9* one o f j th e g r e a t e s t s u c c e s s e s i n th e American t h e a t r e and w in n er i iof th e P u l i t z e r P r i z e . Two im p o rta n t m u s ic a ls o f th e i1950's were Guys and D o l l s , b a se d on th e c h a r a c t e r s o f Damon Runyon, and My F a i r Lady, b a se d on Shaw’ s Pygm alion, which ra n f o r 2 ,7 1 7 p e rfo rm a n c e s , a r e c o r d which was o n ly SO ^ r e c e n t l y exceeded by H e llo D o lly and F i d d l e r on th e R o o f. ; The off-B roadw ay movement came i n t o e x i s t e n c e d u rin g th e 1 9 5 0 's and e x e r te d a g r e a t d e a l o f i n f l u e n c e on ; ; i New York t h e a t r e . Between 1950 and i 960 th e number o f o f f - | S I ; Broadway h o u se s grew from s ix to t h i r t y . These t h e a t r e s in c lu d e d C i r c l e i n th e S q u are, S h e rid a n S quare, T h e a tre Fiast, th e C herry Lane T h e a tre , and th e M a rtin iq u e . In a d d i t i o n to p r e s e n t i n g many r e v i v a l s o f th e c l a s s i c s , o f f - Broadway was r e s p o n s i b l e f o r i n t r o d u c i n g i t s a u d ie n c e s to 2^Blum, pp. 298-372. 3 ° G e is in g e r, p p . 7 1 1- 1 9 . ^ P o g g i , p_ 1 8 9 . 32 a non-commercial form of theatre (particularly the Theatre j of the Absurd), including such plays as The Threepenny j : j Opera by Bertolt Brecht; Waiting for Godot and Endgame by Samuel Beckett; Deathwatch and The Balcony by Jean Genet; : I Ubu the King by Alfred Jarry; and The Connection by Jack j j Gelber. j j The foregoing represents a survey of the significant trends and developments in American theatre during the years in which Katharine Cornell was active as an actress j and producer. It was intended as a backdrop in which to I i see what else was taking place in American theatre during this era and to examine some of the factors which may have influenced her career. Next the study will look at Cornell's career prior to becoming her own producer. This., ! like the American theatre background, is intended to place j her career as an actress-producer in proper perspective. j Katharine Cornell's Early Career ! ! i Katharine Cornell was born on February 16, 1898 in i Berlin, Germany, where her American father was studying medicine. Her parents soon returned to Buffalo, New York, where her father became a theatre manager of the Star The atre and later of the Majestic Theatre. While attending Oaksmere School in Mamaroneck, New York, Katharine Cornell wrote pantomimes and allegorical plays, and also acted male parts in Shaw's Man of Destiny and Twelfth Night. C o rn e ll made an in c o n sp ic u o u s deb u t w ith th e Wash in g to n Square P la y e r s i n 1916 and rem ained w ith th e company ! 1 i f o r one season p la y in g sm all r o l e s such as a Samurai M other j ■ | i n B u sh id o , th e v o ic e o f a woman hav in g a baby o f f s t a g e in The L ife o f Man, and sm a ll r o l e s in P l o t s and P la y w r ig h ts , B lin d A l l e y s , and N e ig h b o rs . In 1918 she jo in e d th e J e s s i e | | ! (B o n stelle s to c k company, where she le a r n e d th e fu n d am en tals ! ! 1 o f a c t i n g by g iv in g te n p erfo rm an ces a week. C o rn e ll a p p e a re d w ith th e B o n s t e l l e Company f o r th r e e summers. The f i r s t good p a r t s she had were i n s to c k . The e x p e rie n c e ■gave C o r n e ll th e t e c h n i c a l s k i l l and c o n fid e n c e t h a t were to h e lp h e r d u rin g h e r e a r l y r o l e s on Broadway. She once i s t a t e d : | There i s n o th in g l i k e s to c k , though, to g iv e you d i s c i p l i n e , te a c h you y o u r b u s in e s s . You le a r n a l l th e t r i c k s — to do them q u ic k ly . Of c o u rs e , i t can i be d an g ero u s. You c a n ' t go on g e t t i n g y o u r e f f e c t s w ith c o u n t e r f e i t s , u s in g o b v io u s d e v ic e s . As you m atu re , and have tim e to dev elo p a p a r t , y o u 'v e g o t to d i s c r i m i n a t e — d e c id e what methods to u se and what to d i s c a r d . I f you d o n 't go on and l e a r n to a c t c r e a t i v e l y you a r e bound to become p e rm a n e n tly s to c k y - - j a ham. But i t does g iv e you a f o u n d a t i o n . 32 The tim e s p e n t i n th e B o n s t e l l e Company d id more th a n g iv e C o r n e ll an o p p o r tu n i t y to dev elo p h e r c r a f t . I t allo w ed h e r th e chance to stu d y an e x c e l l e n t model o f an a c t r e s s - p r o d u c e r In J e s s i e B o n s t e l l e . •^ K a th a rin e C o r n e ll, I Wanted To Be an A c tr e s s (New York: Random House, 19^1), pp. 15-16. She had t h a t r a r e g i f t o f g e t t i n g a smooth p r o d u c tio n to g e t h e r i n a week—week i n and week o u t. . . . She c o u ld manage any k in d o f s ta g e . No m a tte r what h a p pened she was e q u a l to th e s i t u a t i o n . . . . W atching h e r I le a r n e d most o f th e b a s i c p r i n c i p l e s o f t h e a t r e wisdom: t h a t you c a n ' t become im p o rta n t u n l e s s you know how to work w ith p e o p le , can h e lp them to d e v e l op, keep them s t e e r e d s t r a i g h t , c a r r y th e h a rd end o f th e b a r g a i n . There was v ery l i t t l e f r i c t i o n in th e B o n s t e l l e company. She k e p t good d i s c i p l i n e . E v e ry one s tu d i e d and worked and was on tim e . . . . She was sim ply a t r o u p e r . 33 C o r n e l l 's d e s c r i p t i o n o f J e s s i e B o n s t e l l e a s a p ro d u c e r became a model f o r K a th a rin e C o r n e ll when she b e came an a c t r e s s - p r o d u c e r te n y e a r s l a t e r . Thus, th e i n f l u ence o f J e s s i e B o n s t e l l e on K a th a rin e C o rn e ll was s tro n g i n d e e d . C o r n e l l 's f i r s t to u r in g e x p e rie n c e was in th e t h i r d company o f The Man Who Came Back in 1919* In 1920 J e s s i e B o n s t e l l e d e c id e d to produce L i t t l e Women by L o u isa May A l c o t t i n London, and she chose K ath a r i n e C o r n e ll f o r th e p a r t o f J o , a p a r t which l a t e r opened d o o rs f o r C o r n e ll on Broadway. The c r i t i c s p r a i s e d b o th L i t t l e Women and K a th a rin e C o r n e ll. A f t e r p la y in g th r e e months in London, C o r n e ll r e t u r n e d to th e U n ite d S t a t e s to p la y le a d in g r o l e s in B o n s t e l l e 's D e t r o i t company. A new d i r e c t o r , G u th rie M c C lin tic , had been engaged by B o n s t e l l e f o r th e summer. That summer C o r n e ll and M c C lin tic began t h e i r c o u r t s h i p d u rin g a h e c t i c sc h e d u le o f summer s to c k , a c o u r t s h i p t h a t ■ ^ I b i d ., p. 1 6 . ................... 3 5 | i ] would, blossom i n t o m a rria g e a y e a r l a t e r . C o r n e ll p la y e d i th e le a d in g r o l e o f Diane in th e t r y o u t p r o d u c tio n o f ;S eventh Heaven, which l a t e r ap p eared on Broadway. She a ls o j ap p eared i n Daddy Long Legs, Too Many H usbands, and C i v i l - ! i ia n C l o t h e s . A f t e r seven months o f lo o k in g f o r work in j New York, K a th a rin e C o rn e ll f i n a l l y la n d ed a b i t p a r t on j Broadway i n Nice P eo p le , s t a r r i n g F ra n c in e L a ttim o re , T a l- ! i l l u l a h Bankhead, and M erle Maddern. That same y e a r she | p la y e d th e le a d in g r o l e o f Sydney F a i r f i e l d i n A B i l l o f ' D ivorcem ent, a p a r t which made a s t a r o f Maggie A lb a n e si in i ; — - j London, K a th a rin e Hepburn in m otion p i c t u r e s , and b ro u g h t j i i : I K a th a rin e C o rn e ll to th e a t t e n t i o n o f th e American c r i t i c s , j i The p la y became a smash h i t on Broadway l a r g e l y b e cau se o f th e e n th u sia sm o f A lexander W o o llc o tt, c r i t i c f o r th e New York Tim es, who became C o r n e l l 's le a d in g fan th ro u g h o u t h e r j c a r e e r . W o o llc o tt h a i l e d C o r n e l l 's p erfo rm an ce as one "o f ' memorable u n d e rs ta n d in g and b e a u t y . " ^ i Kenneth Macgowan in th e New York Globe n o te d : j K a th a rin e C o r n e ll a c t s th e d a u g h te r s u p e rb ly . I t i s a b r i l l i a n t p ie c e o f work, s e n s i t i v e w ith a l l th e s e n s i t i v e n e s s t h a t must be su g g e ste d i n t h i s d a u g h te r o f an in s a n e man. . . . A n o th er o f th e o u t s ta n d in g a c t r e s s e s o f th e n e x t te n y e a r s comes f o r w a r d .35 Follow ing h e r p e r s o n a l s u c c e ss i n A B i l l o f D iv o rc e ment, C o r n e ll was a f f o r d e d an o p p o r tu n i t y f o r im m ediate 3Vbid., p. 187. ■^Kenneth Macgowan, New York Globe, O ctober 11, 1921. ' 36 stardom by p ro d u c e r A1 Woods, who o f f e r e d h e r th e le a d In | I a new Broadway p la y . P e e lin g she la c k e d s u f f i c i e n t e x p e r t - ; ence to be w orthy o f stardom , C o r n e ll r e j e c t e d th e o f f e r . ! Her g r e a t e s t d e s i r e a t t h a t moment was to p l a y Mary P i t t o n j in ¥111 S hakespeare by Clemence Dane. When W inthrop Ames j o f f e r e d h e r th e p a r t , she q u ic k ly a c c e p te d . Heywood Broun s a id o f h e r i n th e New York W orld: j Miss C o r n e ll g iv e s th e most s p i r i t e d and sw a g g e rin g ly j ro m a n tic perform ance we have known in s e a so n s . I t i s i an a c t l i g h t e d so s u p e rb ly t h a t g r e a t t h r e a t e n i n g shadows dance upon th e w a lls l i k e o v e r t o n e s . 36 j In h e r n e x t p la y . The E nchanted Cot t a g e by A rth u r j Wing P in e ro , C o r n e ll s h i f t e d from th e saucy, wanton Mary j P i t t o n i n t o th e s e n s i t i v e , k in d , p a t h e t i c Laura P e n n in g to n , j The New York World c r i t i c w ro te: The b e s t a c t i n g i s t h a t o f Miss K a th a rin e C o r n e ll, a most e f f i c i e n t young a c t r e s s who makes th e s p i n s t e r i a s p in ch ed in a p p e aran ce and as u n lo v e ly e x t e r n a l l y a s th e d r a m a t is t meant h e r to b e . In th e magic scene she i s e q u a lly s u c c e s s f u l in s u g g e s tin g th e r e a l b e a u t y o f s p i r i t . 37 I W ill S h ak esp eare and The E nchanted C o ttag e each l a s t e d e i g h t weeks on Broadway. In th e f a l l o f 1923, C asanova, w r i t t e n by Lorenzo de A z e r t i s and t r a n s l a t e d by Sidney Howard, o f f e r e d C o r n e ll a n o th e r chance to do a costume p la y . The p a r t o f H e n r i e t t a w a B v e r y s h o r t , b u t i t a l l o w e d h e r t h e o p p o r t u n i t y t o p l a y •^Heywood Broun, New York W orld, J a n u a ry 2, 1923. •^New York W orld, A p r il 1, 1923- 37 a d u a l r o l e , t h a t o f th e m i s t r e s s o f Casanova and h e r | d a u g h te r . P ercy Hammond o f th e New York T rib u n e commenteds | Miss C o r n e l l ’s p la y in g a s H e n r i e t t a i s th e lo v e ly and i r r e s i s t i b l e r e p r e s e n t a t i o n t h a t i s e x p e c te d o f h e r . The r o l e a llo w s h e r to be b e a u t i f u l in th e p ic t u r e s q u e d r e s s o f th e tim e and Mr. H ow ard's mu s i c a l l i n e s g iv e h e r v o ic e o p p o r tu n i t y to be h e a rd j a t i t s b e s t . 38 ; A f t e r Casanova had c lo s e d , C o r n e ll d e c id e d to do a p la y w ith h e r husband, G u th rie M c C lin tic , who had n o t d i r e c t e d h e r s in c e th e summer o f 1920 i n D e t r o i t , and th e y j l s e l e c t e d The Way Things Happen by Clemence Dane. C o rn e ll found th e p a r t o f S h i r l e y P rid e p a r t i c u l a r l y a p p e a lin g b e cause she was "a r e a l p e r 8o n - - n o t j u s t a v i r t u o s o a c tin g p a r t . "39 Two c r i t i c s d is c u s s e d h e r a c t i n g t a l e n t . Burns j i i M antle o f th e New York News s t a t e d : | K a th a rin e C o r n e ll seems to have th e c e r t a i n i s u b t l e som ething t h a t makes g r e a t a c t r e s s e s . . . . i Miss C o r n e ll i s n o t p r e t t y . . . . E x t e r n a l l y , a t l e a s t , she i s n o t a t a l l th e a c t r e s s ty p e . And y e t ; she h as more o f th e Duse q u a l i t y th an any o f th e ; younger women o f th e s ta g e . . . . Her r o l e i s con v e n t i o n a l l y em otion. And y e t t h e r e i s n o t a h i n t o f commonplace emo t i o n a l i s m in th e C o r n e ll p e rfo rm a n c e . She f e e l s c h a r a c t e r s e n s i t i v e l y and b e a u t i f u l l y . And she has th e g i f t o f p r o j e c t i o n . Which i s what makes g r e a t a c t r e s s e s g r e a t . ^0 A rth u r B. W aters o f th e P h i l a d e l p h i a Ledger compared h e r to Mrs. P isk e : 3 8C o r n e ll, pp. 201-202. 3 9I b i d . , p . 6 3 . 4° I b i d ., pp. 204-205. ! .......................... 38 : j She h as som ething o f th e p e r s o n a l i t y o f Mrs. j F is k e ; p e rh a p s n o t y e t endowed w ith th e b r i l l i a n t * ; a lm o st c a r e l e s s s u r e t y o f touchy b u t p o s s e s s in g one | q u a l i t y t h a t Mrs. F isk e has sometimes la c k e d —a i d e p th o f womanly sym pathy.41 The Way Things Happen was t r i e d o u t i n P h i l a d e l p h i a | l f o r t h r e e weeks and r e c e iv e d a c c la im from a u d ie n c e s and J c r i t i c s a l i k e . On th e o t h e r hand,, th e New York c r i t i c s I d i s l i k e d th e p la y , b u t were g en ero u s i n t h e i r p r a i s e o f I j ‘C o r n e ll. The opening n i g h t a u d ien ce l i k e d th e p la y and j i gave th e b ig scene tw enty-one c u r t a i n c a l l s , b u t th e po o r ; j re v ie w s k e p t th e p u b lic from th e t h e a t r e . The p la y l a s t e d j ; | o n ly th r e e weeks. i ! I I t w a B d u rin g th e run o f The Way Things Happen t h a t j i C o r n e ll was asked to p la y th e p a r t o f a c r i p p l e d g i r l in The O u t s i d e r . The p la y was a lr e a d y on th e ro a d when C o r n e ll r e p la c e d th e le a d in g la d y . Upon assum ing th e r o l e , | iC ornell i n s i s t e d t h a t she be allo w ed to p la y L elage a s a f a i r l y immobile p erso n c o n t r a r y to th e w ish es o f th e d i - i r e c t o r . C o r n e l l ’s i n s t i n c t s f o r th e r o l e proved c o r r e c t , and she became e x tre m e ly s u c c e s s f u l i n th e p r o d u c tio n . The ; p l a y , which was doing e x c e l l e n t b u s in e s s , was f o rc e d to c lo s e down a f t e r t h i r t e e n weeks due to th e a c t o r s ' s t r i k e . C o r n e l l 's t h i r d r o l e in 1924 was t h a t o f Suzanne Chaumont in T ig e r C a t s , which was produced by David B e la s c o . B ecause Suzanne was to be p o r tr a y e d a s a n a s t y , d e t e s t a b l e ^1Ibid., p. 2 0 6. ~... 39 S p e rso n , th e r o l e gave C o rn e ll a d i v e r s i o n from th e p a t h e t i c j ; ! .p a rts i n which she had been c o n s i s t e n t l y t y p e c a s t . Suzanne j o f f e r e d an o p p o r tu n i t y to t r y som ething new and i n t e r e s t i n g . : :Once th e r o l e was accepted., a u th o r Karen Bramson e x p e c te d j i t to be h an d led a s E d ith Evans had done i t in London. How-j ! e v e r , C o r n e ll wanted to do th e p a r t i n a q u i e t r a t h e r th an | | a s h r ie k in g way. Again h e r i n s i g h t i n t o th e r o l e was j u s - j i t i f i e d and th e play., as w e ll as C o r n e ll, r e c e iv e d good j j re v ie w s. S ta rk Young o f th e New York Times n o te d t h a t j C o r n e l l ’s a c t i n g e c l i p s e d t h a t o f h e r le a d in g man R o b ert j 42 L o r r a i n e . Once T ig e r C ats had opened i n O ctober 1924, C o r n e ll i began r e h e a r s i n g Candida w ith th e A c t o r s ’ T h e a tre . They ■ had p la n n e d to p r e s e n t s p e c i a l m a tin e e s o f th e p la y f o r th r e e weeks, b u t i t went so w e ll t h a t more p erfo rm an ces were added. Heywood Broun in th e New York World c a l l e d th e j Candida o f C o r n e ll "th e b e s t perform ance she h as y e t g iv e n 4 b f o r o u r t h e a t e r . " D H. T. P a rk e r i n th e B oston T r a n s c r i p t i e x p la in e d t h a t C o r n e ll a c h ie v e d th e p a r t by "m ental and s p i r i t u a l s e n s i b i l i t y , gave i t lim p id o u t l e t , p o e tiz e d i t alo n g th e way; f i l l e d i t w ith a n erv o u s o r a t r a n q u i l : b e a u ty . 42 ^ I b i d . , p . 2 1 6 . ^H eyw ood Broun, New York W orld, December 1 3, 1924. ^ C o r n e l l , p. 219. 4o | Of a l l th e r o l e s t h a t C o r n e ll p o r tr a y e d d u rin g th e j 1920's , most c r i t i c s g e n e r a l l y a g re e d t h a t th e 1924 Candida | iwas h e r f i n e s t ro le * and th e o n ly one w orthy o f h e r t a l - j ] e n t s . Hie American p a i n t e r Eugene S p e ic h e r im m o rta liz e d j K a th a rin e C o rn e ll as Candida by p a i n t i n g h e r p o r t r a i t which j now hangs a t th e Museum o f Modern A rt g a l l e r y in New York. In 1925j th e r o l e o f I r i s March in The Green Hat by M ichael A rlen began a c y c le o f b r a v u ra r o l e s which cau sed j th e c r i t i c s to say t h a t K a th a rin e C o r n e ll triu m p h ed a s an j ; | a c t r e s s d e s p i t e h e r v e h i c l e s . G u th rie M cC lin tic was op posed to h i s w ife p la y in g I r i s , b u t th e r o l e f a s c i n a t e d h e r . F i n a l l y M c C lin tic d id c o n s e n t to d i r e c t . C o r n e ll a d m itte d t h a t th e p la y was n o t w e l l - w r i t t e n , so M cC lin tic c u t tw en ty j m in u tes from th e s c r i p t , which h e lp e d th e p r o d u c tio n im m e a su ra b ly . i The Green Hat sc o re d a h i t a t i t s t r y o u t a t th e G a rric k T h e a tre i n D e t r o i t , March 29, 1925. I t p la y e d In Chicago f o r f o u r te e n weeks, ending on J u ly 24. A f t e r a i four-w eek v a c a tio n , th e p l a y resumed In A t l a n t i c C ity , and f i n a l l y opened on Broadway Septem ber 15 a t th e B ro a d h u rs t T h e a tre , where i t r a n tw e n ty -n in e weeks. Her p erfo rm an ce a s I r i s b ro u g h t C o r n e ll stard o m . A f te r s e e in g h e r p o r t r a y a l o f I r i s , n e a r l y e v e ry woman in th e a u d ie n c e w anted to buy an i d e n t i c a l h a t to t h a t worn by C o r n e l l . More th an 200,000 such h a t s were s o ld . George Je a n Nathan c o n s id e re d h e r perform ance as o u t s t a n d i n g . A f t e r i t s Broadway ru n , The Green Hat th en to u re d I f o r t w e n t y - f o u r m o n t h B , t r a v e l i n g a s f a r w e s t a s Kansas j ; ! iC ity . A lthough th e p la y consumed two and o n e - h a l f y e a r s o f ; | C o r n e l l ’s tim e , she n e v e r t i r e d o f h e r r o l e . She rememberedj t h i s p a r t i c u l a r e x p e rie n c e on Broadway and on th e ro a d b e - j cau se i t gave h e r a p u b l i c , j u s t as h e r r o l e i n A B i l l o f D ivorcem ent had g iv e n h e r stardom . Her e x p e r ie n c e s on th e ro a d d u rin g th e run o f The Green Hat would l a t e r be remem b e re d when she p roduced h e r own p l a y s . Som erset Maugham's The L e t t e r d id n o t i n t e r e s t C o r n e ll b e cau se she d id n o t p a r t i c u l a r l y l i k e o r u n d e rs ta n d th e p a r t . L e s l i e C ro sb ie was a s tr a n g e woman in th e Malay j u n g le , who a f t e r s h o o tin g h e r l o v e r , began to weave a web o f l i e s to a v o id g e t t i n g cau g h t and p u n ish e d . D e s p ite h e r r e s e r v a t i o n s , C o r n e ll a c c e p te d th e r o l e and u n d e r th e d i r e c t i o n o f G u th rie M c C lin tic , The L e t t e r f i r s t p la y e d a t th e Royal A lex an d ra T h e a tre in Toronto on Septem ber 12, 1 9 2 7 . A f t e r opening in New York a t th e Morosco T h e a tre Septem ber 26, 1 9 2 7, i t p la y e d f o r t h i r t e e n weeks and then to u re d th e r e s t o f th e se a so n , w inding up i n S t. Louis in May. C o r n e ll and M c C lin tic bou g h t t h e i r own p la y , M arg aret Ayer B a r n e s ’ a d a p t a t i o n o f E d ith W h a rto n 's The Age o f In n o c e n c e , to i n s u r e t h a t C o r n e ll would have a p la y f o r th e f a l l o f 19 2 8 in th e e v e n t p ro d u c e r G i l b e r t M il l e r .................... 42 co u ld n o t f i n d a v e h i c l e f o r h e r . He was n o t a b le to ob t a i n a r o l e f o r Cornell., and t h e r e f o r e she took th e r o l e o f j E lle n O lenska, whom she c o n s id e re d to be a charm ing, warm, e n d e a rin g p e r s o n . The Age o f Innocence had atm osphere and d i s t i n c t i o n . M c C lin tic a g a in d i r e c t e d and G i l b e r t M i l l e r j : ! p ro d u ced . I t opened i n Albany on November 8, 1928, and | began i t s Broadway run o f tw e n ty - s ix weeks a t th e Empire j I T h e a tr e . A f t e r a summer r e c e s s i t opened i n September a t | | B a l t i m o r e 's M aryland T h e a tre to b e g in a th re e -m o n th t o u r j ; i o f th e E a s te r n se a b o a rd . i The L e t t e r , The Age o f In n o c e n c e , and C o r n e l l 's | n e x t p la y , D ishonored Lady, caused th e c r i t i c s to bemoan th e la c k o f good v e h i c l e s f o r t h e i r f a v o r i t e a c t r e s s . S C o r n e ll bought th e M argaret B arnes s c r i p t o f P i s - ; honored Lady w h ile a p p e a rin g in The Age o f In n o c e n c e . ! G i l b e r t M i l l e r and G u th rie M c C lin tic a g a in produced and j d i r e c t e d th e p l a y . D ishonored Lady was th e k in d o f m elo- [ drama in which Sarah B e rn h a rd t had e x c e l l e d . The re v ie w s o f D ishonored Lady by f o u r n o te d c r i ti c s ! in c lu d e d more th an j u s t a c r i t i q u e o f th e p l a y and C o rn e ll's! a c t i n g p erfo rm a n c e . They were u r g in g h e r to u se h e r t a l e n t s on more w orthy v e h i c l e s . The f i r s t p erfo rm an ce o f D ishonored Lady was g iv en a t th e Lyceum T h e a tre i n R o c h e s te r, New York, on Ja n u a ry 26, 1930. I t p la y e d i n New York f o r s i x t e e n weeks, and th e n to u re d u n t i l th e l a t e f a l l . I t marked C o r n e l l 's f i r s t : : ........ ........ ..................... ..... '.. ^3 ap p e aran ce on th e P a c i f i c Coast in Los A ngeles and San j I F r a n c is c o . On a b o a t t r i p from Los A ngeles th ro u g h th e ! I ;Panama C anal to New York, C o rn e ll re a d The B a r r e t t s o f | Wimpole S t r e e t by R u d o lf B e s i e r , a s c r i p t t h a t was to changes th e d i r e c t i o n o f h e r c a r e e r . The B a r r e t t s o f Wimpole S t r e e t ico n tain ed f e a t u r e s o f th e melodrama, b u t had added l i t e r a r y j : ' i ; i q u a l i t i e s . C o rn e ll now had an o p p o r tu n i t y to imbue th e j I r o l e o f E l i z a b e t h B a r r e t t w ith a d e p th o f c h a r a c t e r i z a t i o n j t h a t had been la c k in g in h e r e a r l i e r p a r t s . j The B a r r e t t s o f Wimpole S t r e e t allo w ed th e p u b lic to see a new p o r t r a i t o f K a th a rin e C o r n e ll i n th e r o l e o f j i a c t r e s s - p r o d u c e r , who had f u l l c o n t r o l o v er th e v e h i c l e s i n j w hich she a p p e a re d . J i i i Summary In th e 1920’ s new e x p e rim e n ta tio n and new id e a s a b o u t th e t h e a t r e were in tro d u c e d by many new p la y w r ig h ts , th e T h e a tre G u ild , and an o u ts ta n d in g group o f c r i t i c s . ! T h e a tre had become a v i a b l e f o r c e in th e U n ite d S t a t e s , and | th e number o f new p r o d u c tio n s and t h e a t r e b u i l d i n g s re a c h e d an a l l - t i m e h ig h . However, d u rin g th e e n su in g D ep ressio n y e a r s t h i s tr e n d was r e v e r s e d . The number o f t h e a t r i c a l p r o d u c tio n s plummeted, few i f any new t h e a t r e s were con s t r u c t e d , and "th e ro a d " was a l l b u t d ead. K a th a rin e C o r n e ll was b e g in n in g h e r a c t i n g c a r e e r d u rin g th e 1 9 2 0 's i n a s e r i e s o f hackneyed r o l e s , p la y in g [ ............................................ * ....' .. "". ” 44 | ; e i t h e r p a t h e t i c o r s i n f u l h e r o in e s i n th e p o p u la r t h e a t r e iwhich a t t r a c t e d th e mass a u d ie n c e . For te n y e a r s C o r n e ll j ap p eared in tw elv e p l a y s , and o n ly in Shaw’s Candida was ’she a b le to f i n d a r o l e which d is p la y e d h e r p o t e n t i a l as i an actress. Despite the dearth of good acting roles made j ! ;a v a i l a b l e to h e r , C o r n e ll was p o p u la r w ith b o th th e c r i t i c s and th e p u b l i c . A f t e r she had d ev elo p ed a la r g e fo llo w in g , j th e c r i t i c s u rg e d h e r to s e l e c t a v e h i c l e which would a f f o rd h e r th e o p p o r tu n i t y to r e a l i z e th e f u l l p o t e n t i a l o f h e r t a l e n t s . The o p p o r tu n i t y came in 1931 when she d e c id e d to pro d u ce R u d o lf B e s i e r 's The B a r r e t t s o f Wimpole S t r e e t , [a . melodrama which had l i t e r a r y m e r i t . During th e D ep ressio n y e a r s , s o c i a l - r e a l i s t i c drama j and th e comedy o f manners were becoming th e p r e v a i l i n g i t r e n d s . F ollow ing World War II, a new ty p e o f p l a y known j as " p s y c h o lo g ic a l r e a lis m " began to emerge in th e works o f | I WilliamB, Miller, and Inge, which required a more realistic j i s t y l e o f a c t i n g . The m u sic a l comedy was com m ercially su e - | c e s s f u l . T h e a tre o f th e Absurd and off-B roadw ay t h e a t r e | began to c re e p i n t o th e U n ite d S t a t e s by th e 1 9 5 0 's and ; e x e r te d p o w e rfu l i n f l u e n c e s on th e t h e a t r e . ■ ] CHAPTER I I I | | THE PRODUCTION COMPANY: ITS MEMBERS | AND BASIC OPERATIONS ! | | Form ation o f C. & M. C. P r o d u c tio n s , I n c . j In 1931 K a th a rin e C o r n e ll p u rc h a se d a s c r i p t . The B a r r e t t s o f Wimpole S t r e e t . She had two h a c k e rs who were ^w illing to f in a n c e th e p l a y . They were S ta n to n G r i f f i s , a | s e n io r p a r t n e r o f a W all S t r e e t in v e stm e n t f ir m , and A. C. iGoodyear, th e fo u n d e r o f th e MuBeum o f Modern A rt i n New York C ity . These men would f u r n i s h th e n e c e s s a r y c a p i t a l | to produce th e p l a y and C o r n e ll would be i n ch arg e o f b o th I th e a r t i s t i c and b u siness-m anagem ent a s p e c ts o f th e venture.! | In th e e v e n t th e p l a y made money, th en th e p r o f i t s would be ; | u sed to produce f u t u r e p l a y s . I t was th u s d e c id e d t h a t j C o rn e ll would become h e r own p ro d u c e r and would form a new j p r o d u c tio n company. ; On J a n u a ry 5* 1931^ C. & M. C. P r o d u c tio n s , I n c . was i n c o r p o r a te d i n th e S t a t e o f New York. The o f f i c e r s , who a ls o f u n c tio n e d a s th e d i r e c t o r s , were A, C. Goodyear, : P r e s i d e n t , K a th a rin e C o r n e ll, V ice P r e s i d e n t , G e rtru d e Macy, S e c r e t a r y , and S ta n to n G r i f f i s , T r e a s u r e r . 45 ; W C o r n e ll was v e s te d w ith com plete c o n t r o l o v e r th e b u s in e s s o p e r a t i o n s o f th e p r o d u c tio n company. A lthough j she d e le g a te d r e s p o n s i b i l i t i e s i n v a r io u s a r e a s , C o r n e ll j r e t a i n e d u l t i m a t e c o n t r o l . In th iB c o n n e c tio n , i t i s im- ! ip o rta n t to n o te t h a t th e p u b l i c was n o t aware o f th e ! e x i s t e n c e o f th e c o r p o r a t i o n . T h e a tre m arquees, program s, new spaper a r t i c l e s , and th e l i k e alw ays r e f e r r e d to th e .K ath arin e C o r n e ll p r o d u c tio n s and n e v e r made m ention o f C. & M . C. P r o d u c tio n s , I n c . In d e e d , a l l p u b l i c r e f e r e n c e s j 1 ; were to " K a th a rin e C o r n e ll P r e s e n t s . " For t h i s r e a s o n , ; • ! ; a l l p l a y s in w hich C o r n e ll ap peared a f t e r 1931 a r e r e f e r r e d j I i ;to h e r e i n a s K a th a rin e C o r n e ll p r o d u c tio n s a lth o u g h i t ! | would be more c o r r e c t to d e s c r i b e them a s C. & M. C. p r o - I ; i d u c t i o n s . ; O th er P ro d u c e rs and I n v e s t o r s i With but two exceptions, C. & M. C. produced all the plays in which Cornell appeared subsequent to 1931* j Lovers and Friends was co-produced by C. & M. C. and John C. Wilson, who controlled the rights to the play. Costs, 1 profits, and losses were shared on an equal basis. Wilson ■'"The p h r a s e " K a th a rin e C o r n e ll P r e s e n ts " was u sed on a l l m arquees, a d v e r t i s i n g , and program s to in tr o d u c e th e p l a y . She f e l t h e r d e s ig n a ti o n a s p ro d u c e r was more im p o rta n t th an t h a t o f a c t r e s s . In d e e d , h e r b i l l i n g a s a c t r e s s o f t e n fo llo w e d t h a t o f h e r c o s t a r s . As a p r o d u c e r, C o r n e ll b e l i e v e d t h a t by a llo w in g o t h e r m ajor s ta rB h ig h e r b i l l i n g , she co u ld a t t r a c t th e b e s t a v a i l a b l e t a l e n t and m a in ta in a good working r e l a t i o n s h i p w ith them. ; ' W :was in charge of the business aspects of the production while C. & M. 0. handled all other matters. The Prescott Proposals waB produced by the Leland i Hayward office due to Guthrie McClintic's friendship with ; playwrights Howard Lindsay and Russell Crouse. Cornell again had plenary artistic authority whereas Hayward con trolled the purse strings. In large measure, the financial j failure of The Prescott Proposals resulted from the poor j : i economic management of Hayward, who permitted excessive ! i costs for salaries, set construction, and other production | items. This adverse experience with another producer dis suaded Cornell from ever again using a producer other than C. & M. C. I | The arrangement between Cornell and her backers, J i Goodyear and Griffis, was quite unique. Any profits which C. & M. C. might make would be used solely to produce future plays. Goodyear and Griffis merely wanted their original investment in The Barretts of Wimpole Street re turned. Thereafter, any profits realized from the Cornell plays would not be distributed to the principals of the corporation. Rather, all profits would be used exclusively ; to produce new plays. Because of the substantial profit made from The Barretts of Wimpole Street, additional outBide financing was rarely sought or needed. There were a few Cornell plays in which others were allowed to invest, but these " ""..... '..... 48 : i were th e e x c e p tio n to th e r u l e . Where o u t s i d e r s were a l - ! lowed to i n v e s t , i t was u s u a l l y due e i t h e r to n o t w anting ! to commit a l l th e a v a i l a b l e funds o f th e c o r p o r a tio n to th e ; p r o d u c tio n , o r to th e f a c t t h a t th e p e rso n c o n t r o l l i n g th e ! r i g h t s to th e p la y demanded th e o p p o r tu n i t y to sh a re i n th e j a n t i c i p a t e d p r o f i t s o f th e p la y . Antony and C le o p a tra was th e f i r s t C o rn e ll p ro d u c t i o n in which o u t s i d e f in a n c in g was a llo w e d . I f , f o r ex - | ample, an i n v e s t o r backed 10 p e r c e n t o f th e show, h i s r e t u r n would be e q u a l to h a l f o f t h a t p e r c e n ta g e , o r 5 p e r - : 2 ' c e n t. S ix te e n p eo p le i n v e s te d 60 p e r c e n t o f th e c a p i t a l S f o r That Lady, w h ile C. & M. C. c o n t r ib u t e d th e b a la n c e . ; The C o n sta n t Wife had tw e n ty - f iv e i n v e s t o r s who p u t up 85 p e r c e n t o f th e n e c e s s a r y money and th e re m a in d e r was con t r i b u t e d by C. & M. C. O n e -h a lf o f 1 p e r c e n t o f th e p r o f i t ; s o ld f o r $ 4 0 0 No Time f o r Comedy was fin a n c e d 51 p e r - ■ c e n t by C. & M. C. and 49 p e r c e n t by th e P la y w r ig h ts ' Com pany. The P la y w r ig h ts ' Company a l s o c o n t r i b u t e d h a l f th e in v e s tm e n ts in b o th The Dark I s L ig h t Enough and The F i r s t born . C. & M. C. p u t up 65 p e r c e n t o f th e f in a n c in g f o r 2 L i s t o f i n v e s t o r s f o r Antony and C l e o p a t r a , Appen d ix B. ^ L i s t o f i n v e s t o r s f o r That Lady, Appendix B. 4 L i s t o f i n v e s t o r s f o r The C o n sta n t W ife, Appendix B. : 491 Rose B u rk e, w h ile H enri B e r n s te in in v e s t e d 25 p e r c e n t and G e rtru d e Macy c o n t r i b u t e d 10 p e r c e n t . i i The l a r g e s t number o f i n v e s t o r s to p u t money i n t o a | ; I C o r n e ll p r o d u c tio n was f i f t y i n The P r e s c o t t P r o p o s a l s . In c lu d e d among th e b a c k e rs were Henry Fonda., Max Gordon, j i O scar Hammerstein, R ic h a rd R odgers, Mary M a rtin , B i l l y j ! j iW ilder, Jo sh u a Logan, Jo M ie lz in e r , and Irw in Shaw. j : i M cC lin tic i n v e s t e d $ 5 ,0 0 0 , C o r n e ll $5.,000, and Howard L in d say $ 1 ,0 0 0 . The e n t i r e v e n tu re was c a p i t a l i z e d a t $100, 0 0 0 . 5 S e l e c t i o n o f P la y s During th e summer o f 1930, C o r n e ll was on t o u r in | D ishonored L ady. While s a i l i n g to Los A ngeles, she p e ru s e d j a s c r i p t marked "must re a d " by h e r p l a y r e a d e r . C o r n e ll j i f e l l in lo v e w ith th e s t o r y o f The B a r r e t t s o f Wimpole S t r e e t and when th e s h ip docked a t Panama C ity , G e rtru d e Macy w ired th e a u t h o r 's a g e n ts f o r an o p tio n on th e p l a y . j When C o r n e ll bought th e p l a y , she had n o t c o n te m p la te d a p p e a r in g in i t h e r s e l f . She o b ta in e d th e r i g h t s so t h a t : G u th rie M cC lin tic co u ld pro d u ce th e work w ith some o t h e r p e r fo r m e rs . However, M c C lin tic became co nvinced t h a t E l i z a b e t h B a r r e t t was an i d e a l r o l e f o r C o r n e ll even though •^List o f i n v e s t o r s f o r The P r e s c o t t P r o p o s a ls , Appendix B. I. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . " . 50 t 1 she had, up to t h a t tim e, p r i m a r i l y p o r tr a y e d t a r n i s h e d j l a d i e s . ! The B a r r e t t s o f Wimpole S t r e e t was n o t th e o n ly j i s c r i p t which was s e n t to C o r n e ll f o r p o s s i b l e p r o d u c tio n by | ;her. While i n F ra n c e , A. C. Goodyear saw a p erfo rm an ce o f | L ucrece and s e n t h e r a copy o f th e p l a y . In a d d i t i o n to j ! I :being s e n t p l a y s , p la y w r ig h ts sometimes w ro te p la y s con- j te m p la tin g t h a t C o r n e ll m ight s t a r i n them. Maxwell j | Anderson w rote The W ingless V ic to r y e s p e c i a l l y f o r C o r n e l l . | L ik e w ise , C h r is to p h e r Fry w ro te two p la y s f o r h e r in th e !1950, s which gave C o rn e ll an o p p o r tu n ity to p l a y p a r t s i ■ I n e a r e r to h e r a c t u a l age. j A ll new s c r i p t s d is p a tc h e d to C o r n e ll were c a r e - ! f u l l y s c re e n e d by a r e a d e r who would a s s ig n e i t h e r an "A," ! " B ," o r "C" g rad e to th e p l a y . U n less th e new s c r i p t r e c e i v e d an "A" mark, i t r a r e l y r e c e iv e d any f u r t h e r a t t e n t i o n . The "A 's" were th en rev iew ed by M c C lin tic , who would t h e r e a f t e r p r e s e n t a p la y to C o r n e ll i f he deemed i t | 'a good v e h i c l e f o r h e r and w orthy o f p r o d u c tio n . I f C o r n e ll d e c id e d th e p la y sh o u ld be p ro d u ced , she would a t tem pt to p u rc h a se th e r i g h t s from th e a u t h o r . W ith few e x c e p tio n s , u n l e s s b o th M c C lin tic and C o r n e ll a g re e d t h a t a p l a y was w orth p ro d u c in g , i t would n o t be p ro d u c e d . A lthough n e i t h e r was im p resse d w ith th e l i t e r a r y m e r it s o f Flow ers o f th e F o r e s t , C o r n e ll w anted to produce i t b e cau se she f e l t th e p la y c o n ta in e d an e lo q u e n t message f o r p e a c e . Due to M c C lin tic 1s r e s e r v a t i o n s o y e r th e p la y , i i t was a g re e d t h a t A u r io l Lee, who p o s s e s s e d th e r i g h t s to 6 pro d u ce th e p la y , would a l s o d i r e c t i t . C o r n e ll and M c C lin tic a l s o d is a g r e e d ab o u t p r o d ucing C a p ta in C a r v a l l o . When th e p la y was produced in London by S i r Laurence O l i v i e r i t had r e c e iv e d h ig h a c c la im , and had been a lo n g -ru n n in g h i t . M cC lin tic d id n o t f e e l th e p l a y was s u i t e d to American t a s t e s , b u t C o rn e ll b e l i e v e d th e e x c e l l e n t q u a l i t y o f th e p la y made i t w orth p r e s e n t i n g . On a number o f o c c a s io n s C o r n e ll o r M cC lin tic m ight s u g g e s t to th e o t h e r ab o u t doing a p l a y . For example, l j C o r n e ll was a t f i r s t r e l u c t a n t to a p p e a r i n No Time f o r Comedy b e cau se she had p r e v i o u s l y o n ly a c te d in more s e r i ous p a r t s and she doubted h e r a b i l i t y to h a n d le a comedy r o l e . M c C lin tic was c e r t a i n C o r n e ll had th e i n n a t e c a p a c i t y to h a n d le comedy and co n v in ced h e r to a t l e a s t t r y comedy. P la y s m ight a l s o be s e l e c t e d on th e b a s i s o f p e r s o n a l o b s e r v a tio n o r e x p o su re . The A nouilh v e r s io n o f S o p h o c le s 1 A ntigone was s e l e c t e d by C o r n e ll a f t e r she had viewed th e p l a y i n P a r i s . A f t e r th e M c C lin tic s re a d th e n o v e l That Lady by Kate CPBrien, th e y asked h e r to a d a p t ^ K a th a rin e C o r n e ll, I Wanted To Be an A c tr e s s (New York: Random House, 19^1), jcT 160,' ; 5 2 i i t f o r th e s t a g e * and th e hook was l a t e r c o n v e rte d i n t o a j p la y a b le drama. j i One o f th e most common and r e c u r r i n g o r i g i n s f o r I i ; I p o s s i b l e p r o d u c tio n s was th e s u g g e s tio n s o f t h i r d p e r s o n s . B ria n Aherne recommended to C o rn e ll t h a t she p o r t r a y S a in t Joan and t h a t he p l a y Warwick. Ruth Gordon u rg e d M c C lin tic j i : 1 to do The Three S i s t e r s ., c a s t in g h e r s e l f as Masha. Review- j : i in g th e p l a y , M c C lin tic concluded i t sh o u ld be produced* b u t C o r n e ll sh o u ld have th e r o l e o f Masha and Gordon should p o r t r a y N atash a. Ray Henderson* C o r n e l l ’ s p r e s s agent* c o n t i n u a l l y u rg e d h e r to p erfo rm a S hakespearean p l a y . He i n s i s t e d t h a t "S hakespeare w i l l n e v e r l e t you down. . . . There has ! n e v e r been a t r u l y g r e a t a c t r e s s i n th e E n g lis h language ; who h as n o t p la y e d one o r a n o th e r o f S h a k e s p e a re 's h e r o in e s | and r e c e i v e d h e r g r e a t e s t p r a i s e from doing s o . " ' Likewise*! th e B oston c r i t i c H. T. P a r k e r asked C o r n e ll to do Romeo j and J u l i e t . She was h e s i t a n t to p la y th e r o l e o f J u l i e t j b ecau se o f d o u b ts o v e r h e r a b i l i t y to g iv e an e x c e l l e n t j p erfo rm an ce i n a fiv e -w e e k r e h e a r s a l p e r i o d fo llo w e d by a fiv e -w e e k t r y o u t on th e ro a d . In a d d itio n * C o r n e ll doubted 1 t h a t th e p u b l i c would pay to see h e r w h ile e n d eav o rin g to l e a r n th e new p a r t . I t was d e c id e d t h a t th e s o l u t i o n to "^Guthrie M cC lintic* Me and K it (Boston? L i t t l e * Brown* 1 9 5 5 )j P- 2 8 5 . 53 th e problem was to p r e s e n t Romeo and J u l i e t In r e p e r t o r y I d u rin g th e ro a d tourB . Ray Henderson was c e r t a i n t h e r e j were hundreds o f towns e a g e r to w itn e s s C o r n e ll p ro d u c tio n s .; I The e n t i r e ro a d season would c o n s i s t o f p e rfo rm in g j u s t t h r e e p l a y s : The B a r r e t t s o f Wimpole S t r e e t , C andida., and ! j Romeo and J u l i e t . The f i r s t two p la y s would a t t r a c t th e i p u b l i c i n t o th e t h e a t r e and p ro v id e th e f i n a n c i a l c u sh io n j h e e d e d f o r th e a n t i c i p a t e d s la c k from Romeo and J u l i e t . j i T his r e p e r t o r y arran g em en t would a llo w C o r n e ll to m a ste r | th e r o l e o f J u l i e t w h ile a t th e same tim e a s s u r e some d e - | g re e o f m onetary su c c e ss on th e ro a d . H enderson had t o l d I I ;the M c C lin tic s t h a t Romeo and J u l i e t would n o t do w e l l a t j : | th e box o f f i c e d u rin g th e t o u r b e cau se " in S h a k e sp e a re , th e j g r e a t p u b l i c would n o t f lo c k to n o v ic e s - - e v e n when th e y ; were p o p u la r s t a r s . " I t to o k a long tim e f o r an a c t o r to ! e s t a b l i s h a f a v o r a b le r e p u t a t i o n in S h ak esp earean p ro d u c - I t i o n s , and u n t i l such p u b l i c a c c e p ta n c e th e p ro m o tio n s j e x p e rie n c e d p o o r a t t e n d a n c e .^ A nother d e v ic e C o rn e ll u se d to s e l e c t p la y s was to r e v iv e o ld c l a s s i c s o r p l a y s in which she had e x p e rie n c e d p r e v io u s s u c c e s s . For i n s t a n c e , The B a r r e t t s o f Wimpole S t r e e t and Candida were p erfo rm ed d u rin g s e v e r a l d i f f e r e n t s e a s o n s . Whenever C o rn e ll was i n doubt ab o u t h e r a b i l i t y ®I b i d . , pp. 285-86; C o r n e ll, pp. 121, 126. ^ C o r n e ll, p . 128. ....................................................5 ^ i I to p erforin a r o l e e i g h t tim e s a week., she would r e v i v e h e r j o ld Shavian stan d b y , C a n d id a . She added th e p l a y to h e r j i ^ re p e rto ry in 1937 when The W ingless V ic to r y pro v ed to be j an e x tre m e ly demanding r o l e , and a g a in in 19^6 w ith Antigonei when th e t i c k e t demand f o r th e c l a s s i c began to wane. A f t e r Rose Burke f a i l e d on th e r o a d , C o r n e ll q u ic k ly added a b e n e f i t perform ance o f Candida in 19^2 f o r th e Army and | i Navy R e l i e f Bunds. Candida was an e a sy r o l e f o r C o r n e ll | to p e rfo rm and th e p u b lic n e v e r seemed to t i r e o f s e e in g j i : I h e r i n th e r o l e . j C o r n e ll d e c id e d to r e v i v e Maugham's The C o n sta n t j 'Wife i n re sp o n s e to th e r e q u e s t to b r in g a p r o d u c tio n to j i I C e n tr a l C ity , C olorado, f o r th e a n n u a l summer f e s t i v a l d u rin g August 1951. The p r o d u c tio n was so w e ll r e c e i v e d ; in Colorado t h a t C o r n e ll d e c id e d to b r in g th e p l a y i n t o ; New York f o r th e f a l l se a so n . I S e l e c t i o n o f C ast and Crew : M cC lin tic co n d u cted a u d i t i o n s and s e l e c t e d th e j c a s t s f o r th e C. & M. C. p r o d u c tio n s he d i r e c t e d . A lthough; C o r n e ll r e t a i n e d th e r i g h t to r e j e c t any o f th e p e rs o n s ; chosen, she e x e r c i s e d t h i s d i s c r e t i o n on o n ly one o c c a - j s i o n . '1 '0 B e sid e s a u d i t i o n i n g th o se who answ ered th e c a s t in g c a l l , M cC lin tic sought o u t th e b e s t t a l e n t a v a i l a b l e . He 10 G e rtru d e Macy d e c lin e d to i d e n t i f y th e p e rso n whose s e l e c t i o n was v e to e d by C o r n e ll. a tte n d e d e v e ry p la y g iv e n on Broadway and e lse w h e re in New York C ity i n a q u e s t f o r t a l e n t e d a c t o r s and a c t r e s s e s . During th e summer he v i s i t e d summer s to c k companies and was c o g n iz a n t o f th e t a l e n t i n E ngland. M cC lin tic b ro u g h t B ria n A herne, M aurice Evans, and Laurence O l i v i e r to th e U n ited S t a t e s f o r th e f i r s t tim e . M cC lin tic in tro d u c e d many a c t o r s to th e Broadway s ta g e . He c a s t G regory Peck to u n d e rs tu d y Raymond Massey and p la y a w alk-on p a r t i n The D o c to r 's Dilemma. M cC lin tic had seen Peck p la y th e le a d in g r o l e in th e g r a d u a tin g c l a s s a t th e N eighborhood P lay h o u se. O ther unknown a c t o r s who r e c e iv e d t h e i r f i r s t r o l e s in C. & M. C. p r o d u c tio n s in c lu d e K irk D ouglas, Marlon Brando, Tony R a n d a ll, Orson W e lle s, E l i W allach, Anne Ja c k so n , Maureen S t a p le to n , B u rg ess M ered ith , and L u th e r A d le r. B oth C o rn e ll and M cC lin tic d e c id e d upon who would be h i r e d as scene d e s ig n e r s and costume d e s ig n e r s . During th e 1 9 3 0 's , Jo M ie lz in e r was o f te n u se d a s b o th a s e t and costume d e s ig n e r . I f th e r e was any o f f s t a g e music o r s p e c i a l e f f e c t s to be u sed i n a p r o d u c tio n , th e M c C lin tic s d e c id e d on i t t o g e t h e r . Deems T a y lo r was h i r e d to compose th e i n c i d e n t a l music f o r Lucrece and Leonard B e r n s te in d id th e muBic f o r The F i r s t b o r n . Role o f S tage Manager In 1928, K a th a rin e C o r n e ll was a p p e a rin g in The Age o f In n o c e n c e . G e rtru d e Macy waB th e a s s i s t a n t s ta g e man- jager f o r t h a t p la y . A f te r th e i n c o r p o r a t i o n o f C. & M. C. : ......”.” ’ 56 | P ro d u c tio n s , th e c o r p o r a t i o n h i r e d Macy to be s ta g e manager :for The B a r r e t t s o f Wimpole S t r e e t . She was s e l e c t e d a s I company manager o f th e ro ad t o u r o f t h a t p la y and f i n a l l y ! in 1933 became g e n e r a l manager f o r a l l p r o d u c t io n s . j Macy had no a u t h o r i t y o v e r c a s t i n g o r any o t h e r j a r t i s t i c a s p e c t s o f th e p r o d u c tio n s . She was o n ly concerned; iwith th e b u s in e s s problem s o f each p la y . Once an a c t o r was j caBt, i t then became Gertrude Macy's r e s p o n s ib i li t y to nego-i [ t i a t e a c o n t r a c t w ith him. She d id n o t have com plete d i s c r e t i o n to n e g o t i a t e any term s b u t had to o p e r a te w ith in ; th e g u i d e l i n e s e s t a b l i s h e d by th e M c C lin tic s . Macy had to ! 1 ■negotiate Buch item s as len gth o f c o n tra c t (u s u a lly she | sought a run o f the play commitment from lead r o l e s ) , ] b i l l i n g s , d ressin g room assign m en ts, and c o n te n ts. One o f th e most im p o rta n t d u t i e s p erfo rm ed by Macy was to d e te rm in e to which c i t i e s th e ro a d t o u r s would be ta k e n , and how many days th e p e rfo rm a n c e s would be p r e s e n te d in eac h . She booked th e t h e a t r e s and n e g o t i a t e d th e ■ term s o f each bo o k in g . Macy worked o u t th e com plete sc h e d u l e o f th e t o u r s . She s e l e c t e d p erfo rm an ce d a t e s , r e s t d a t e s , and t r a i n d e p a r tu r e d a t e s . In a d d i t i o n to th e fo re g o in g d u t i e s , G e rtru d e Macy h a n d le d most o t h e r b u s in e s s d e t a i l s o f each p r o d u c tio n . She opened up bank accou n ts, took care o f paying the p er formers and o th er b i l l s , r e g is te r e d the names o f the playB, and s e t up lim ite d p a rtn ersh ip s when they were needed. Role of Press Agent | Ray Henderson was C. & M. C . 's p r e s s - a g e n t . P ro - j d u c e r W lnthrop Ames had e x t o l l e d H e n d e rso n 's v i r t u e s and | a d v is e d G u th rie M c C lin tic to h i r e H enderson. In a d d i t i o n i I to Ames, Henderson had been employed as a p r e s s a g e n t by i ; | such w ell-known a c t o r s a s E. H. S o th e rn , J u l i a Marlowe, and j E t h e l B arrym ore. Henderson b e lie v e d i n k eeping h i s r o l e l and i d e n t i t y hid d en as much as p o s s i b l e from th e p u b l i c 's j ey e. He would n o t p e rm it h i m s e l f to be l i s t e d on any p r o - ! gram s. Henderson was o f th e o p in io n t h a t th e p u b lic should j n e v e r t h i n k t h a t a c t o r s l i k e C o rn e ll o r S o th ern needed a i i p r e s s a g e n t. H e n d e rso n 's p r i n c i p a l d u ty was to f u r n i s h j I p r e s s r e l e a s e s r e g u l a r l y to a l l th e new spapers and mass i m edia. When C o r n e ll took a six -w eek v a c a tio n from The B a r r e t t s o f Wimpole S t r e e t New York ru n , Henderson k e p t th e j I p u b l i c i n t e r e s t fo cu sed on h e r w ith r e g u l a r r e p o r t s on th e s t a t e o f h e r h e a l t h . M c C lin tic gave th e fo llo w in g d e s c r i p - j t i o n o f Henderson: He was more th an a P re s s A gent—he was an Ambas s a d o r. How can I d e s c r ib e him? In h i s e a r l y f o r t i e s — t a l l , on th e le a n s i d e , w ith a shock o f s t r a i g h t brown h a i r p a r t e d on th e s i d e , w earing r im l e s s g l a s s e s and smoking a p ip e . He had a g e n t l e , c u l tu r e d v o ic e and a w i l l o f g r a n i t e . He was expen s iv e , and he sh o u ld have b ee n . He was a g e n iu s a t p u b lic r e l a t i o n s . His knowledge o f th e t h e a t r e waB a ll-e m b r a c in g and r e s p e c t e d th ro u g h o u t th e w orld. He was o ur m entor, a d v i s o r , and f r i e n d from th e mo ment I shook hands w ith him on o u r i n i t i a l agreem ent in th e lobby o f th e Empire T h e a tre d u rin g an i n t e r m issio n o f The B a r r e t t s u n t i l I was t o l d o f h i s ! 58 d e a th i n t h a t same lobby s ix and a h a l f y e a r s l a t - | e r . . . . He b r i l l i a n t l y r e p r e s e n t e d K it C o r n e ll i th ro u g h a l l o f h e r e a r l i e r triu m p h s as an a c t r e s s - ! manager, alw ays m in d fu l t h a t th e g r e a t b u t f r e - ] q u e n tly n e g le c te d p u b lic o f th e H in te r la n d should j be made aware o f h e r and h e r a c t i n g n o t o n ly i n i p r i n t , b u t he saw to i t t h a t she should a p p e a r in ! p e rso n a s w e l l . H j Some o f th e t i t l e s o f Ray H e n d e rso n 's r e l e a s e s f o r | : I The B a r r e t t s o f Wimpole S t r e e t , a l l la b e le d " S p e c ia l— Not j ^ D u p lic a te d ," in c lu d e "What Happened to The B a r r e t t s A f te r th e L a st C u r ta in D ropped," "The A uthor o f K a th a rin e C o r n e l l 's P la y I s Not Like th e T r a d i t i o n a l P la y w r ig h t," j "27 P ro d u c e rs D e c lin e d B e s i e r 's The B a r r e t t s o f Wimpole I 1 S t r e e t , " "R obert Browning Made K a th a rin e C o rn e ll F i r s t an A c tr e s s and L a te r a M an ag er," "When H is to r y In v a d e s th e T h e a t r e ," and "F lu sh F in d s a D og's L ife I s P r e t t y Sw ell E xcept f o r Kind 'O ld ' L adies and I n v e s t i g a t o r s . " For each production HenderBon issu e d r e le a s e s on the fea tu red p la y - ! 12 e r s in th e c a s t a s w e ll a s on C o r n e ll. j T h e a tre S e l e c t i o n and A rrangem ents F ollow ing th e demise o f David B e la s c o , h i s t h e a t r e became a v a i l a b l e f o r p u rc h a s e . On August 3 1 , 1931j th e M c C lin tic s le a s e d th e B elasco T h e a tre f o r a tw o -y ear p e r io d ■ 1 ‘'1 'G u th rie M c C lin tic , "More K it Than Me" (u n p u b lish e d m a n u s c rip t, 1 9 6 1), P a r t IV, pp. 10-11. 12 Samples o f H e n d e rso n 's r e l e a s e s a p p e a r In Appendix J . w ith an o p tio n to buy i t . The M c C lin tic s p la n n e d to make i | th e B elasco T h e a tre th e home o f a l l K a th a rin e C o r n e ll p r o - I : j d u c tio n s . During t h i s tw o -y ear period., th e M c C lin tic s had j i to pay o u t more in r e n t and o t h e r c a r r y in g c h a rg e s th an th e y r e c e iv e d in income. While th e C o r n e ll p r o d u c tio n s more th an covered th e o v erh ead , th e money r e c e i v e d when o t h e r p la y s o ccu p ied th e B elasco T h e a tre was i n s u f f i c i e n t to match th e c o s ts o f m a in ta in in g th e t h e a t r e . F u rth e rm o re , th e M c C lin tic s began to r e a l i z e t h a t any tim e C o r n e ll wanted a t h e a t r e i n New York, she o n ly had to a sk and she c o u ld have h e r c h o ic e . The p r e v a i l i n g term s f o r u s in g a t h e a t r e were 60 p e r c e n t-4 0 p e r c e n t] i . e . , th e p ro d u c e r would keep 60 p e r c e n t o f th e g ro s s r e c e i p t s and th e house i owner would r e c e i v e 40 p e r c e n t o f th e g r o s s r e c e i p t s . How- ; e v e r, a f t e r The B a r r e t t s o f Wimpole S t r e e t , th e M c C lin tic s j i were a b le to o b ta in 70 p e r c e n t -3 0 p e r c e n t term s on any t h e - | 13 * a t r e o f t h e i r c h o ic e . \ I When th e tw o -y ear le a s e e x p ir e d , th e M c C lin tic s ; i d e cid ed to se v e r t h e i r c o n n e c tio n s w ith th e B e la sc o The a t r e , having s u f f e r e d a $ 3 8 , 6 3 9 .2 2 l o s s . A f t e r 1933 th ey n e v e r produced a n o th e r p la y in t h a t h o u se. The t h e a t r e s 13 J For exam ple, f o r The Three S i s t e r s th e E t h e l B a r r y more T h e a tre r e c e iv e d 30 p e r c e n t o f th e f i r s t $10,000 in g r o s s w eekly r e c e i p t s and 25 p e r c e n t o f th e re m a in d e r. However, i f th e r e c e i p t s exceeded $19,0 0 0 , th e t h e a t r e would r e c e i v e a s t r a i g h t 25 p e r c e n t . C o n tra c t w ith E t h e l Barrym ore T h e a tre , Appendix F. ■ 60 ;they u se d most o f te n t h e r e a f t e r were th e Empire, th e M artin | Beck, and th e E t h e l B arrym ore. ! i In a d d i t i o n to th e e x c e l l e n t term s on which C o r n e ll j c o u ld r e n t a t h e a t r e , she was r a r e l y asked to p ro v id e a jg u a ra n te e . G u th rie M c C lin tic d i s l i k e d th e S h u b e rt t h e a t r e s | b e cau se th e S h u b e rts r e q u i r e d a $3.,000 g u a r a n te e . C o rn e ll j was n e v e r a b le to g e t an 80 p e r c e n t-2 0 p e r c e n t d e a l on a | ;New York h o u se, w hereas she co u ld o b ta in such term s w h ile | on th e ro a d . In c lu d e d i n th e le a s e agreem ent w ith th e New j : j York t h e a t r e s were a d v e r t i s i n g s id e d e a l s . For example, ;the house m ight pay 25 p e r c e n t o f th e f i r s t $1,000 o f news- I I j ipaper a d v e r t i s i n g and e v e r y th in g in e x c e ss o f t h a t amount, j j When th e M c C lin tic s u sed one o f th e S h u b ert t h e a t r e s , Lee S h u b ert p a id $500 d i r e c t l y to C. & M. C. P ro d u c tio n s to j d e f r a y p u b l i c i t y c o s ts even though th e le a s e agreem ent d id n o t r e q u i r e such paym ent. S h u b e rt d id n o t o f te n make t h i s ; b e n e f i t a v a i l a b l e to o t h e r p ro d u c e rs , and t h e r e f o r e wanted 14 to keep t h i s payment a s e c r e t . On th e ro a d C o r n e ll co u ld u s u a l l y g e t 75 p e r c e n t - 25 p e r c e n t o r even 80 p e r c e n t- 2 0 p e r c e n t term s f o r u se o f IB a t h e a t r e . The term s o f th e c o n t r a c t w ith th e M aryland T h e a tre i n B a ltim o re f o r th e th r e e - d a y t r y o u t o f Flow ers o f 12; I n te r v ie w w ith G e rtru d e Macy, June 18, 1971* ^ N o c o n t r a c t s l i s t i n g 80 p e r c e n t-2 0 p e r c e n t term s were a v a i l a b l e ; however, Macy s t a t e d t h a t Ray Henderson was o f te n a b le to g e t such term s i n th e b ig ho u ses on t o u r . th e F o r e s t c a l l e d f o r 75 p e r c e n t- 2 5 p e r c e n t . D uring th e ! — — — j t o u r o f The Three S i s t e r s , th e N a tio n a l T h e a tre in W ashing- j to n , D.C. r e c e iv e d 30 p e r c e n t o f th e f i r s t $15,000 and 25 5 p e r c e n t o f th e r e c e i p t s o v e r $15,0 0 0 . F o r d ’s T h e a tre in j : j i B a ltim o re r e c e iv e d th e Bame te rm s. The F o r r e s t T h e a tre in j ! j P h i l a d e l p h i a was g iv e n 30 p e r c e n t o f th e g r o s s up to j $20,000 and 25 p e r c e n t o f th e re m a in d e r. The p r o d u c e r 's sh a re f o r The C o n sta n t Wife was 70 p e r c e n t o f th e g r o s s j r e c e i p t s , p lu s a commission o f 5 p e r c e n t which went to th e ! i U n ite d Booking O f f ic e . The c o n t r a c t w ith th e S h u b ert The- j I a t r e i n D e t r o i t d u rin g th e t o u r o f Dear L ia r p ro v id e d t h a t | C o r n e ll would r e c e i v e 70 p e r c e n t o f th e f i r s t $ 20,000, and ; i 75 p e r c e n t o f a l l above $ 2 0 ,0 0 0 . However, i f th e t o t a l ! i g r o s s exceeded $ 3 0, 0 0 0 , th e term s would change to 75 p e r c e n t o f th e g r o s s from th e f i r s t d o l l a r . Compensation P aid C a s t, Crew, and O thers A s s o c ia te d w ith P ro d u c tio n s C o n tr a c ts f o r s a l a r i e s o f a c t o r s , t h e a t r e w o rk ers, and o t h e r C. & M. C. em ployees a r e a v a i l a b l e f o r e i g h t o f th e p r o d u c tio n s a f t e r 19^2 (ab o u t o n e - t h i r d o f a l l p l a y s ) , in c lu d in g Antony and C l e o p a t r a , That Lady, The C o n sta n t W ife, The Three S i s t e r s , and th e 19^7 to u r in g v e r s io n o f The B a r r e t t s o f Wimpole S t r e e t . There a re a ls o s a l a r y s c h e d u le s f o r th e e a r l i e r p r o d u c tio n o f S a i n t Joan and th e 1933~3^ r e p e r t o r y t o u r . The s h e e t on th e l a t t e r s e t s f o r t h 62 th e maximum and minimum w eekly pay f o r each a c t o r , depend in g upon which p la y s were b e in g perform ed t h a t w e e k . ^ | i ^ C o r n e l l 's Compensation I D uring th e f i r s t f i v e y e a r s of C .& M . C. P ro d u c- j I t i o n s o p e r a t i o n s , C o r n e ll r e c e iv e d as com pensation f o r h e r I i ;ro le a s a c t r e s s th e same s a l a r y she had been g iv en by h e r i p r e v io u s p ro d u c e r, G i l b e r t M i l l e r , which was 10 p e r c e n t o f th e g r o s s r e c e i p t s a g a i n s t no minimum. Because she was th e I p ro d u c e r, C o r n e ll f e l t she sh o u ld ta k e some f i n a n c i a l r i s k , j ! B eginning w ith th e r o l e o f Jo a n , C o r n e l l ’s s a l a r y was j 17 ! ira is e d to 15 p e r c e n t o f th e g r o s s r e c e i p t s . ' Because ; | Shaw was to r e c e i v e 15 p e r c e n t o f th e g r o s s r e c e i p t s , i t | was felt t h a t the leading lady should be given the Bame | amount even though she was th e a t t r a c t i o n t h a t b ro u g h t in j th e a u d ie n c e s . I I A c t o r s ’ Com pensation j : i Even though i t was C o r n e l l 's p o l i c y to o b t a i n th e j : I b e s t a v a i l a b l e a c t i n g t a l e n t , she d id n o t f in d i t n e c e s s a r y > to pay them e x o r b i t a n t s a l a r i e s to a t t r a c t them. A cto rs would o f te n ta k e a s m a lle r s a l a r y to work w ith C o r n e ll th an ; “ ^ S a l a r y sc h e d u le f o r r e p e r t o r y t o u r , Appendix C. 17 The o n ly e x c e p tio n to t h i s was The Three S i s t e r s , in which C o r n e ll to o k o n ly 10 p e r c e n t i n s t e a d o f h e r u s u a l 15 p e r c e n t to keep expenses down and to pay f o r h e r s t a r - stu d d ed c a s t . 18 ! ta k e a b e t t e r - p a y i n g r o l e i n a n o th e r p r o d u c tio n . D e s p ite j t h i s w i l l i n g n e s s to be p a id l e s s , s a l a r i e s showed a con- j s t a n t i n c r e a s e d u rin g th e p e r io d o f C o r n e l l ’s p r o d u c tio n s . | For exam ple, B ria n Aherne r e c e iv e d $750 p e r week in 193^ f o r h i s r o l e i n S a i n t Jo an , w hereas i n 1951 he was p a id $1,500 p e r week a s th e male le a d o f The C o n sta n t W ife . The minimum w eekly s a l a r y p a id to an a c t o r i n S a in t Joan was j j :$25, b u t e le v e n y e a r s l a t e r i n Antony and C le o p a tr a th e j minimum was $60. L ik e w ise , th e enormous c a s t o f Antony and j ! i C le o p a tr a was p a id $ 8 ,2 3 0 p e r week, b u t e le v e n y e a r s t h e r e - j i a f t e r a much s m a lle r c a s t i n The F i r s t b o r n r e c e iv e d an ! ............................................ 1 | 'average o f $7*^00 p e r week. S The h i g h e s t s a l a r i e s p a id to a group o f s t a r s were i n The Three S i s t e r s . J u d i t h Anderson was p a id $1,000 p e r week u n t i l th e p ro d u c tio n c o s t s were r e p a i d and th en 10 | p e r c e n t o f th e w eekly box o f f i c e g r o s s a g a i n s t a minimum o f : '$1, 0 0 0 .'*'^ D ennis K in g ’s com pensation was $1,000 p e r week ; a g a i n s t 5 p e r c e n t . Edmund Gwenn r e c e iv e d $1,000 p lu s 5 I p e r c e n t o f th e g r o s s r e c e i p t s in e x c e ss o f $ 1 5 * 0 0 0 p e r week a f t e r th e t w e l f t h week i n New York. Ruth Gordon was g iv en 1 ft I n te r v ie w w ith G e rtru d e Macy, May 31* 1971. ■^Correspondence w ith J u d i t h Anderson, Appendix F„ A n d e rso n 's w i l l i n g n e s s to d e f e r a h ig h e r s a l a r y u n t i l p r o d u c tio n c o s t s were r e p a i d i s i l l u s t r a t i v e o f how a c t o r s worked w ith C o r n e ll r a t h e r th an a tte m p te d to o b t a i n e x c e s s iv e com p en satio n . $500 p e r week and A lex an d er Knox g o t $400. Thus C o r n e l l ’s | ' | c o s t a r s r e c e i v e d $4,000 when th e p la y opened in New York, j j D i r e c t o r s ’ Compensation ; i W ith th e e x c e p tio n s o f Flow ers o f th e F o r e s t , The ! , , r r ' r | i P r e s c o t t P r o p o s a ls , The F i r s t b o r n , and Dear L i a r , G u th rie | ; | M cC lin tic d i r e c t e d a l l o f th e K a th a rin e C o rn e ll p ro d u c tio n s.! j For d i r e c t i n g th e 1931 p r o d u c tio n o f The B a r r e t t s o f Wim- j p o le S t r e e t , M c C lin tic r e c e iv e d $ 1 ,0 0 0 , b u t by th e tim e o f h i s l a s t C o r n e ll p r o d u c tio n , The Dark I s L ig h t Enough, M c C l i n t i c 's fe e f o r d i r e c t i n g was $5,000 p lu s 2 - 1 /2 p e r c e n t o f th e g r o s s r e c e i p t s . Jerome K i l t y d i r e c t e d C o r n e l l 's j f i n a l p r o d u c tio n , Dear L i a r , f o r which he was com pensated j j $ 2 ,5 0 0 p l u s 5 p e r c e n t o f th e g r o s s r e c e i p t s . P la y w r ig h ts ' Compensation j P la y w rig h ts u s u a l l y r e c e iv e d 10 p e r c e n t o f th e box ! o f f i c e g r o s s r e c e i p t s , a lth o u g h Shaw was p a id a s much a s j 15 p e r c e n t . As a f a v o r to C o r n e ll, Shaw w aived h i s a u t h o r 's fe e d u rin g th e f i r s t week o f th e 1942 C andida, which was s ta g e d a s a b e n e f i t f o r th e Army and Navy R e l i e f Fund. His 15 p e r c e n t r o y a l t y was a p p lie d to t h i r t y o f th e t h i r t y - f i v e p e r f o r m a n c e s . ^ Andre Obey, a u th o r o f L u c re c e , r e c e iv e d a 150- ^ V a r i e t y , June 10, 1942, p . 49. 65 I pound s t e r l i n g advance on h i s r o y a l t i e s . In a d d i t i o n , he j was to be g iv e n 2 - 1 /2 p e r c e n t o f th e f i r s t $10,000 o f j ;weekly g r o s s r e c e i p t s i n New York, San F r a n c is c o , B a l t i - j more, and C le v e la n d . In a l l o t h e r c i t i e s , Obey was to be I ipaid 5 p e r c e n t o f th e f i r s t $6,000 o f th e g ro s s w eekly j r e c e i p t s . 2'1 ' j ! D e s i g n e r s 1 Com pensation j C o rn e ll alw ays h i r e d th e b e s t d e s ig n e r s a v a i l a b l e . i :Jo M ie lz in e r d e sig n e d more p r o d u c tio n s f o r h e r th an any j i o t h e r d e s ig n e r . He d id b o th th e s e t t i n g and costum es f o r | The B a r r e t t s o f Wimpole S t r e e t , Flow ers o f th e F o r e s t , The W in g less V ic to r y , S a in t Jo an , and r e - d e s ig n e d Romeo and J u l i e t a f t e r th e r e p e r t o r y t o u r In 193^-• M ie lz in e r a ls o i d e s ig n e d th e sc e n e ry u se d i n No Time f o r Comedy, b u t V a le n t i n a d e s ig n e d th e costum es. Each tim e The B a r r e t t s o f Wim- p o le S t r e e t was r e v iv e d , th e same M ie lz in e r s e t t i n g s and j I costum es were u s e d . For th e 1931 p r o d u c tio n o f The B a r- : r e t t s o f Wimpole S t r e e t , M ie lz in e r was p a id $ 1 ,3 3 3 -3 ^ j and f i v e y e a r s l a t e r he r e c e iv e d $2,500 f o r The W ingless V ic t o r y . Woodman Thompson d e sig n e d th e s e t t i n g s and costum es f o r th e f r e q u e n t l y - r e v i v e d C andida. In a d d i t i o n to No Time 21 The r o y a l t y c o n t r a c t was a c t u a l l y drawn up w ith M aurice Brown, who was a c t i n g as 0bey*s a g e n t. 66 | f o r Comedy, V a l e n t i n a a l s o d e sig n e d costum es f o r Herod and j Mariamne, A n tig o n e , and th e women’s costum es f o r th e l a v i s h ! p r o d u c tio n o f Antony and C l e o p a t r a . S et d e s ig n e r Leo Kerz r e c e iv e d $3,000 f o r th e l a t t e r p l a y , w h ile V a le n tin a was j ;p a id $ 1 ,5 0 0 . V a l e n t i n a 's fe e f o r th e sim ple s e t t i n g in i A ntigone was $750. i ■ I M otley o f London d e sig n e d costum es and s e t t i n g s f o r | | The Three S i s t e r s and Lovers and F r ie n d s . Donald O en slag er j ' - - - - - 1 - r ' ' " 1 ] d e sig n e d th e s e t t i n g s f o r The P r e s c o t t P r o p o s a ls , Rose | ;B u rk e , The D o c t o r 's Dilemma, and b o th s e t t i n g s and costum es ! 1 f o r The C o n sta n t W if e . B o r is Aronson r e c e iv e d $2,500 p lu s j i $150 w eekly r o y a l t y to d e s ig n th e s c e n e ry f o r The F i r s t b o r n , j w h ile R o b e rt F l e t c h e r r e c e i v e d $1,125 to d e s ig n tw enty c o s - j tumes f o r th e p r o d u c tio n . As was th e c a se w ith th e a c t o r s , d e s ig n e r s a ls o would work a t s a l a r i e s low er th a n th e y would u s u a l l y r e c e iv e from o t h e r p r o d u c e r s . For i n s t a n c e , in an exchange j o f c o rre sp o n d e n c e w ith R o b e rt Edmond Jo n es c o n c e rn in g th e ! p ro d u c tio n o f L u c re c e , Jo n e s w ro te : "Pay me what you l i k e , b u t pay me enough so t h a t I can have v e ry good a s s i s t a n t s 22 to c a r r y o u t th e w o rk." For d e s ig n in g th e s e t t i n g s and costum es, Jo n e s was p a id $1,200 p lu s a sm a ll p e r c e n ta g e o f th e w eekly g r o s s r e c e i p t s . 22 C orrespondence w ith R o b e rt Edmond J o n e s , September 28, 1932. See Appendix G. | 67 i M u sical Com posers' Compensation Some o f th e p r o d u c tio n s r e q u i r e d th e employment o f m u sic a l com posers. Deems T a y lo r waB p a id $1,000 f o r com p o sin g m usic i n L u c re c e . I n c i d e n t a l music in Antony and C le o p a tra was done hy P au l N o rd o ff, who r e c e iv e d $500 p lu s :$25 p e r week d u rin g th e run o f th e p l a y . Leonard B ern s t e i n w ro te th e music in The F i r s t b o r n , b ein g p a id a fe e o f i$ 2 5 0 p lu s $50 p e r week d u rin g th e ru n o f th e show. D i s s o l u t i o n o f th e P ro d u c tio n Company Two p rim a ry cau se s le d to th e disbandm ent o f C. & :M . C. P r o d u c tio n s . F i r s t , seven o f th e l a s t e i g h t p la y s produced by C o rn e ll l o s t money, and a s a r e s u l t by i 960 n e a r l y a l l o f th e com pany's in v e stm e n t c a p i t a l had been d e p l e t e d . Second, G u th rie M c C lin tic d ie d O ctober 29, 1 9 6 1 . He was a key man in th e o r g a n i z a t i o n and w ith h e r h u s b a n d 's dem ise C o r n e ll l o s t th e d e s i r e to c o n tin u e an a c t i v e r o l e I n th e t h e a t r e . In d eed , i 960 was th e l a s t y e a r i n which C o r n e ll ap p eared o n s ta g e . A c c o rd in g ly , on December 2, 2*a 1 9 6 3, th e c o r p o r a tio n was fo rm a lly d i s s o l v e d . D Summary As a means o f o b ta in in g b e t t e r - q u a l i t y p la y s in which to a p p e a r, C o rn e ll founded a c o r p o r a t i o n to produce ^ C e r t i f i c a t e Qf D i s s o l u t i o n o f C. & M. C. P roduc t i o n s , I n c . See Appendix A. ! ■ ' 68 h e r f u t u r e p l a y s . The new company pro d u ced and fin a n c e d |n e a rly a l l th e p la y s i n which she ap p e a re d a f t e r 1931- iC ornell d ev eloped a sm o o th -ru n n in g , e f f i c i e n t o r g a n i z a t i o n h v e r which she r e t a i n e d u l t i m a t e c o n t r o l . Her husband, ! iG uthrie M c C lin tic , d i r e c t e d alm o st ev e ry p l a y and s e l e c t e d th e c a s t . R eaders s c re e n e d p r o s p e c t i v e p l a y s , G ertru d e iMacy h a n d le d th e d a y - to -d a y b u s in e s s a f f a i r s o f th e com- ipany, and Ray H enderson and o t h e r p r e s s a g e n ts were in ch arg e o f p u b l i c i t y . C o r n e ll alw ays a tte m p te d to engage th e b e s t a v a i l a b l e a c t o r s , d e s ig n e r s , and o t h e r s a s s o c i a t e d w i t h each p r o d u c tio n . F i n a l l y , a f t e r s u s t a i n i n g economic l o s s e s and th e d e a th o f M c C lin tic , C. & M. C. P ro d u c tio n s c ea se d to e x i s t . i CHAPTER IV THE PRODUCTIONS— INDIVIDUAL ANALYSIS The B a r r e t t s o f Wimpole S t r e e t The B a r r e t t s o f Wimpole S t r e e t was th e p la y which launched K a th a rin e C o r n e l l 's c a r e e r a s an a c t r e s s - p r o d u c e r . I She had been o f f e r e d th e s c r i p t a f t e r tw e n ty -se v e n New York ^producers had r e j e c t e d i t . The r e a s o n s f o r r e j e c t i o n ra n g ed from a g e n e r a l d i s i n c l i n a t i o n to have any t r a f f i c w ith a costume drama to a b e l i e f t h a t th e p l a y la c k e d g e n e r a l a p p e a l b e cau se i t was th e lo v e s t o r y o f E l i z a b e t h B a r r e t t and R o b e rt Browning and hence o f i n t e r e s t o n ly to th e B a r r e t t c u l t . l In England The B a r r e t t s o f Wimpole S t r e e t was r e fu se d by two p ro d u c e rs b e f o r e S i r B a rry Ja c k so n d e c id e d to 2 produce it at the Malvern Festival on August 18, 1930- Since the play had not yet been produced in London, the McClintics had no way of predicting how successful it would be. Once th e word t h a t C o r n e ll was p ro d u c in g h e r own p la y began to le a k o u t , fo rm er a s s o c i a t e s looked upon th e R e le a se w r i t t e n by Ray H enderson, Appendix J . 2 The B a r r e t t s o f Wimpole S t r e e t had a f if te e n - m o n th run in London, b e in g a c t e d by two o t h e r com panies i n Eng la n d , one i n Canada, and one i n A u s t r a l i a . 69 : ................ 70 v e n tu re w ith g r e a t m is g iv in g s . A1 Woods, who had managed | h e r in The Green H a t, f e l t t h a t th e p u b l i c would n e v e r ■ i laccept C o r n e ll i n th e s ta g e r o l e o f an i n v a l i d . Woods j wanted h e r to p l a y a f a l l e n woman in a new melodrama by ! Sammy Shipman, th e k ind o f v e h ic le th e p u b lic had been j accustom ed to s e e in g h e r i n , b u t M c C lin tic was adam ant, ! s t a t i n g t h a t i t was tim e f o r a change. A c to rs were a l s o la c k in g in e n th u sia sm f o r th e new v e n tu r e . L io n e l Barrym ore tu rn e d down th e p a r t o f F a th e r j B a r r e t t , sa y in g t h a t t h e r e may have been a time when The j I B a r r e t t s o f Wimpole S t r e e t would have been a s u c c e s s , b u t ; i t would n o t be i n 1931* Barrym ore was a ls o t r o u b l e d b e - j : I cause th e p la y had no c o n f l i c t . C a stin g th e p l a y proved to i i be more d i f f i c u l t th an had o r i g i n a l l y been e n v is io n e d , e s p e c i a l l y th e two p r i n c i p a l men, R o b ert Browning and F a th e r B a r r e t t . F i n a l l y C h a rle s W aldron, who had ap p e a re d w ith C o r n e ll i n 1921, was su g g e ste d by J e s s i e B o n s t e l l e f o r th e j p a r t o f F a th e r B a r r e t t . Waldron was a good a c t o r , b u t n o t a "name," and was sig n e d f o r th e p a r t . That l e f t th e r o m an tic le a d , R o b e rt Browning, which was n o t a long p a r t , and s e v e r a l a c t o r s who m easured a p a r t by i t s le n g th tu rn e d i t down. When a n o th e r f r i e n d , C la re Eames, su g g e ste d B ria n Aherne f o r th e p a r t , M c C lin tic made arran g e m e n ts to go to England to s ig n e i t h e r Aherne o r some o t h e r E n g lis h a c t o r f o r th e p a r t . The t r i p to England proved f r u i t f u l . 71 j t ;M cClintic n o t o n ly sig n e d Aherne f o r th e Browning r o l e , b u t j met B e s l e r , who was s t a r t l e d when he h e a rd t h a t C o r n e ll was ; going to p la y E l i z a b e th . "As an American s t a r o f some s t a t u r e , was she a t a l l concerned ab o u t Miss B a r r e t t ' s n o t a p p e a rin g in th e f i n a l scene? Would she want i t r e w r i t t e n ? " he a s k e d .^ M cC lin tic e x p la in e d t h a t th e id e a i I n e v e r o c c u rre d to e i t h e r o f them. There was no need to i ] i r e w r i t e b ecau se C o r n e ll b e lie v e d t h a t th e au d ie n c e would j i c o n tin u e to r e c a l l E l i z a b e th u n t i l th e v ery end even though I j C o r n e ll was n o t o n sta g e d u rin g th e f i n a l sc e n e . M cC lin tic j a l s o had th e o p p o r tu n ity to see th e London v e r s io n o f The j B a r r e t t s o f Wimpole S t r e e t which had opened in London a few j weeks e a r l i e r a f t e r b re a k in g in a t th e Malvern F e s t i v a l . The p la y was im m ed iately a c c la im e d . He a ls o v i s i t e d 50 Wimpole S t r e e t , drew a p la n o f E l i z a b e t h 's b e d - s i t t i n g room, and l a t e r used an e x a c t r e p l i c a o f i t o n s ta g e . j A f t e r C o r n e l l 's to u r w ith D ishonored Lady was f i n - i is h e d in mid-December, M c C lin tic p lan n ed to b e g in re h e a rs a ls ! f o r The B a r r e t t s o f Wimpole S t r e e t im m ed iately a f t e r C h rist-: mas. G i l b e r t M i l l e r l e n t M c C lin tic a sm all space in th e Empire T h e a tre to work i n . There was s t i l l work to be done: s m a lle r p a r t s to be f i l l e d , th e p r e s s , costum es, s c e n e ry , and o u t-o f-to w n bookings to be tak en c a re o f , and th e p a s sage o f B ria n Aherne to be a rra n g e d . At th e f i r s t re h e a rsa l! ^ G u th rie M c C lin tic , "More K it Than Me" (u n p u b lish e d m a n u s c rip t, 1 9 6 1), P a r t I I I , p. 1. 72 o f The B a r r e t t s o f Wimpole S t r e e t th e c a s t s a t around th e M c C lin tic s ' d in in g room t a b l e and r e a d . M c C lin tic ’s u s u a l method o f r e h e a r s a l was to keep a c t o r s re a d in g t h e i r p a r t s around a t a b l e f o r a p p ro x im a te ly s ix d ay s. T his was h i s w a y o f f a m i l i a r i z i n g t h e c a B t w i t h t h e i r r o l e s , t h e r o l e s o f th e o t h e r a c t o r s , and o f i n i t i a l l y f a m i l i a r i z i n g th e c a s t w ith th e p la y . The a c t o r s g e t to know each o t h e r and, what i s more im p o rta n t, th e y g e t to know th e p la y and w hat, a s a d i r e c t o r , I e x p e c t o f them. I th in k o f m y se lf a s an advance a u d ie n c e , and I t r y to i n s t i l l in them th e k in d o f perform ance t h a t w i l l make me r e a c t a s I d id when I f i r s t re a d and was c a p t i v a t e d by th e p la y . At th e i n i t i a l r e h e a r s a l I n ev er i n t e r r u p t th e a c t o r s as th e y r e a d . I have my s ta g e manager tim e i t and, when th e r e a d in g i s o v e r, I d is m is s them u n t i l th e fo llo w in g day. . . . At th e second r e h e a r s a l I b e g in to e s t a b l i s h th e mood and tempo o f th e p la y , scene by sc e n e . I e n d eav o r to make th e a c t o r s i n d i c a t e t h e i r perform ance w ith o u t e v e r g iv in g them a r e a d in g . I f I in d u lg e in h i s t r i o n i c s , i n o t h e r words e n a c t a sc e n e , which I i n v a r i a b l y do, I p a ra p h ra s e th e e p iso d e I am a t t e m p t in g to i l l u m i n a t e b u t n e v e r re a d an e x a c t l i n e . These a c t o r s around th e t a b l e I have chosen becau se I b e l i e v e th e y a re r i g h t f o r and can p la y th e p a r t s th e y a r e r e a d in g . My job i s , a s f a r a s p o s s i b l e , to meld them i n t o a harm onious w hole. . . . A f te r a week o f t h i s b re a k in g down o f th e p l a y I p u t th e a c t o r s on t h e i r f e e t . A diagram i s drawn on th e f l o o r i n d i c a t in g th e e n tr a n c e s and e x i t s ; f u r n i t u r e i s p la c e d , and th e y a r e t o l d where and when th e y m o v e 3 B ria n Aherne d e s c r i b e s th e e a r l y r e h e a r s a l s o f The B a r r e t t s o f Wimpole S t r e e t in h i s a u to b io g ra p h y : ^ G u th rie M c C lin tic , Me and K it (B oston: L i t t l e , Brown, 1955)> PP« 243-44. 73 M c C l i n t i c 's e n th u sia sm , in v e n t i o n , and ro m a n tic f e r v o r swept u s a l l a lo n g , and u n d e r h i s d i r e c t i o n R o b ert Browning became su d d en ly and e x c i t i n g l y c l e a r to me. I b e l i e v e t h i s p la y was more im p o rta n t to him th a n any o t h e r in h i s long c a r e e r . As I h e a rd h i s f e r v e n t v o ic e re a d some p a s s a g e s i t suddenly came to me t h a t I had h e a rd such wordB b e f o re from a n o th e r v o ic e which had b ro u g h t me love and a s s u r a n c e , as Rob e r t d id to E l i z a b e t h , l i k e a b u r s t o f sp rin g su n sh in e . Suddenly I e x p e rie n c e d t h a t b l e s s e d moment t h a t a l l a c t o r s p ra y f o r , th e moment when th e c h a r a c t e r s p rin g s to l i f e . I knew how R o b ert Browning spoke and moved and f e l t , and I was happy.5 C. & M. C. P ro d u c tio n s had been a b le to se c u re th e Empire T h e a tre ( M c C lin tic 's f a v o r i t e t h e a t r e , a p lu s h and d i g n i f i e d house) f o r th e New York opening on F eb ru ary 9, 1931. B efo re th e Broadway p re m ie re th e p la y was to spend :o n e -h a lf week in C lev elan d fo llo w e d by a week in B u f f a lo , C o r n e l l 's home town. From th e b e g in n in g o f r e h e a r s a l s C o rn e ll was f i l l e d w ith dou b ts as to w hether she co u ld p la y th e p a r t o f E l i z a b e t h . M c C lin tic o f f e r e d to c a n c e l h e r o u t-o f-to w n bookings and p o stp o n e th e New York o p en in g . He knew h e r w orry stemmed m ainly from th e f a c t t h a t she was now c o m p le te ly r e s p o n s i b l e f o r e v e r y th in g in th e p r o d u c tio n w hereas b e f o r e she o n ly had to be concerned w ith h e r a c t i n g . The d r e s s r e h e a r s a l in C le v e la n d proved to be a d i s a s t e r . The e n tr a n c e door o f th e s e t was so sm all t h a t th e l a d i e s cau g h t t h e i r hoop s k i r t s on i t . The l i g h t s were wrong and had to be changed. Due to th e many problem s e x p e r ie n c e d in th e r e h e a r s a l , C o rn e ll wanted to d e f e r opening ^B rian Aherne, A P ro p er Job (B oston: Houghton M i f f l i n , 1969), PP. 181-82. : i b n i g h t a few d a y s. However, s in c e th e Hanna T h e a tre i n j ^Cleveland was n e a r l y s o ld o u t f o r th e fo u r p e rfo rm a n c e s, j M cC lin tic d e cid ed a g a i n s t p o s tp o n in g th e o p en in g . On open- j ing n i g h t , Ja n u a ry 29, 1931* th e p r o d u c tio n k e p t th e a u d i - ‘ ence e n t h r a l l e d . Of th e t h r e e m ajor new spaper re v ie w e rs in C le v e la n d , one c a l l e d th e p r o d u c tio n a com plete f i a s c o , a n o t h e r gave i t u n q u a l i f i e d r a v e s , and th e t h i r d f e l t t h a t | th e p e rfo rm an ces were good b u t th e v e h ic le was n o t s tro n g j i enough to s u s t a i n them. D e s p ite th e s e mixed re v ie w s, th e | fo llo w in g day even th e s ta n d in g room f o r th e th r e e re m a in - ! i I in g p e rfo rm an ces had been s o ld o u t. j i The week i n B u ffa lo was c o m p le te ly s o ld o u t . A f te r j | th e opening n i g h t p e rfo rm an ce, M cC lin tic a tte n d e d a p a r t y j a t which he h e a rd such rem arks as "You w o n 't do t h i s to j K it. The au d ie n c e w i l l laugh a t i t . The f a t h e r i s l u d i - | c ro u s , he i s so overd o n e. T h is i s a melodrama i n Hoboken w ith o u t th e b e e r ." ^ The r e v ie w e r f o r V a r i e t y w rote th e | j fo llo w in g a b o u t th e B u ffa lo p e rfo rm an ce. I B efo re a b r i l l i a n t f i r s t n i g h t au d ie n c e K a th a rin e C o r n e ll b ro u g h t "The B a r r e t t s o f Wimpole S t r e e t " to B u ffa lo f o r a w e e k 's e d i f i c a t i o n o f th e home f o l k s . I t ' s n o t a g r e a t p la y n o r p ro b a b ly even a good one; i t i s a f u l l evening in th e t h e a t r e and d i s p l a y s Miss C o r n e ll on s ta g e alm o st th e whole tim e . In a d d i t i o n to h e r i n s p i r e d p e rfo rm an ce, she h a s , u n d e r h e r own management, mounted, s ta g e d , costum ed, and c a s t th e p la y in f a u l t l e s s f a s h io n . At t h a t th e opening n i g h t a u d ien ce was i n c l i n e d to s n ic k e r a t th e u l t r a V i c t o r ia n a n g le o f th e s t o r y . . . . ^ M c C lin tic , "More K it Than Me," P a r t I I I , p. 7 . 75 I i While probably without wide general appeal., this J drama should revive a waning interest in Browning and j the Victorians. For the legion of Cornellians it | will be meat and drink which should spell success at | the old New York Empire.7 | i On Monday, February 9, 1931* the day was spent re focusing the lights of New York's Empire Theatre and touch- j ing up the setting. It had been raining all day, which is supposedly a sign of good luck in the theatre. However, : I the rain had its disadvantages by tying up traffic and j making it impossible for patrons to get to the theatre on | time. To make matters worse, the Metropolitan Opera situ- j i ated across the street was giving the premiere of a new | l opera. That meant additional customers were trying to ! arrive at the same location in the endless downpour. Out- ! side above the Empire Theatre on the marquee facing Times ! Square blazed in electric lights for the first time was | "Katharine Cornell Presents" The Barretts of Wimpole Street. ; Even though the time of the opening curtain was delayed, when Cornell spoke her first line onstage, there were fifty-; two people seated in the orchestra. During the first act J nearly 8 5 0 latecomers were seated. The banging of the seats at times made it difficult for the cast to hear one another. Brian Aherne made his entrance as Robert Browning when the play had been on for forty-five minutes and the last of the latecomers were being seated. When the curtain ^Variety, February 4, 1931* 7 6 f e l l on th e f i r s t a c t t h e r e was re so u n d in g a p p la u s e . By th e tim e th e second a c t began th e t h e a t r e was f i l l e d to c a p a c i t y . A lthough th e a u d ie n c e warmly and h e a r t i l y lo v ed th e p la y , t h e r e were s t i l l a few s k e p t i c s , such a s C o r n e l l 's f i n a n c i a l b a c k e r S ta n to n G r i f f i s , who d id n o t b e l i e v e t h a t th e p la y would be a s u c c e s s . B ria n Aherne, who had been a t "21" b e f o r e he came to th e g a th e r in g a t Beekman P la c e , s a id t h a t th e o p in io n t h e r e had been d iv id e d . Now i t rem ained f o r th e c r i t i c s to d e c id e th e f a t e o f C o r n e l l 's f i r s t ven t u r e a s a p ro d u c e r. A lex an d er W o o llc o tt a r r i v e d , t e l l i n g them t h a t th e y had a smash h i t . "The re v ie w s w i l l be s p le n d id , and as f o r you, Miss K i t t y , you sh o u ld have y o u r head examined f o r t h i n k in g E l i z a b e t h B a r r e t t w a s n 't th e p a r t f o r you. I t ' s p r o b a b ly y o u r f i n e s t p e rfo rm a n c e ."8 As i s more f u l l y d is c u s s e d in a l a t e r c h a p te r , th e p la y r e c e i v e d e n t h u s i a s t i c r e v ie w s . The B a r r e t t s o f Wimpole S t r e e t p la y e d to S tan d in g Room Only a u d ie n c e s (a b o u t $21,000) s i x t e e n weeks u n t i l th e b e g in n in g o f J u n e . The p r o d u c tio n was a b le to re p a y th e b a c k e r s G r i f f i s and Goodyear w ith in two m onths. The c o s t o f th e p r o d u c tio n was e i t h e r $24,730*09 o r $ 2 6 , 9 8 9 . 0 8 .^ During th e f o r t y - o n e and o n e - h a l f p la y in g weeks o f 1931* ^ M c C lin tic , "More K it Than Me," P a r t I I I , p . 1 3 . ^The p r o d u c tio n c o s t f i g u r e s a r e c o n f l i c t i n g . On a f i n a n c i a l s h e e t l i s t i n g p r o d u c tio n c o s t s i n d i v i d u a l l y , th e i 77! j th e p la y g ro s s e d $769*248.10. At th e end o f 1931* th e n e t j p r o f i t s sto o d a t $ 1 3 5*7 2 0 , which was a s i z e a b l e amount in | th o se d a y s. The B a r r e t t s o f Wimpole S t r e e t s ta y e d on Broad-; way a y e a r and one week a lth o u g h i t p la y e d o n ly a t o t a l o f i f o r ty - s e v e n weeks. There was a six -w eek l a y o f f in O ctober i and November b ecau se o f C o r n e l l ’s i l l n e s s . Since th e p la y j i was making such a la r g e p r o f i t , she o rd e re d t h a t th e e n t i r e j c a s t be p a id f u l l s a l a r i e s ( a t th e c o s t o f $ 2 ,0 0 0 to $2,500 p e r week) d u rin g t h i s six -w eek p e r i o d . ( T h e a t r i c a l I j t r a d i t i o n c a l l s f o r s u p p o rtin g p l a y e r s to g e t much l e s s ! ! com pensation d u rin g th e i l l n e s s o f th e s t a r . ) C o r n e ll a ls o ! gave th e c a s t f u l l s a l a r y d u rin g th e summer months even | though th e show was on a sev en -p erfo rm an ce sc h e d u le (no | S a tu rd a y p erfo rm an ces b u t an a d d i t i o n a l m atin ee d u rin g th e ; week) r a t h e r th an th e u s u a l e i g h t . ^ ; The B a r r e t t s o f Wimpole S t r e e t was s t i l l p la y in g to ; c a p a c i t y a u d ie n c e s one y e a r a f t e r i t f i r s t opened and Cor n e l l was fa c e d w ith th e p o s s i b i l i t y o f a second se a so n . ! She w anted to b ra n c h o u t and t r y new and d i f f e r e n t r o l e s . In view o f th e la r g e p r o f i t s b e in g e a rn ed from th e p la y , a c o n fe re n c e was h e ld among th e key p eo p le in th e o r g a n i z a t i o n — Goodyear, G r i f f i s , H enderson, Macy, C o r n e ll, and t o t a l i s $ 2 4 ,7 3 0 .0 9 . On th e p r o f i t and l o s s s ta te m e n t s h e e t o f The B a r r e t t s o f Wimpole S t r e e t , th e t o t a l i s $ 2 6, 9 8 9 . 0 8^ There a p p e a rs to be no way to v e r i f y th e c o r r e c t f i g u r e . ^ Variety, October 6, 1931* 78 M c C lin tic . They d e c id e d to cloBe The B a r r e t t s o f Wimpole iS t r e e t a t th e end o f th e second week o f F eb ru ary and go on I t o u r u n t i l th e end o f Ju n e. No so o n er d id th e new spapers j announce th e c lo s in g o f th e show th an ev ery s e a t f o r th e j irem ainder o f th e engagement was s o ld . During th e f i n a l j week, p eo p le sto o d in long l i n e s to g e t a s ta n d in g room j ! t i c k e t . When The B a r r e t t s o f Wimpole S t r e e t c lo s e d a t th e | Em pire T h e a tre , i t had had th e lo n g e s t run o f any p la y a t j 11 ! t h a t t h e a t r e up to t h a t tim e . I t in tro d u c e d Aherne to | ] th e U n ite d S t a t e s and f ir m l y launched C o r n e ll a s an ! i a c t r e s s - p r o d u c e r . By th e tim e The B a r r e t t s o f Wimpole S t r e e t f in i s h e d to u r in g on J u ly 2, 1932, th e p la y r e c e iv e d g ro s s r e c e i p t s ! I o f $ 1 ,4 0 2 ,2 6 8 f o r s i x t y - e i g h t and o n e - h a l f weeks o f p la y in g .! The p r o f i t s r e c e iv e d by th e p r o d u c tio n were $314,523. In j a d d i t i o n , C. & M. C. P ro d u c tio n s r e c e iv e d $4,112 r o y a l t i e s j | on Canadian p e rfo rm an ces p lu s $33,000 f o r t h e i r sh a re o f j th e m otion p i c t u r e r i g h t s . When C o r n e ll was to u r in g on j th e West C o ast, she was a g a in o f f e r e d th e o p p o r tu n ity o f a p p e a rin g in th e m otion p i c t u r e v e r s io n o f The B a r r e t t s o f Wimpole S t r e e t . She rem ained adamant ab o u t n o t a p p e a rin g 12 in th e m ovies. T h e re f o re , th e p a r t was giv en to Norma S h e a r e r . • ^ L if e w ith F a th e r l a t e r exceeded The B a r r e t t s o f Wimpole S t r e e t ru n a t th e Empire T h e a t r e . 12 C o r n e ll r e p e a t e d l y r e f u s e d to a p p e a r in motion 79 The combined t o t a l p r o f i t f o r The B a r r e t t s o f Wim p o le S t r e e t d u rin g i t s f i r s t two y e a r s on Broadway and on th e ro a d was $333* 553-'*’^ The B a r r e t t s o f Wimpole S t r e e t re a p p e a re d on th e famous r e p e r t o r y t o u r i n 1 9 3 3- 3^• Of th e t o t a l 225 r e p e r t o r y p e rfo rm a n c e sj The B a r r e t t s o f Wimpole S t r e e t was used 144 tim e sj p a r t i c u l a r l y in th e o n e - n ig h t s ta n d s so t h a t th e s e towns co u ld see C o r n e ll p erfo rm i n h e r g r e a t e s t h i t . T h is t o u r made a p r o f i t o f $73*206.17, most o f which was due to The B a r r e t t s o f Wimpole S t r e e t ' s s u c c e s s . In th e s p rin g o f 1935 C o rn e ll w anted to do a season o f r e p e r t o r y in New Y ork, s t a r t i n g w ith Romeo and J u l i e t , fo llo w e d by The B a r r e t t s o f Wimpole S t r e e t , and c lo s in g w ith F low ers o f th e F o r e s t . The t o t a l c o s t f o r th e r e v i v a l o f The B a r r e t t s o f Wimpole S t r e e t was $ 1 ,6 4 8 .0 6 .^ Many o f th e o r i g i n a l c a s t r e t u r n e d f o r t h i s r e v i v a l . A lthough p i c t u r e s th ro u g h o u t th e y e a r s no m a t t e r how a t t r a c t i v e th e o f f e r . Every tim e she to u re d th e West C o a st, s t o r i e s would a p p e a r i n th e p r e s s a b o u t th e s p e c t a c u l a r o f f e r s she was made by m otion p i c t u r e e x e c u t i v e s , o f f e r s t h a t no s t a r o f h e r c a l i b r e would n o rm a lly tu r n down. C o r n e ll knew t h a t th e s ta g e was h e r medium and rem ained f a i t h f u l to i t . IB J The p r o f i t f i g u r e on The B a r r e t t s o f Wimpole S t r e e t in c lu d e d a d e d u c tio n o f $9*082.41, which was M c C lin tic fs p e r s o n a l in v e s tm e n t in th e p l a y . The $33,000 on th e motion p i c t u r e r i g h t s was p a id o v e r a t h r e e - y e a r p e r i o d , so t h a t th e above p r o f i t f i g u r e would n o t in c lu d e th e payment made i n th e t h i r d y e a r . 14 P ro d u c tio n c o s t s ta te m e n t f o r The B a r r e t t s o f Wim p o le S t r e e t , Appendix D. t h e re v ie w s o f th e p la y were e x c e l l e n t , th e p u b l i c f a i l e d to re sp o n d . The box o f f i c e g r o s s , a v a i l a b l e in V a r i e t y f o r o n ly one week, was $ 1 1 ,0 0 0 . The p l a y was s tr o n g a t th e box o f f i c e d u rin g th e weekend b u t slow d u rin g th e week. As a r e s u l t o f th e p o o r b u s in e s s , th e ru n was c u t to th r e e weeks, and c lo s e d on March 16, 1935. Due to th e ab sen ce o f r e l i a b le d a t a , no p r o f i t o r l o s s f i g u r e has been l i s t e d f o r t h i s ru n . As o f March 4 , 1 9 3 7 * all p r o d u c tio n s o f The B a r r e t t s o f Wimpole S t r e e t had g ro s s e d $ 1 ,8 3 5 ,6 4 8 .5 8 , which i n c l u d e s th e $33*000 r e c e i v e d f o r m otion p i c t u r e r i g h t s . The B a r r e t t s o f Wimpole S t r e e t was a g a in re v iv e d in th e summer o f 1944 when C o r n e ll and M c C lin tic assem bled a c a s t t h a t in c lu d e d B ria n Aherne, B renda F o rb e s, and Margalo G illm o re to p e rfo rm th e B e s i e r p l a y f o r th e Armed F o rces s t a t i o n e d i n th e war zones o f E urope, u n d e r th e sp o n so rsh ip o f th e American T h e a tre Wing. The c a s t and p ro d u c tio n s t a f f o f s e v e n te e n l e f t f o r I t a l y on August 27, 1944, p la n n in g to s t a y f o r e i g h t weeks. However, th e y e v e n t u a l l y rem ain ed s ix m onths, p r e s e n t i n g 143 p erfo rm a n c e s to s e r v i c e men i n I t a l y , F ra n c e , and H o lla n d . B efo re th e tro u p e l e f t f o r th e war zone, n e a r l y everyone e x c e p t th e M c C lin tic s th o u g h t th e servicem en would be b o re d w ith a costume p la y 1^ -'Although The B a r r e t t s o f Wimpole S t r e e t was n o t r e v iv e d betw een 1935 and 1 9 3 7* th e d a t a a re b a se d on an a c c o u n tin g s ta te m e n t d a te d March 4, 1937. ’ ’ 81 I I ab o u t two d i s t a n t p o e ts o f m ature y e a r s . However., th e i r e s u l t s d e f i e d e x p e c t a t i o n s , and th e men loved th e " lo n g h a i r e d drama. The tro u p e r e t u r n e d from th e war zone on F eb ru ary i 13, 19^5* S in ce th e p r o d u c tio n had been s u c c e s s f u l w ith ! i th e s o l d i e r s , C o r n e ll d e c id e d to a g a in r e v iv e th e p la y f o r ; th e New York a u d ie n c e . One week p r i o r to th e New York ■ I o p en in g , C o r n e ll p r e s e n te d e i g h t p e rfo rm an ces a t th e B oston : Opera House (w ith a la r g e c a p a c i t y o f 3*000)- The w eek! s g r o s s in B oston was $46,921, which broke a l l e x i s t i n g house ! i r e c o r d s f o r a l e g i t i m a t e drama. The New York engagement o f The B a r r e t t s o f Wimpole ! S t r e e t , which opened March 26, 1945 a t th e E t h e l Barrymore T h e a tre , ra n e le v e n weeks, c lo s in g June 9* 1945* Eor te n o f th e e le v e n weeks i n New York, The B a r r e t t s o f Wimpole S t r e e t g ro s s e d an e s tim a te d $195*000, an av erag e o f $19*500 p e r week. G e rtru d e Macy e s tim a te d t h a t th e c o s t o f th e p r o d u c tio n was l e s s th an $3*000. Two y e a r s l a t e r C o r n e ll d e c id e d to ta k e The B a r r e t t s o f Wimpole S t r e e t on a ro a d t r i p to th e West Coast s in c e 1 s r A com plete a c c o u n t o f th e o v e rs e a s v e r s io n o f The B a r r e t t s o f Wimpole S t r e e t i s g iv e n in The B.O.W .S. by Margalo G illm o re and P a t r i c i a C o llin g e (New Y o r k : H a r c o u r t , B ra c e , 1945)• 17 'No a c t u a l c o s t o r income s ta te m e n ts a r e a v a i l a b l e f o r t h i s p r o d u c tio n . V a r i e t y d id , however, s e t f o r t h th e above e s tim a te d g r o s s r e c e i p t s . j 82 i 'audiences had not seen th e p r o d u c tio n i n o v er a decade. The g r o s s f o r seven o f th e e ig h t weeks o f th e t o u r , t a b u l a t e d from a v a r i e t y of s o u rc e s , was $172,600, an av erag e |of $24,650 p e r week. The t o t a l g ro s s f o r th e r e v i v a l s of The B a r r e t t s o f Wimpole S t r e e t i n 1945 and 1947 was :$ 4 l4 ,5 4 l f o r e i g h te e n of th e tw en ty weeks, an a v e ra g e o f $23,030 p e r week. On A p r il 14, 1947, th e t o u r i n g company o f The B ar r e t t s o f Wimpole S t r e e t b r o a d c a s t a r a d io v e r s i o n of th e p l a y on KRNT r a d i o i n Des M oines. D uring th e t o u r of The B a r r e t t s of Wimpole S t r e e t i n 19^7, th e B e s ie r p la y was p r e s e n t e d by C o r n e ll f o r t h e th o u sa n d th tim e i n San F r a n c i s c o on T hursday, May 22, 1947* Thus, by t h e end of t h e t o u r on June 7, 19^7, C o r n e ll had p la y e d E l i z a b e th B a r r e t t i n 1 ,0 1 9 p e rfo rm a n c e s, and th e p ro d u c tio n s had g ro s s e d a t l e a s t $ 2 ,2 5 0 ,1 7 0 . The C l a s s i c a l P la y s L u crece C o r n e l l 's f i r s t e x c u r s io n i n t o t h e c l a s s i c s was Andre O bey's L u c re c e , a new tr e a tm e n t o f S h a k e s p e a re 's poem The Rape o f L u c re c e . The p la y had f i r s t been 1 ft V a r i e t y l i s t e d th e t o u r g r o s s e s f o r o n ly t h e two weeks i n Los A n g eles, which were $56,000. T h is r e s e a r c h e r ' s e s ti m a t e f o r th e e n t i r e t o u r i s b ased upon f i g u r e s a p p e a r in g i n t h e new spapers of th e towns i n which t h e p r o d u c tio n to o k p l a c e . perform ed in P a r i s in 1932 by Ja c q u e s Copeau 1 s company. j R o b ert Edmond Jo n es d e sig n e d th e s e t t i n g s and costum es f o r | C o r n e ll, Deems T a y lo r composed th e music., Thornton W ild er I t r a n s l a t e d O bey's F rench s c r i p t , and M artha Graham c h o re o - j j graphed th e d a n c e s. ■ : i B lanche Y urka, who p la y e d one o f th e n a r r a t o r s , j ,gives th e fo llo w in g d e s c r i p t i o n o f th e theme o f th e p la y : j | Obeyrs theme was th e im m olation o f a n o b le Roman | woman a s seen th ro u g h th e eyes o f two a b s t r a c t f i g - j u r e s , th e N a r r a t o r s , who fram ed th e human s t o r y w ith j t h e i r cosmic commentary. The two N a r r a t o r s wore j h a lf -m a s k s . Presum ably unseen by th e o t h e r c h a r a c - j t e r s , th e y moved ab o u t th ro u g h th e a c t i o n o f th e p la y , j commenting upon th e p r o t a g o n i s t s - - t h e i r b e h a v io r , t h e i r s im p le s t h o u seh o ld a c t i v i t i e s , as w e ll as t h e i r l a r g e r s i g n i f i c a n c e . R o b ert L o ra in e , as one o f th e N a r r a t o r s , e x p re ss e d th e m asc u lin e v ie w p o in t. I , as th e o t h e r N a r r a t o r , v o iced th e more s y m p a th e tic , com- ! p a s s i o n a t e , e t e r n a l l y fem in in e view . Our h a lf-m a s k s o f d u l l g o ld and o u r sim ple b ro n z e -g re e n d r a p e r i e s gave u s b o th a s c u lp tu r e d a p p e a r a n c e .19 j i Jo n es d e p a r te d l a v i s h l y in h i s scene d e s ig n s from th e alm o st m o n astic a u s t e r i t y o f th e o r i g i n a l s e t s u sed in | i P a r i s . He d e sig n e d sumptuous costum es and u se d Roman columns to c r e a t e a s t y l i z e d i n t e r i o r w ith in which th e a c t o r s moved th ro u g h im ag in a ry d o o rs, u s in g im a g in a ry props.! "The a r t i s t i c c o n cep t o f a m a g n ific e n t R e n a issa n c e t a p e s t r y b ro u g h t to l i f e r e s u l t e d in s ta g e p i c t u r e s o f e x t r a o r d i n a r y j 20 b e a u t y ." The costum es, s e t t i n g s , and language were a ^Blanche Y urka, Bohemian G i r l (A thens: Ohio U n iv e r s i t y P r e s s , 1970), pp. 169-70. 20Ibid. com b in atio n o f th e R e n a issa n c e combined w ith a s tro n g iRoman f l a v o r . B e fo re i t s New York o p en in g , L ucrece p la y e d th r e e weeks in C le v e la n d , D e t r o i t , and B u f f a lo . The C le v e la n d p re m ie re o f th e p l a y was rev iew ed by th e A s s o c ia te d P r e s s , th e New York Times, th e New York Evening P o s t , a s w e ll as th e C le v e la n d n ew sp ap ers. W illiam McDermott o f th e C le v e la n d P l a i n D e a le r s a id : My own f e e l i n g a b o u t "Lucrece" i s t h a t , a s a p r o d u c tio n , a s an i n t e l l i g e n t m eeting o f a l l th e c o m p le x itie s o f p r o j e c t i n g an o r i g i n a l and d i f f i c u l t p l a y on th e s ta g e , i t i s one o f th e most com plete and s i n g u l a r triu m p h s on t h e a t r i c a l r e c o r d . There i s n o t a d e t a i l t h a t i s n o t m a ste re d w ith d e f t n e s s and t a s t e , and th e whole la b o r io u s e n t e r p r i s e has an im a g in a tio n , a l o f t i n e s s o f c o n c e p tio n and p r o f i c i e n c y o f e x e c u tio n t h a t s e t i t q u i t e a p a r t from o u r h a b i t u a l l y r o u t i n e and t a t t e r d e m a l i o n t h e a t r e . For t h i s a l l honor and p r a i s e . The t r o u b l e , i f you f in d i t so, i s th e p l a y . T his most e l a b o r a t e magic does n o t b r in g i t q u i t e a l i v e . I t re m a in s, too much o f th e tim e , u n d r a m a t ic . There i s b e a u ty and d i s t i n c t i o n i n th e whole p l a y . Many p a s s a g e s d r i p w ith l y r i c harmony, and t h e r e i s h a r d l y a moment i n th e evening when th e p i c t u r e on th e s ta g e i s n o t charm ing. Mr. W i l d e r 's t r a n s l a t i o n , when he i s n o t u s in g S h a k esp eare, i s sim p le , c o l l o q u i a l and f o r c e f u l . ” 1 A rch ie B e l l o f th e C le v e la n d News d e s c r ib e d L ucrece a s a " m a g n ific e n t p r o d u c tio n and a b e a u t i f u l g e s tu r e i n th e p p r i g h t d i r e c t i o n . " The New York Evening P o st s t a t e d t h a t th e au d ie n c e Pi New York Times, December 1, 1932. PP A rchie B e l l , C le v e la n d News, November 30, 1932. r e a c t i o n a t th e C le v e la n d p re m ie re o f L ucrece i n i t i a l l y was ! one o f shock and c o n fu s io n which ev o lv ed i n t o e n th u sia sm . The A s s o c ia te d P r e s s c a l l e d th e s t a g e c r a f t th e most un co n - | v e n t i o n a l t h a t American t h e a t r e g o e r s had seen " in many a d a y . " I Lucrece a r r i v e d a t th e B elasco T h e a tre in New York on December 20, 1932. A lthough everyone who was a s s o c i a t e d w ith th e p l a y lo v ed i t , many o f th e c r i t i c s found th e p la y j i t s e l f d u l l o r too v e rb o s e . The c r i t i c s d id l i k e th e a c t i n g , th e d i r e c t i o n , th e s e t t i n g s and costum es, th e ■ | | t r a n s l a t i o n , and th e m usic, b u t th e y f e l t th e p l a y was a j Museum p ie c e t h a t d id n o t b e lo n g on th e s ta g e . C o r n e ll j i lo v ed th e p l a y , and i t alw ays rem ained one o f h e r f a v o r i t e s .! She o f t e n s a id t h a t i t was one o f th e p la y s she would l i k e ! to t r y a g a in . R e f l e c t i n g upon th e p l a y , C o r n e ll th o u g h t 1 t h a t i t was k i l l e d by to o much lo v e . "Too many p e o p le were I e n th u se d ab o u t i t and w anted to do th in g s f o r i t — in c lu d in g m y se lf. I am s u re i t would have been a trem endous s u c c e ss 24 i f somebody e l s e p ro d u ced i t — s im p ly ." L ucrece ra n f o u r weeks on Broadway, c l o s i n g on Ja n u a ry l 4 , 1933* V a r i e t y l i s t e d th e g r o s s r e c e i p t s f o r th r e e o f th e fo u r w eeks. The f i r s t week th e p l a y g ro s s e d $ 1 4 ,0 0 0 , th e second week i t r o s e to $ 1 5, 5 0 0 , and i n th e ^% ew York Evening P o s t , November 30, 1932. 24 K a th a rin e C o r n e ll, I Wanted To Be an A c tr e s s (New York: Random House, 194l ) , p . 117. 86 t h i r d week th e g r o s s went down to $10,000. D uring th e j th r e e weeks l i s t e d by V a r i e t y , th e t o t a l grosB was $39,5 0 0 , ; an a v erag e o f $ 1 3 ,1 6 5 p e r week. The c o s t o f th e p ro d u c tio n ; :was $24,335* The n e t lo s s on Lucrece was $25,, 268, $1600 j 26 ! more th an th e p r o d u c tio n c o s t s . ^ j Romeo and J u l i e t j ; i D uring 1933-3^., Romeo and J u l i e t p la y e d in r e p e r - j t o r y w ith The B a r r e t t s o f Wimpole S t r e e t and Candida on a j n a tio n w id e t o u r . Romeo and J u l i e t p la y e d o n ly t h i r t y - n i n e j i tim es d u rin g th e t o u r and o n ly in towns which had more than one p erfo rm a n c e . On o r a b o u t A p r i l 2, 1934, th e p ro d u c tio n I o f Romeo and J u l i e t was abandoned f o r th e re m a in d e r o f th e j t o u r . The sc e n e ry and p la tf o r m s were g iv en to a t h e a t r e ; in C i n c i n n a t i , and th e costum es were l a t e r d is p o s e d o f i n j New Y ork. D uring th e t o u r , Romeo and J u l i e t had r e c e i v e d bad c r i t i c a l n o t i c e s i n Chicago, which made th e M c C lin tic s aware o f th e work t h a t rem ained to be done. By th e tim e | th e p l a y had re a c h e d San F r a n c is c o , th e n o t i c e s were good and th e box o f f i c e r e c e i p t s r e f l e c t e d a c a p a c i t y house f o r th e f i n a l perform ance o f Romeo and J u l i e t . Even w ith e x c e l l e n t re v ie w s, M c C lin tic f e l t th e p r o d u c tio n was n o t a c h ie v in g th e g o a ls he had s e t f o r h im s e lf : t h a t i s , an 26 ^No box o f f i c e f i g u r e s a r e a v a i l a b l e f o r Lucrece o t h e r th an th e th r e e weeks l i s t e d in V a r i e t y . e x c i t i n g p r o d u c tio n . The c a s t was a c c e p ta b le b u t f a r from j i d e a l , and th e costum es and s e t t i n g s were r e s t r a i n e d and j \ l o v e ly , b u t n o t e x a c t l y what he had e n v is io n e d . j B efo re d i r e c t i n g th e ro a d v e r s io n o f Romeo and J u l i e t , M c C lin tic had f i r s t re a d th e S o th ern and Marlowe ] prom ptbooks o f th e p l a y which Ray H enderson had d is c o v e re d , j M c C lin tic l a t e r f e l t t h a t th e prom ptbook, which had seemed ! i i so v a lu a b le to him a t f i r s t , was a c t u a l l y s ta n d in g betw een I him and S h a k e s p e a re ’ s t e x t . M c C lin tic a ls o le a r n e d t h a t j I ihis i n t e n s i v e r e s e a r c h and stu d y had in f lu e n c e d him in h i s ! ;ideas f o r s c e n ic d e s ig n . Woodman Thompson had d e sig n e d th e s e t s a c c o rd in g to M c C lin tic ’ s w is h e s . I t was a b e a u t i f u l j p r o d u c tio n to view , b u t Thompson had u se d a q u i e t , somber ! background in th e opening sc e n e . In San F r a n c is c o , i M cC lin tic o v e rh e a rd a woman say to h e r f r i e n d t h a t she knew from th e moment th e c u r t a i n went up t h a t th e p l a y would 2 6 have a "bad e n d in g ." When M c C lin tic s e n t f o r M ie lz in e r , ; he d e c id e d t h a t Romeo and J u l i e t was n o t a museum p ie c e ' ' ' ‘ " 1 ~ T r , r . r j s te e p e d in t r a d i t i o n . I n s t e a d , th e d e c o r sh o u ld be " l i g h t , gayj h o t sun, h o t p a s s i o n s ; young, s w i f t ; and f u l l o f e x h i l a r a t i o n . " 2^ To c a p tu r e th e q u a l i t i e s M cC lin tic so u g h t, M ie lz in e r co p ied th e s t y l e o f G io tto d i Bonsone, an I t a l i a n ; M c C lin tic , Me and K it, p . 2 8 9 .. 27I b i d . , p . 291; John K e ith T i l l i n g h a s t , "G u th rie M c C lin tic , D ir e c to r " (u n p u b lis h e d Ph.D. d i s s e r t a t i o n , I n d i ana U n i v e r s i t y , 1964), pp. 87-88. ; 88 • • i a r t i s t o f th e t h i r t e e n t h c e n tu r y who was n o te d f o r h i s j ' i i lig h tn e s s and g a i e t y . M ie lz in e r u se d b r i g h t l y - c o l o r e d | w a lls and t u r r e t s i n c o n t r a s t w ith th e deep-shadow ed c o r - ; n e r s and a lle y w a y s . The b a lc o n y was a tow er which sto o d ; to u c h in g a b lu e sky w ith th e l i g h t o f s t y l i z e d s t a r s . j J u l i e t wore a b r i l l i a n t r e d d r e s s and th e r i v a l f a m i l i e s 28 I were i d e n t i f i e d th ro u g h u se o f opp o sin g c o l o r s . j M c C lin tic d e c id e d to p l a y a l l t w e n ty - th r e e scenes., j i d e l e t i n g o n ly th e o b s o le t e comedy o f th e m u sic ia n s and j i s e r v a n t s . The p l a y had one tw e lv e -m in u te i n t e r m i s s i o n . ! i The tempo o f th e p l a y was s w i f t w ith no s t i l t e d p a u se s and j I no w a itin g betw een s c e n e s . The o v e r la p p in g o f scen es gave j th e p r o d u c tio n a g r e a t p ace and e l i m i n a t e d d i s t r a c t i n g a p - 1 29 p la u s e a t th e end o f s h o r t s c e n e s . M c C lin tic changed s e v e r a l key members o f th e c a s t . E d ith Evans was c a s t a s th e N u rse, B ria n Aherne p la y e d M e rc u tio , Moroni Olson p la y e d C a p u le t, I r b y M a rs h a ll was h i s Lady, George Macready was P a r i s , John Emery was Ben- v o l i o , and Orson W elles moved from M ercu tio to T y b a lt. B a s i l Rathbone rem ained a s Romeo, C h a rle s Waldron as th e F r i a r , B renda F o rb es a s Lady Montague, and o f co u rse K a th a rin e C o r n e ll a s J u l i e t . P a u l N o rd o ff composed th e 28T i l l i n g h a s t , p . 93- 2^ M c C lin tic , Me and K i t , p p . 293-94. ; 89] i n c i d e n t a l m usic, and M artha Graham s ta g e d th e dance in th e J f a i r y - s t o r y b a llro o m . i During th e summer o f 1934, C o r n e ll r e - s t u d i e d th e i ;p art o f J u l i e t . While in Europe she v i s i t e d V ic e n z a , o u t - j s id e o f Verona, where a c c o rd in g to leg en d th e r e a l J u l i e t j j l i v e d in h e r a n c i e n t c a s t e l l o . A f te r v i s i t i n g V erona, C o r n e ll was more se c u re in h e r r o l e as J u l i e t , which she I d e c id e d to p la y a s a f o u r t e e n - y e a r - o l d g i r l a s w r i t t e n by S hakespeare i n s t e a d o f th e e i g h t e e n - y e a r - o l d she had been ; i p la y in g on to u r . i Romeo and J u l i e t opened a w ee k 's ru n in D e t r o i t on I December 3, 1934* th en moved to C lev elan d f o r fo u r p erfo rm - ; a n c e s , fo llo w e d by a week in P i t t s b u r g h . The company p la y e d two perform ances in Toronto (Monday n i g h t and a Tuesday m atin ee) b ecau se th e New York opening was s e t f o r a Thursday evening and th e y d id n o t w ish to be w ith o u t an SO au d ien ce u n t i l th e n . j The c o b t o f d e s ig n in g th e abandoned s e t t i n g f o r the 1933-34 to u r o f Romeo and J u l i e t was $ 1 1 , 0 6 3 , and th e c o s tumes were $6 , 3 3 8 . The c o s t o f th e new p r o d u c tio n which opened in D e t r o i t was $43.>506. Romeo and J u l i e t opened a t th e M artin Beck T h e a tre on Thursday, December 20, 1934. V a r ie ty e s tim a te d t h a t th e p r o d u c t i o n 's fo u r perfo rm an ces d u rin g opening week g ro ss e d ^ °I b i d . , p. 303. No box o f f i c e r e c e i p t f i g u r e s a r e a v a i l a b l e f o r th e th r e e weeks o f th e t r y o u t . 90 $10j 000. The $ 3 .8 5 to p t i c k e t p r i c e was th e h i g h e s t e v e r ch arg ed f o r a S hakespearean p r o d u c tio n up to t h a t tim e . The p ro d u c tio n was sch e d u le d to p la y f o u r weeks. C o rn e ll had p lan n ed a season o f r e p e r t o r y and Romeo and J u l i e t was to be th e f i r s t o f a s e r i e s o f t h r e e p la y s to be p r e s e n te d i n New York. E x c e l le n t n o t i c e s in th e p r e s s gave C o r n e ll and h e r company c a p a c i t y b u s in e s s n i g h t l y , and she d e c id e d to ex te n d th e p la y an a d d i t i o n a l week. On F e b ru a ry 5* 1935* th e h e a d lin e s t o r y in V a r i e t y s t a t e d t h a t a lth o u g h Romeo and J u l i e t was doing $22,000 b u s in e s s a week, the p la y was n o t l i k e l y to make a p r o f i t . The p r e s e n t a t i o n i s th e most u n u s u a l i n th e a n n a l s o f th e S hakespearean c l a s s i c f i n a n c i a l l y . How e v e r , th e e x c e p t i o n a l w eekly g r o s s e s o f th e a t t r a c t i o n would n e t c o m p a ra tiv e ly m oderate p r o f i t s , i f any, b e cau se o f th e o r i g i n a l p r o d u c tio n o u t l a y . The p la y h a s a v erag ed $22,000 p e r week which e q u a ls o r to p s any c u r r e n t drama on Broadway. The t o u r in g p r o d u c tio n o f Romeo and J u l i e t c a s t was e n t i r e l y sc ra p p e d . The new s e t s f o r Broadway r e p r e s e n t an o u t l a y o f $42,0 0 0 . To d a te th e New York p r o d u c tio n c o s t h as been e a rn e d back b u t th e management i n c lu d e s th e ro ad show 's n e t i n i t s f i g u r e s , and t h e r e i s s t i l l $ 2 5 ,0 0 0 to be b a la n c e d on th e books b e f o r e any a c t u a l p r o f i t i s g a in e d d e s p i t e th e o u t-o f - to w n g r o s s e s . The p r o d u c tio n h as been e x ten d ed t h r e e tim e s and i s now d a te d to end in th r e e weeks w ith th e f i n a l perform ance on F e b ru a ry 2 3 . The B a r r e t t s s t a r t s th e fo llo w in g Monday. . . . Jane C ow l's p ro d u c tio n ra n 20 weeks in 1923 f o r a r e c o rd t o t a l o f 162 p e rfo rm a n c e s. . . . The r e h e a r s a l s o f K a th a rin e C o r n e l l 's company counted h e a v i l y i n th e p r o d u c tio n o u t l a y . When J u l i e t was b e in g r e a d i e d , th e D 'O yly C a rte Opera te n a n te d th e M artin Beck so 91 th e C osm opolitan was engaged. That was accom panied by c o n s id e r a b le back s ta g e ex p en se, p r i n c i p a l l y to th e s ta g e hands.31 I t i s d i f f i c u l t to compute th e a v e ra g e w eekly box o f f i c e g r o s s f o r Romeo and J u l i e t , as th e a v a i l a b l e d a ta a r e n o t com plete. V a r i e t y l i s t e d o n ly s ix and o n e - h a l f weeks o f th e nin e-w eek ru n in New York, w hich was an e s t i mated $139,100, an a v erag e w eekly g r o s s o f $ 2 1 ,4 0 0 . On F e b ru a ry 26, 1935* V a r i e t y s t a t e d t h a t Romeo and J u l i e t g ro s s e d $2 5 0 ,0 0 0 f o r tw elve weeks, an a v e ra g e w eekly g ro s s o f $20,8 5 0 . A ccording to th e p r o f i t figures,32 Romeo and J u l i e t earn e d a p p ro x im a te ly $5 5 , 0 0 0 ,3 3 Romeo and J u l i e t s t a r t e d th e b e g in n in g o f a S h ak esp earean re n a s c e n c e . W ith in th e n e x t few y e a r s , New York a u d ie n c e s saw John G ielgud in H am let, M aurice Evans i n Hamlet and R ic h a rd I I , Orson W elles in J u l i u s C a e s a r, and A lf re d Lunt and Lynn Fontanne in The Taming o f th e Shrew . 3 V a r i e t y , F e b ru a ry 5* 1935* PP. 1* 56. Many s t a t e m ents made i n th e a r t i c l e c o n t r a d i c t o t h e r in fo r m a tio n i a v a i l a b l e to t h i s r e s e a r c h e r which may n o t have been a c c e s s i b l e to th e w r i t e r o f th e V a r i e t y a r t i c l e a t th e tim e i t was w r i t t e n . 32The p r o f i t f i g u r e s a r e ta k e n from a p r o f i t and lo s s s h e e t g iv en by Macy e n t i t l e d "K a th a rin e C o r n e ll P r o d u c tio n s , C o s ts, P r o f i t s , and L o s s e s ," made sometime a f t e r th e c lo s e o f th e 1943 se a so n . 33This p r o f i t f i g u r e c o n t r a d i c t s th e s ta te m e n t in th e F eb ru ary 5* 1935 V a r i e t y a r t i c l e which s t a t e d t h a t th e p la y was u n l i k e l y to make any p r o f i t . The p r o f i t f i g u r e above a p p e a rs to be more a u t h e n t i c th an th e m a t e r i a l con t a i n e d in V a r i e t y . In th e f a l l o f 1935 Ray Henderson p lan n ed a te n and o n e - h a l f week t o u r o f Romeo and J u l i e t which would v i s i t th e towns t h a t had n o t seen th e Shakespearean p r o d u c tio n . B ria n Aherne, E d ith Evans, and B a s i l Rathbone were n o t a v a i l a b l e f o r th e t o u r ; t h e r e f o r e G u th rie M cC lin tic went to London to engage new a c t o r s . He asked Maurice Evans to come to th e U n ite d S t a t e s to p la y Romeo, Ralph R ich ard so n to p l a y M e rc u tio , and F lo re n c e Reed to p la y th e N urse. Tyrone Power, J r . , making h i s second Broadway ap p ea ra n c e , was c a s t as B e n v o lio . The c o s t o f th e p ro d u c tio n was $11,048, and d u rin g th e te n and o n e - h a l f weeks on th e ro a d th e t o t a l box o f f i c e was $235,000, an a v erag e w eekly g r o s s o f $22,380. Romeo and J u l i e t moved i n t o th e M artin Beck T h e a tre on December 23, 1935, f o r a two-week engagem ent. Due to th e la c k o f a c c o u n tin g s ta te m e n ts on Romeo and J u l i e t f o r th e 1935-36 se a so n , a v a r i e t y o f c o n f l i c t i n g f i g u r e s e x i s t s . One a r t i c l e i n a C o r n e ll scrapbook s t a t e s t h a t C o r n e l l 's a v e r age g r o s s i n New York was $ 20,050. A nother c lip p in g s t a t e s t h a t d u rin g th e tw e n ty -e ig h t-w e e k run o f Romeo and J u l i e t , C. & M. C. P ro d u c tio n s g ro s s e d $580,000, a w eekly av erag e o f $ 2 0 , 7 0 0 . ^ I f ta x e s a re in c lu d e d , th e av erag e would be ok J T h is amount would a p p e a r to be i n c o r r e c t b ecause Romeo and J u l i e t d u rin g th e combined 193^-35 season and 1 9 3 5 -3 6 seaso n p la y e d a maximum o f tw e n ty -fo u r and o n e - h a l f weeks. In a d d i t i o n , d u rin g th e 1933-3^ r e p e r t o r y to u r , Romeo and J u l i e t p la y e d t h i r t y - n i n e tim es o r th e e q u iv a le n t 93 I ab o u t $23,000 w e e k l y . F r o m th e c a l c u l a t i o n s o f th e | i ; se v e n te e n weeks o f p e rfo rm an ces f o r which w eekly f i g u r e s j i a r e a v a i l a b l e ( t h a t i s , s ix and o n e - h a l f o f th e n in e and j | i o n e - h a l f weeks in New York d u rin g 193^-35 and th e te n and | o n e - h a l f weeks on th e ro a d in 1 9 3 5- 3 6 )* t h i s r e s e a r c h e r ’s ; c a l c u l a t i o n s come to a t o t a l g r o s s o f $ 3 7 4 , 1 0 0* an a v erag e j o f $22,000 p e r week. The p r o f i t f i g u r e s f o r th e r e v i v a l o f i Romeo and J u l i e t were $ 6 ,3 0 5 .9 5 . Thus, Romeo and J u l i e t , ; I e x c lu d in g th e r e p e r t o r y t o u r p r o f i t s , made a t o t a l p r o f i t o f $ 6 1 ,3 0 5 .9 5 . ! In th e New York Herald-TrjLbune, F r a n c is R obinson, ' i C o r n e l l 's p r e s s a g e n t, w r i t e s t h a t o v e r a p e r io d o f th r e e j seaso n s C o rn e ll a c te d Romeo and J u l i e t 232 tim e s , more than i any a c t r e s s s in c e J u l i a Marlowe, and g ro s s e d $ 5 6 6 , 4 8 4 . 5 8 . ^ Using th e s e f i g u r e s , which would a p p e a r to be a c c u r a te s in c e th e y come d i r e c t l y from th e C o r n e ll-M c C lin tic o f f i c e , Cor- n e l l n e l l p r e s e n te d th e p la y tw e n ty -n in e weeks, w ith an a v erag e w eekly g r o s s o f $ 1 9*5 3 5 - o f f i v e weeks. The t o t a l number o f p e rfo rm an ces d u rin g a l l y e a r s e q u a ls tw e n ty -n in e and o n e - h a l f weeks. - ^ A r t i c l e s were found in C o r n e l l 's scrapbooks w ith no so u rce o r d a te s l i s t e d in th e K a th a rin e C o r n e ll C o l l e c t i o n , New York P u b lic L ib r a r y . ^ F r a n c i s R obinson, New York H e r a ld -T rib u n e , November 23* 1947* A rts S e c tio n , pp. 1, 3 . Antony and C le o p a tra In 1947 C o rn e ll a g a in a tte m p te d to p r e s e n t Shake s p e a r e . The v e h ic le she chose was Antony and C l e o p a t r a , which had n e v e r b e f o re been s u c c e s s f u l l y produced on th e American s ta g e . C o rn e ll and M c C lin tic b e l i e v e d t h a t th e re a s o n Antony and C le o p a tr a had been a f a i l u r e i n th e p a s t was th e method in which th e p la y had been c u t to p ro v id e a v e h ic le f o r th e s t a r . Antony and C le o p a tr a i s a tra g e d y o f i m p e r i a l a s w e ll a s p e r s o n a l c o l l a p s e . I t i s p la y e d o u t r e g a r d l e s s o f a l l consequences w ith h a l f a w orld a t s ta k e . The l o v e r s ' s t o r y can n o t have th e im p act o f th e p l a y — n o r o f h i s t o r y - - w i t h o u t th e Roman and b a t t l e s c e n e s . We a r e doing more o f th e p la y th a n has e v e r been done i n any p r o d u c tio n on r e c o r d w ith o n ly one t r a n s p o s i t i o n o f scenes.37 George Jean Nathan g iv e s h i s e x p la n a tio n o f th e p l a y 's u s u a l la c k o f p o p u la r s u c c e ss in modern tim e s: What w ith i t s 42 changes o f scene ra n g in g o v er th e whole map o f th e a n c i e n t p e r io d and c o v e rin g some dozen y e a r s , i t i s much too d i f f i c u l t f o r th e a v erag e custom er to fo llo w , p a r t i c u l a r l y s in c e most o f th e d i f f e r e n t l o c a l i t i e s u n d e r th e new s c e n ic d i s p e n s a t i o n , w ith i t s nonco m m ittal b l o c k s , s t e p s , p la tf o r m s and c u r t a i n s , lo o k much a l i k e and s in c e i t i s too d a rk in th e t h e a t r e f o r him to d i s t i n g u i s h betw een them in h i s program . . . w ith o u t a f l a s h l i g h t . He has become so u sed to tw o- o r t h r e e - a c t p la y s l a i d i n a s in g l e p la c e and w ith c u r t a i n dro p s to i n d i c a t e th e p a s s in g o f o n ly a few h o u rs t h a t one jumping f r a n t i c a l l y from c i t y to c i t y , p a la c e to g a l le y , camp to b a t t l e f i e l d , and s t r e e t to p l a i n le a v e s him b e w ild e re d and d iz z y . And t h e r e rem ain s . . . th e b e s t re a s o n o f a l l , which i s t h a t most o f th e o r i g i n a l second and t h i r d a c t s i s so a n t i c l i m a c t l c a l l y 37Ibid. t e d io u s t h a t even th e most devout o f th e B a r d 's f o l - i low ers have t r o u b l e keep in g t h e i r e a r s aw ake.38 I n a d d i t i o n to a f i f t h week o f r e h e a r s a l which she ! QQ | r e c e i v e d from E q u ity , ^ C o r n e ll d e c id e d to ta k e a sev en - | week t r y o u t t o u r to f r i e n d l y c i t i e B to a f f o r d h e r ample i tim e to m a ste r th e p a r t o f C le o p a tr a . I i i Due to h ig h company e x p e n d itu r e s , th e p la y l o s t money e v e ry week d u rin g th e t o u r e x c e p t i n C le v e la n d , which i r e g i s t e r e d th e h i g h e s t w eekly g r o s s w ith $24,500. C in c i n n a t i and D e t r o i t b o th f a r e d p o o r ly a t th e box o f f i c e , i each ta k in g in leBS th an $16,000 a week. The t o t a l g ro s s from seven weeks o f t o u r in g was $ 1 2 5, 9 7 5 * and th e p la y l o s t I $14,580 d u rin g t h a t p e r i o d . ; Antony and C le o p a tr a opened a t th e M artin Beck The a t r e i n New York on Wednesday ev en in g , November 26, 1947- / r \ 40 I t ra n f o r s i x t e e n weeks (126 p e rfo rm a n c e s ;. The p la y g ro s s e d a t o t a l o f $ 3 6 3, 6 5 0 , an av erag e o f $ 2 2 ,7 3 0 p e r week, th e h i g h e s t w eekly a v e ra g e s in c e S a i n t J o a n . F o l lowing th e New York engagem ent, th e company went on a n in e - week t o u r o f fo u r m ajor c i t i e s , which g ro s s e d $219,240, an : -^G eorge Je a n N athan, The T h e a tre Book o f th e Y ear, 1947-48 (New York: A lf re d A. Knopf, 1948), p . 160. QQ -’-'E quity n o rm a lly allo w ed fo u r weeks o f r e h e a r s a l . In an e l a b o r a t e p la y such a s Antony and C le o p a tr a , E q u ity g r a n te d a f i f t h week o f r e h e a r s a l . Two s p e c i a l p e rfo rm an ces were g iv e n : on F eb ru ary 2 6 , 1948, a m atin ee f o r h ig h s c h o o l s tu d e n t s , and on A p r il 22, 1948, a b e n e f i t f o r th e A c t o r s ’ Fund. a v erag e o f $24,700 p e r week. The t o t a l g r o s s f o r a l l t h i r t y - t w o weeks o f Antony and C le o p a tr a was $708,875.* an a v e ra g e o f $22,150 p e r week. The New York ru n n e t t e d $19 j 362.32, w h ile th e post-New York t o u r made an o p e r a tin g p r o f i t o f $7 ^8 5 7 - 5 8 j th e t o t a l o p e r a tin g p r o f i t f o r th e t h i r t y - t w o week engagement was $ 1 3 * 4 7 8 . 4 2 .^ However, due iip to th e h ig h c o s t o f p r o d u c tio n , which was $ 1 0 4 ,7 4 1 .7 0 , and o t h e r c o s t s , Antony and C le o p a tr a had a n e t l o s s o f $ 1 4 0 ,5 0 3 .2 2 . The 251 p e rfo rm an ces o f th e S hakespearean p r o d u c tio n r e p r e s e n t e d th e lo n g e s t run th e p l a y had e v e r e n jo y e d . The r o l e o f C le o p a tr a was one o f th e crowning ach ie v e m e n ts o f C o r n e l l ’ s c a r e e r a s an a c t r e s s . A ntigone In a d d i t i o n to C o r n e l l 's d e s i r e to p roduce Shake s p e a re a n p r o d u c tio n s , she a l s o chose to p r e s e n t an u p d a te d v e r s i o n o f th e Sophoclean tra g e d y A ntigone by A n ouilh. The p la y was c a l l e d A ntigone and th e T y ra n t d u rin g th e t r y o u t t o u r , b u t was changed to A ntigone b e f o re th e New York o p en in g . The p ro d u c tio n was a c te d in modern evening d r e s s , th e women w earing flo w in g ro b e s and th e men w earing d in n e r j a c k e t s a g a i n s t a n e a r l y b a re s ta g e o f th r e e s te p s and g ra y d r a p e s . The B e ttin g was d e sig n e d by Raymond Sovey and 41 A ccounting s ta te m e n t f o r Antony and C le o p a tr a , Appendix E. 42 P ro d u c tio n c o s t s ta te m e n t, Appendix D. !......................................................' "........97 th e costum es by V a l e n t i n a . The t o t a l c o s t o f p r o d u c tio n I Jl^ i was $ 2 6 ,9 5 2 .8 9 . The g r o s s r e c e i p t s d u rin g th e t o u r were j much low er th an th e y had e v e r been f o r any p r e v io u s t r y o u t t o u r . The t o t a l g r o s s e s were $95*504, an a v erag e o f i $15,500 p e r week. The l o s s b e f o re th e New York opening ' was $ 2 ,5 4 2 .3 2 . i A ntigone opened a t th e C o rt T h e a tre i n New York on j F e b ru a ry 18, 1946. The g r o s s r e c e i p t s f o r th e opening j week were $ 2 0 ,1 4 1 .5 0 , b u t th e y dropped to ab o u t $ 15*000 th e | f o llo w in g week and s ta y e d n e a r t h a t f i g u r e f o r s e v e r a l w eeks. The o p e r a tin g p r o f i t f o r th e p r o d u c tio n a v erag ed a b o u t $1,000 p e r week. In an e f f o r t to b o l s t e r th e sag g in g | box o f f i c e , C o r n e ll took h e r p e r e n n i a l r e v i v a l Candida o u t o f s to r a g e . Candida was added to p la y in r e p e r t o r y w ith A ntigone b e g in n in g Wednesday, A p r il 3 , 1946. The fo llo w in g f o u r weeks Candida p la y e d Monday th ro u g h Thursday, and A ntigone p la y e d F r id a y and S a tu rd a y . C ed ric H ardwicke, who was p la y in g Creon in A n tig o n e , to o k th e r o l e o f Mor r e l l , and Wesley Addy and O liv e r C l i f f p erfo rm ed in b o th p l a y s . A young a c t o r named Marlon Brando was h i r e d to p la y Marchbanks in C andida, w h ile M ildred Natwick r e c r e a t e d h e r r o l e o f P ro ssy . W ith th e a d d i t i o n o f Candida th e box o f f i c e r e c e i p t s r o s e $ 2 ,0 0 0 to $ 3*000 w eekly from what th e y 43 •^Production c o s t s ta te m e n t, Appendix D. The com p l e t e g r o s s r e c e i p t s and a c c o u n tin g s ta te m e n ts a r e a v a i l a b le f o r th e f i r s t tw elv e weeks o f th e p r o d u c tio n . 98 | had been a v e ra g in g f o r J u s t A n tig o n e . The two p la y s c lo s e d j in New York on May 4, 1946 and were booked as playB in j r e p e r t o r y d u rin g a fiv e -w e e k t o u r o f th e E a s t C oast and ’ C h ic a g o . The e s tim a te d g r o s s r e c e i p t s a v a i l a b l e f o r fo u r o f j th e f i v e weeks o f to u r in g a r e $ 1 0 2, 0 0 0 , an av erag e o f $25*000, which was c o n s id e r a b ly more th an A ntigone was j a b le to draw a lo n e d u rin g th e t r y o u t t o u r (a d i f f e r e n c e o f j $10,000 p e r w eek). C o r n e ll c o n s id e re d A ntigone an a r t i s t i c ; s u c c e s s , b u t i t needed th e com m ercial drawing power o f Candida to save i t a t th e box o f f i c e . The t o t a l e s tim a te d g r o s s e s f o r th e two p la y s i n r e p e r t o r y a r e $ 3 6 1, 4 3 1 , an average of $18,075 per week. The profit and loss figures on th e 1946 p r o d u c tio n s o f A ntigone and Candida a r e n o t a v a i l a b l e ; however, G e rtru d e Macy s t a t e s t h a t she f e e l s c e r t a i n t h a t Candida a b so rb ed any l o s s t h a t A ntigone might 44 have s u s t a i n e d . The Three S i s t e r s At th e tim e C o r n e ll p roduced The Three S i s t e r s , t h e • p l a y was f o r ty - tw o y e a r s o l d . The v i s i t by th e Moscow A rt T h e a tre to th e U n ite d S t a t e s i n 1923 and i t s p r e s e n t a t i o n o f The Three S i s t e r s had made q u i t e an im pact on th e 44 C orrespondence w ith G e rtru d e Macy, September 20, 1972. th e a tr e g o in g p u b l i c , and th e p la y had become a c l a s s i c i n : i t s own tim e. | M c C lin tic had n e v e r seen th e Moscow A rt T h e a t r e 's , | n o r any o t h e r , p ro d u c tio n o f th e p la y . T h e re fo re he was ; j a b le to p la n h i s d i r e c t i o n " w ith o u t th e i n h i b i t i o n o f i n - ; . s i s t e n t mem ories. He a l s o made no a tte m p t to make th e i I p l a y R u s sia n . M cC lin tic once s t a t e d t h a t he had been w an t- j in g to do The Three S i s t e r s s in c e 1936, b u t i t had tak en him s ix y e a r s to s e l e c t th e c a s t t h a t co u ld do th e p la y j u s t i c e . A lthough many members o f th e c a s t o f The Three S i s t e r s had name v a lu e in t h e i r own r i g h t , M c C lin tic claim ed t h a t h i s t r u e g o a l was to f i n d f in e a c t o r s who had a c e r t a i n "chem ical r i g h t n e s s f o r th e p a r t s we wanted them to p l a y . " ^ He had o r i g i n a l l y hoped to engage A lfre d Lunt f o r th e p a r t o f V e r s h in in and Lynn Fontanne f o r Olga, b u t th e y were n o t a v a i l a b l e . I n s t e a d , M cC lin tic h i r e d J u d i t h Anderson f o r th e p a r t o f Olga, Ruth Gordon f o r th e p a r t o f N a ta s h a , Edmund Gwenn f o r th e p a r t o f Dr. T c h eb u ty k in , and D ennis King f o r th e p a r t o f V e r s h in in . C o r n e ll gave th e 47 f i r s t - f l o o r d r e s s in g rooms to Anderson and Gordon. 1 The ^ G u t h r i e M c C lin tic , " D ire c tin g Chekhov," T h e a tre A r t s , A p r i l, 1943, p. 214. ^ I b i d . , p . 2 1 2 . ^ M c C l i n t i c s t a t e s i n " D ire c tin g Chekhov" t h a t Ander son wanted C o r n e ll to have th e f i r s t - f l o o r d r e s s in g room, b u t as th e p ro d u c e r C o r n e ll "won th e d a y ." I b i d . 100 I le a d in g members o f th e c a s t were l i s t e d In a l p h a b e t i c a l | o r d e r to av o id any j e a l o u s i e s . j The Three S i s t e r s opened a th re e -w e e k ro a d t r i p a t th e N a tio n a l T h e a tre In W ashington, D.C. on November 30, 1942. At th e end o f th e t r y o u t p e r i o d , The Three S i s t e r s j had a t o t a l g r o s s o f $79,773*50, an a v erag e o f $26.,590 p e r j week. The o p e r a tin g p r o f i t f o r t h r e e weeks was $ 2 3 ., 162.74. ; i On December 21, 1942, The Three S i s t e r s opened a t ! th e E t h e l Barrymore T h e a tre and c lo s e d I t s f if te e n - w e e k New York ru n on A p r i l 3, 1943. The p r o d u c tio n had a t o t a l g r o s s d u rin g th e New York engagement o f $301,117* an a v e r age o f $20,075 pen week. The p r o d u c tio n c o s t s , which were 40 $ 3 8 ,5 1 0 .9 5 , were p a id o f f a f t e r th e f o u r t h week in New York. D uring th e New York engagem ent, two b e n e f i t p e rfo rm - : an ces were g iv e n ; one made $ 2 ,3 5 0 f o r th e S tage R e l i e f Fund and th e o t h e r earn e d $ l , 8 l 8 f o r th e Red C ro ss. The 122 p e rfo rm a n c e s i n New York exceeded a l l p r e v io u s Chekhovian p la y s produced in t h a t c i t y , in c lu d in g Eva L e G a llie n n e ' s p ro d u c tio n o f The C herry O rchard (108 p e r form ances) and Jed H a r r i s ' p ro d u c tio n o f Uncle Vanya in 1930. The su b se q u e n t ten-w eek t o u r o f s e v e r a l E a s te r n c i t i e s g ro s s e d $243,675, an a v erag e o f $24,370 p e r week. The t o t a l g r o s s f o r th e tw e n ty - e ig h t weeks o f th e p l a y was hQ P ro d u c tio n c o s t statem ent., Appendix D. 101 $624,563* an a v e ra g e o f $22,300 p e r week. The T hree S i s t e r s made a n e t p r o f i t f o r C. & M. C. P ro d u c tio n s o f $ 3 6 ,0 5 4 . 2 6 . 49 | i The 230 p erfo rm an ces of The T hree S i s t e r s produced by C o r n e ll were a r e c o r d f o r t h e R u ssia n c l a s s i c i n Eng l i s h . The su c c e ss s p u rre d new p r o d u c tio n s o f R u ssia n j ■ | p la y w r ig h ts , such as In a C l a i r e i n A Month i n t h e C ountry | by Iv a n Turgenev. A y e a r l a t e r The C herry O rchard was j r e v iv e d w ith Eva L e G a llie n n e and Jo sep h S c h ild k r a u t i n j le a d in g r o l e s . ! Shaw P la y s | i i Candida K a th a r in e C o r n e ll p la y e d Candida on f i v e s e p a r a te o c c a s io n s d u rin g h e r c a r e e r . The f i r s t p r o d u c tio n i n 1924, ! p roduced by th e A c t o r s ’ T h e a tre and d i r e c t e d by Dudley 50 ' ■ D igges, was d is c u s s e d i n d e t a i l i n an e a r l i e r c h a p te r . ; Candida was re v iv e d d u rin g t h e r e p e r t o u r y t o u r o f j 1933-34, d i r e c t e d by G u th rie M cC lin tic w ith t h e same 1924 s e t t i n g s t h a t were d e sig n e d by Woodman Thompson. During j t h e r e p e r t o r y t o u r , Candida was perform ed f o r ty - tw o tim e s i t o v e ry good box o f f i c e r e c e i p t s . Three y e a r s a f t e r t h i s t o u r , Candida was a g a in 40 ^A ccounting sta te m e n t f o r The T hree S i s t e r s , Appen d ix E. •^S e e p. 39 of t h i s s tu d y . r e v iv e d to go i n t o r e p e r t o r y w ith The W ingless V ic to r y by Maxwell Anderson b e cau se o f th e ta x in g n a t u r e o f C o r n e l l 's r o l e a s O parre and a f a l l - o f f i n b u s in e s s . The New York ru n o f Candida would p la y th r e e tim e s a week, and The Wing l e s s V ic to r y would p l a y f i v e tim e s a week. The p r o d u c tio n c o s t f o r th e r e v i v a l o f Candida was $2, 3 0 6 .47 • Candida began to draw s ta n d in g room a u d ie n c e s on th e S a tu rd a y p e r form ances. Im m ed iately th e box o f f i c e g ro s s jumped $1,200 th e f i r s t week. When an a d d i t i o n a l perform ance o f Candida was added, b u s in e s s im proved a n o th e r $800 up to $17,000 and th e fo llo w in g week to $18,000. S in ce Candida was o u t-d ra w in g The W ingless V i c t o r y , th e M c C lin tic s d e c id e d to c lo s e th e Anderson p l a y a f t e r th e f i f t e e n t h week i n New York and to p la y Candida a lo n e f o r two w eek s. Can d id a d id such good b u s in e s s t h a t two more weeks were added to i t s ru n , even though th e c a s t o f The W ingless V ic to r y was w a itin g to go on t o u r . During th e six -w eek t o u r o f E a s te r n c i t i e s , th e two p l a y s , which ap p eared i n r e p e r t o r y , g ro s s e d an e s tim a te d $ 1 2 5, 5 0 0, an a v erag e o f $ 2 0 ,9 0 0 p e r week. The W ingless V ic to r y and Candida co m bination had an e s tim a te d t o t a l g r o s s o f $5 2 9 ,6 0 0 f o r tw e n ty - e ig h t o f th e 52 tw e n ty -n in e and o n e - h a l f week ru n ^ in New York and on th e 51 ^ P ro d u c tio n c o s t s ta te m e n t, Appendix D. 52 ^ Candida was p erform ed f i f t e e n o f th e tw e n ty -n in e and o n e - h a l f weeks. r o a d , - ^ an a v e ra g e o f $18,910 p e r week. The a v e ra g e In New York f o r b o th p la y s was $16,460, b u t when Candida was added, th e a v e ra g e r o s e an e s tim a te d $1,000 p e r week. To g e t h e r , th e two p la y s made a p r o f i t o f $6 3 , 1 0 2 . 5 2 . During th e 1937 r e v i v a l , George B ern ard Shaw w rote h i s famous l e t t e r d e s c r i b i n g h i s v i s i o n o f C o r n e ll as C a n d id a . I d o n 't th in k I was e v e r so a s to n is h e d by a p i c t u r e a s I was by y o u r p h o to g ra p h . Your su c c e ss a s C andida, and som ething blonde and ex p an siv e ab o u t yo u r name, had c r e a t e d an I d e a l suburban B r i t i s h Candida In my Im a g in a tio n . Fancy my f e e l in g s on s e e in g in th e p h o to g ra p h a gorgeous d ark lad y from th e c r a d l e o f th e human r a c e , w herever t h a t w as— Ceylon, Sum atra, H ilo , o r th e s o u th e r n most c o r n e r o f th e Garden o f Eden I I f you look l i k e t h a t i t d o e s n 't m a tte r a ra p w h eth er you can a c t o r n o t . Can you? Y ours, b r e a th - b e r e a v e d , G. B ern ard Shaw K a th a rin e C o r n e ll had p lan n ed to p r e s e n t Rose Burke by H en ri B e r n s te in in a New York engagement in th e s p rin g o f 1942. When th e p r o d u c tio n fo ld e d d u rin g th e t r y o u t t o u r , she d e c id e d to r e v iv e Candida f o r a s e r i e s o f f o u r m atin ee and one Sunday evening p e rfo rm a n c e s. The p l a y was sp o n so red by th e American T h e a tre Wing f o r th e b e n e f i t o f th e Army and Navy R e l i e f Fund. Woodman Thompson's s c e n e ry and costum es from th e 1937 r e v i v a l were ta k e n o u t o f s t o r a g e . Raymond Massey, B urgess M ered ith , ^ ^ V a rie ty n e g l e c t s to l i s t th e g r o s s e s f o r th e f i r s t and l a s t w eeks' ru n o f th e New York engagem ent. ^ C o r n e l l , pp. 1 6 9- 7 0 . 104 and M ild red Natwick were ask ed to r e c r e a t e t h e i r r o l e s fromj ; I th e e a r l i e r p r o d u c t io n s . Meredith., who was a p r i v a t e i n j i th e U n ite d S t a t e s Army* was g iv e n a s p e c i a l le a v e to ta k e ! th e p a r t o f M archbanks, and Massey, who was on lo an from j i W arner B r o th e r s P i c t u r e s , to o k th e p a r t o f M o rr e ll. | The p la y was sc h e d u le d to ru n f i v e p e rfo rm an ces a t j I th e S h u b ert T h e a tre . Because th e p r o d u c tio n was f o r c h a r - j i t y , th e week was f r e e o f t h e a t r e r e n t , Shaw d id n o t ta k e ! h i s r o y a l t y , each a c t o r r e t u r n e d h i s pay, and th e S ta g e - ; l h a n d s' Union a g re e d to work w ith o u t com p en satio n . U n s a la r i e d v o l u n t e e r s se rv e d a s t h e a t r e m anagers and p r e s s a g e n t s . The M u sic ia n s' Union s a id th e r e d id n o t have to 1 5 6 be th e u s u a l payment f o r an o r c h e s t r a . Only th r e e d e- 57 partm ent headB and a l i g h t man op era ted th e show. ' Each o f th e f i v e p erfo rm a n c e s p la y e d to S ta n d in g j Room Only w ith a s many a s 200 s ta n d e e s p r e s e n t . Candida was tu r n in g away such crowds t h a t a second week was added j to th e sc h e d u le and e v e n t u a l l y two a d d i t i o n a l weeks. Some ! e x p e n se s, such a s new spaper a d v e r tis e m e n ts , were c o n s id e r a b le even a t th e c h a r i t y r a t e s . O ther expenses in c lu d e d h a u la g e and t h e a t r e h e lp . I The t i c k e t p r i c e s ran g e d from $1.10 to $4.40 and . i -^ V a r i e t y , June 10, 1942, p. 4 9 . ^ Newsweek, May 2 5 , 1942, pp. 60, 62. -^ V a r i e t y , June 3 j 1942, p . 48. ; s ta n d in g room went f o r $ 1 .6 5 to $ 2 .2 0 . A thousand m ail o r d e r s were r e j e c t e d each day. The f i r s t w e e k 's f iv e p e r form ances o f Candida g ro s s e d $16,3 3 0 . The g r o s s o f th e : f i r s t t h r e e weeks was $ 5 5 , 0 0 0 , an a v erag e o f $ 3 ,6 6 5 p e r p e rfo rm a n c e . Twelve a d d i t i o n a l p erfo rm an ces were g iv en th e week b e g in n in g May 2 4 th , in c lu d in g fo u r m a tin e e s and two Sunday e v e n in g s . The p e rfo rm an ces f o r t h a t week g ro s s e d $35*892. The t o t a l g r o s s o f tw e n ty -se v e n p e rfo rm - j a n ces i n New York was $ 9 0 , 8 9 2 , an a v erag e o f $22,723 p e r i 58 ' week d u rin g th e four-w eek r u n . j j Candida was tak en to W ashington, D.C. f o r one week j a t th e N a tio n a l T h e a tre , b e g in n in g June 1, 1942, where i t j g ro s s e d $ 3 3 ,0 0 0 . The t o t a l g r o s s d u rin g th e f i v e weeks o r t h i r t y - f i v e p e rfo rm an ces was $122,280. Expenses amounted to $ 4 0 ,0 0 0 . The n e t r e c e i p t s f o r Candida were $ 8 3 *0 7 2 . The Army and Navy r e l i e f funds each r e c e i v e d $ 3 6 , 8 1 7 * w h ile th e American T h e a tre Wing r e c e i v e d $9*^37* ! The 1946 p r o d u c tio n o f Candida h as a l r e a d y been d is c u s s e d in th e s e c t io n on A n tig o n e . On th e f i v e o c c a s io n s C o r n e ll perform ed Candida d u rin g h e r c a r e e r , she p la y e d th e r o l e a minimum o f 200 c;8 The f i g u r e s a r e based upon o n ly f i v e p erfo rm an ces each week and would o b v io u s ly be h ig h e r i f th e u s u a l e i g h t p e rfo rm a n c e s p e r week had been o f f e r e d . I f t h e r e had been e i g h t p e rfo rm a n c e s, f o r exam ple, th e a v erag e w eekly g r o s s would have been ab o u t $ 2 9 *3 2 0 . tim e s . I t waB d i f f i c u l t to g e t an a c c u r a te co u n t o f th e e x a c t number o f p erfo rm a n c e s b ecau se th e y were o f te n done i n r e p e r t o r y w ith o t h e r works o r were perform ed o n ly f o r m a tin e e s , which red u ced th e number o f p erfo rm an ces i n a week. Candida was s u c c e s s f u l each tim e C o rn e ll r e v iv e d i t b o th w ith th e c r i t i c s and a t th e box o f f i c e . S a i n t Joan K a th a rin e C o r n e ll began work on S a in t Joan immedi a t e l y a f t e r h e r s u c c e s s f u l r e v i v a l o f Romeo and J u l i e t i n j 1 9 3 6 . In k eeping w ith h e r p r a c t i c e o f u s in g acto rB who j had a p p eared i n p r e v io u s C o r n e ll p l a y s , M aurice Evans p la y e d th e r o l e o f D auphin, C h a rle s Waldron sw itch e d from F r i a r Lawrence i n Romeo and J u l i e t to th e A rchbishop o f i Reims, Tyrone Power, J r . p la y e d B a l t h a z a r and a Page, and | B ria n Aherne r e t u r n e d to p l a y Warwick. O ther r e t u r n i n g ! C o r n e ll alum ni (a s th e y were o f te n r e f e r r e d to by o t h e r s | . ! i n th e t h e a t r e ) in c lu d e d C h a rle s D alto n as T re m o u ille and , a S o l d i e r , R o b ert Champlain a s a Page, David V iv ia n a s j ] G i l l e s de R a is , A rth u r C h a tte r to n a s a Stew ard and a Gentleman, John Cromwell a s B r o th e r M a rtin , and I r v i n g I Morrow a s Canon de C o u r c e lle s . C o r n e ll a l s o promoted two ! e x t r a s , Ruth March and L o is Jam eson, in th e c a s t o f Romeo and J u l i e t to a l t e r n a t e in th e o t h e r fem ale r o l e , th e Duchess de l a T re m o u ille . C o rn e ll had been o f f e r e d th e p a r t o f Joan t h i r t e e n y e a r s e a r l i e r and had tu rn e d i t down. D uring th e summer o f 1935* C o rn e ll p re p a re d f o r h e r r o l e by t r a c i n g th e l i f e o f : th e Maid o f O rle a n s . She s p e n t a few days in th e o ld Maison Rouge i n S tra s b o u r g , F ra n c e , and th en took a m otor t r i p to In n sb ru c k , A u s t r i a , fo llo w e d by a v i s i t to th e o ld m a rk e tp la c e i n Rouen where Joan had been b u rn ed . The t r y o u t t o u r was p lan n ed to l a s t th r e e weeks, w ith th e f i r s t s to p i n D e t r o i t . The l a r g e demand f o r t i c k e t s d u rin g th e advance s a l e allo w ed an a d d i t i o n a l m at in e e to be s c h e d u le d . C o r n e l l 's l a s t s to p was P i t t s b u r g h , where she' p lan n ed to p la y a week. She had cau g h t th e f lu w h ile p la y in g in B u ffa lo and by th e tim e she a r r i v e d in P i t t s b u r g h she was e x tre m e ly i l l . On F rid a y morning she had a c u te l a r y n g i t i s and co u ld n o t even speak in a w h isp e r. The F rid a y and S a tu rd a y p erfo rm an ces in P i t t s b u r g h were c a n c e l l e d . ^ As a r e s u l t o f th e c a n c e l l a t i o n , $9*000 had to be r e t u r n e d to p a t r o n s . The t o t a l g r o s s d u rin g th e t r y o u t o f S a i n t Joan was an e s tim a te d $50,000 f o r n in e te e n p e rfo rm a n c e s, o r an a v erag e o f $ 2 0 ,8 3 5 p e r week. S a in t Joan was sch ed u led to open a t th e M artin Beck T h e a tre in New York on March 2, 1935. C o r n e l l 's i l l n e s s f o rc e d h e r to p o stp o n e th e opening a week to March 9» The p la y was s l a t e d to run in New York u n t i l a t le a B t June 20, b u t C o rn e ll d e c id e d to c lo s e th e p la y a t th e end o f e le v e n CjQ -^B oth n i g h t s in P i t t s b u r g h were com plete s e l l o u t s . 108 ! i weeks w h ile i t was s t i l l doing e x c e l l e n t b u s in e s s in o r d e r | i to go on a seven-week t o u r to f iv e m ajor c i t i e s on b o th th e 1 i E a s t and West C o a s ts. When th e run ended, th e p la y was doing o v e r $ 2 1 ,0 0 0 b u s in e s s p e r week and was one o f th e t h r e e to p shows in New Y o rk .^0 C. & M. C. P ro d u c tio n s p a id | a p e n a l t y to th e M artin Beck T h e a tre b e cau se i t ended th e i run b e f o r e th e box o f f i c e r e c e i p t s had re a c h e d th e f i g u r e j t h a t o r d i n a r i l y p e r m itte d an a t t r a c t i o n to c l o s e . ^ Box o f f i c e f i g u r e s were a v a i l a b l e f o r te n o f th e e le v e n weeks in V a r i e t y and o t h e r s o u rc e s . In a t l e a s t s ix j weeks S a i n t Joan g ro s s e d o v e r $23,000 p e r week, w ith a h ig h 1 f i g u r e o f $ 2 3 ,9 3 1 d u rin g th e f i n a l week i n New York. In j te n weeks th e t o t a l g r o s s was $ 2 2 7, 5 3 3 * an av erag e w eekly g r o s s o f $ 2 2 , 7 5 0 , th e h i g h e s t av erag e g r o s s o f any p ro d u c t i o n C o r n e ll d id in New York, w ith th e e x c e p tio n o f th e b e n e f i t p erfo rm an ces o f Candida in 19^2. As l a r g e a s th e g r o s s e s were in New York, S a i n t Joan d id even b e t t e r b u s i - < n e s s on t o u r . The e s tim a te d t o t a l g r o s s on th e seven and o n e - h a l f week t o u r o f S a in t Joan was $214,080, an av erag e o f $ 2 8 ,5 5 0 . T his w eekly a v e ra g e was o n ly exceeded by th e two-week post-New York t o u r o f The Dark I s L ig h t Enough. The o t h e r p la y s were V i c t o r i a R egina s t a r r i n g Helen Hayes, and I d i o t ' s D e lig h t s t a r r i n g A lfre d Lunt and Lynn P o n ta n n e . ^ C o r n e l l had made a commitment w ith Maxwell Anderson to produce h i s p la y in th e f a l l . 109 The t o t a l g r o s s f o r S a in t J o a n , which p la y e d 20.8 weeks* | was an e s tim a te d $491*6l4* an a v e ra g e o f $24*825* which I was a g a in exceeded o n ly by The Dark I s L ig h t Enough. The j p r o f i t from S a in t Joan was o n ly $9*802.06* due to th e f a c t t h a t th e run was s h o r t and th e p r o d u c tio n c o s t s were $33*888.50. I The D o c to r 's Dilemma i ! Six y e a r s a f t e r h e r s u c c e ss in S a in t Joan and f o l lowing h e r r e v i v a l o f Candida in 1937 j C o r n e ll d e cid ed to I a tte m p t a n o th e r p la y by Shaw* The D o c t o r 's Dilemma. Cor- j n e l l su rro u n d ed h e r s e l f w ith an e x c e l l e n t c a s t o f a c t o r s in c lu d in g Bramwell F l e t c h e r a s th e p a i n t e r Dubedat* C l a r ence Derwent* C o lin K e ith -Jo h n sto n * Raymond Massey* W hit- f o rd Kane* C e c il Humphries* and Ralph Forbes as th e d o c t o r s . The c o s t o f th e p r o d u c tio n was $ 2 5 * 7 3 2 .^ D uring th e t h r e e weeks o f th e t r y o u t t o u r in D e tr o it* Columbus* C in c in n a ti* and Cleveland* The D o c to r 's Pilemma g ro s s e d $6 9 *8 2 0 * an a v e ra g e o f $ 23*275 p e r week. The Shaw p la y opened a t th e S h u b ert T h e a tre i n New York and c lo s e d th e f if t e e n - w e e k ru n on June 21* 1941. A ccounting s ta te m e n ts o f th e box o f f i c e g r o s s e s f o r th e f i r s t s ix weeks were a v a ila b le * b u t th e rem a in in g n in e 62 No p r o d u c tio n c o s t s ta te m e n t i s a v a i l a b l e f o r S a in t J o a n . The f i g u r e was f u r n is h e d by G e rtru d e Macy i n a p e r s o n a l in te rv ie w * May 2 7 * 1971. ^ P r o d u c t i o n c o s t statem en t* Appendix D. 110 weeks had to be ta k e n from V a r i e t y . No d a ta o f any k ind c o u ld be found f o r one o f th e weeks, and t h e r e f o r e th e t o t a l box o f f i c e g r o s s o f th e s e f o u r te e n weeks was $246,450. an a v e ra g e o f $17^600 p e r week. During th e f i r s t s ix weeks th e box o f f i c e s ta y e d above $20,000 (th e second and t h i r d w eeks' r e c e i p t s topped $ 2 2 , 7 5 0 ) , and th en began f a l l i n g ab o u t $1,000 p e r week u n t i l i t re a c h e d $12,000. F ollo w in g th e New York ru n , th e company took a summer v a c a tio n and i n th e f a l l re a sse m b le d f o r a fo u rte e n -w e e k t o u r to th e West C o a st. The t o t a l g r o s s on t h i r t y - t w o weeks in New York and on th e ro ad was $6 0 6 , 3 8 0 , an av erag e o f $19j 880 p e r week. The 121 p erfo rm an ces in New York r e p r e s e n t e d th e p l a y ' s lo n g e s t run in th e U n ite d S t a t e s as w e ll a s i t s most p r o f i t a b l e engagement anywhere. C o r n e l l 's p r o d u c tio n e a rn e d a p r o f i t o f $ 2 2 , 3 3 0 . On Sunday, March 31.> 19^1* C o r n e ll and th e c a s t h e ld a f i v e - c e n t m a tin e e o f The D o c t o r 's Dilemma, sponsored by A c to r s ' E q u ity to i n t e r e s t h ig h sc h o o l s tu d e n ts in th e t h e a t r e . Of th e 1,300 to 1,400 s tu d e n t s who a tte n d e d , o n e - t h i r d had n e v e r a t te n d e d th e t h e a t r e p r e v i o u s l y . George B e rn a rd Shaw w ro te K a th a rin e C o rn e ll a l e t t e r on J u ly 30, 19^1j e x p r e s s in g d e l i g h t a t th e su c c e ss o f The D o c t o r 's Dilemma. He d e s c r ib e d th e c h a r a c t e r o f J e n n i f e r Dubedat ( th e r o l e p o r tr a y e d by C o rn e ll) a s th e s o r t o f woman he h a te d . Shaw alBo t o l d C o rn e ll t h a t th e r o y a l t i e s he made from th e p la y were m in is c u le b ecau se o f th e l a r g e sum ta k e n from him by th e B r i t i s h t r e a s u r y in th e form o f income ta x and s u r t a x . He a d v is e d h e r to d e f e r 64 p la n s f o r f ilm in g Candida u n t i l a f t e r th e war and t a x a t i o n was down to r e a s o n a b le l e v e l s . Shaw sig n e d th e l e t t e r , "Your o l d e s t a u th o r . Dear L ia r A lthough Dear L i a r was n o t w r i t t e n by Shaw as a p la y , i t h as been t r e a t e d in t h i s stu d y a s a Shavian drama b e c a u se i t i s b a s e d on co rre sp o n d e n c e betw een Shaw and Mrs. P a t r i c k Cam pbell. Dear L i a r was th e f i n a l p l a y o f Cor n e l l ' s c a r e e r a s an a c t r e s s and a p ro d u c e r. The p la y , w r i t t e n by Jerome K i l t y , was a t w o - c h a r a c te r p la y r e u n i t i n g C o r n e ll w ith h e r p e r e n n i a l le a d in g man, B ria n Aherne. To keep th e c o s t o f p r o d u c tio n to a minimum, th e s e t t i n g con s i s t e d o f d r a p e r i e s and a few sim ple p r o p e r t i e s . The p la y was p roduced a t an i n i t i a l c o s t o f $ 2 3 , 0 9 6 . 9 3 * ^ In th e s p rin g o f 1959 th e Dear L i a r c a s t and crew s p e n t seven weeks i n A rizo n a and th e so u th e rn s t a t e s . F o l low ing a summer h i a t u s , th e tro u p e to u re d th e E a s t and M idwest. C o r n e ll had p la n n e d to open in New York a t th e 64 C o r n e l l 's p la n s to do a m otion p i c t u r e v e r s io n o f Candida were n e v e r r e a l i z e d . 6 C > •^Correspondence w ith George B ern ard Shaw, J u ly 30, 1941. See Appendix G. ^Production cost statement, Appendix D. 112 ;end o f December, b u t no s u i t a b l e t h e a t r e co u ld be found, i ; I :and t h e r e f o r e th e company c o n tin u e d to u r in g u n t i l th e m id- j d ie o f March. I ; I : I P r i o r to opening i n New York, a d d i t i o n a l ex p en ses ; 6*7 ' ' were i n c u r r e d amounting to $ 1 6, 0 8 3 . ' Dear L i a r opened a t j th e B i l l y Rose T h e a tre in New York on Thursday, March 17, | i 9 6 0 . The New York engagement n e v e r d id w e ll a t th e box o f f i c e . The w eekly g r o s s e s were ab o u t h a l f o f C o r n e l l 's j u s u a l r e c e i p t s . They ran g ed from $14,260 to $7.>350. The s ix and o n e - h a l f week New York run g ro s s e d $77.»015, an a v erag e o f $11,850 p e r week, which was C o r n e l l 's lo w e st j av erag e g r o s s in New York s in c e 1935- She c lo s e d th e New York run on A p r i l 3 0 , i 960 and th en p la y e d in B oston a week where th e box o f f i c e r o s e to $ 25,400, and she made an o p e r a tin g p r o f i t o f $ 1 ,2 8 8 .7 0 . (She had l o s t $ 1 6 ,3 4 3 in New Y o rk .) During i t s t h i r t y - f o u r and o n e - h a l f weeks on t o u r and in New York, th e p l a y l o s t $5,462.73* The t o t a l ' g r o s s f o r th e e ig h te e n and o n e - h a l f weeks on which d a t a j were a v a i l a b l e was $378,460. W ith r e s p e c t to th e rem ain in g 68 s ix t e e n weeks, th e g r o s s was a t l e a s t $260,647* Thus, Dear L ia r g ro s s e d a t l e a s t $650,000. : 67 'The t o t a l p r o d u c tio n c o s t s , i n c lu d in g th e i n i t i a l c o s t o f p r o d u c tio n , th e p r e - t o u r e x p e n se s, th e l a y o f f e x p e n s e s, and th e pre-New York e x p e n se s, t o t a l e d $49,847* Pre-New York expense s ta te m e n t, Appendix D. 68 The s ta te m e n ts do n o t r e f l e c t th e t o t a l g r o s s , b u t r a t h e r C. & M. C . 's s h a re o f same. Comedies No Time f o r Comedy D uring h e r a c tin g - p r o d u c in g c a r e e r , C o rn e ll d id th r e e com edies, a l l o f which made la r g e p r o f i t s . No Time f o r Comedy by S. N. Behrman s t a r r e d Laurence O l i v i e r , ^ R o b ert Flemyng, and Margalo G illm o re . D uring th e two and o n e - h a l f week t r y o u t p e r io d which opened March 30* 1939* C o rn e ll ap p eared i n I n d ia n a p o l i s , L o u i s v i l l e , C i n c i n n a t i , Columbus, and B a ltim o re . The to u r g ro s s e d $ 5 0 , 6 0 6 . 8 3 , an a v erag e o f $ 2 0 ,2 4 2 .7 3 p e r week. The p la y opened a t th e E t h e l Barrym ore T h e a tre in New York on A p r il 17* 1939* ra n tw e n ty - fo u r weeks, g ro s s e d $ 3 7 5 *3 9 0 , an a v erag e o f $ 15*635 p e r week, and made a p r o f i t o f $67*389- The c o s t o f th e p r o d u c tio n had been $ 2 0 ,9 7 3 -70 Im m ed iately f o llo w in g th e New York engagem ent, th e company to u re d t h i r t y - o n e weeks, went to f i f t y - s e v e n c i t i e s , and g ro s s e d $6 1 7 , 3 5 0 , an a v erag e o f $ 19*915 p e r week. The t o t a l g r o s s f o r f i f t y - s e v e n and o n e - h a l f weeks in New York and on t o u r was $ 1 ,0 4 3 ,2 5 0 , a w eekly av erag e o f $ 1 8 ,1 4 5 . The p r o d u c tio n made a p r o f i t o f $116,870. ^ O l i v i e r ' s r o l e i n No Time f o r Comedy marked h i s f i r s t a p p e aran ce i n th e U n ite d S t a t e s . 70 1 Production cost statement, Appendix D. |........ " " " ' ' 114 No Time f o r Comedy was C o r n e l l 's second p r o d u c tio n to g r o s s ! j o v e r one m i l l i o n d o l l a r s . j : | The C o n sta n t Wife | C o r n e l l 's t h i r d p la y to g r o s s o v e r one m i l l i o n was a n o th e r comedy, The C o n sta n t Wife by Som erset Maugham. The j p la y o r i g i n a l l y had been produced in 1926 w ith E t h e l B a rry - j more i n th e s t a r r i n g r o l e . The C e n t r a l C ity Opera House ! had i n v i t e d C o r n e ll to b r in g a p ro d u c tio n to t h e i r an n u a l | Summer f e s t i v a l i n August 1951. B ria n Aherne was h i r e d to j p l a y th e le a d in g man, John M id d leto n , and Grace George to o k j ; i th e p a r t o f Mrs. C u lv e r. The C o n sta n t Wife began p e rfo rm - : an ces i n C e n t r a l C ity on S a tu rd a y e v e n in g , August 4, 1951* j j and ra n f o u r weeks th ro u g h Septem ber 1, 1951- The t o t a l g r o s s f o r f o u r w e e k s'^ was $9 3 , 0 0 0 , an av erag e o f $ 2 3 ,2 5 0 p e r week, a c a p a c i t y h o u se. I The C o n sta n t Wife had been so w e ll r e c e iv e d in C e n t r a l C ity t h a t C o r n e ll d e c id e d to b r in g th e p r o d u c tio n to New Y ork. A th re e -w e e k t r y o u t commenced in Columbus on Wednesday, November 14, 1951* g r o s s in g $65,4-55* an av erag e o f $21,150 p e r week. The t r y o u t o p e r a tin g p r o f i t was $5*027. On S a tu rd a y e v e n in g , December 8 , 1951* The C o n stan t ^ The p la y had been booked to l a s t th r e e weeks, b u t in l i g h t o f i t s g r e a t s u c c e s s , i t was c o n tin u e d a n o th e r week. Thus, C o r n e ll r e c e iv e d $14,872 r a t h e r than th e o r i g i n a l c o n t r a c t f i g u r e o f $ 1 2 , 5 0 0 . ;......... ..................................................... " i i 3 1 ; I Wife opened a t th e N a tio n a l T h e a tre in New York w ith a to p ! : — | p r i c e o f $7-50 f o r opening n i g h t . T h e g r o s s r e c e i p t s., j ^during seven o f th e f i r s t e i g h t weeks in New York, s ta y e d above $ 2 6 ,0 0 0 f o r a t o t a l o f $ 3 5 *13^ in o p e r a tin g p r o f - j 7^ I i t s . J The p la y rem ained on Broadway f o r se v e n te e n weeks, j c lo s in g on A p r il 5* 1952. The t o t a l g r o s s f o r th e New York! engagement was $378,920, an a v erag e o f $ 2 1 ,0 5 0 p e r week. I Follow ing th e New York c l o s i n g , th e company to o k a six-w eek : t o u r o f th r e e e a s t e r n c i t i e s . The t o t a l g r o s s f o r th e to u r ; was $130,715, an a v erag e o f $ 2 1 ,7 8 5 p e r week. The t o t a l g r o s s f o r The C o n sta n t Wife d u rin g th e 1951-52 seaso n , ! which in c lu d e d f o u r weeks in C e n tr a l C ity , th r e e t r y o u t : weeks, se v e n te e n weeks in New York, and s ix weeks a f t e r New York, was $6 6 6 ,0 8 7 j a w eekly av erag e o f $22,125. The p r o f i t from th e f i r s t seaso n o f The C o n sta n t Wife was $ 4 1 ,9 2 6 .7 4 .^ The f o llo w in g seaso n The C o n stan t Wife p la y e d a | t h i r t y - o n e week t o u r o f t h i r t y - f i v e c i t i e s , th e f i r s t y e a r - ^ 2The p r e s s l i s t f o r th e f i r s t and second n i g h t s in The C o n sta n t Wife i s i n Appendix K. ^ A n e s tim a te d s ta te m e n t shows th e p r o d u c tio n c o s t to have been a p p ro x im a te ly $ 3 0 , 0 0 0 , e x c lu d in g $10,000 l i s t e d f o r bonds which th e u n io n s r a r e l y asked C o rn e ll to p o s t. E s tim a te d p r o d u c tio n c o s t s ta te m e n t, Appendix D. 74 1 T his f i g u r e does n o t in c lu d e th e f o u r weeks in C e n tr a l C ity s in c e th e p r o f i t o r l o s s o f t h a t p e r io d co u ld n o t be a s c e r t a i n e d . 116 i long t o u r s in c e No Time f o r Comedy. The t o u r ' s t o t a l g ro s s was $718,590* an a v e ra g e o f $23,180 p e r week. The t o t a l g r o s s r e c e iv e d d u rin g th e two seaso n s of The C o n stan t Wife j was $ 1 ,4 8 4 ,6 7 3 , which b a r e l y s u rp a s s e d The B a r r e t t s of Wimpole S t r e e t as t h e l a r g e s t g ro s s f o r any s i n g l e C. & I M. C. p r o d u c tio n . The a v e ra g e w eekly g ro s s f o r s ix ty - o n e weeks was $24,3 0 0 . The p la y r e a l i z e d a p r o f i t of $145,900, j th e most money a C o r n e ll p r o d u c tio n had made s in c e The j B a r r e t t s of Wimpole S t r e e t . Lovers and F rie n d s The comedy Lovers and F r ie n d s by Dodie Smith was ! co -p ro d u ced by K a th a r in e C o r n e ll and John C. W ilson. The t o t a l c o s t of t h e p r o d u c tio n was $ 2 5 , 0 7 5 . 7 4 . ^ The p la y opened i n D e t r o i t on November 2, 1943, and th e four-w eek t r y o u t p e r io d g r o s s e d an e s tim a te d $97,100, an a v e ra g e of $24,250 p e r week. Lovers and F r i e n d s , which c o - s t a r r e d Raymond Massey, opened a t th e Plymouth T h e a tre i n New York on November 2 9 , 19^3, and ra n tw e n ty -o n e weeks, p la y in g to n e a r c a p a c i t y h o u ses d u rin g i t s fo u rte e n -w e e k ru n . In o n ly one week d id t h e r e c e i p t s d ip below $ 1 5 ,0 0 0 . The t o t a l g r o s s o f t h e New York engagement was $405,000, an av erag e o f $ 1 9 ,2 8 5 p e r week. The g ro s s f o r t h e e n t i r e t h i r t y - o n e - week ru n of Lovers and F r i e n d s , which in c lu d e d a six-w eek 75 1 Production cost statement, Appendix D. '................................................................................... ................................. ””” 117 i : i post-N ew York t o u r o f f o u r e a s t e r n c i t i e s , was $625,570, an j av erag e o f $20,180 p e r week. The p r o d u c tio n made a p r o f i t | i ;o f $73*811.29* which was somewhat s u r p r i s i n g b ecause th e | show had been panned by th e m a j o r i t y o f c r i t i c s . i P la y s by American A u th o rs ! i i I A lie n Corn I r | A lie n Corn c o s t $7 *6 6 5 .0 5 to p ro d u c e . I t s t r y o u t j s t a r t e d F e b ru a ry 13* 1933* and a week l a t e r i t opened a t th e B e la sc o T h e a tre in New York, where i t ra n tw elve weeks. I The tw elve w e e k s1 e s tim a te d g r o s s r e c e i p t s were $ 1 6 3, 7 0 0 , ; an a v e ra g e o f $13*640 p e r week. S t a r t i n g May 15, 1933* th e j p la y to u re d B o sto n , P h i l a d e l p h i a , and C hicago. The t o t a l e s tim a te d g r o s s r e c e i p t s , which in c lu d e d f i v e o f th e seven weeks on t o u r p l u s th e New York engagem ent, were $245,700, an a v e ra g e o f $14,4 5 0 . D e s p ite th e low a v e ra g e w eekly g r o s s , ^ th e p r o d u c tio n showed a p r o f i t o f $33*741.50. ! F low ers o f th e F o r e s t The 193^-35 New York p r o d u c tio n o f The B a r r e t t s o f Wimpole S t r e e t had an e x c e p t i o n a l l y low box o f f i c e . Since she p la n n e d to do t h r e e p la y s in r e p e r t o r y t h a t se a so n , 76 ' D uring th e New York ru n , th e s o - c a l l e d "Bank H o l i day" to o k p l a c e . D e s p ite a d v ic e to c l o s e , C o rn e ll e l e c t e d to c o n tin u e th e p la y , and th e r e c e i p t s were low d u rin g t h i s p e r io d . C o r n e ll, pp. 119-20. 118 I I C o r n e ll d e c id e d a f t e r t h r e e weeks o f The B a r r e t t s o f Wim- j ■ ■ 1 1 ■ ' 1 1 ■-'■■■ | j pole Street to close the play and reopen with Flowers of | the Forest. The newly-assembled cast Included many hold- ; overs from The Barretts of Wimpole Street such as Charles j i ! Waldron* Brenda Forbes* Margalo Gillmore* Burgess Meredith* j and John Emery. Aurlol Lee had the production rights for j the John van Druten play. She agreed to allow the play to j I be produced only If she could direct. For the first time | since The Green Hat, Cornell was directed by someone other j than her husband* although McClintic did supervise the pro- j duction. The cost of the production was $11*702.74.^ A f t e r f o u r t r y o u t p e rfo rm an ces in B altim ore* ! i Flow ers o f th e F o r e s t reopened i n New York a t th e M artin Beck T h e a tre on A p r il 8* 1935* Whereas th e box o f f i c e had i been e x c e l l e n t in B a ltim o re w ith more th an $7*000 in t u r n - [ away business* the opposite was true in New York* probably because the critics gave the play negative reviews. The ; first-week business started at $14*500 and began dropping to $10*000 and $7*000 during the second and third weeks* ; respectively. On April 29* 1935* the play drew less than $500, the lowest Cornell had drawn in one performance in ty O te n y e a r s . The u s u a l $1*700 Wednesday m atin ee was h a lv e d ^^No cost of production statements are available for Flowers of the Forest, and the figure quoted was furnished by Gertrude Macy in a personal interview* May 27* 1971. ^The May 8* 1935 issue of Variety contains an article describing the play's low box office. 119 t h a t week. A lthough th e p la y had been o r i g i n a l l y sch ed u led to run u n t i l th e end o f June* I t c lo s e d on May 11, 1935 ;a f t e r a fiv e -w e e k engagem ent. The g r o s s box o f f i c e r e c e i p t s l i s t e d i n V a r i e t y f o r f o u r o f th e f iv e weeks t o t a l e d an e s tim a te d $45*500, an a v e ra g e g r o s s p e r week o f $ 1 1, 3 7 5 * th e lo w est C o r n e ll a v erag ed d u rin g h e r c a r e e r a s a p r o - 7Q d u c e r. Because o f th e e x c e l l e n t b u s in e s s th e p la y d id i n B a ltim o r e , th e o v e r a l l a v e ra g e w eekly g r o s s was r a i s e d to $13*435* b u t th e p la y l o s t $6 , 5 5 1 . 1 3 .®° The W in g less V ic to r y Maxwell A n d e rso n 's The W ingless V ic to r y was th e f i r s t and o n ly tim e C o r n e ll p o r tr a y e d th e r o l e o f an O r i e n t a l woman and each perform ance r e q u i r e d th e a p p l i c a t i o n o f c o n s id e r a b le make-up. Jo M ie lz in e r , who had s p e n t th e summer o f 1936 in Europe stu d y in g c o n t i n e n t a l t h e a t r e methods o f d e s ig n in g and p ro d u c in g , d e s ig n e d th e show. The p r o d u c tio n c o s t o f $ 1 8 , 6 1 3 .5 9 d id n o t in c lu d e th e fe e f o r Q * 1 M c C l i n t i c ' s d i r e c t i o n , which i s n o t known. The p l a y opened in W ashington, D.C. on November 24, 1936, to b e g in a fo u r-w eek t r y o u t which g ro s s e d $ 1 0 7*0 0 0 , ^^The a v e ra g e w eekly g r o s s f i g u r e s f o r th e t h r e e - week run o f th e 1935 v e r s io n o f The B a r r e t t s o f Wimpole S t r e e t a r e n o t a v a i l a b l e , and t h e r e f o r e th e p la y co u ld have had a low er a v e ra g e w eekly g r o s s . 8f) A ccounting s ta te m e n t f o r K a th a rin e C o r n e ll 1935 P ro d u c tio n a c c o u n t, Appendix E. O * 1 Production cost statement, Appendix D. 120 :an a v e ra g e o f $ 26.,950 p e r week, one o f th e h i g h e s t a v e ra g e s j ! | f o r a t r y o u t . i i The New York opening took p la c e a t th e Empire The- j • I a t r e on Wednesday, December 23, 1936. A lthough th e p la y j : i opened to c a p a c i t y a u d ie n c e s d u rin g th e f i r s t week and a ! h a l f (ab o u t $ 2 0 ,0 0 0 p e r w eek), th e g r o s s dropped to $ 1 7 ,0 0 0 j i p e r week, where i t s ta y e d f i v e weeks, and th en dropped a b o u t $2 ,5 0 0 more p e r week ($14,000 to $ 15, 0 0 0 ) th e n e x t f o u r weeks. A f t e r e le v e n weeks, Candida was added to th e j 82 I b i l l , and th e two shows p la y e d in r e p e r t o r y . j j ! The P r e s c o t t P r o p o s a ls j C o r n e l l 's l a s t American p l a y was The P r e s c o t t P ro - I p o s a l s by Howard L indsay and R u s s e ll Crouse. With Howard ; L indsay d i r e c t i n g th e p la y and Leland Hayward a c tin g a s p r o d u c e r, f o r th e f i r s t tim e i n tw e n ty - f iv e y e a r s C o rn e ll s t a r r e d in a show w ith which h e r husband G u th rie M c C lin tic ! was n o t d i r e c t l y in v o lv e d . The c o s t o f th e p ro d u c tio n was j | $100,654.77* which was th en a g r e a t d e a l f o r a modern d r e s s ! p r o d u c t i o n D u r i n g th e fiv e -w e e k t r y o u t t h a t began in New Haven on Wednesday, November 11, 1953* th e p r o d u c tio n had o u ts ta n d in g g r o s s e s o f $149,300* an av erag e o f $ 2 9 ,8 6 0 p e r week. The a t t r a c t i o n r e a l i z e d an o p e r a tin g p r o f i t o f 82 The t o t a l g r o s s e s and p r o f i t s were d is c u s s e d p r e v i o u s ly in t h i s c h a p t e r , pp. 1 0 1- 1 0 3. ^Production cost statement, Appendix D. ;$8 j 6 3 9 -3 0 (a low f i g u r e c o n s id e rin g th e e x c e e d in g ly h ig h g r o s s e s ) , b u t th e pre-New York ex p en ses were $ 8 ,6 4 6 .2 1 , and ;t h e r e f o r e th e p r o f i t s j u s t co v ered th e c o s t o f th e pre-New iYork e x p e n se s. The P r e s c o t t P ro p o s a ls opened a t th e B ro a d h u rst T h e a tre In New York on Wednesday, December 16, 1953- Dur in g each o f th e I n i t i a l s ix weeks, th e g r o s s r e c e i p t s topped $20,000, and th en began dro p p in g r a p i d l y . The ru n n in g ex p en ses o f th e company were so much h i g h e r th an f o r p r e v io u s p r o d u c tio n s t h a t when th e box o f f i c e dipped to $ 1 8, 0 0 0 , th e a u th o r s and d i r e c t o r were f o rc e d to p a r t i a l l y waive t h e i r r o y a l t i e s to b re a k even f o r th e week. A f t e r F e b ru a ry 8 , 1954, th e g r o s s r e c e i p t s dropped to $ 1 5 ,0 0 0 and f i n a l l y to $ 1 0 ,3 0 0 d u rin g th e l a s t week o f th e ru n which ended A p r i l 3, 1954. At t h a t tim e th e p r o d u c tio n had p la y e d s ix t e e n weeks in New York and had made an o p e r a t i n g p r o f i t o f $ 1 ,1 2 6 .0 7 . The t o t a l l o s s on The P r e s c o t t P r o p o s a ls was $ 1 0 4 ,3 2 4 .6 4 . The t o t a l g r o s s d u rin g th e New York engagement was $283^300, an av erag e o f $17,705 p e r week. The g r o s s f o r a l l tw en ty and o n e - h a l f weeks was $ 432,600, an a v e ra g e o f $ 2 1 ,6 3 0 p e r week. The p la y d id n o t go on a post-New York to u r b ecau se Hayward r e f u s e d to c o n tin u e a s p ro d u c e r a f t e r th e New York engagem ent. C o r n e ll would have p r e f e r r e d to ta k e th e 122 p ro d u c tio n on tour* b u t i t would have been too c o s t l y to ta k e o v e r a s p ro d u c e r w ith th e p la y on shaky ground f i n a n c i a l l y . European Dramas The Dark I s L ig h t Enough C o r n e ll found two p la y s by C h r is to p h e r Pry much to h e r l i k i n g , p a r t i c u l a r l y b ecau se she co u ld p l a y r o l e s s u i t a b le to h e r age, which was a t t h a t tim e h e r l a t e f i f t i e s . I n s t e a d o f th e u s u a l t h r e e - o r fo u r-w eek t r y o u t to u r , The Dark I s L ig h t Enough had e le v e n weeks, opening in B u ffa lo November 24, 1954, f o r a p r o f i t o f $ 1 9 ,4 4 4 .7 4 . The t o t a l g r o s s f o r th e t o u r was $ 324,460, an a v erag e o f $29,500 p e r week. The t o t a l c o s t o f p r o d u c tio n was $ 63,834.06 Between th e end o f th e t o u r i n W ashington and th e opening a t th e ANTA T h e a tre i n New York on F e b ru a ry 2 3 , 1955j t h e r e was a l a y o f f p e r i o d o f two and o n e - h a l f weeks. The e x p en ses f o r t h i s p e r io d in c lu d e d $ 7 ,2 1 9 .8 7 pre-New York opening ex p e n se s, $295 a d d i t i o n a l t r y o u t e x p e n se s, and $13,440 l a y o f f e x p e n se s, f o r a t o t a l o f $ 20,955. The Dark I s L ig h t Enough was n o t a b le to b r in g in a heavy volume o f b u s in e s s d u rin g th e e a r l y weeks o f th e New York engagem ent. The f i r s t week saw th e b e s t box o f f i c e r e c e i p t s , which were 84 Production cost statement, Appendix D. 123 $22,535 f o r s ix p e rfo rm a n c e s. The g ro s s s ta y e d w ith in th e $20,000 ran g e d u rin g fo u r o f th e f i r s t f iv e weeks. A f te r th e f i f t h week th e box o f f i c e d e c lin e d r a t h e r s h a rp ly to a p p ro x im a te ly $14 ,0 0 0 . The p r o d u c tio n c lo s e d a f t e r e i g h t and o n e - h a l f weeks on A p r i l 2 3 , 1955. The t o t a l g r o s s in New York was $162,675* an a v erag e o f $ 1 8 ,1 8 5 p e r week. The t o t a l run o f th e p la y , in c lu d in g two weeks post-New York t o u r i n B oston, was tw enty-one and o n e - h a l f weeks, f o r a t o t a l g r o s s o f $ 55° * 0 0 0 , an a v erag e o f $24,950 p e r week. The l o s s on th e p la y was $ 5 3 * 4 8 5 .5 5 * ^ The F i r s t b o r n The second p r o d u c tio n by Pry was a B i b l i c a l drama 86 e n t i t l e d The F i r s t b o r n , which c o s t $85*576.29 to mount. Anthony Quayle was h i r e d a s th e le a d in g man (Moses) and as th e d i r e c t o r . Roddy McDowall r e c e iv e d t h i r d - s t a r b i l l i n g to p la y Ramses. During th e four-w eek t r y o u t which com menced March 3 1 , 1958 in C le v e la n d , th e g r o s s was $107*100, an a v e ra g e o f $26,775 p e r week. The p ro d u c tio n alm o st broke even d u rin g th e t r y o u t w ith an o p e r a tin g l o s s o f $255.80. The p la y opened on Wednesday, A p r i l 3 0, 1958, a t th e C oronet T h e a tre in New York. C o rn e ll had o r i g i n a l l y 8 r -^Accounting s ta te m e n t f o r The Dark I s L ig h t Enough, Appendix E. 86 Production cost statement., Appendix D. 124 p la n n e d to have th e p la y run u n t i l June 21. However* th e : ! box o f f i c e r e c e i p t s were low and th e ru n n in g ex p en ses were | ; i ;hlgh. During th e t h i r d week o f th e engagement* th e d e s ig n - ; ! | e r s had w aived t h e i r r o y a l t i e s * and by th e f o u r t h week* th e j ip la y w rig h t had a l s o w aived h i s r o y a l t y . At th e end o f f iv e weeks in New York* th e p r o d u c tio n had r e g i s t e r e d an o p e r a t i n g l o s s o f $5., 259 *72* and f i n a l l y had to c lo s e on May ■31* 1958. The t o t a l g r o s s f o r The F i r s t b o r n was $189*140* | an a v erag e o f $21*010 p e r week* f o r a t o t a l l o s s o f | $ 9 6 *94-5• 1 6 . The l o s s on b o th Fry p la y s was $150*430. j j That Lady i That Lady by Kate O 'B rie n was a d a p te d from h e r ! ro m a n tic n o v e l o f s i x t e e n t h - c e n t u r y S p ain . O o rn e ll had j u s t p a s s e d h e r f i f t i e t h b i r t h d a y and she f e l t t h a t the r o l e o f th e m id d le -a g e d noblewoman Ana de Mendoza* who had j an i l l i c i t r e l a t i o n s h i p w ith A ntonio Perez* h e r huB band's s u c c e s s o r a s S e c r e t a r y o f S t a t e in th e c o u r t o f P h i l i p I I j o f Spain* s u i t e d h e r age* temperament* and p e r s o n a l i t y . Ana* who wore a d ark eye p a tc h th ro u g h o u t h e r a d u l t l i f e * had been d e s c r ib e d h i s t o r i c a l l y as "rem ark ab le f o r h e r beauty* u n c o n q u e ra b le i n h e r p r i d e and i r r e s i s t i b l e i n h e r ; f a s c i n a t i o n . O O The c o s t o f th e p r o d u c tio n was $6 0 *3 1 4 . 8 7 . That ^ V a r i e t y , O ctober 26* 1949* p . 76. O O Production cost statement* Appendix D. Lady opened a fiv e -w e e k t r y o u t t o u r o f f o u r c i t i e s on O cto b e r 18, 19^9 in B u ffa lo j and th e g r o s s t o t a l e d $102,990., an a v erag e o f $20,600 p e r week. The p la y made money o n ly one week d u rin g th e t o u r and com piled an o p e r a tin g lo s s o f $ 1 , 8 9 0 . That Lady opened a t th e M artin Beck T h e a tre i n New York on Tuesday, November 22, 1949, and c lo s e d a ten-w eek engagement on J a n u a ry 28, 1950. During th e f i r s t f iv e weeks o f th e run th e p la y g ro s s e d o v e r $20,000 p e r week, b u t by th e t e n t h week th e g r o s s had dropped to $ 1 3 , 7 7 0 . S ince th e o p e r a tin g ex p en ses were low, th e p la y was a b le oq to make a sm a ll o p e r a tin g p r o f i t . ^ The t o t a l g r o s s f o r th e New York run was $194,370, an a v erag e o f $19,440 p e r w eek. F ollow ing th e New York engagem ent, That Lady to u re d t h i r t e e n weeks th ro u g h o u t Texas and th e South, in c lu d in g s e v e r a l o n e - n ig h t s ta n d s . The t o t a l g r o s s f o r th e t o u r was $ 2 3 0 , 5 8 0 , an a v e ra g e o f $17,735 p e r week, th e lo w est a v e r age w eekly g r o s s e s any C. & M. C. p la y had e v e r made d u rin g an e x ten d ed t o u r . The o p e r a tin g l o s s on t o u r was $ 9 ,8 2 0 . The t o t a l tw e n ty -e ig h t-w e e k g r o s s o f That Lady was $527,935, an a v erag e o f $ 1 8 ,8 5 0 p e r week. The lo s s on th e p la y was $60,854, which was ro u g h ly th e c o s t o f th e p r o d u c tio n . O q yI t a p p e a rs t h a t th e p r o f i t d u rin g th e t e n t h week was a c h ie v e d by th e d i r e c t o r and th e p la y w rig h t re d u c in g t h e i r w eekly r o y a l t y f e e . ! ” ’ 126 That Lady was made i n t o a m otion p i c t u r e i n 1954 s t a r r i n g O liv ia de H a v illa n d . | Road F a i l u r e s Three o f C o r n e l l 's p r o d u c tio n s f a r e d so p o o r ly d u r - j i in g th e t r y o u t p e r io d t h a t she d e c id e d n o t to ta k e them j i n t o New York. Herod and Mariamne, a d a p te d from th e German p la y o f j F r i e d r i c h Hebbel by Clemence Dane* opened O ctober 26, 1938 j ; in P i t t s b u r g h , and g ro s s e d $72,000 in fo u r weeks f o r an ! i a v erag e o f $18,000 p e r week. Rose Burke by H enri B e r n s te in j opened J a n u a ry 19* 1942 in San F r a n c is c o , ra n e i g h t weeks j in t h i r t e e n c i t i e s , and g ro s s e d $ 1 3 6, 2 9 0 , f o r an a v e ra g e o f j $17,040 p e r week. C ap tain C a rv a llo by D enis Cannan opened i December 12, 1950 in B u f f a lo , and g r o s s e d $37*925 i n th r e e weeks f o r an a v erag e o f $12,640 p e r week. Each o f th e t h r e e p r o d u c tio n s s u s t a i n e d s u b s t a n t i a l i l o s s e s and d id n o t make enough to even re p a y p r o d u c tio n c o s t s . Summary A f t e r becoming h e r own p ro d u c e r, C o r n e ll a p p eared in a wide v a r i e t y o f p la y s which n o t o n ly a llo w e d h e r to broaden h e r a c t i n g t a l e n t s , b u t more i m p o r t a n t l y a f f o r d e d h e r th e o p p o r tu n ity to have r o l e s commensurate w ith h e r t a l e n t s . A ll th e p la y s which C o r n e ll p roduced were o f h ig h | 127 t h e a t r i c a l q u a l i t y and n ev er d id she a tte m p t to p a n d er to th e com m ercial t a s t e s o f th e m asses. C o r n e l l 's I n i t i a l p r o d u c tio n , The B a r r e t t s o f Wim p o le S t r e e t , a c h ie v e d enormous Buccess and p e r m itte d h e r to c o n tin u e to p r e s e n t f i r s t - r a t e dramas and com edies. Her p r o d u c tio n s o f S hakespeare were f i n a n c i a l l y p r o f i t a b l e and in d u ced o t h e r p ro d u c e rs to a g a in p u t on p la y s by th e B ard. L ik e w ise , C o r n e l l 's p ro d u c tio n o f The Three S i s t e r s earn e d a la r g e p r o f i t and t h e r e a f t e r o t h e r R u ssian p la y s were p r e s e n te d by o t h e r p ro d u c e rs . In a d d i t i o n to th e s e c l a s s i c a l p l a y s , a l l th e p la y s by Shaw a s w e ll a s a l l th e comedies produced by C o rn e ll were economic s u c c e s s e s . C o r n e l l 's p r i o r f a v o r a b le e x p e rie n c e w ith c e r t a i n p la y s Induced h e r on s e v e r a l o c c a s io n s to p r e s e n t r e v i v a l s o f th e s e p la y s . The r e v i v a l s were a ls o u s u a l l y p r o f i t a b l e . On th e o t h e r hand, two c l a s s i c a l p r e s e n t a t i o n s , p la y s by American authorB , and European drama proved to be economic f a i l u r e s . In d eed , o f a l l th e ty p e s o f p la y s p r o duced by C o r n e ll, th e one which seemed to c o n s i s t e n t l y f a i l was th e European drama. CHAPTER V | ; i ; i ROAD TOURS j : I ! One o f K a th a rin e C o r n e l l 's g r e a t e s t d i s t i n c t i o n s as j i an a c tr esB -p r o d u ce r was th a t she began to u r in g a t a tim e ! ; i when most p ro d u c e rs s a id "th e ro ad i s d e a d ." The ro ad had j alw ays f a s c i n a t e d C o rn e ll b e g in n in g w ith h e r f i r s t t o u r in I The Green Hat in 1925- As an American a c t r e s s , she b e - ! l i e v e d t h a t a l l th e c i t i e s i n th e U n ite d S t a t e s sh o u ld see | j h e r p r o d u c tio n s , and r e f u s e d to make th e d i s t i n c t i o n o f j d i v id in g t h e a t r e g o e r s i n t o "Broadway" and "road" a u d ie n c e s , j She sen sed th e im p o rtan ce o f o u t-o f-to w n a u d ie n c e s by s t a t - ; in g t h a t " th e p e o p le you see i n New York a r e f r i e n d s you have made on th e r o a d ." '1 ' Her m o tiv es f o r to u r in g were (a) to b r in g t h e a t r e to th e h i n t e r l a n d s , and (b) to b u i l d up an au d ie n c e f o r New York. O v e r a ll, C o r n e l l 's p r o d u c tio n s to u re d a t o t a l o f 336 weeks, which i s n e a r l y s ix and o n e - h a l f y e a r s o f t o u r in g . Of t h a t t o t a l , 2 1 7 -1 /2 weeks were s p e n t on to u r s f o llo w in g th e New York engagem ent. During C o r n e l l 's y e a rs as a p ro d u c e r, she a v erag ed betw een te n and tw elve weeks "'"Katharine C o r n e ll, "One f o r th e Road," T h e a tre A r t s , May, 1 9 5 ^ P- 2 7 . 128 la y e a r on t o u r , to u re d more th a n 1 0 0 ,0 0 0 m ile s , and a p p e a re d i n f o r t y - t h r e e s t a t e s . D uring th e 1933-34 r e p e r t o r y ;to u r, th e company covered s e v e n ty -s e v e n c i t i e s and t r a v e l e d 16,853 m ile s . By 1942, C o r n e ll had th en t r a v e l e d more than 60,000 m i l e s . ^ Between 1942 and i 960 C o r n e ll t r a v e l e d a t l e a s t a n o th e r 40,000 m ile s , i n c lu d in g th e Dear L i a r to u r o f 1 8 ,0 0 0 m i l e s . ^ C o r n e l l 's to u r in g com panies v i s i t e d a t o t a l o f 4 f o r t y - t h r e e s t a t e s and 136 d i f f e r e n t c i t i e s . The most f r e q u e n t l y v i s i t e d c i t i e s were B oston and D e t r o i t , to which n in e te e n s e p a r a te p r o d u c tio n s were b ro u g h t, fo llo w e d by C le v e la n d , to which she to u re d on e ig h te e n d i f f e r e n t o c c a s io n s . O th er f r e q u e n t v i s i t s were made to th e fo llo w in g c i t i e s : B u ffa lo ( f i f t e e n t r i p s ) , W ashington, D.C. ( f o u r te e n t r i p s ) , P h i l a d e l p h i a (tw elv e t r i p s ) , B a ltim o re (tw elv e t r i p s ) , P i t t s b u r g h (e le v e n t r i p s ) , T oronto (e le v e n t r i p s ) , Columbus (n in e t r i p s ) , and C i n c i n n a t i (n in e t r i p s ) . She s p e n t th e most cu m u la tiv e tim e i n Chicago ( f o r t y - t h r e e and o n e - h a l f weeks i n f o u r te e n t r i p s ) , B oston ( t h i r t y - t h r e e and ^ Ja ck P u l a s k i , "R o ad 's Top G ro s s e rs i n th e P a s t 10 Y e a r s ," V a r i e t y , J a n u a ry 7* 1942, p . 1 8 7 . 3"Two by Two A cross th e U.S.," L i f e , December 21, 1959, P. 61. 4 U n t i l h e r l a s t to u r C o r n e ll n e v e r v i s i t e d F l o r i d a o r A rizo n a b e cau se ( l) th ey were n o t en r o u te to anywhere, and (2) i n th e c ase o f Miami, from W ashington, D.C. down, t h e r e were n o t enough c i t i e s to w a r ra n t th e m ileag e c o s t . C orrespondence w ith G e rtru d e Macy, Septem ber 20, 1972. 130 one-half weeks)* and Detroit (twenty-four weeks). She traveled to the West Coast on eight different occasions and j ! j spent twenty weeks In San Francisco and sixteen and one- half weeks in Los Angeles. The cities in which Cornell received the best re- i i ; I ceptions were Boston* Chicago* San Francisco* and New j :0rleanB . The c r i t i c s and a u d ie n c e s alw ays seemed e n t h u s i - j astic about the productions* and each production played to | near capacity. Cornell once said* | San Francisco audiences are beautiful to play to— laughs that are cheap* that you regret getting* don’t go over there; subtle bits you are always j wishing would go over have beautiful response.5 j Each time Cornell played in Minneapolis she was forced to ! split the week in St. Paul because St. Paul audiences were forever jealous of productions playing in Minneapolis. The j least receptive road town for Cornell was her own home town* Buffalo. According to Gertrude Macy* the audiences were dull and usually "sat on their hands."However* there was a strong possibility that the acoustics at the Erlanger Theatre were bad* and perhaps the audience simply could not hear what was being said on the stage."' ^Katharine Cornell* I Wanted To Be an Actress (New York: Random House* 19^1)* p. 135- ^Interview with Gertrude Macy* May 27* 1971* 7Ibid. 131 Tour A rrangem ents As m entioned i n C h ap ter I I I , G ertru d e Macy p la n n e d ;th e to u r s and h a n d le d most o f th e d e t a i l s . She d e c id e d In iwhat o r d e r th e c i t i e s would be v i s i t e d , th e le n g th o f each s t a y , and even which t r a i n s th e company would u s e . In a d d i t i o n to le a s in g a p r i v a t e pulim an c a r f o r th e company, Macy alw ays a rra n g e d f o r one o r two f r e i g h t c a r s to c a r r y th e com pany's s e t t i n g s , w ardrobe, and so f o r t h . Only d u rin g C o r n e l l 's f i n a l t o u r d id she d e v ia te from h e r u s u a l mode o f t r a n s p o r t a t i o n , th e r a i l r o a d . I n - O s te a d , Macy r e n t e d a L a n d c ru is e r b u s. W ithout th e l i m i t a t i o n s o f r a i l r o a d s c h e d u le s , t h i s form o f t r a n s p o r t a t i o n allo w ed C o r n e ll to v i s i t s m a lle r towns, e s p e c i a l l y c o lle g e towns t h a t were i n a c c e s s i b l e by r a i l r o a d . The sc e n e ry f o r th e p la y accom panied th e L a n d c ru is e r in t r u c k s . The com pany was a b le to t r a v e l o v e rla n d by van b e cau se t h e r e were o n ly two in th e c a s t and no heavy s c e n e ry . A l to g e th e r th e r e were s ix in th e company, c o u n tin g s t a f f and crew, and th e y rode i n s t a t i o n wagons and a u to m o b ile s. Whenever C o r n e ll to u r e d , a o n e- o r tw o-page s h e e t was s e n t i n advance to th e t h e a t r e managers l i s t i n g th e t h i n g s she would need to do th e p la y in t h a t t h e a t r e , O The L a n d c ru is e r which was u sed on th e t o u r was th e s u b j e c t o f an a r t i c l e i n th e New York Tim es, O ctober 14, 1959- ...... 132 In c lu d in g d i r e c t i o n s to th e manager to keep th e s ta g e o f th e t h e a t r e w e ll h e a te d . I t must be HOT. I f t h e r e a r e d ra u g h ty do o rs o r w in dows, th e s e must be r e p a i r e d so t h a t t h e r e a r e no d ra u g h ts and th e s ta g e can be k e p t HOT. T h is i s IMPERATIVE. Miss C o r n e ll i s v e ry s u s c e p t i b l e to ta k in g c o ld . I f she i s i l l th e t h e a t e r h as to be c lo s e d . So p l e a s e ta k e e v e ry p r e c a u t i o n to s a f e - g u a r d h e r health.9 Also l i s t e d on th e advance s h e e t were i n s t r u c t i o n s to th e s ta g e crew, p r o p e r t y d e p a rtm e n t, e l e c t r i c d e p a rtm e n t, box o f f i c e , and t r a n s f e r company. I f muBical s e l e c t i o n s were to be u se d in a p l a y , th e name o f each s e l e c t i o n and i t s p la y in g tim e would a l s o be in c lu d e d . The r e q u ire m e n ts f o r C o r n e l l 's d r e s s i n g room w ere: a c a r p e t on th e f l o o r , a c o m fo rta b le couch, a c o m fo rta b le c h a i r , and a l a r g e 9 m i r r o r . In each c i t y C o r n e ll was sc h e d u le d to a p p e a r, s t o r i e s began a p p e a rin g in th e l o c a l new spapers ab o u t th e p l a y , th e i n d i v i d u a l members o f th e c a s t , and i n t e r e s t i n g ite m s ab o u t o t h e r towns where th e p r o d u c tio n had p r e v i o u s l y v i s i t e d . Any newsworthy ite m was o f te n th e s u b j e c t o f a s h o r t a r t i c l e by C o r n e l l 's p r e s s a g e n t. The p r e s s a g e n t a ls o k e p t th e New York new spapers w e ll inform ed on th e ^ T ra v e lin g re q u ire m e n ts f o r t o u r s , Appendix H. 10 . Ibid. | 133 11 p r o g r e s s th e t o u r was making. O ften th e advance pu b - j l i e i t y was a l l C o r n e l l 's fa n s needed to re a d b e f o re th e y ! irushed to buy t i c k e t s . Many tim e s t i c k e t s would be s o ld j o u t more th an a week b e f o re th e p ro d u c tio n a r r i v e d i n t h a t j c i t y . j A l l p a id a d v e r tis e m e n ts in th e l o c a l new spapers j ! I d u rin g a t o u r were c lip p e d and s t o r e d f o r f u t u r e r e f e r e n c e ; by th e s t a f f o f C. & M. C. P r o d u c tio n s . The s t a f f would o f t e n t e s t th e a b i l i t y o f an a d v e r tis e m e n t to b r in g b u s i - j | n e s s to th e box o f f i c e . In some towns th e y p u rch ased l a r g e d i s p l a y a d v e r tis e m e n ts , and in o t h e r s th e s m a lle r J 12 "ABC" a d v e r t i s e m e n t s . Then com parisons were made to t e s t j th e e f f e c t i v e n e s s o f a g iv en a d v e r tis e m e n t. A nother d e c i s io n co n cern ed th e tim e f a c t o r o f p l a c in g a g iv en a d v e r t is e m e n t in a l o c a l Sunday new spaper. Sometimes an a d v e r tis e m e n t was needed f o r two Sundays p r i o r to a r r i v a l , and o t h e r tim e s th e a d v e r tis e m e n t was p la c e d i n th e new spaper ! on th e Sunday p r i o r to a r r i v a l . D u ra tio n and S uccess o f Tours 1 W ith th e e x c e p tio n s o f F low ers o f th e F o r e s t and A lie n C orn, a l l new p r o d u c tio n s p r i o r to t h e i r New York o p e n in g s had a t l e a s t a two- to fo ur-w eek t r y o u t p e r io d on ■^Samples o f p r e s s a g e n t 's r e l e a s e s , Appendix J . 12 Samples o f d i s p l a y and ABC a d v e r tis e m e n ts , Appendix K. i ” 134 ;the ro a d . Five p la y s , Antony and C l e o p a t r a ., The Dark I s L ig h t Enough, A n tig o n e , Rose B u rk e, and Dear L i a r , s p e n t even more time on th e ro a d b e f o r e a p p e a rin g i n New York. Of th e tw e n ty - s ix p r o d u c tio n s which p la y e d i n New York, o n ly f o u r , L u c rece, F low ers o f th e F o r e s t , th e 1935 r e v i v a l o f The B a r r e t t s o f Wimpole S t r e e t , and The P r e s c o t t P r o p o s a ls , had no post-New York engagem ents. Three o t h e r s , The F i r s t b o r n , The Dark I s L ig h t Enough, and th e 1942 p r o d u c tio n o f Candida, had r e l a t i v e l y s h o r t post-New York e n gagem ents. The 1934 Romeo and J u l i e t d id n o t commence to u r in g u n t i l n in e months a f t e r c lo s in g in New York. A l though most o f th e o r i g i n a l c a s t and s e t s rem ained th e same, th e 1945 The B a r r e t t s o f Wimpole S t r e e t d id n o t to u r u n t i l 1947. On f i v e d i f f e r e n t o c c a s io n s C o r n e l l 's t o u r s l a s t e d more th an tw enty weeks. The l o n g e s t t o u r s were No Time f o r Comedy and The C o n sta n t W ife, each o f which s p e n t t h i r t y - one weeks t o u r i n g , th e fo rm er a p p e a rin g in f i f t y - s e v e n c i t i e s and th e l a t t e r i n t h i r t y - f i v e c i t i e s . The 1933-34 r e p e r t o r y t o u r consumed tw e n ty -n in e weeks and v i s i t e d s e v e n t y - f i v e c i t i e s . Dear L i a r p la y e d a t o t a l o f tw e n ty - seven weeks on th e ro ad in s i x t y - s i x c i t i e s . " ^ The 1932 iv -TJnlike th e o t h e r f o u r p la y s l i s t e d , th e weeks sp e n t on to u r f o r Dear L ia r were s p e n t p r i o r to i t s New York o p e n in g . v e r s io n o f The B a r r e t t s o f Wimpole S t r e e t to u re d tw enty weeks., going to e le v e n c i t i e s . P o u r 1o t h e r p la y s e n jo y ed post-New York t o u r s o f te n weeks o r more. The D o c t o r 's Dilemma sp e n t f o u r te e n weeks ! j a p p e a rin g in tw elve c i t i e s * T hat Lady t h i r t e e n weeks in j tw en ty -o n e c i t i e s * The Three S i s t e r s e le v e n weeks in seven j l c i t i e s * and Romeo and J u l i e t te n and o n e - h a l f weeks in 14 ! n in e te e n c i t i e s . : I n d i v i d u a l P ro d u c tio n s T our in g Twenty Weeks o r More The B a r r e t t s o f Wimpole S t r e e t 1932 t o u r v i s i t e d j th e m ajor c i t i e s on th e E a s te r n seaboard* th e Midwest* and j th e West C o ast. No l e s s th a n one week was s p e n t i n each c i t y . Ray H enderson w anted th e American th e a tr e g o in g pub l i c to see C o r n e ll in h e r g r e a t e s t s u c c e ss and to be con s c io u s o f th e s ig n re a d in g " K a th a rin e C o r n e ll P r e s e n t s ." Even though th e D e p re ssio n was i n i t s t h i r d year* w herever The B a r r e t t s o f Wimpole S t r e e t toured* t h e r e was s ta n d in g | room o n ly . Many members o f th o s e a u d ie n c e s made s a c r i f i c e s ; to buy t h e i r t i c k e t s * which u s u a l l y s o ld a t $ 3 - 3 0 . ^ Some 14- No d e t a i l e d c o n s i d e r a t i o n w i l l be g iv e n o f th e p o s t - New York t o u r s o f A lie n Corn, S a in t Jo a n , The W ingless V i c t o r y - Candida r e p e r t o r y , 'The B a r r e t t s o f Wimpole S t r e e t '(1 9 4 7), o r Antony and C le o p a tr a b e c a u se th e y were o f s h o r t d u r a t io n o r o n ly went to a few m ajor c i t i e s . The f i n a n c i a l d a t a c o v e rin g th e s e t o u r s have been p r e s e n te d in C h ap ter rv. i c; -^This to p p r i c e was a t t h a t tim e h ig h e r th an most o t h e r t o u r in g companies were a s k in g . M A P I T H E B A R R E T T S O P " W I M P O L E S T R E E T T O U R R O U T E 20 Weeks (February 15, 1932 to July 2 , 1952) Is f s s r v Legend for The Barretts of Wimpole Street M ap (19527 1. Feb. 15-Mar. 5 Boston 2 . Mar. 7-12 Washington 3- Mar. 1^-26 Philadelphia k. Mar. 28-April 2 Baltimore 5- April k-9 Pittsburgh 6 . April 11-16 Detroit 7. April 18-May l4 Chicago 8 . M ay 16-21 St. Louis 9- M ay 25-28 Kansas City 1 0 . M ay 30-June 11 Los Angeles 1 1. June 13- July 2 San Francisco 3.38 ! com pulsion b ro u g h t o u t th e s e t h e a t r e g o e r s b e c a u se th e theme ! l6 i o f th e p l a y "gave them a l i f t , a h o p e ." j I W hile in C hicago, H enderson became co n cern ed w ith th e p l i g h t o f th e u n p a id s c h o o l t e a c h e r s . I t was d ecid ed to r e n t th e Chicago C iv ic Opera House ( th e p la c e i n town | which c o u ld s e a t th e l a r g e s t au d ie n c e ) and g iv e a Sunday j m atin ee c h a rg in g o n ly $1.00 f o r e v e ry s e a t . The money was j : I 1 d o n ated to th e T e a c h e r s 1 S ick Fund. The g r o s s r e c e i p t s f o r | th e p erfo rm an ce were $4 , 1 6 9 . The a c t o r s r e c e iv e d no s a l a r y j I and no r o y a l t y was p a id , b u t th e r e n t a l o f th e Opera House ! c o s t $500, and th e s ta g e h a n d s were p a i d . The e x p e n se s, ; in c lu d in g 10 p e r c e n t o f th e g r o s s r e c e i p t s which went to ! th e A c to r s ' Fund o f Am erica, came to $1,4-09.80. Thus, th e T e a c h e rs ' Fund r e c e i v e d $ 2 ,7 6 1 .2 0 . The e n t i r e house s o ld o u t i n l e s s th an an h o u r and hundreds o f p o t e n t i a l c u s tom ers were tu rn e d away. The t o u r t h a t g a in e d th e most p u b l i c i t y f o r C o r n e ll ; was th e 1933-34 r e p e r t o r y t o u r whic-h- p r e s e n te d The B a r r e t t s ; o f Wimpole S t r e e t , Romeo and J u l i e t , and C a n d id a . V a r ie ty u sed C o r n e l l 's t o u r as i t s le a d s t o r y , which b la z e d th e h e a d l i n e , " C o r n e l l 's $6 5 0 ,0 0 0 T o u r." D uring th e 1933-34 se a so n , which was s u f f e r i n g from a d e a r t h o f ro a d shows, th e t o u r o f K a th a rin e C o r n e ll from c o a s t to c o a s t waB 1 r G u th rie M c C lin tic , "More K it Than Me" (u n p u b lis h e d m a n u s c rip t, 1 9 6 1) , P a r t V, p . 3- > MAP II R E P E R T O R Y T O U R M A P (T H E B A R R E T T S O F W IM P O IE ST R E E T , R O M E O A N D JULIET, C A N D ID A ) 29 Weeks (November 19, 1933 to June 20, 193^1 C *N*0a _ _ i U / J V 1 N J?* yrnCOMSHI SOUTH OA*OU i'An y * ‘ ^ ^ f T ' s J s L ' * i5TS.M i J S & f T O « l» £ C 010*400 R * * S * S ■ W /O K * N ‘* * liic o . . O U -V A * * n to lO * 139 l4o i Legend for Repertory Tour M ap (1953-54) 1 . Nov. 29-Dec. 2 Buffalo 2 . Dec. 4-9 Milwaukee Dec. 11-12 Madison, Wisconsin 4. Dec. 13-1 6 Minneapolis 5- Dec. 1 8 -2 0 St. Paul 6 . Dec. 2 1 -2 2 Duluth, Minnesota Dec. 23 - * ■ Travel 7- Dec. 25-30 Seattle 8 . Jan. 1 Tacoma, Washington 9- Jan. 2 -6 Portland, Oregon 1 0 . Jan. 8 -2 0 San Francisco 1 1 . Jan. 22-Feb. 3 Los Angeles 1 2. Feb. 5-6 Oakland, California 13- Feb. 7 Sacramento Feb. 8 -* Travel l4 . Feb. 9 -1 0 Salt Lake City 15. Feb. 12 Cheyenne, W yoming 1 6. Feb. 13-15 Denver, Colorado 17- Feb. 16 Colorado Springs 1 8. Feb. 17 Amarillo, Texas 1 9. Feb. 1 9-20 Dallas, Texas 2 0 . Feb. 21 Austin 2 1 . Feb. 22 San Antonio 2 2 . Feb. 23-24 Houston 23. Feb. 26 W aco 24. Feb. 27 Ft. Worth 25. Feb. 28 Oklahoma City 2 6 . Mar. 1 Tulsa, Oklahoma 27. Mar. 2 Emporia, Kansas 2 8 . Mar. 3 Wichita, Kansas 2 9 . Mar. 5 -1 0 Kansas City, Missouri 3 0. Mar. 12 Lincoln, Nebraska 31- Mar. 13-14 O m aha 32. Mar. 15 Sioux F a lls, So. Dakota 33- Mar. 16 Sioux City, Iowa 34. Mar. 17 Des Moines, Iowa 35. Mar. 19-24 St. Louis, M o. 141 3 6 . Mar. 26 37- Mar. 27-28 3 8. Mar. 29-31 39. April 2-7 4o. April 9 4 i. April 10 42. April 11-12 43. April 13-14 44. April 16-17 45. April 18 46. April 19 47. April 20-21 48. April 23 49. April 24 50. April 25 51. April 26 5 2 . April 27 53. April 28 54. April ^0-Ma.y 1 55- M ay 2 5 6 . M ay 3 57- M ay 4 5 8. M ay 5 59- M ay 7 6 0 . M ay 8 6 1 . M ay 9 6 2 . M ay 10 6 3 . M ay 11-12 64. M ay l4 -l6 6 5 . M ay 17-19 6 6. M ay 21 6 7 . M ay 22-23 6 8 . M ay 24-26 6 9. M ay 2 8 -3 0 70. M ay 31-June 2 71. June 4-5 7 2. June 6 73- June 7-9 74. June 11-16 75- June 18-20 Toledo, Ohio Columbus, Ohio Indianapolis Cincinnati L ouisville, Kentucky Evansville, Indiana Nashville, Tennessee Memphis, Tennessee N ew Orleans Montgomery, Alabama Birmingham, Alabama Atlanta Savannah, Georgia Charleston, S. Ca. Spartanburg, S. Ca. A sheville, N. Ca. Charlotte, N. Ca. Ealeigh, N. Ca. Richmond, Va. Durham, N. Ca. Greensboro, N. Ca. Roanoke, Va. Princeton, N.J. Wilmington, Del. Harrisburg, Pa. Williamsport, Pa. Ithaca, N.Y. Rochester, N.Y. Buffalo Toronto, Ont. Utica, N.Y. Albany, N.Y. N ew Haven, Conn. Hartford, Conn. Providence, R. I . Springfield, Mass. Worcester, Mass. Boston Newark, N.J. Brooklyn, N.Y. d e s c r ib e d a s " th e most o u ts ta n d in g d ra m a tic accom plishm ent in r e c e n t years. It was e s tim a te d t h a t th e r e p e r t o r y t o u r p la y e d to 500,000 p e o p le . The V a r i e t y a r t i c l e i n c lu d e d many im p o rta n t economic f i g u r e s ab o u t th e to u r : F e a tu re o f th e t o u r was th e f a c t t h a t most s ta n d s were o n e - n i g h t e r s , t h a t a p p ly in g p a r t i c u l a r l y th ro u g h o u t th e s p r in g . A f t e r le a v in g C in c in n a ti e a r l y i n A p r i l f o r s o u th e rn t e r r i t o r y , " J u l i e t " was dropped from th e r e p e r t o r y . I t was deemed too d i f f i c u l t to p r e s e n t th e p l a y i n o n e - n i g h te r s b ecause o f i t s 20 s c e n e s , which r e q u i r e more th an e i g h t h o u rs to s e t . Nor was "Candida" p la y e d in o n e - n i g h t e r s . Whenever " J u l i e t " was g iv e n a second p erfo rm an ce, a tte n d a n c e ap p ro x im a te d c a p a c i t y . That th e s t a r o u t - drew th e p la y was i n d i c a t e d when th e f i r s t p e rfo rm ance o f " J u l i e t " g o t b u t $940, th en g ro s s e d $1,770 th e f o llo w in g n i g h t . I t was proven in San F ra n c isc o when th e f i r s t showing drew $1,711 and th e f i n a l " J u l i e t " g o t $ 3 ,2 2 7 .5 0 , which was $300 o v er c a p a c i t y . In th e same s ta n d "Candida" went o v e r c a p a c i t y w ith ta k i n g s o f $3*209. " B a r r e t t s " was th e to p draw. High g r o s s f o r a s i n g l e p erfo rm an ce was r e g i s t e r e d i n Des Moines, Iowa, where 4 ,2 5 1 p e o p le a tte n d e d th e S h rin e a u d i t o rium and p a id $7*795*70, in c lu d in g ta x , o r a n e t o f $7*087. In Toledo th e g r o s s was $8 , 1 6 5 .9 0 f o r th e s i n g l e showing o f " B a r r e t t s , " b u t t h a t sum in c lu d e d a 10$ s t a t e and 10$ f e d e r a l ta x , so th e n e t was $ 6 ,8 0 4 .5 0 . Tour gave th e governm ent o v e r $650,000 i n a d m iss io n s t a x e s . As to s t a t e s , Texas was th e b i g g e s t co in p r o d u c e r, g r o s s in n in e p e rfo rm a n c e s t h e r e b ein g $4 2 , 4 3 6 . 9 0 . L a rg e s t s in g l e week was $29*821.25* drawn i n s ix o n e - n ig h t s t a n d s —Waco, F o r t Worth, Oklahoma C ity , T u ls a , Em poria, and W ic h ita . None o f th e s ta n d s h a s been v i s i t e d by a Broadway a t t r a c t i o n o r s t a r f o r y e a r s . Holy Week made l i t t l e d i f f e r e n c e i n a tte n d a n c e , and th e t a k i n g s f o r Columbus, T oledo, and I n d i a n a p o l i s topped $27*000. S tan d o u t s i n g l e p erfo rm an ce g r o s s e s drawn by " B a r r e t t s " : T u ls a , $ 6 ,3 0 1 .3 5 ; Birmingham, $5*393; San A ntonio, $5*366.35; L o u i s v i l l e , $ 4 ,8 5 7 -dO; N a s h v i ll e , ^ V ariety, June 12, 1934, p. 1. : 143 ! i $ 4 ,7 3 1 .6 5 ; Sacram ento, $ 4 ,5 4 9 . Lowest g r o s s and w o rs t s ta n d was Em poria, K ansas, where th e g r o s s f o r " B a r r e t t s " was $ 1 ,1 2 4 .7 5 •-1 -° D uring th e I n c e p tio n o f th e t o u r , i t was q u i t e com- j i mon t h a t Romeo and J u l i e t would a t t r a c t o n ly o n e - f o u r th th e j j a u d ie n c e o f The B a r r e t t s o f Wimpole S t r e e t . T his was due to th e f a c t t h a t th e l a t t e r was th e p la y f o r which C o r n e ll j Iwas famous and had r e c e iv e d th e most p u b l i c i t y . However, j a s th e t o u r c o n tin u e d and th e ro a d a u d ie n c e s became more ; f a m i l i a r w ith Romeo and J u l i e t , i t began to a t t r a c t more j and more p e o p le to th e p o i n t t h a t by th e tim e th e company re a c h e d San F r a n c is c o , b o th p la y s were draw ing n e a r l y th e j same number o f p a t r o n s . The B a r r e t t s o f Wimpole S t r e e t ! av e ra g e d $3.,000 p e r p erfo rm a n c e , Candida a v erag ed $2,4 0 0 , and Romeo and J u l i e t av e ra g e d $ 1 , 6 5 0 .^^ A d i s c u s s i o n o f K a th a rin e C o r n e l l 's r e p e r t o r y to u r o f 1933-34 would n o t be com plete w ith o u t some m ention o f th e C h ristm as n i g h t perfo rm an ce o f The B a r r e t t s o f Wimpole ; S t r e e t i n S e a t t l e . Many a c c o u n ts have been w r i t t e n ab o u t t h a t evening when a weary band o f a c t o r s whose t r a i n had been d e la y e d by storm s p erform ed f o r a w a i t i n g , e n t h u s i a s t i c a u d ie n c e a t th e M e tr o p o lita n T h e a tre a t 1:05 A.M. , l 8 I b i d . ■ ^ C o rn e ll, I Wanted To Be an A c t r e s s , p. 128. 144 The f i n a l c u r t a i n f e l l a f t e r 4:0 0 in th e m orning. The 20 a u d ien ce s ta y e d to g iv e th e c a s t many c u r t a i n c a l l s . Many o t h e r i n t e r e s t i n g i n c i d e n t s o c c u rre d d u rin g th e t o u r . For exam ple, i n Oakland, th e company p la y e d in a b ig a u d ito riu m which had a s ta g e on one s id e and a b a s k e t b a l l c o u r t on th e o t h e r . The r e f e r e e ' s p i s t o l went o f f in th e m iddle o f th e b a lc o n y sc e n e . The t h e a t r e i n C olo rado S p rin g s o n ly had two d r e s s in g rooms which were sh a re d by a l l members o f th e c a s t . In A m a rillo a d u s t storm was r a g in g so lo u d ly t h a t i t was alm o st im p o s s ib le f o r th e a c t o r s to h e a r t h e i r cues and f o r th e a u d ie n c e to h e a r th e a c t o r s . E x tr a p e rfo rm a n c e s had to be g iv e n in F o r t Worth and Oklahoma C ity b e cau se th e t h e a t r e owners had o v e r - s o l d th e shows. In Toledo th e y u sed a m otion p i c t u r e house which p la y e d m ovies u n t i l 6 :0 0 , and th e sta g e h a n d s had to s e t up th e s c e n e ry i n t o t a l d a rk n e ss b e h in d th e s c re e n . In New O rlean s many women who w ished to see th e Tuesday m a t i nee r i o t e d when th e y were inform ed t h a t no more t i c k e t s 21 were a v a i l a b l e . 20 A ccounts o f th e S e a t t l e p erfo rm an ce a p p e a re d in C o r n e l l 's a u to b io g ra p h y , i b i d ., pp. 131-33- A lex an d er W o o llc o tt a l s o w ro te an a c c o u n t o f th e i n c i d e n t e n t i t l e d "Miss K i t t y Takes to th e R o a d ," S a tu rd a y Evening P o s t , August 18, 1934, pp. 14-15, 70-72. ^ C o r n e l l , I Wanted To Be an A c t r e s s , pp. 135-46. S e v e ra l o t h e r i n c i d e n t s a r e a ls o r e p o r t e d . 145 | Thus, a c c o rd in g to A lex an d er W o o llc o tt, C o r n e ll had ! j o f f e r e d th e e n t i r e c o u n try " c o n s id e r a b ly b e t t e r e n t e r t a i n - j ment th an i t had been o f f e r e d in 20 y e a r s " : j She had moved th ro u g h san d sto rm s and b l i z z a r d s | and c l o u d b u r s t s , and n e v e r f a i l e d to keep an en g ag e- j m ent. She had come to towns where a la r g e p e r c e n t - | age o f h e r e a g e r au d ie n c e had n e v e r seen a p l a y b e - j f o r e and were e n t i r e l y u n f a m i l i a r w ith th e idiom o f | th e t h e a t e r . She had opened up mildewed and co b webby o p e ra h o u ses which had sto o d d a rk so long t h a t th e guy ro p e s broke as th e y swung th e sc e n e ry i n t o j p l a c e , th e o n ly s u rv iv in g s ta g e hands were so a n c i e n t | t h a t t h e i r p a l s i e d hands f a l t e r e d a t t h e i r t a s k s . 22 On June 20, 1934, a t i r e d 2^ b u t e x u l t a n t tro u p e ; i c lo s e d t h e i r t o u r a t th e Academy o f Music in Brooklyn w ith j a p erfo rm an ce o f The B a r r e t t s o f Wimpole S t r e e t . When he i saw th e p la y w ith Conger Goodyear, M c C lin tic th o u g h t t h a t I C o r n e l l ’ s p erfo rm an ce had grown and was a s f r e s h a s i f she 24 were p la y in g i t f o r th e f i r s t tim e. Nine weeks o f th e No Time f o r Comedy to u r in 1939- 40 were d ev o ted to o n e - o r tw o -n ig h t s ta n d s , b u t th e y were i n t e r s p e r s e d w ith o n e - o r two-week ru n s in a l a r g e r c i t y . The r e p e r t o r y t o u r s p e n t more tim e in sm a ll towns i n th e Midwest and alo n g th e s o u th e rn p o r t i o n o f th e E a s te r n s e a b o a rd . The No Time f o r Comedy t o u r c o n c e n t r a t i n g on th e 22W o o llc o tt, p. 14. ^Commencing A p r il 9, 1934, th e company p la y e d a s e r i e s o f o n e - n ig h t s ta n d s o r s p l i t weeks which l a s t e d a t o t a l o f n in e w eeks. Not u n t i l th e company re a c h e d Newark on June 11, 1934 d id i t s ta y i n one p la c e f o r an e n t i r e w eek . 24 McClintic, Part IV, p. 17. M A P III H Q T IM E F O R C O M E D Y T O U R R O U T E 31 Weeks Xo s* » -l/* '■ V . H •fcr C\ 147 Legend for H o Time for Comedy M ap (1939-40) 1. Oct. 2 -l4 2 . Oct. 16-17 3- Oct. 18 4. Oct. 19-21 5. Oct. 23-29 6 . Oct. 30-Wov. 4 7- Hov. 6-25 8 . Nov. 27-Dec. 2 9- Dec. 4 1 0 . Dec. 5 l i . Dec. 6 2 perf 1 2. Dec. 7 13- Dec. 8 14. Dec. 9 Boston N ew Haven Worcester Buffalo Detroit Cleveland Chicago St. Louis Tulsa Wichita Kansas City, M o. O m aha Des Moines Davenport, Iowa 15. Dec. 1 1 -1 3 1 6 . Dec. l4 17. Dec. 15-16 1 8 . Dec. 18 Dec. 1 9 -2 0 19. Dec. 21 Dec. 22 2 0 . Dec. 23 2 1 . Dec. 25-27 2 2 . Dec. 2 8 -3 0 23. Jan. 1 -1 3 24. Jan. 15-27 Jan. 2 8 -2 9 25. Jan. 30 2 6 . Jan. 31 27- Feb. 1 2 8 . Feb. 2 -3 Milwaukee Madison, Wis. Minneapolis St. Paul -+ Travel Spokane - * ■ Travel Tacoma Seattle Portland San Francisco Los Angeles - » ■ Travel Amarillo Oklahoma City F t. Worth Dallas 148 29. Feb. 5 30. Feb. 6 31. Feb. 7-9 3 perf. Feb. 9 32. Feb. 10 33. Feb. 12 34. Feb. 13-14 35. Feb. 15 36 . Feb. 16-17 37. Feb. 19-24 3 8. Feb. 26-Mar. 2 39- Mar. 4-l6 40. Mar. 18 41. Mar. 25 42. Mar. 26 43. Mar. 27 44. Mar. 28 45. Mar. 29-30 46. April 1 47. April 2-13 48. April 15 49. April l6 50. April 17 51. April 18 52. April 19-20 53- April 22-27 54. April 29 55* April 30-May 4 5 6 . M ay 6 57. M ay 7-11 Austin San Antonio Houston - * • Travel N ew Orleans Birmingham Atlanta Charlotte Richmond Washington Pittsburgh Philadelphia Bethlehem, Pa. Princeton, N.J. Wilmington, Del. Reading, Pa. Hershey, Pa. Columbus South Bend, Ind. Chicago Toledo Akron Youngstown Ithaca Rochester Toronto Ottawa Montreal Providence, R.I. Brooklyn |.... ’............. ..................... .......... " 149 ^Northeast and th e Midwest g ro s s e d $617,350, which was '$33,000 l e s s th a n th e r e p e r t o r y to u r , w h ile th e p r o f i t o f ! $86,055 was a b o u t $13,000 h i g h e r . The b e s t week o f o n e- j :night s ta n d s was i n Oklahoma, K ansas, N ebraska, and Iowa, ; where th e p l a y g r o s s e d $ 3 2 , 0 9 9 - 7 5 , ^ which was $2 ,3 0 0 b e t t e r th an th e b e s t o n e - n ig h t s ta n d week i n 1934. ! Only t h r e e weeks o f th e 1952-53 t o u r o f The Oon- j 26 ' s t a n t Wife were d ev o ted to o n e - n ig h t s ta n d s . The West I and Midwest were th e m ajor p o r t i o n s o f th e c o u n try co v ered ' by t h i s t o u r . One week was s p e n t to u rin g th e s m a lle r c i t i e s i n S o u th ern and C e n tr a l C a l i f o r n i a , in a d d i t i o n to v i s i t s to Los A ngeles and San F r a n c is c o . The o r i g i n a l t o u r j i t i n e r a r y c o n te m p la te d a c o m p le te ly d i f f e r e n t s c h e d u le , ' e s p e c i a l l y i n such S o u th ern s t a t e s a s G eo rg ia, Alabama, M is s i s s i p p i , and T e n n essee. Also sc h e d u le d on th e o r i g i n a l to u r were s to p s i n Phoenix, Tucson, E l Paso, and s e v e r a l o t h e r c i t i e s in Texas. No re a s o n has been g iv e n f o r th e c o m p le te ly r e v i s e d s c h e d u le . The b e s t weeks a t th e box o f f i c e were th e week i n Texas ($31,148) and th e one in B a ltim o re ($ 3 0 ,5 1 5 )- The s p l i t w e e k 's n in e p e rfo rm an ces in Madison and Milwaukee pro d u ced a g r o s s o f $ 3 2 , 0 9 6 . The 25 ^ I n d i v i d u a l g r o s s r e c e i p t s f o r each week o f th e to u r, Appendix I . 26 A six -w eek post-N ew York t o u r to t h r e e e a s t e r n c i t i e s i n th e s p rin g o f 1952 i s n o t in c lu d e d in th e d i s c u s s io n o f th e ex te n d e d t o u r . F i n a n c i a l d a ta have been g iv en in C h a p te r IV. V K l . . . M A P IV T H E C O N S T A N T W IF E T O U R R O U T E Pre-New York Tour, seven weeks (August 4-30, 1951/ November l4— December 1, 1951)/ Nos. 1-4 Post-New York Tour, six weeks (April l4 to M ay 24, 1952), Nos. 6-8 Extended Tour, 31 weeks (October 13, 1952 to M ay 30/ 1955)/ Nos. 9-43 / \ . c*N*Ba fX. . _ / : r~< °"----------------------------------------------------------------- 1 * J \ f ’ \ ~ h > . SOUtH OAIOIA './i o n "0 * : COlOMOO * * * t a U t C Q llGS‘ 0 * _N ■ s H V J 1 O Legend for The Constant Wife Tour M ap (1951-52) 1. Aug. 4-50 Central City, Colo. 2 . Nov. 14-17 Columbus, Ohio 5- Nov. 19-24 St. Louis 4. Nov. 26-Dec. 1 Kansas City, M o. 5- New York City 6 . April 1^ — 26 Philadelphia 7. April 28-May 5 Washington, D.C. 8 . M ay 5-24 Boston 9- Oct. 1 5 -1 8 Baltimore 1 0. Oct. 2 0-2 5 Pittsburgh 11. Oct. 27-Nov. 1 Cleveland 1 2. 15. Nov. Nov. 5 -6 7-8 Buffalo Rochester l4 . Nov. 10-15 Montreal 15. Nov. 1 7 -2 2 Toronto 1 6. Nov. 24-Dec. 6 Detroit 17. Dec. 8 -1 5 Cincinnati 1 8. 19. Dec. Dec. 1 5-1 6 17 Indianapolis Bloomington Dec. 19-25 — ► Layoff r o 0 • Dec. 26-Jan. 24 Chicago 152 2 1 . Jan. 26 Davenport 2 2 . Jan. 27 Cedar Rapids 23. Jan. 28 Des Moines 24. Jan. 29 Sioux City, Iowa 25. Jan. 30-31 Om aha, W eb. 2 6 . Feb. 2-9 N ew Orleans 27. Feb. 10 Baton Rouge 2 8 . Feb. 11-12 Houston 29. Feb. 13-14 Dallas 30. Feb. 16-Mar. 7 Los Angeles 31. Mar. 9 -1 0 San Diego 32. Mar. 11 Long Beach 33- Mar. 12 Pasadena Mar. 13 -* Travel 34. Mar. i4 Stockton 35. Mar. 16-Aprii 4 San Francisco 36. April 5 San Jose April 6-7 -* Travel 37- April 8-13 Portland 38. April 14-21 Seattle April 22-23 * + Travel 39- April 24-25 St. Paul 40. April 27-May 2 Minneapolis 4 i. M ay 4-5 Madison 42. M ay 6-9 Milwaukee 4 3 . M ay 11-12 Ann Arbor 153 t o t a l g r o s s f o r The C o n sta n t Wife t o u r was $718,589^ th e 27 ■ l a r g e s t amount C o r n e ll e v e r r e c e iv e d f o r any t o u r , and th e p r o f i t was $70,093- ! The Dear L ia r t o u r o f 1959-80 was d iv id e d I n to a j | seven-w eek S p rin g t o u r In which th e c a s t and crew t r a v e l e d j 3,500 m ile s , v i s i t e d n in e c i t i e s In A rizona and th e southern! s t a t e s , and perform ed f o r t y - t h r e e tim e s . No t o t a l g ro s s ! can be f ig u r e d from t h i s t r i p becau se th e a c c o u n tin g s t a t e - j | m ents l i s t o n ly th e company s h a re , which was $85j 687-77> n o t th e box o f f i c e r e c e i p t s . However, Dear L i a r was th e to p box o f f i c e a t t r a c t i o n a t P h o e n ix 's Sombrero T h e a tre , | w ith a g r o s s o f $22,000 f o r n in e p e rfo rm a n c e s. A pp ro x i m a te ly 1,000 p o t e n t i a l p a tr o n s were tu rn e d away due to c a p a c i t y crowds. To accommodate a d d i t i o n a l c u sto m e rs, 225 28 e x t r a s e a t s were i n s t a l l e d In th e t h e a t r e . The o p e r a tin g i p r o f i t f o r th e seven weeks was $ 3 ,5 1 0 . F ollow ing a summer h i a t u s , Dear L ia r resumed t o u r - * . . . r j in g in th e f a l l o f 1959- Bookings had been sch ed u led from O cto b er to December th ro u g h th e E a s t, Midwest, and West C o a st, to be fo llo w e d by a four-w eek engagement in New York C ity . A f t e r th e New York ru n , p la n s were made to c o n tin u e 27 'C o r n e l l 's b e s t a v erag e w eekly g r o s s f o r any t o u r d u rin g th e 1 9 3 0 's was in S a in t J o a n , which p la y e d i n f iv e c i t i e s . The p r o d u c tio n g ro s s e d $210,000 d u rin g i t s seven and o n e - h a l f week ru n , an a v e ra g e o f $28,500 p e r week. p Q Phoenix G a z e tte , March 9 , 1959- M A P V Spring Tour—seven weeks (March 2 , 1959 to April 18, 1959) > I'Jos. 1-10 F all Tour—20 weeks (October 9> 1959 to March 16, i 960), 0os„ 11-66 ■ ------------------------ v - ^ *tV :0 *W io a iH r*< u< u COlOMAOO w ta « c o 0 «t* xS’hN w h V J 1 -fc r Legend for Dear Liar Tour Route M ap (1959-60) 1. Mar. 2 -8 2 . Mar. 10 3- Mar. l4~l6 k . Mar. 17 5- Mar. 23-April ^ 6 . April 6 -7 7- April 8-9 8 . April 10-11 9- April 13 1 0. April 15-18 1 1. Oct. 9 1 2 . Oct. 10 1 3. Oct. 12 14. Oct. 13 15- Oct. 1^ 1 6 . Oct. 15 1 7. Oct. 17 1 8. Oct. 20 1 9 . Oct. 21 20. Oct. 22 21. Oct. 23 22, Oct. 26 23. Oct. 2 8 -2 9 2 k . Oct. 31 25. Nov. 3 2 6 . Nov. k 27. Nov. 5 28. Nov. 6 29- Nov. 7 30. Nov. 9 31. Nov. 10 32. Nov. 13-ik- Phoenix Tuoson Palm Beach; Fla. Sarasota; Fla. Miama, Fla. Greensboro, N. Ca. Memphis; Tenn. Rev Orleans; La. Shreveport; La. A tlantic City, N.J. Hempstead; N.Y. Brooklyn Princeton; N.J. White Plains, N.Y. Schenectady, N.Y. Buffalo Toronto Granville, Ohio F t. Wayne, Ind. Muncie, Ind. Bloomington, Ind. Charleston, 111. Milwaukee Winnetka, 111. Cedar F alls, Iowa Sioux City, Iowa O m aha, Neh. Kansas City, M o. Manhattan, Kan. Lawrence, Kan. Emporia, Kan. Denver, Colo. 156 33- Nov. 1 6 -2 8 Los Angeles 3^- Nov. 50-Dec. 5 San Francisco 35- Dec. 7 Sacramento 36. Dec. 9 Portland, Ore. 37- Dec. 11 Vancouver, B.C. 38. Dec. 1 2 -1 5 Seattle Dec. i 4_26 - * • Layoff 39- Dec. 2 8-Jan. 2 Washington, D.C. 4o. Jan. 4 Baltimore in. Jan. 6 -9 N ew Haven 42. Jan. 11-12 Madison, Wis. h - Jan. 13-23 Chicago 44. Jan. 25-30 Detroit 45* Feb. 1 -6 Montreal 46. Feb. 8 Burlington, Vt. 47- Feb. 9 Hartford, Conn. 48. Feb. 1 0 -1 1 Philadelphia 49. Feb. 12 Bethlehem, Pa. 5 0 . Feb. 15 Columbia, S. Ca. 51. Feb. 16 Clemson, S. Ca. 52. Feb. 1 8 -2 0 Atlanta 53* Feb. 22 Savannah, Ga. 54. Feb. 25 Thomasville, Ga. 55- Feb. 24 Columbus, Ga. 56. Feb. 2 5 -2 6 Birmingham, Ala. 57- Feb. 27 Montgomery, Ala. 58. Feb. 29 Florence, Miss. 59. Mar. 1 Oxford, Miss. 6 0 . Mar. 3 F ayetteville, Ark. 6 1 . Mar. 4 Tulsa, Okla. 6 2 . Mar. 5 Dallas 6 3 . Mar. 7 Huntington, W - Va. 64. Mar. 9 Norfolk, Va. 65. Mar. 11 Durham, N. Ca. 66. Mar. 12 Richmond, Va. to u rin g u n t i l May i 9 6 0 . The t o u r fo llo w e d i t s o r i g i n a l sch ed u le th ro u g h th e b e g in n in g o f December. A s u i t a b l e New York t h e a t r e was n o t a v a i l a b l e a t th e end o f December, and t h e r e f o r e th e company was f o rc e d to c o n tin u e to u r in g u n t i l March 17* i 9 6 0 . The a v a i l a b l e d a ta on th e f i r s t n in e weeks o f th e f a l l t o u r a g a in show o n ly th e company s h a re o f th e box o f f i c e r e c e i p t s and n o t f u l l g r o s s e s . Because many o f th e engagem ents were p lay ed in c o lle g e towns w ith a g u a r a n te e d fe e r a t h e r th an th e u s u a l p e rc e n ta g e o f th e box o f f i c e r e c e i p t s , i t would be d i f f i c u l t to r e c o n s t r u c t th e t o t a l g r o s s b ased on a p e r c e n ta g e . The company s h a re o f th e box o f f i c e r e c e i p t s d u rin g th e f i r s t n in e weeks was $174,959- B eginning in W ashington, D.C. on December 28, 1959, th e g r o s s r e c e i p t s were l i s t e d , and d u rin g th e rem ain ing e le v e n weeks o f th e t o u r th ey were $ 2 7 6 ,0 4 0 . The P a l l t o u r made an o p e r a t i n g p r o f i t o f $51*682. Adding th e company s h a re s f o r b o th th e S p rin g and P a l l t o u r s ($260,647) to th e a v a i l a b l e g r o s s r e c e i p t s ($ 2 7 6,0 4 0 ) , i t i s c e r t a i n t h a t th e Dear L ia r t o u r g ro s s e d o v e r $500,000. Of th e g r o s s e s a v a i l a b l e , th e b e s t weeks were W ashington, D .C. ($37*177) and Chicago ($ 3 2 ,4 4 8 ). In a d d i t i o n to th e e x ten d ed t o u r s , C o r n e ll took f iv e o t h e r p r o d u c tio n s on ro a d t r i p s which l a s t e d te n o r more weeks. Two o f th e t o u r s , That Lady and Romeo and J u l i e t , in c lu d e d a t l e a s t two weeks o f o n e - n ig h t s ta n d s . 158 | I n d i v i d u a l P ro d u c tio n s T o u r- | in g Ten Weeks o r More ; i The 1935 Romeo and J u l i e t to u re d th ro u g h th e Mid- j w est and g ro s s e d $ 2 3 5, 0 0 0, while th e 1950 That Lady ; v i s i t e d some o f th e o n e - n ig h t s ta n d s in Texas and th e South ! which had n o t seen C o r n e ll i n n in e y e a r s . During i t s ro a d ! t r i p , That Lady d id th e p o o r e s t b u s in e s s o f any ex ten d ed j t o u r e v e r ta k e n by C o r n e ll. The b e s t weeks were th e two j s p e n t in Texas, where th e a t t r a c t i o n g ro s s e d n e a r l y $24,000 j p e r week. The t o t a l g r o s s on th e t o u r was $ 2 3 0 , 5 8 0 , w ith ; an o p e r a t i n g l o s s o f $9 *8 2 0 , th e f i r s t and o n ly tim e a ! C o r n e ll p r o d u c tio n r e g i s t e r e d a l o s s on t o u r . In 194-1 The D o c t o r 's Dilemma to u re d m ajor c i t i e s on th e E a s t C o a st, C hicago, S t. L o u is, and th e West C o ast. Scheduled f o r a two-week run in San F r a n c is c o , th e number o f p e rfo rm a n c e s was red u ced due to th e J a p a n e se bombing o f P e a r l H a r b o r . P erform ances were g iv e n in s p i t e o f b l a c k - ; o u ts and n i g h t l y a i r r a i d a la rm s . One n i g h t th e c a s t gave an e n t i r e p erfo rm an ce d u rin g a t o t a l b l a c k o u t . An a u d ien ce ; o f 347 groped t h e i r way to th e t h e a t r e in t o t a l darknesB . The b la c k o u t was o v e r b e f o re th e show ended. A few days l a t e r a n o t i c e was p o s te d a t th e Curran T h e a tre r e g a rd in g 2^Tour p r o f i t unknown. T o ta l p r o f i t p r e v i o u s l y g iv en in C h a p te r IV, p. 91. ^ T o t a l g r o s s e s dropped from $23,700 In th e f i r s t week to $ 15*367 d u rin g th e second week. R O M E O A M D JU LIET T O U R R O U T E F all Tour 10g Weeks (October 10, 1935 to December 21, 1935) Legend for B orneo and Ju liet Tour Route M ap (1935) 1. Oct. 1 0 -1 2 2 . Oct. 14-19 3- Oct. 21-Nov 4. Nov. 4-16 3- Nov. 1 8 -2 1 6 . Nov. 2 2 -2 3 7. Nov. 25-Dec 8 . Dec. 9 9- Dec. 10 1 0. Dec. 11 1 1. Dec. 12 1 2 . Dec. 13 13. Dec. l4 i4 . Dec. 16 15. Dec. 17 1 6. Dec. 18 1 7. Dec. 19 1 8. Dec. 20 1 9. Dec. 21 Baltimore Washington, D.C. Philadelphia Boston N ew Haven Springfield, Mass. Chicago Des Moines O m aha, Neb. Wichita, Kan. Tulsa Oklahoma City Memphis Nashville Louisville Indianapolis Toledo Fort Wayne, Ind. Rochester, N.Y. THAT LA D Y TOUR RO U TE Pre-New York Tour—five weeks (October 17, 19^9 to November 19, 19^-9), Nos. Post-New York Tour—1J weeks (January 30, 1950 to April 29, 1950), Nos. 6- 162 Legend for That Lady Tour Route M ap (19^9-50) 1. Oct. 18-22 Buffalo 2. Oct. 24-30 Toronto 5- Oct. 31-Nov. 12 Detroit 4. Nov. 14-19 Cleveland 5- N ew York 6. Jan. 30-Feb. 25 Chicago 7- 8. Feb. 27-28 Mar. 1-4 St. Paul Minneapolis 9- Mar. 6-11 St. Louis 10. 11. Mar. 13 Mar. 14-18 Des Moines Kansas City, M o. 12. 13. 14. 15. 1 6 . Mar. 20 Mar. 21 Mar. 22 Mar. 23 Mar. 24 -+ Mar. 25 Topeka Tulsa Oklahoma City Dallas Cancelled Fort Worth 17. 1 8 . 19. Mar. 27 Mar. 28-29 Mar. 30 Mar. 31“Apr±l 1 San Antonio Houston - * ■ Travel N ew Orleans 2 0 . 2 1 . 2 2 . April 3 April 4-6 April 7-8 Montgomery Atlanta Birmingham 23. 24. April 10-12 April 13 April 14-15 Columbus - * ■ Travel Wilmington, Del. 25. April 17-22 Baltimore 2 6 . April 24-29 Boston ;........................................” ’ 163 j i I b l a c k o u t s . I t s t a t e d t h a t In th e e v e n t o f a b la c k o u t p r i o r j j to an 8 :2 0 c u r t a i n , th e c u r t a i n would be h e ld o n e - h a l f ho u r a f t e r th e a l l c l e a r s i g n a l was g iv e n . The t h e a t r e would r e fu n d money i f p a tr o n s were u n a b le to a t t e n d and r e t u r n e d 81 th e t i c k e t s w ith in f o r t y - e i g h t h o u r s . The e n t i r e t o u r t r a v e l e d 5*600 m ile s and g ro s s e d $ 2 9 , 1 1 2 . S ince The D o c to r 's Dilemma ended i t s t o u r on th e ! I West C o ast, C o r n e ll d e c id e d to r e h e a r s e h e r n e x t p la y , Rose | B u rk e, t h e r e . She would th en ta k e th e p la y a c r o s s th e U n ite d S t a t e s to New York. Rose Burke p la y e d e i g h t weeks j in t h i r t e e n c i t i e s and due to i t s po o r re sp o n s e w ith th e c r i t i c s n e v e r opened i n New York. Thus, combining th e two p r o d u c tio n s i n t o one c r o s s - c o u n t r y t r i p , th e shows p la y e d a t o t a l o f tw enty weeks i n tw e n ty - fo u r c i t i e s . Both shows p la y e d two weeks each in San F r a n c is c o . D e s p ite i t s po o r re v ie w s and slow b u s in e s s i n some c i t i e s , Rose Burke g ro s s e d $ 1 3 6, 2 8 9 .0 2 and made an o p e r a t i n g p r o f i t o f $ 1 9 , 1^ 5 * : The 195^-55 The Dark I s L ig h t Enough to u re d e le v e n weeks b e f o re opening i n New York and two weeks a f t e r c l o s in g . I t v i s i t e d te n c i t i e s p r i o r to i t s New York e n g a g e ment and d id e x c e l l e n t b u s in e s s , w ith th e two weeks in W ashington, D.C. p la y in g to g r o s s e s o f $38*532 and $39*230. D uring th e weeks i n C i n c i n n a t i , P i t t s b u r g h , and th e s p l i t week i n L o u i s v i l l e and Columbus, th e g r o s s r e c e i p t s were • ^ Chicago Sun, Ja n u a ry 5 * 19^2; New York Tim es, De cember l^ i 1941. M A P V III T H E D O C T O R 'S D IL E M M A T O U E R O U T E l4 Weeks (September 8, 1941 to December 13, 194l), W o s. 1-12 R O S E B U R K E T O U R R O U T E 8 Weeks (January 19, 1942 to M arch. l4 , 1942), W os. 13-25, dotted lin e ( J f ^ \ cA *.n. ^ / i w 3 ' ' / < S " \ y a , - & s 4 i t — ------- ftp ? NORTH CAKOTA MIMHtSOtR „,SCOHVN ► f O N /5 5 vOiQRAOo ■MRANj AS |V O « '0 * 164 Legend for The Doctor’s Dilemma—Rose Burke Tour M ap (1941-42) 1. Sept. 8-13 Philadelphia 2. Sept. 15-20 Pittsburgh 3. Sept. 22-27 Washington 4. Sept, 29 Bridgeport, Conn 5. Sept. 30 Hartford, Conn. 6. Oct. 1 Providence, R.I. 7- Oct. 2-4 N ew Haven, Conn. 8. Oct. 6-l8 Boston 9. Oct. 20-Nov. 8 Chicago 10. Nov. 10-15 St. Louis 11. Nov. 19-29 Los Angeles 12. Dec. 1-13 San Francisco 13. Jan. 19-31 San Francisco l4 . Feb. 2-3 Portland, Ore. 13. Feb. 4-7 Seattle Feb. 9-10 - * • Travel 1 6 . Feb. 11 Minneapolis 17. Feb. 12 St. Paul 1 8. Feb. 13-14 Milwaukee 19. Feb. 16-21 Detroit 2 0 . Feb. 2 3 -2 5 Indianapolis 2 1. Feb, 26-28 Cincinnati 2 2 . Mar. 2-4 Columbus 23- Mar. 5-7 Cleveland 24. Mar. 9 -H Buffalo 25. Mar. 12-14 Toronto 166 o v e r $ 30,000. The t o t a l g r o s s f o r th e combined to u r was $385^392.89 and th e o p e r a tin g p r o f i t was $19^445. The 19^3 t o u r o f The Three S i s t e r s went to m ajor E a s te r n c i t i e s and had I t s b e s t week a t th e Cass T h e a tre i n D e t r o i t , w ith a g r o s s o f $27,5 2 9 . The grosB f o r th e Chekhovian drama was $243,672, and th e o p e r a tin g p r o f i t was $ 4 ,2 1 4 . O verseas Tours Twice K a th a rin e C o rn e ll took p r o d u c tio n s o v e r s e a s , and a t h i r d t o u r was p lan n ed b u t n e v e r acco m p lish e d . The f i r s t was The B a r r e t t s o f Wimpole S t r e e t t o u r i n 1944 which waB d is c u s s e d In C h ap ter IV, pp. 80-81. T h ir te e n y e a r s l a t e r , C o r n e ll to o k The F i r s t b o r n to I s r a e l to c e l e b r a t e i t s t e n t h a n n iv e r s a r y u n d e r th e spon s o r s h ip o f th e A m e r ic a n - I s r a e li Committee. K a th a rin e Cor n e l l and Anthony Quayle were p a id $150 each, and th e r e s t o f th e c a s t were each p a id $7 5 j p lu s round t r i p p a s sa g e . The c a s t ap p eared a t th e Habima T h e a tre i n T el Aviv from Thursday, J u ly 3> th ro u g h J u ly 10, 1958. The tro u p e th en p la y e d i n J e ru s a le m on S a tu rd a y , J u ly 12. A ccording to Macy, th e ex p en ses i n c u r r e d by th e Committee f o r p r e s e n t i n g th e p la y i n I s r a e l were n e v e r m et. The Habima T h e a tre p a id o f f th e crew, and th e A m e r ic a n - I s r a e li Committee p a id th e s a l a r i e s .- ^ 2 The b e n e f i c i a l r e s u l t o f th e t r i p was t h a t more th a n 20,000 I s r a e l i s saw C o r n e ll and h e r company p e r form. The u n f u l f i l l e d to u r was th e w o rld t o u r e n v is io n e d by Ray H enderson t h a t would in tr o d u c e C o r n e ll to a u d ie n c e s i n c i t i e s around th e w o rld . Henderson had p la c e d an a d v e r tis e m e n t in th e J u ly 1937 iB sue o f T h e a tre A rts s t a t i n g t h a t C o r n e ll was c o n te m p la tin g a w orld t o u r to a p o t e n t i a l o f t h i r t y - t h r e e c o u n t r i e s . On June 12, 1937^ he l e f t New York to p la n th e t r i p , v i s i t i n g A u s t r a l i a , New Z e alan d , Ja p a n , and I n d i a . He had a l s o p la n n e d s h o r t s ta y s in A thens and London b e f o re r e t u r n i n g to th e U n ite d S t a t e s . On O ctober 1, 1937* en r o u te from Egypt to London, H ender s o n 's a i r p l a n e c ra sh e d i n t o th e se a s o f f th e c o a s t o f S p a in . H e n d e rso n 's d e a th cau sed C o r n e ll to p o stp o n e a l l p la n s f o r a w orld t o u r . For many y e a r s C. & M. C. P ro d u c t i o n s c o n tin u e d to r e c e i v e i n q u i r i e s ab o u t C o r n e l l 's planB from t h e a t r e s i n p l a c e s where H enderson had v i s i t e d . R ecords S et C o r n e l l 's h ig h box o f f i c e g r o s s e s on th e ro a d s e t many r e c o r d s in l e g i t i m a t e t h e a t r e s . In a d d i t i o n to th e h ig h g r o s s e s r e g i s t e r e d i n t h e a t r e s which had few p ro d u c t i o n s v i s i t , in 1932 The B a r r e t t s o f Wimpole S t r e e t broke e x i s t i n g house r e c o r d s i n P h i l a d e l p h i a ( f i r s t week $32,080 • ^ I n t e r v i e w w ith G e rtru d e Macy, May 27, 1971- ! 168 : j land second week $33*657) B a ltim o re ($ 2 9 , 8 3 6 . 5 0 ) , D e t r o i t | !($3 0 , 0 0 0) , and San F ra n c isc o ($ 2 8 , 1 3 6 . 5 0 ) . I I The r e p e r t o r y t o u r o f 1 9 3 3 -3 ^ s e t r e c o r d s In many o n e - n ig h t sta n d s, which has p r e v i o u s l y been d is c u s s e d In :t h i s c h a p t e r . The t o u r s e t o t h e r box o f f i c e r e c o r d s , such as a t th e S h u b ert T h e a tre In C i n c i n n a t i w ith a g r o s s o f $19*800, and a t th e M e tro p o lita n T h e a tre i n S e a t t l e w ith | $17,000 d u rin g C h ristm as week. The s p l i t week o f f i v e I Texas s ta n d s f o r a g r o s s o f $31,000 d u rin g th e week o f F eb ru a ry 1, 193^ was a ls o l i s t e d as a r e c o r d .~> 5 The 1935 Romeo and J u l i e t t o u r e s t a b l i s h e d new box | o f f i c e r e c o r d s f o r c l a s s i c drama i n B a ltim o re , W ashington, | 1 D .C ., B o sto n , and Chicago. S a in t J o a n , which had r e g i s t e r e d an e x c e e d in g ly h ig h av erag e weekly g r o s s d u rin g i t s seven and o n e - h a l f week t o u r , s e t a house r e c o rd a t th e S h u b ert T h e a tre in B oston o f $3 8 ,7 6 9 and t i e d a r e c o r d a t th e C urran T h e a tre i n San F r a n c is c o o f $30,000 w ith F o l l i e s . ^ T h e second week in P h i l a d e l p h i a was Holy Week, which i s n o rm a lly c o n s id e re d a slow week f o r t h e a t r e b u s in e s s . J The g r o s s i n D e t r o i t was c o n s id e re d a re m ark ab le achievem ent b ecau se o f th e g r e a t number o f f a c t o r i e s t h a t had c lo s e d down. Ray Henderson r e l e a s e , Appendix J . 3 5 "Road’s Top L e g it G r o s s e s ," V a r i e t y , A p r i l 28, 1937. 3^"The Road F lo ck s to S h a k e s p e a re ," Ray Henderson r e l e a s e , Appendix J . •^ " R o a d 's Top L e g it G r o s s e s ," lo c . c i t . j............................................ 1 6 9 ] In many i n s t a n c e s th e box o f f i c e r e c o r d a t a p a r - | t i c u l a r t h e a t r e was h e ld by a m u sic a l b ecause th e t i c k e t s j f o r th e s e a t t r a c t i o n s s o ld f o r $ 2 .0 0 to $ 3*00 more th an f o r i i a spoken drama. T h e re fo re , th e a tte n d a n c e f o r th e m u sic a l I may have been s m a lle r , b u t th e g r o s s would have been j h i g h e r . j The W ingless V ic to r y broke a box o f f i c e re c o rd a t th e N a tio n a l T h e a tre i n W ashington, D .C ., w ith a g r o s s o f $27,000 f o r seven p e rfo rm a n c e s. The S tan d in g Room Only s ig n was up a t e v e ry p e rfo rm an ce. The house r e c o rd f o r th e | t h e a t r e was $31,000 f o r e i g h t p e rfo rm a n c e s, a r e c o rd Cor- I "5Q n e l l would have broken had she p la y e d th e f u l l week. ^ | The Dark I s L ig h t Enough s e t new house r e c o r d s in f o u r c i t i e s —B u ffa lo ($19*497 f o r f i v e p e rfo rm a n c e s ), Toronto ($ 2 9 ,7 8 6 .4 8 ), C i n c in n a ti ($ 3 0 ,8 6 1 .5 0 ), and C lev e la n d ( $ 2 8 ,6 6 4 .7 6 ).^ ° The most o u ts ta n d in g box o f f i c e r e c o rd was ac h ie v e d by The B a r r e t t s o f Wimpole S t r e e t th e week o f March 19* 1945: $46,921 a t th e 3 ,0 0 0 - s e a t B oston Opera House. •^W olfe Kaufman, "R oad's B ig g e s t Comeback, H in te r la n d L e g it B e s t Since 1929*" V a r i e t y , A p r il 28, 1937* P- 6 5 . ^ V a r i e t y * December 2, 1936. 40 The Toronto g r o s s bro k e a f o r t y - s i x y e a r house r e c o r d . The C lev elan d g ro s s was th e h i g h e s t p re -C h ris tm a s f i g u r e i n t h i r t y - t w o y e a r s a t th e Hanna T h e a t r e . ! '■" 170 | ! i Comparisons w ith O ther Touring Companies | | The av erag e number o f a l l t h e a t r i c a l t o u r in g com p a n ie s d e c lin e d from 339 in 1900, to 67 in 1921, to 56 in j 1930, to a low o f 18 in 1933* The f i g u r e went up to 22 in j /- 4 l ' 1935j where i t rem ained f a i r l y c o n s ta n t th ro u g h 1961. ! The number o f p la y in g weeks on th e ro a d d e c lin e d from 1,152 i l i p i n 1948-49 to 687 i n 1958-59- By c o n t r a s t , th e number o f i to u r in g weeks by C o r n e ll clim bed g r a d u a l l y from an a v erag e ; o f te n i n th e e a r l y 1 9 3 0 's to an a v erag e o f tw elve in 1940, i where i t rem ained c o n s ta n t th ro u g h o u t h e r c a r e e r . At a tim e when th e n a t i o n a l tr e n d showed a d e c l i n e in t o u r in g weeks, K a th a rin e C o r n e ll was c o n tin u in g to t r a v e l e x te n - j ] s i v e l y th ro u g h o u t th e U n ite d S t a t e s . W hile C o r n e ll was ta k in g h e r company on th e ro a d d u rin g 1933-34, two o t h e r ro ad companies were a ls o a p p e a r in g in r e p e r t o r y . W a lte r Hampden was to u r in g a r e p e r t o r y i o f fo u r c l a s s i c a l p la y s and Eva L e G a llie n n e was to u r in g two ! Ib s e n p la y s and Romeo and J u l i e t . L e G a llie n n e fo llo w e d alm o st th e same r o u te a s th e C o r n e ll company. However, w h ile C o r n e ll g r o s s e d $27,000 a week a t th e B iltm o re T h e atre in Los A n g eles, L e G a llie n n e o n ly made ab o u t $13,500 a t th e same t h e a t r e seven weeks l a t e r . A lex an d er W o o llc o tt s t a t e d : 41 . Ja c k P oggi, T h e a te r in America ( I t h a c a , N .Y .: Cor n e l l U n i v e r s i t y P r e s s , 1958), pp. 30-31. 42 Ibid., p. 3 1. 171 Years i 960 1959 1958 1957 1956 1955 1954 1953 1932 1951 1950 19^9 1948 19^7 1946 1945 1944 1943 1942 1941 1940 1939 1938 1937 1936 1935 1934 1933 1932 1931 o O O J H ~~r OJ o F ig. 1 .—!Theatre weeks on tour, 1931-1960 ....................... 172*1 j The a r r i v a l o f one o f th e s e [th e t o u r s o f The Green j P a s t u r e s , Hampden, o r L e G a llie n n e ] in any town co u ld j n o t p o s s i b l y have seemed so glam orous and e v e n t f u l I a s d id th e triu m p h a n t v i s i t s o f Miss C o r n e ll. . . . | None o f th e s e p r o f f e r e d e n te r ta in m e n ts was f a i n t l y | com parable w ith th e ad v e n t o f a gleam ing and im m ensely s u c c e s s f u l young s t a r a t th e c r e s t o f h e r j c a r e e r , b r in g i n g a f i n e tro u p e , e i t h e r i n a Shake- i s p earean p r o d u c tio n which New York would n o t be p r i v i l e g e d to see f o r a n o th e r y e a r o r th e w a tc h f u lly r e f r e s h e d m a s te r p ie c e which had been one o f th e s h i n - j in g s u c c e s s e s o f th e p o stw a r t h e a t e r . Such a boon— J r a i n in abundance a f t e r a long d r o u g h t—would be com- i p a r a b le o n ly to th e coming o f Helen Hayes i n Mary o f j S c o tla n d o r to th e a r r i v a l . . . o f th e L u n ts in Re u n io n in V ie n n a .43 I As a d i r e c t r e s u l t o f th e s u c c e ss o f th e 1933-34 | C o r n e ll r e p e r t o r y t o u r , many o t h e r m ajor p r o d u c tio n s d e c id e d to a tte m p t ro a d to u r s o f t h e i r shows. Helen Hayes i in Mary o f S c o tla n d and George M. Cohan i n Ah, W ild e rn e ss I l e f t on to u r s th e f o llo w in g Septem ber. O ther b ig Broadway h i t s which a ls o to o k to th e ro ad in c lu d e d I d i o t ' s D e lig h t and Reunion in V ienna s t a r r i n g A lf re d Lunt and Lynn Fon- ta n n e . End o f Summer w ith I n a C l a i r e , F i r s t Lady w ith Jane Cowl, Hamlet w ith L e s l i e Howard, and Jane Eyre w ith K a th a rin e Hepburn. D uring th e t h r e e y e a r s which fo llo w e d th e i n i t i a l C o r n e ll t o u r , th e ro a d e x p e rie n c e d a tremendous comeback i n term s o f q u a n t i t y and q u a l i t y o f p r o d u c tio n s . K a th a rin e C o r n e ll had shown t h a t th e ro ad a u d ie n c e s would tu r n o u t f o r good p la y s and o t h e r s th en fo llo w e d h e r ^ ^ W o o llc o tt, p . 14. 44 Kaufman, lo c . c i t . In 1942, V a r i e t y l i s t e d th e h i g h e s t - g r o s s i n g ro ad 4-5 ^shows d u rin g th e p r e v io u s decad e. The b e s t s in g l e ro ad show was V i c t o r i a R egina s t a r r i n g Helen Hayes. The p la y to u re d th e 1 9 3 7 -3 8 seaso n and r e c e iv e d $ 1 , 0 9 2 ,0 0 0 f o r t h i r t y - n i n e weeks, an a v e ra g e o f $28,000 p e r week. The fo llo w in g season th e p l a y to u re d an a d d i t i o n a l t h i r t y - n i n e weeks, and th e combined g r o s s on b o th t o u r s approxim ated $ 2 ,0 0 0 ,0 0 0 , a w eekly a v erag e o f $25,6 4 0 . H ayes' o t h e r p r o d u c tio n , Mary o f S c o tla n d , to u re d tw e n ty - th r e e and o n e- h a l f weeks and g ro s s e d $ 6 5 2 , 2 7 0, a w eekly a v e ra g e o f $27,755- The P h i l a d e l p h i a S t o r y , s t a r r i n g K a th a rin e Hep b u rn , to u re d t h i r t y - t w o weeks and g ro s s e d ab o u t $7 5 3 *1 8 3* an a v erag e o f $23,535- A lf re d Lunt and Lynn Fontanne were s u c c e s s f u l on th e ro a d w ith t h r e e p r o d u c t io n s . In There S h a l l Be No N ig h t th e y to u re d f o r t y weeks and g ro s s e d $800,000. The team drew $654,483 i n tw e n ty - s ix and o n e- h a l f weeks w ith I d i o t ' s D e l i g h t , an a v e ra g e o f $ 2 4 ,6 9 5 p e r week, and $427*200 in tw enty-tw o weeks w ith Amphitryon 3 8 , an a v erag e w eekly g r o s s o f $19*420. T a ll u l a h Bankhead sc o re d a g r e a t s u c c e s s on th e ro a d when h e r p r o d u c tio n o f The L i t t l e Foxes g r o s s e d $649*820. The p la y was perform ed in 121 c i t i e s , i n c lu d in g 104 o n e - n ig h t s ta n d s , more o n e- n i g h t e r s th an any s t a r h as p la y e d i n modern tim e s . Ah, ^ P u l a s k i , lo c . c i t . 174 I j W ild e r n e s s , s t a r r i n g George M. Cohan, to u re d tw e n ty -n in e j j and o n e - h a l f weeks and g ro s s e d $ 3 7 9.> 0 3 6 , an a v erag e o f j $12,084. ! I S e v e ra l s u c c e s s f u l Broadway shows s e n t o u t more I th an one, and in some c a s e s a s many as t h r e e , to u r in g com- j l p a n le s and th e combined g r o s s r e c e i p t s f o r each p la y e x ceeded $ 1 ,0 0 0 ,0 0 0 . These in c lu d e d You C a n 't Take I t W ith j You, The Man Who Came to D in n e r, The Green P a s t u r e s , and Tobacco Road. U n lik e th e p r o d u c tio n s t h a t s e n t o u t more th a n one company on th e ro a d , C o rn e ll alw ays s t r e s s e d b r in g in g th e o r i g i n a l c a s t on t o u r . I f a le a d in g a c t o r such a s Laurence i O l i v i e r had to le a v e th e o r i g i n a l company, C o rn e ll alw ays t r i e d to r e p la c e him w ith an a c t o r o f e q u a l c a l i b r e . She n e v e r sh o rtc h a n g e d h e r a u d ie n c e s on th e ro a d w ith a n y th in g l e s s th an h e r b e s t , and h e r a u d ie n c e s n e v e r d e s e r t e d h e r . Even in th e 1 9 5 0 's when C o r n e l l 's New York fo llo w in g began i d e s e r t i n g h e r , th e ro ad a u d ie n c e s rem ained l o y a l and flo c k e d to see h e r r e g a r d l e s s o f th e v e h i c l e . Summary Prom th e i n c e p t i o n o f h e r c a r e e r an as a c t r e s s , C o r n e ll b e l i e v e d i n th e im p o rtan ce o f th e non-New York a u d ie n c e . When she became h e r own p ro d u c e r, C o rn e ll b ro u g h t q u a l i t y p r o d u c tio n s to th e ro ad a u d ie n c e s . Most New York p r e s e n t a t i o n s to u re d on th e ro a d . C o r n e ll alw ays r .... ......................... ...’ 175 ' b ro u g h t h e r Broadway p r o d u c tio n s to th e ro ad and n ev er a tte m p te d to g iv e h e r ro a d a u d ie n c e s p la y s o f l e s s e r w orth j which m ight have had g r e a t e r com m ercial a p p e a l. She a ls o ! alw ays a tte m p te d to t o u r w ith th e same c a s t t h a t ap p eared j i on Broadway o r w ith one o f e q u a l s t a t u r e . As a r e s u l t o f ; t h i s a t t i t u d e tow ard ro a d a u d ie n c e s , th e y in tu r n resp o n d ed ! to th e q u a l i t y o f th e ro ad shows by f r e q u e n t l y s e t t i n g I I a tte n d a n c e r e c o r d s . L ik e w ise , h e r to u r s were u s u a l l y j b e t t e r r e c e iv e d th an o t h e r s d u rin g h e r tim e . j C o r n e ll v i s i t e d n e a r l y e v e ry s t a t e i n th e U n ited | S t a t e s and tw ice to u re d o v e r s e a s . F ive o f h e r p r o d u c tio n s j l a s t e d tw enty weeks o r more w h ile a n o th e r fo u r t o u r s had a d u r a t io n o f te n weeks o r lo n g e r. C o r n e ll went on e x te n s iv e t o u r s a t a tim e when o t h e r s were co n vinced t h a t such e n t e r p r i s e s would c e r t a i n l y ; r e s u l t in f i n a n c i a l d i s a s t e r . C o rn e ll proved t h a t th e s e p r o p h e ts o f doom were wrong, and many o t h e r p r o d u c tio n s ■ were th en in d u ced to go on ro a d t o u r s . C o r n e l l 's many t o u r s , and t h e i r q u a l i t y , b u i l t up a l a r g e and l o y a l fo llo w in g on th e ro a d which c o n tin u e d to come o u t f o r h e r p r o d u c tio n s even when she seemed to be j lo s in g h e r New York a u d ie n c e . 43 CHAPTER YI THE PRODUCTIONS— OVERVIEW OF FINANCIAL SUCCESS Most S u c c e s s f u l P ro d u c tio n s The i n d i v i d u a l p r o d u c tio n which g ro s s e d th e most money f o r C. & M. C. P ro d u c tio n s was The C o n sta n t W ife, w hich r e c e i v e d $ 1 ,4 8 4 , 6 7 3 * fo llo w e d c l o s e l y by th e 1931 The B a r r e t t s o f Wimpole S t r e e t w ith $ 1 ,4 0 2 ,2 6 8 , and No Time f o r Comedy w ith $1,043*248. The p r o d u c tio n s having th e s m a l l e s t box o f f i c e r e c e i p t s were C a p ta in C a r v a l l o , which g r o s s e d $37*927* and Lucrece w ith $39*500. The New York engagement r e c e i v i n g th e h i g h e s t g r o s s was th e 1931 The B a r r e t t s o f Wimpole S t r e e t w ith $888,248, w h ile L u crece had th e lo w e st g r o s s . The $849*302 f o r The C o n sta n t Wife was th e h i g h e s t t o t a l f o r any post-New York t o u r . The most s u c c e s s f u l pre-New York g r o s s was The Dark I s L ig h t Enough, which r e c e i v e d $324,464. The C o r n e ll p r o d u c tio n s which had th e h i g h e s t a v e ra g e w eekly g r o s s e s were The Dark I s L ig h t Enough w ith $24,957 and S a in t Joan w ith $24,828,'*' w hereas th e lo w est ■''The 1942 p r o d u c tio n o f Candida av e ra g e d $28,318 d u rin g i t s f i v e weeks i n New York and W ashington, D .C ., b u t 177 j | a v e ra g e s b elo n g ed to C ap tain C a r v a l l o , L u c re c e , and F low ers j I o f th e F o r e s t w ith $12,642, $ 1 3 , 1 6 6, and $13,435 r e s p e c - j i t i v e l y . I The h i g h e s t a v erag e w eekly g ro s s d u rin g a New York ; engagement was sh a re d by two p r o d u c tio n s , Antony and C leo p a t r a w ith $22,728 o v e r a six te e n -w e e k p e r io d and S a in t Joan w ith $22,753 f o r n in e weeks. They were fo llo w e d | c l o s e l y by Romeo and J u l i e t , The C o n stan t W ife, and The Three S i s t e r s . The lo w e st av erag e weekly g r o s s f o r a New York ru n was Flow ers o f th e F o r e s t w ith $11,375* fo llo w e d i by th e $11,850 o f Dear L i a r , Lucrece w ith $ 13,170, and I A lie n Corn w ith $13,640. The h i g h e s t a v erag e weekly g r o s s on th e ro ad was The Dark I s L ig h t Enough w ith $2 9 ,6 5 0 f o r t h i r t e e n weeks, fo llo w e d by S a i n t Joan w ith $29,860 f o r e i g h t and o n e - h a l f w e e k s .2 The 1931 The B a r r e t t s o f Wimpole S t r e e t had th e h i g h e s t a v erag e w eekly g r o s s on th e road o f a l l p r o d u c tio n s which t r a v e l e d tw en ty o r more weeks, w ith $24,475* fo llo w e d by The C o n sta n t W ife, which av erag ed $22,95^- on t o u r f o r t h i r t y - s e v e n w e e k s. h a s n o t been c o n s id e re d i n th e com parisons b ecau se a l l th e income went to c h a r i t y and n o th in g was r e c e iv e d by C. & M. C. P r o d u c tio n s . p The P r e s c o t t P ro p o s a ls a v erag ed $2 9 ,8 6 0 b u t was n o t c o n s id e re d th e h i g h e s t - g r o s s i n g ro ad t o u r b ecau se a l l money was d e r iv e d d u rin g a t r y o u t to u r and th e p ro d u c tio n n e v e r went on a post-New York t o u r . The same i s tr u e f o r The F i r s t b o r n , which a v erag ed $26,780 d u rin g i t s t r y o u t to u r . 178 T rends During th e span o f h e r c a r e e r a s an a c t r e s s - p ro d u c e r, C o r n e l l 's p r o d u c tio n s r e a l i z e d an o v e r a l l p r o f i t o f $381,647 from th e tw e n ty - fo u r o f h e r tw e n ty -n in e p ro d u c t i o n s on which p r o f i t and l o s s d a t a were a v a i l a b l e , and r e c e iv e d a t o t a l g r o s s o f s l i g h t l y o v e r $ 1 2 , 0 0 0 ,0 0 0 i n 58 2 w eeks, an a v erag e w eekly g r o s s o f $ 2 0 , 6 3 0 . ^ She g ro s s e d $ 5 ,1 0 0 ,0 0 0 d u rin g h e r New York engagem ents, a w eekly a v e r age o f $18,410, b u t on th e ro a d she g ro s s e d $6 , 9 0 0 , 0 0 0 , an av e ra g e o f $22,700 p e r week. Her t o t a l a v erag e w eekly g r o s s r o s e a l i t t l e more th an $1,000 betw een th e 1 9 3 0 ' s and th e 1940r s, and a n o th e r $1,000 from th e 1 9 4 0 's to th e 1 9 5 0 's . Thus, i n th e span o f th r e e d e c a d e s, C o r n e l l 's a v e ra g e w eekly g r o s s r o s e o n ly 13 p e r c e n t . Even t h i s f i g u r e i s somewhat d e c e p tiv e becau se i n a c t u a l drawing c a p a c i t y C o r n e l l 's a b i l i t y seemed to d im in is h . As th e y e a r s went by, th e h ig h e r f i g u r e was m ain ly due to th e h i g h e r p r i c e s f o r s e a t s . F or i n s t a n c e , th e top p r i c e f o r th e 1932 p r o d u c tio n o f The B a r r e t t s o f -3 JMany f i g u r e s a r e m erely e s t i m a t e s b e cau se a c t u a l amounts a r e n o t a v a i l a b l e and th e o n ly d a ta , p a r t i c u l a r l y d u rin g th e 1930' s , was c o n ta in e d i n V a r i e t y . The t o t a l g r o s s e s f o r most p r o d u c tio n s sh o u ld be h ig h e r b ecau se V a r i e t y f a i l e d to in c lu d e th e box o f f i c e r e c e i p t s f o r th e l a s t week o f a New York engagem ent, and n e g l e c t e d to g iv e th e r e c e i p t s f o r some c i t i e s d u rin g th e ro a d t o u r s . A pply in g a v e ra g e s to m issin g weeks, f o r example, C o r n e l l 's t o t a l c a r e e r g r o s s would be somewhere in th e v i c i n i t y o f $ 1 3, 0 0 0 , 0 0 0 . TASK 1 t m a l anoscES for mDivrDUAL mDUCTions. 1931-1960 (KATHAJURR COWELL PRODUCTION'S) P lay Pre-Bev York New York Foet-Hev York T o ta l Tbe B a rre tts o f V inpole S tr e e t, 1931 ♦868,21(8.10 (**7-5) ♦51**,020.25 (21) ♦1, 1 (02, 268.35 (68.5) Lucrece* 39, 500.00 ( 3) 39, 500.00 (3) A lien Corn* 163,709.00 ( 32) 82,000.00 (5) 21* 5, 709.00 (17) R epertory Tour* 650,000.00 (29) 650,000.00 (29) Borneo and J u lie t* 139,100.00 (6. 5) 235,000.00 (10) 371*,100.00 (16.5 ) P lo v e rs o f the F orest* ♦ I k ,960.00 ( -5 ) *(5,500.00 C O 60,1(60.00 (k .5) S a in t Jonn* 50,000.00 (2->0 227, 533-00 (10) 21k,081.00 (7 .5 ) l* 91, 6llt.OO ( 19.9) The V is rie n s V ictory* C andida,*1 1957 107,600.00 w 296,300.00 (18) 125,500.00 (6) 529, 600.00 (28) Herod and Karlomna* 72,000.00 ( 3 -6) 72,000.00 ( 3 .6 ) So Time f o r Comedy 50,606.83 (2 -5) 375, 292.00 (2 1 * ) 617, 350.05 ( 31) 1,0*(3,2*(8.88 (57. 5) The l e c t o r 's Dilemma* 69,620.19 (3) 2* ( 6 ,*(l(9 . 3l( (1**) 290,112.00 (13.5) 606,381.53 (30.5) Roee Purke 136,289.02 (8) 136,289.02 (8) C andida. 19*2 90,892.00 (3 .5 ) 33,000.00 (1) 123,692.00 e* .5) The T hree S i s te r s 75, 775-50 ( 3) 301, 117. 1 (5 (15) 21(3, 672.32 (10) 62*(,563.27 (28) lo v e r s and F rie n d s* 97,100.00 C O 1 ( 05, 000.00 (21) 123,1(68.00 (6) 625, 563.00 ( 31) The B a r re tte o f Vlmools Stw efc,* W > , 19*7 *16,921.00 (1) 195,000.00 (10) 172,600.00 (7) k ilt,521.00 (IB) Anti-*one* C an d id a,* 19*6 95, 50k.k6 (6) 163,927.50 (10) 102,000.00 (It) 361, 1 * 31.96 (20) Antony and C le o p a tra 125, 97k -30 (7)' 365,656.10 (16) 219, 2* t3.15 (19) 708, 873.55 ( 32) T h at lad y 102,985.7*1 (5) 19* * , 368.85 (10) 230,580.57 (13) 527, 935.15 (28) C e rta in C a rv a llo 57, 927.03 ( 3) 37, 927.03 ( 3) The C o n sta n t W ife 156,*t5*t.58 (7) 378, 918.73 (17. 1) 81(9, 302.69 (37) 1,I*8I(,673.00 (61.1) The P r e s c o tt P ro p o sa ls 1* 19, 301.00 (**•6) 283,301.6c (16) 1*52,602.60 (20.6) The Dark I s Liaht Enoufh 32*t, *16*1.69 (11) 163,676.30 (9) 60,928.20 (2) 5* * 9, 069.19 (22) The F irstb o rn 107,106.37 C O 82,030.33 (5) 189, 136.70 (9) Dear L iar 77, 10*(.98 (6 . 5 ) 301, 1 (1 (5.19 ( 12) 378, 1 (60.39 ( 18. 5) J b te s i Humber* In parentheses are th e numbers o f weeks. Crosses not av a ila b le fo r The B n rretto o f Vimpole S tre e t, 1935* * Grosses f o r 193^ and 1935 productions o f Bongo and J u lie t are combined on th i s ta b le . Grosoes fo r 19^5 nad 19^7 productions o f The B a rre tts o f Vimpole S tre e t also combined, Gronsee f o r The Wlngleos V ictory and Candida, 1937/ repertory* a re combined as aro grosses f o r Antigone and Candida, 19^6 * *Co^plete figures not available on these productions. Only estimated figures given in Variety, ^All veeks for Dear Liar not included. Sixteen veeks only liste d oonpany chars o f the gross* which vas 1260,6^7.6*, and th is figure is rot inoluded in the table above. 179 TABIE.2 A V E R A G E W E E K L Y G R O SSE S FO R INDIVIDUAL PR O D U C TIO N S, I93I-I96O (K A T H A R IN E C O R N E L L PR O D U C TIO N S) Play Pre-Nev York New York. Post-New York T otal The Barretts o f Wimpole S tr eet. 1931 $ l8, 699.96 (1 * 7 . 5) $2U, 1+77.15 (21) $20,1+71.07 ( 68. 5) Lucrece8 13,166.66 ( 3) 13,166.66 ( 3) A lien Corn8 13,61+2.1+1 (12) 16,1+00.00 (5). 11*,1 * 53. 1 * 7 ( 17) Repertory Toura 22,1+13.79 (29) 22, 1 + 13.79 (29) Romeo and J u lie t8 21,1+00.00 (6 . 5) 23,500.00 (10) 22,672.72 (16. 5) Flowers o f the Forest8 $29,920.00 (.5) 11, 375-00 (1*) 13, 1 * 35.55 (**•5) Saint Joan8 20,833.33 (2 .3 ) 22, 753-30 (10) 28,51+1+.13 (7 .5) 2l+,828.98 (19.8) The Wingless Victory8 Candida,0* 1937 26,950.00 (**) 16,1*61.11 (18) 20,916.66 (6) 18,91**.28 (28) Herod and Mariamne 20,000.00 (3 .6 ) 20,000.00 ( 3 .6) N o Time for Comedy 20,21+2.73 (2.5) 15, 637.16 (21*) 19, 91**.51 (3D 18, 1 1 * 3. 1 + 5 (57-5) The Doctor's Dilemma8 23.275.39 ( 3) 17, 603.52 (11*) 21,1+89.77 ( 13) 19, 881.77 ( 30.5) Rone Burke 17,036.12 (8) 17, 036.12 (8) Candida, 19^2 26, 930.96 ( 3-5) 33,000.00 (1) 28,318.16 C+.5) The Three S isters 26,591.16 (3) 20, 07k. 1 * 9 ( 15) 21*, 367.23 (10) 22, 305.83 (28) Levers and Friends8 2l+,250.00 (**) 19, 285.71 (21) 20,578.00 (6) 20,179-61 (3D The Barretts o f Wimpole 8 tr e e t.8 19*5, W 1+6,921.00 (1) 19,500.00 (10) 2i+,657.lU (7) 23,028.91+ (18) Antigone8 Candida,a 19*^ 5 15. 501 *.W (6) 16, 392-75 (10) 25,500.00 (l*) 18, 071.59 (20) Antony end Cleopatra 17, 996.33 (7) 22,728.50 (16) 2l+,360.26 (9) 22,152.29 ( 32) That Lady 20, 597. 1 * 1 (5) ■ 19,1*36.88 (10) 17, 736.96 (13) 18,85!+.82 (28) Captain Carvallo 12,61+2.31+ ( 3) 12,61+2.31+ (3) The Constant Wife 22,350.65 (7) 22, 158.99 (17. 1) 22,95!*.12 (37) 22,662.29 (61.1) The Prescott Proposals 32,1*56.73 (**•6) 17, 706.35 (16) 21,000.12 (20.6) The Dark Is Light Enough 29,1*96.79 (11) 18, 186.25 (9 ) 30,1+61*.10 (2) 21*,957.69 (22) The Firstborn 26,776.59 (**) 16,1+06.06 ( 5) 21,015.18 (9) Dear Liar 11, 81+ 8 . 1 + 5 (6 . 5) 25, 120. 1 + 5 (12) 20, 1 + 57.31 (18.5) Note: Numbers in parenthesis are the numbers o f veeks. ftAverage veekly gross fig u res computed on estim ated fig u r es given in V ariety. 180 T A B L E J S U M M A R Y O F T O T A L A N D A V E R A G E - W E E K L Y G R O S S E S B Y D E C A D E , 193I -I 96O (K A T H A R IN E C O R N E L L P R O D U C T IO N S ) Decade Pre-New York N ew York Post-New York Combined 1931-40 Total gross Num ber of -weeks Average weekly gross $ 295,366.83 13.4 22,042.30 $2 , 175, 182.10 125 17,401.45 $2,437,951.30 109.5 22,264.39 $ 4,908,500.23 247.9 19, 800.32 1941-50 Total gross Num ber of weeks Average weekly gross 792,295.24 40 19, 807.38 1,960,411.24 99.5 19, 702.62 1,414,676.04 63.5 22, 278.36 4,167,382.52 203 20,528.97 1951-60 Total gross Num ber of weeks Average weekly gross 737,326.64 2 6 .6 27, 719.04 984,941.94 54.5 18,375.78 1, 211, 676.30 51 23,758.35 2,933,934.88 131.2 22, 362.30 1931-60 Total gross 1, 824, 988.71 5,120,535-28 5,064,303.64 12, 009, 817.63 Combined Num ber of weeks 80 2 7 8 .1 224 5 8 2 .1 Average weekly gross 22, 812.35 18,412.56 22,608.49 20, 631.88 Fig. 2 .—Average weekly grosses, b y category, 1931-196° (broadway, pre-broadway tour, a n d post-broadway tour ca teg o ries) • € 0 * o Name o f Production B O V S Lucrece A lien Rep. Tour Romeo Flowers S t. Joan Wingless Herod No Time Doctor's Rose B. Candida S isters Lovers B O W S Antigone Antony Lady Carvallo Constant P rescott Dark Is . Firstborn Liar < a - to o o o o r o v n o o o -W - V S H 00 ro D o l l a r s 183 Ave. Weekly OrosB D ollars Median lin e $20,000 $10,000 F ig . 3 -—Average v eek ly gross graph o f in d ivid u al productions, 1931-1960 Wimpole S t r e e t was j u s t $3-30, b u t s i m i l a r t i c k e t s c o s t $ 5 .8 5 by th e 1 9 5 0 's . L ik ew ise, C o r n e l l 's p r o g r e s s i v e i n a b i l i t y to m a in ta in h e r i n i t i a l draw ing power was r e f l e c t e d i n th e f i g u r e s on t o t a l g r o s s e s , which show t h a t i n each s u c c e s s iv e decade h e r o v e r a l l box o f f i c e r e c e i p t s dropped n e a r l y $ 1 ,0 0 0 ,0 0 0 . The number o f p la y s produced by C o rn e ll a l s o d e c l i n e d from tw elv e in th e 1 9 3 0 ' s to te n in th e 19 4 0 's , and f i n a l l y to f i v e i n th e 1 9 5 0 's . The p r o f i t and l o s s s t a t e m ents r e v e a l a s i m i l a r t r e n d . During th e 1 9 3 0 's , C o rn e ll had n in e p r o f i t a b l e p r o d u c tio n s and s u s t a i n e d l o s s e s in o n ly t h r e e . However, in th e 1940' s th e l o s s e s began to s u rp a s s th e p r o f i t s . Of th e s ta te m e n ts a v a i l a b l e , th r e e p la y s made p r o f i t s w h ile f o u r l o s t money. In th e 1 9 5 0 's , o n ly one p l a y made a p r o f i t , w hereas f o u r had l o s s e s . C ost o f P ro d u c tio n s Of th e tw e n ty -n in e p r o d u c tio n s which C o r n e ll p r o duced, p r o d u c tio n c o s t f i g u r e s were a v a i l a b l e f o r tw e n ty - f i v e . The t o t a l f o r a l l tw e n ty - f iv e p la y s was $917.. 2 5 7, o r an a v e ra g e c o s t o f $ 3 6 ,5 0 0 p e r p r o d u c tio n . The most e x p e n siv e p r o d u c tio n was th e 1947-48 p r e s e n t a t i o n o f Antony and C l e o p a t r a , where f i n a l ex p en ses amounted to $ 104,741. The second most c o s t l y p la y (and h i g h e s t non costume) was The P r e s c o t t P r o p o s a l s . D uring th e 1 9 3 0 's , th e a v erag e c o s t o f a p r o d u c tio n was $ 2 2 , 5 0 0 , which 185 T A B L E 4 S U M M A R Y O F T O T A L PR O FITS A M D L O SSE S B Y D E G A L E S (K A T H A R IN E C O R N E L L P R O D U C T IO N S ) Decade P rofits Losses Total 1931-40 $637;399-72 (9) $ 61,163.48 (3) $576,236.24 (12) 1941-50 132, 196.18 (3) 212,476.93 (4) -80, 28 1 .0 7 (7) 1951-60 145,900.00 (1 ) 260, 218.08 (4) -114,318.08 (5) Totals $915;495.90 (13) $533;847.49 (11) $381,648.41 (24) Notes: The numbers in parentheses Indicate the number of productions j the figures refer to. { N o figures available for The Barretts of Wimpole Street, 1935; 19^5 and 1947; Candida, 1942; and Antigone—Candida, 1946. Fig. 4 .—P ro fit-lo ss graph/ 1931-1960 Name o f •PrQ&ictioa- B O W S Lucrece A lien Rep. Tour Romeo Flowers Romeo S t. -loan V ingleS8 Herod H o Tim e D octor's Rose B. S is te r s Lovers Antigone Antony lady Carvallo Constant P rescott Darh i s F irsth o m L iar H 00 C T \ in c r e a s e d to $42*000 i n th e n e x t d e c a d e . T h is amount con tin u e d to r i s e i n t o th e 1 9 5 0 ’ s* re a c h in g an a v erag e c o s t o f $61*300. Thus* i n th e span o f t h r e e decades* th e a v e r age c o s t o f a p r o d u c tio n i n c r e a s e d 119 p e rc e n t* a f a c t o r which caused C o r n e ll to produce few er p la y s and r e c e iv e l e s s p r o f i t s . I t sh o u ld be n o te d t h a t d u rin g th e same p e r io d o f time* th e a v e ra g e c o s t s o f a l l ty p e s o f t h e a t r i - 4 c a l p r o d u c tio n s r o s e 300 p e r c e n t . But f o r h e r a b i l i t y to m inim ize p r o d u c tio n co sts* C o r n e l l 's c a r e e r as a s u c c e s s f u l p ro d u c e r m ight have been s h o r t e r . She was a b le to keep ex p en ses down in s e v e r a l ways. The f r e q u e n t u se o f r e v i v a l s saved on th e c o s t s o f costum es and s e t t i n g s * a s w e ll a s on d e s ig n in g f e e s . C or n e l l r e - u s e d th e same costum es and th e l i k e i n su b seq u en t p r o d u c tio n s o f th e same p la y . A ll o f th e p r o p e r t i e s and f u r n i t u r e from each p r o d u c tio n were s t o r e d in a warehouse and were f r e q u e n t l y u se d in o t h e r p r o d u c t io n s . In fa c t* many p i e c e s o f s ta g e f u r n i t u r e adorned th e M c C lin tic s ' homes and were removed f o r u se in a p r o d u c tio n . 4 Thomas Gale Moore* The Economics o f th e American T h e a te r (Durham* N .C .: Duke U n i v e r s i t y P r e s s , 1 9 6 8 )* p. '45. The 300 p e r c e n t f i g u r e in c lu d e d many k in d s o f p ro d u c t i o n s n o t t y p i c a l o f th e C o r n e ll r e p e rto r y * such a s m u sic a l comedies* and may n o t t h e r e f o r e be a c o m p le te ly a c c u r a te c o m p a riso n . ^John K e ith T i l l i n g h a s t * "G u th rie M cC lintic* D i r e c t o r " (u n p u b lis h e d Ph.D. d i s s e r t a t i o n * I n d ia n a U n iv e rsity * 1964)* p . 100. 1 8 8 T A B I E 5 COSTS, PROFITS, AND LOSSES, 1951-1960 (KATHARINE CORNELL PRODUCTIONS) Y ear P ro d u c tio n C o st o f P ro d u c tio n N et P r o f i t N et L oss 1931 The B a r r e t t s o f Wimoole S tr e e t $ 26, 9 8 9 .0 8 $ 2 7 9 ,3 7 1 .1 5 1932 L ucrece 2 3 ,6 0 4 .2 1 $ 2 5 , 2 6 8 .8 2 1933 A lie n C om 7 ,6 6 5 .0 5 3 3 ,7 4 1 -5 3 1933- 1934 R e p e rto ry T our The B a r r e t ts o f Wimoole S t r e e t , 4 2 ,8 3 3 .8 8 7 3 ,2 0 6 .1 7 1934 C andida, Romeo and J u l i e t Romeo and J u l i e t 4 3 ,5 0 6 .2 7 55, 0 0 0 .0 0 1935 F lo w ers o f th e F o r e s t 1 1 ,7 0 2 .7 4 (a p p ro x im a te ) 6 ,5 5 1 .1 3 1935 Romeo and J u l i e t 1 1 ,0 4 8 .5 1 6 ,3 0 5 .9 5 1936 ( r e v iv a l ) S a in t Jo a n 33, 8 8 8.50 9 , 8 0 2 .0 6 1936 1937 The W in g less V ic to ry , C andida 1 8 ,6 1 3 .5 9 2 , 3 0 6.47 63, 1 0 2 .5 2 1938 H erod and Mariamne 3 6 ,9 6 3 .7 6 2 9 ,3 4 3 .5 3 1939 No Time f o r Comedy 2 0 ,9 7 3 .0 7 1 1 6 ,8 7 0 .3 4 1941 The D o c to r 's Dilemma 2 5 ,7 3 1 .2 7 2 2 ,3 3 0 .6 3 1942 Rose Burke 2 8 ,1 7 5 .9 5 1 0 ,4 7 0 .7 9 1942 The T hree S i s t e r s 3 8 ,5 1 0 .9 5 3 6 ,0 5 4 .2 6 19^3 L overs and F rie n d s 2 4 ,9 2 8 .6 5 7 3 ,8 1 1 .2 9 1945 1946 1947 The B a r r e t t s o f l e s s th a n Wimoole S t r e e t ( e s tim a te ) A ntigone A ntony and C le o p a tra 1 0 , 0 0 0.00 2 6 , 9 5 2.89 104, 7 4 1 .7 0 1 0 4 ,5 0 3 .2 2 1949 T hat Lady 60, 3 1 4 .8 7 6 0 ,0 8 6 .9 5 1950 C a p ta in C a rv a llo 2 7 ,1 4 4 .4 8 3 7 ,4 1 5 .9 7 1951 The C o n sta n t W ife 3 3 ,5 5 3 .7 6 1 4 5 ,9 0 0 .0 0 1953 The P r e s c o tt P ro p o s a ls 100, 6 5 4 .7 7 1 0 4 ,3 2 4 .6 4 1954 The D ark I s L ig h t Enough 63, 8 3 4.06 5 3 ,4 8 5 .5 5 1958 The F ir s tb o r n 8 5 ,5 7 6 .2 9 9 6 ,9 4 5 .1 6 1959 D ear L ia r 2 3 , 096.95 5 ,4 6 2 .7 3 N o te s: M issin g from t h i s l i s t a re c o s t and p r o f l t - l o s s f i g u r e s fro m C an d id a, 1942 an d 1946, and The B a r r e t t s o f Wlnrnole S t r e e t , 1935- No p r o f l t - l o s s f i g u r e s a v a il a b le f o r The B a r r e t t s o f Wimpole S t r e e t , 1945 and A n tig o n e , 1946. T A B L E 6 P R O D U C T IO N C O S T S A V E R A G E B Y D E C A D E , 1931-1940 (K A T H A R IN E C O R N E L L P R O D U C T IO N S ) Decade Number of Productions Total Cost Average Production Cost 1931-40 12 $270,040.45 $2 2, 503 .2 7 1941-50 8 336,500.76 42,062.59 1951-60 5 306,715.83 61,343.16 Totals 25 $913,257.04 $36, 530 .2 8 Notes: Missing from th is to ta l are cost figures from Candida, 1942 and 1946; and The Barretts of Wimpole Street, 1955 and 19^5- i Fig. 5 . —Production costs graph,, 1951-1961 M am e of Production B O W S Lucrece A lien Rep. Tour Romeo Flowers Romeo S t. Joan W ingless Candida Herod H o Time Doctor's Rose B. S iste r s Lovers Antigone B O W S Antony Lady Carvallo Constant P rescott Dark Is Firstborn Liar ro 0 S O n O 8 § II 8 O O O Q " 0 0 g h 0 E ct O O O 0 3 S 1 3 o IB c * . vo V * VI vo V O VI o VO 8 v o o 191 As n o te d e a r l i e r , many a c t o r s , t e c h n i c i a n s , and so f o r t h were w i l l i n g to work f o r C o r n e ll f o r l e s s money than o t h e r p r o d u c e rs p a id b e cau se th e y enjoyed working f o r h e r . A m ajor f a c t o r in k eeping c o s t s down was t h a t C o r n e ll was u s u a l l y h e r own s t a r b u t r e c e iv e d no f ix e d s a l a r y b ecause she was a l s o th e p ro d u c e r. I f she had had to pay a compa r a b l e s t a r th e p r e v a i l i n g s a l a r y , h e r c o s ts would have been much h i g h e r . Broadway Runs A n o th er method o f m easuring com m ercial su c c e ss i s to look a t th e number o f weeks a p r o d u c tio n rem ain s on Broadway. As viewed by V a r i e t y , i f a p la y rem ain s on Broadway te n o r more weeks, i t i s deemed a s u c c e s s , b u t i f i t i s w ithdraw n p r i o r to t h a t tim e i t i s deemed a f a i l u r e . Using t h i s c r i t e r i o n , f i f t e e n o f C o r n e l l 's p r o d u c tio n s were h i t s and seven were m is s e s . The su c c e ss column i n c lu d e s Romeo and J u l i e t and th e 1937 C andida, each o f which l a s t e d l e s s th an te n weeks. However, th e y have been c o n s id e re d s u c c e s s e s b ecau se th e y were e n jo y in g e x c e l l e n t t u r n - o u t s and would d e f i n i t e l y have l a s t e d more th an th e r e q u i r e d te n weeks b u t f o r th e f a c t t h a t t h e i r ru n s were a b o r te d becau se o f r e p e r t o r y commitments. Of th e p la y s produced by C o r n e ll, th e 1932 p ro d u c t i o n o f The B a r r e t t s o f Wimpole S t r e e t had th e lo n g e s t ru n . S a in t Joan would p ro b a b ly have run even lo n g e r , b u t i t s 1 9 2 T A B L E 7 SU C C E SS-FA IL U R E O F P R O D U C T IO N S (B A SE D O N N U M B E R O F W E E K S O N B R O A D W A Y ) (K A T H A R IN E C O R N E L L P R O D U C T IO N S ) Successes Failures Production Weeks Production Weeks The Barretts of Wimpole k j 2k The Dark Is Light Enough 8^ Street, 1931 N o Time for Com edy Antigone 8 Lovers and Friends 21 Dear Liar 6^ The Constant Wife 17 Flowers of the Forest 5 Antony and Cleopatra 16 The Firstborn The Wingless Victory I5i Lucrece k The Prescott Proposals The Barretts of Wimpole Street, 1935 The Three Sisters 15 The Doctor's Dilemma 15 Alien Com 12 Shows That Did Not M ake Broadway Saint Joan 11 The Barretts of Wimpole 11 Herod and Mariamne S treet, 19^5 Rose Burke That Lady 10 Captain Carvallo Rom eo and J u lie t,8 , 193^ 9k Candida,b 1937 9 Notes: Success is 10 or more weeks on Broadway, Failure is le ss than 10 weeks, except as noted. Missing from the l i s t are Rom eo and J u liet, 1935 j Candida, 19^2 and 19^6 , E l R om eo and Ju liet, 193^ was c la ssifie d as a h it but was with- drawn because Cornell had planned to do several plays In repertory that season. bCandida, 1937> was a solid success but was withdrawn because of tour commitments. 193 Years 1960_ 1959 _ 1958 _ 1 9 5 7 - 1956 _ _ 1 9 5 5 - 1954 _ 1 9 5 3 - 1952 _ 1951 _ _ 1950 _ 19^9 _ 1948 _ 1947 _ 1946_ _ 1945 - 1944 _ 1943 _ 1942 _ 1 9 4 1 __ 1940 _ 1939 _ 1938 _ 1937 - 1936 __ 1935 _ 1934 _ 1933 _ 1932 _ 1931 . o o o C M *T C M O si Fig. 6 . —Theatre weeks in N ew York, 1931-1960 New York te n u r e had to te r m in a te b ecau se o f t o u r o b l i g a t i o n s and C o rn e ll co u ld n o t resume th e p r o d u c tio n in th e f a l l due to th e f a c t t h a t she was a l r e a d y com m itted to do in g a n o th e r p l a y . O ther th an The B a r r e t t s o f Wimpole S t r e e t , C o r n e l l 's lo n g e s t New York ru n s were th e comedies No Time f o r Comedy, Lovers and F r ie n d s , and The C o n sta n t W ife, w ith tw e n ty - f o u r , tw en ty -o n e, and se v e n te e n weeks r e s p e c t i v e l y . Three o f h e r most d i s t i n g u i s h e d p ro d u c tio n s l a s t e d n e a r l y th e same le n g th o f tim e, Antony and C le o p a tra w ith s i x t e e n weeks and The Three S i s t e r s and The D o c to r 's Dilemma, each w ith f i f t e e n weeks. Of th e p la y s which were c l a s s i f i e d a s s u c c e s s f u l , o n ly one d id n o t go on a su b seq u en t t o u r . Of th e seven p la y s l i s t e d as f a i l u r e s , o n ly two went on a post-New York t o u r which l a s t e d more th an two weeks. A nalyzing th e s u c c e s s - f a i l u r e r e c o rd in term s o f d e c a d e s, d u rin g th e 1 9 3 0 ' s 70 p e r c e n t were c l a s s i f i e d as s u c c e s s e s , d u rin g th e 1 9 ^ 0 's th e s u c c e s s e s ro s e to 85 p e r c e n t, b u t i n th e 19501s C o r n e l l 's s u c c e s s e s plummeted to 40 p e r c e n t . Summary During th e t h r e e d ecad es o f C o r n e l l 's c a r e e r as an a c t r e s s - p r o d u c e r , h e r a v erag e w eekly g r o s s in c r e a s e d a mere 13 p e r c e n t , a lth o u g h i n term s o f a c t u a l number o f p e rso n s a t t e n d i n g h e r p la y s t h e r e was a downward t r e n d . At th e T A B L E 8 N U M B E R O F W E E K S A N D P E R F O R M A N C E S F O R N E W Y O R K E N G A G E M E N T S , 1931-1960, IN C H R O N O L O G IC A L O R D E R (K A T H A R IN E C O R N E L L P R O D U C T IO N S ) Productions Theatre Weeks Perf. The Barretts of W lnrpole Street Empire 1 + 7 369 Lucrece Belasco 4 31 Alien Com Belasco 12 97 R om eo and Ju liet Martin Beck 9k 78 The Barretts of Wimpole Street Martin Beck 3 24 Flowers of the Forest Martin Beck 5 40 Rom eo and Ju liet Martin Beck 2 16 Saint Joan Martin Beck 11 88 The Wingless Victory Empire I 5 i 108 Candida Empire 9 50 N o Time for Com edy Ethel Barrymore 24 185 The Doctor's Dilemma Shubert 15 121 Candida Shubert 5 27 The Three Sisters Ethel Barrymore 15 122 Lovers and Friends Plymouth 21 168 The Barretts of Wimpole Street Ethel Barrymore 11 88 o in 'a fto ” 1 ^ Cort Cort 8 64 Antony and Cleopatra Martin Beck 16 129 That Lady Martin Beck 10 79 The Constant Wife National 17 138 The Prescott Proposals Broadhurst 15| 125 The Dark Is Light Enough Anta 84 69 The Firstborn Coronet 38 Dear Liar B illy Rose 6k 52 I 196 :same time* th e a v erag e c o s t o f h e r p r o d u c tio n s went up 119 ' i :p e r c e n t . Her c o s t s r o s e more th an n in e tim e s h e r r e c e i p t s . | i INot o n ly d id each s u c c e s s iv e decade show a drop in t o t a l | box o f f i c e r e c e i p t s , b u t th e p e rc e n ta g e o f h e r s u c c e s s f u l ! p r o d u c tio n s a l s o d im in ish e d to e x p e rie n c e d more f a i l u r e s than i I ; j i 1 t where in th e 1 9 5 0 's C o rn e ll she had s u c c e s s e s . T A B L E 9 T O T A L N U M B E R O F T H E A T R E W E E K S , N E W Y O R K A N D O N T O U R , 1931-1960 (K A T H A R IN E C O R N E L L P R O D U C T IO N S ) N ew York Pre-Tour Post-Tour Total Production Weeks Weeks Weeks Weeks k -7 1- g- 2 0 68% IT h e Barretts of Wimpole Street, : 1931-32 iLucrece Allen Com Repertory Tour Rom eo and J u liet, 193^— 35 The Barretts of Wimpole Street, 1935 Flowers of the Forest R om eo and J u liet, 1935-36 Saint Joan The Wingless Victory Candida,a 1937 Herod and Mariamne N o Time for Comedy The Doctor1s Dilemma Rose Burke Candida, 19^2 The Three Sisters Lovers and Friends The Barretts of Wimpole Street, 19^5 Antigone I Candida,a 19^6 | The Barretts of Wimpole Street, 19^7 Antony and Cleopatra That Lady Captain Carvallo The Constant Wife The Prescott Proposals The Dark Is Light Enough The Firstborn Dear Liar k 3 7 12 1 7 20 29 29 9k p i ^2 12 3 3 5 2 1 2 10^ 5? 12i 11 2* r 8 2l f l5if 6 25§ 9 9 2k 4 31 57| 15 3 1* 1 - 32 8 8 5 l 6 15 3 10 28 21 k 6 31 11 1 12 8 6 5 19 9k 9k 16 7 9 32 10 5 13 28 2-1 ^2 2— 2 17 7 36 60 5 20i 8| 11 2 2 4 k 4 10 6§ 7 20 3 3 | £ L Candida, 1937; played In repertory with The Wingless Victory, therefore some of the weeks overlap. Candida, 19^6, played In repertory with Antigone in some weeks In N ew York and the post-New York tour. CHAPTER VII CRITICISM C a te g o r iz in g th e I n d i v i d u a l P ro d u c tio n s In e v a l u a t i n g th e a r t i s t i c s u c c e ss o f C o r n e ll a s an a c t r e s s - p r o d u c e r , re v ie w s o f h e r New York p r o d u c tio n s which a p p eared i n th e m ajo r new spapers and m agazines were e x amined. In t o t a l , 402 re v ie w s were re a d f o r th e tw e n ty - f o u r p la y s which were p r e s e n t e d on B roadw ay.1 W ith th e e x c e p tio n o f two p la y s which had long pre-New York r u n s , and th r e e which n e v e r came i n t o New York, ro a d re v ie w s were n o t in c lu d e d i n th e e v a l u a t i o n o f th e p r o d u c tio n s . Each rev iew was r a t e d on a s c a le o f A th ro u g h E. The A re v ie w s were th e most f a v o r a b l e , th e B re v ie w s were f a v o r a b le - to - m ix e d , th e C re v ie w s were m ixed, th e D re v ie w s were m ix e d -to - u n f a v o ra b le , and th e E re v ie w s were u n f a v o r a b l e . The n in e te e n new p r o d u c tio n s and f i v e r e v i v a l s o f Broadway p r o d u c tio n s were p la c e d on a c h a r t a c c o rd in g to th e c a te g o r y i n which th e re v ie w s had been r a t e d . Of 402 re v ie w s, 208 ( o r more th a n h a l f ) were c o m p le te ly f a v o ra b le and p la c e d in C ateg o ry Aj 42 (a b o u t 10 p e r c e n t) were in 1Not e v e ry new spaper re v ie w was a v a i l a b l e f o r each p r o d u c tio n . The a v e ra g e number o f new spaper re v ie w s p e r p la y was e i g h t . 198 199 T A B L E 10 CRITICS’ R E V IE W S O F K A T H A R IN E C O R N E L L P R O D U C T IO N S A C C O R D IN G T O C A T E G O R Y Productions A B D E Total T O P R A T E D S H O W S : R om eo and Ju liet Saint Joan Candida, 1937 Candida, 1942 The Barretts of Wimpole Street, 1935 V E R Y G O O D S H O W S : The Barretts of Wimpole Street, 1931 Antony and Cleopatra The Doctor's Dilemma G O O D S H O W S : Candida, 1946 The Barretts of Wimpole Street, 19^5 Dear Liar The Constant Wife The Three Sisters N o Time for Comedy Alien Com The Wingless Victory M IX E D S H O W S : That Lady Flowers of the Forest The Prescott Proposals The Dark Is Light Enough The Firstborn Antigone Lucrece M IX E D T O P O O R S H O W S : Lovers and Friends 15 1 2 18 17 1 1 19 15 1 1 17 11 11 8 8 18 2 3 23 16 2 2 20 14 3 1 18 8 4 2 l4 l4 2 6 1 23 8 2 3 1 i4 8 3 4 1 16 10 2 5 1 18 7 5 4 1 1 18 9 2 4 2 17 7 5 7 1 20 1 1 14 1 17 7 6 3 16 7 1 5 2 2 17 l 9 1 3 14 5 6 2 2 15 2 3 9 3 1 18 3 2 9 2 2 18 2 1 10 3 16 Totals 208 42 100 24 25 402 200 j i C ateg o ry B; 99 (ab o u t 25 p e r c e n t) were i n C ategory C; and j 49 (ab o u t 12 p e r c e n t) were s p l i t between C a te g o r ie s D and E.l The p r o d u c tio n s were a ls o c a t e g o r i z e d as t o p - r a t e d , j v e ry good shows, good shows, mixed shows, and m ix e d -to -p o o r ; i shows. A lthough th e c a t e g o r i z a t i o n o f th e shows must o f | n e c e s s i t y in v o lv e a s u b j e c t i v e e v a l u a t i o n and, to a c e r t a i n j j d e g re e , must be a r b i t r a r y , t h e r e i s s u f f i c i e n t o b j e c t i v e | b a s i s f o r th e c a t e g o r i e s and assig n m e n t o f th e r e s p e c t i v e j shows i n t o th e c a t e g o r i e s . I f more th an 85 p e r c e n t o f th e re v ie w s were p la c e d in C ateg o ry A, th en th e show was con s id e r e d t o p - r a t e d . I f 6 5 to 85 p e r c e n t o f th e re v ie w s were ; i n C ateg o ry A, th en th e p r o d u c tio n was deemed v ery good. I f more th a n 60 p e r c e n t o f th e re v ie w s were in a combination; o f C a te g o r ie s A and B b u t were l e s s th a n 65 p e r c e n t A r e view s, th en th e show was c o n s id e re d good. I f more th an 60 p e r c e n t o f th e re v ie w s were i n a co m b in atio n o f C a te g o r ie s A, B, and C b u t were l e s s th an 6 5 p e r c e n t A and l e s s th a n j 60 p e r c e n t A and B combined, th e p r o d u c tio n was c o n s id e re d a mixed show. F i n a l l y , i f more th an 60 p e r c e n t o f th e re v ie w s were i n a com b in atio n o f C a te g o r ie s A, B, C, and D, b u t d id n o t o th e r w is e q u a l i f y as a t o p - r a t e d , v e ry good, good, o r mixed show, i t was c l a s s i f i e d a m ix e d -to -p o o r 2 show. 2 In s e t t i n g up th e c a t e g o r i e s , 60 p e r c e n t was s e l e c t e d as th e c u t o f f p o i n t f o r each group o f shows b e c a u se , by c o in c id e n c e , each show f e l l i n t o I t s own c a te g o r y by a t l e a s t 60 p e r c e n t . The B a r r e t t s o f Wimpole S t r e e t Because The B a r r e t t s o f Wimpole S t r e e t launched th e ^career o f K a th a rin e C o r n e ll a s an a c t r e s s - p r o d u c e r , i t s c r i t i c a l a c c la im s h a l l be d is c u s s e d more f u l l y th a n any o t h e r p r o d u c tio n . A f t e r opening n i g h t in New York, A lex an d er W o o llc o tt t o l d K a th a rin e C o r n e ll: "The re v ie w s w i l l be s p le n d id , and a s f o r you, Miss K i t t y , you sh o u ld have y o u r head examined f o r th in k in g E l i z a b e t h B a r r e t t w a s n 't th e p a r t f o r you. I t ' s p ro b a b ly y o u r f i n e s t p e rfo rm a n c e ."3 W o o l l c o t t 's a s se ssm e n t pro v ed c o r r e c t . Of th e tw e n ty - th r e e c r i t i c s who review ed th e p r o d u c tio n , e ig h te e n , o r 78 p e r c e n t, gave i t a v e ry f a v o r a b le e v a l u a t i o n , w h ile th e r e m ainder gave e i t h e r a good o r a mixed r a t i n g . Brooks A tk in so n i n th e New York Times w ro te : A f t e r a long s u c c e s s io n o f m e r e t r i c i o u s p la y s i t [The B a r r e t t s o f Wimpole S t r e e t ] i n t r o d u c e s u s to K a th a rin e C o r n e ll a s an a c t r e s s o f th e f i r s t o r d e r . Here th e d i s c i p l i n e d f u r y t h a t she has been s q u a n d e r in g on c a tch p en n y p la y s becomes th e v i b r a n t b e a u ty o f a f i n e l y w rought c h a r a c t e r . Like Mr. B e s i e r , Miss C o r n e ll m ight have been sh o w ie r, b u t she co u ld h a r d ly be more d i s c r i m i n a t i n g , t r u e and e x a c t i n g . The B a r r e t t s o f Wimpole S t r e e t i s a triu m p h f o r h e r and th e s p le n d id company w ith which she h as su rro u n d ed h e r s e l f . . . . G u th rie M c C lin tic h a s d i r e c t e d th e perform ance w ith r a r e i n s i g h t , v a ry in g th e mood and k eep in g a l o o s e l y w r i t t e n p l a y a l i v e . Jo M i e l z i n e r 's one s e t o f a s p a c io u s room h a s b e a u t i f u l l y c a p tu r e d th e theme. Like Mr. B e s i e r ' s p l a y , e v e r y th in g ab o u t th e p erfo rm an ce i s g e n u i n e .4 ^ G u th rie M c C lin tic , "More K it Than Me" (u n p u b lis h e d m a n u s c rip t, 196l ) , P a r t I I I , p. 13. A Brooks A tk in so n , New York Tim es, F eb ru a ry 10, 1931. 202 A rth u r Ruhl o f th e New York H e ra ld -T rib u n e c a l l e d i t an "e x tre m e ly i n t e r e s t i n g e v e n in g , w ith a k in d o f love js to ry which r a r e l y enough g e t s i n t o o u r th e a te r." " * G i l b e r t ¥ . G a b r ie l o f th e New York American s a id : M c C l i n t i c 's d i r e c t i n g , Mr. M i e l z l n e r 's s e t t i n g and c l o t h i n g o f i t , th e c a s t a t la r g e . . . t h e r e i s no d e t a i l o f th e l i v e s and lo v e s o f th e s e tw ain o f Wimpole S t r e e t which i s n o t e x c e l l e n t and e n v ia b le and a joy.6 R o b ert L i t t e l l o f th e New York Morning World th o u g h t i t was "an a b s o rb in g e v e n in g , w ith a d m ira b le p e r - 7 fo rm a n c e s ." ' G u th rie M c C lin tic ' s d i r e c t i o n h as g iv e n "The B a r r e t t s o f Wimpole S t r e e t " a s f i n e an atm osphere a s one co u ld w ish f o r , and Mr. M i e l z i n e r 's s e t f o r E l i z a b e t h B ro w n in g 's room adds a g r e a t d e a l to th e p la y . B u t, o f c o u r s e , th e evening i s Miss C o r n e l l 's , whom one i s happy to see a t h e r v ery b e s t , and in a p la y r e a l l y d e s e rv in g o f h e r talents.8 G i l b e r t S e ld e s o f th e New York Evening G raphic la v is h e d more p r a i s e on C o r n e l l 's p ro d u cin g triu m p h : As a p ro d u c e r, Miss C o r n e ll found an e x c e l l e n t d i r e c t o r , G u th rie M c C lin tic , who p r e s e r v e d th e l i g h t n e ss o f th e p l a y , e s p e c i a l l y th ro u g h B ria n Aherne and M arg aret B a rk e r and l e t i t flow sm oothly th ro u g h c; •^Arthur R uhl, New York H e ra ld -T rib u n e , F eb ru ary 10, 1931- ^ G i l b e r t W. G a b r ie l, New York American, F eb ru a ry 10, 1931- 7 ‘R o b ert L i t t e l l , New York Morning W orld, F eb ru ary 10, 1931- 8Ibid. 203 th e somewhat s t i l l c h a n n e ls o f V i c t o r i a n l i f e . A l t o g e t h e r a b r i l l i a n t s u c c e s s . 9 R o b ert G arland o f th e New York Evening Telegram d e s c r ib e d th e p la y a s " b e a u t i f u l l y w r i t t e n , b e a u t i f u l l y a c te d and b e a u t i f u l l y p ro d u c e d ." He c lo s e d h i s rev iew w ith D isp la y e d a g a i n s t Mr. Jo M i e l z i n e r 's f i n e l y co n c e iv e d and e x e c u te d background, "The B a r r e t t s o f Wim p o le S t r e e t " i s a th in g to s e e . . . . In h e r i n i t i a l a p p earan ce as an a c to r-m a n a g e r—o r sh o u ld i t be a c t r e s s - m a n a g e r e s s ? —Miss C o r n e ll i s k in d to Mr. B e s i e r , h e r s e l f , and th e American t h e a t e r . 10 W hitney B o lto n o f th e New York Morning T e le g ra p h d is c u s s e d C o r n e ll as a p ro d u c e r in more d e t a i l th a n d id th e o t h e r c r i t i c s . Miss K a th a rin e C o rn e ll s h a t t e r s th e f i r m e s t t r a d i t i o n o f th e t h e a t e r in c h o o sin g , f o r th e f i r s t p r o d u c tio n u n d e r h e r own management, n o t o n ly a b e a u t i f u l and l i t e r a t e p la y , b u t a p la y t h a t w i l l add to h e r s t a t u r e . Her s e l e c t i o n o f Mr. R udolf B e s i e r Ts "The B a r r e t t s o f Wimpole S t r e e t " d e s tr o y s th e c r u s t y leg en d t h a t a p l a y e r i n e v i t a b l y hangs h im s e lf w ith h i s f i r s t p r o d u c tio n , choosing f o r i t a p la y t h a t no human on e a r t h save h im s e lf would p ro d u c e . This p la y , I s u s p e c t, a g r e a t many humans on e a r t h would have y e a rn e d to produce an d — s in c e none o f them d id i t - - I can t h i n k o f no manager who co u ld have made a b e t t e r , more moving o r i n t e l l i g e n t p r o d u c tio n . . . . At t h i s moment i t i s n o t p o s s i b l e to make th e d i s t i n c t i o n betw een th e p la y o f Mr. B e s i e r and th e d i r e c t i o n o f Mr. G u th rie M c C lin tic . C e r t a i n l y the f i r s t w rought m a g n if ic e n tly w ith a t h r e a t e n i n g sub j e c t and th e l a t t e r s tr o v e g r a n d ly w ith t r e a c h e r o u s m a t e r i a l . Between them—betw een them and a company o f s k i l l e d p l a y e r s - - t h e y have a c h ie v e d a m ighty p la y . . . . ^ G i l b e r t S e ld e s , New York Evening G rap h ic, F eb ru ary 1 0, 1 9 3 1 . 10 R o b e rt G arlan d , New York Evening Telegram , F eb ru ary 1 0 , 1 9 3 1 . 204 | | I Miss C o r n e ll can n o t b u t p r o f i t i n money and | s t a t u r e w ith "The B a r r e t t s o f Wimpole S t r e e t . " I t | i s a p la y f o r h e r , a p l a y to g iv e h e r t a l e n t s ran g e i and room to f l a r e i n . 11 j Only two o f th e tw elv e New York new spaper c r i t i c s | gave re v ie w s t h a t were n o t c o m p le te ly f a v o r a b l e . R ic h a rd | L o ck rid g e o f th e New York Sun q u a l i f i e d h i s o p in io n w ith : th e s ta te m e n t: i The B a r r e t t s o f Wimpole S t r e e t does n o t do e i t h e r E l i z a b e t h B a r r e t t o r Miss C o r n e ll q u i t e j u s t i c e . . . . I t i s s u b s t a n t i a l and a t t r a c t i v e drama, s e n tim e n ta l in s p o ts , awkward o f t e n , sometimes heavy i n i t s c a r e f u l e x p l a n a t i o n s , b u t a t t r a c t i v e still.12 i A rth u r P o llo c k o f th e B rooklyn D a ily E ag le c r i t i - ! c iz e d th e i n t e r p r e t a t i o n s o f t h e i r r o l e s g iv en by K a th a rin e ! IS C o r n e ll and B ria n Aherne. E ig h t o f th e e le v e n m agazine re v ie w e rs gave th e p la y e x c e l l e n t re v ie w s . The comments ran g ed from th e p la y l4 hav in g " g e n e r a l b e a u ty and a r t i s t i c s i n c e r i t y , " "showing s ig n s o f b e in g a s u c c e s s , " 1^ and "an a b s o rb in g p i c t u r e o f gloomy V i c t o r i a n d o m e s t i c i t y , " 1^ to "one o f th e t h e a t e r ' s 11 W hitney B o lto n , New York Morning T e le g ra p h , F eb ru a r y 11, 1931- 12R ic h a rd L o c k rid g e , New York Sun, F eb ru a ry 10, 1931- ^ A r t h u r P o llo c k , B rooklyn D a ily E a g le , F eb ru a ry 10, 1931- i4 R ic h a rd Dana S k in n e r, Commonweal, F eb ru a ry 25, 1931, P. 469. 1^Mark Van Doren, N a tio n , F e b ru a ry 25, 1931, p . 224. ^ T im e , F eb ru a ry 23, 1931, P- 24. memorable e v e n i n g s ." 1^ R o b ert B enchley o f New Y orker magazine p r a i s e d th e p r o d u c tio n , b u t he d id n o t l i k e th e ; -j n ' p la y . Ten months l a t e r E. B. W hite In th e New Y o rk er ! d is a g r e e d w ith B enchley and s t a t e d , "Judged by any s ta n d - ii 19 a r d s , I t I s a good p la y , and n o t a bad one. v O tis i C h a t f i e l d - T a y l o r , o f O utlook and In d e p e n d e n t, f e l t t h a t C o rn e ll had made a bad c h o ic e In th e p la y and t h a t th e 20 ! f i n a l scene f e l l f l a t . i In 1935 The B a r r e t t s o f Wimpole S t r e e t was r e v iv e d . Seven new spaper c r i t i c s ( in most c a s e s th e seco n d - o r t h i r d - s t r i n g re v ie w e r) and one c r i t i c from T h e a tre A rts magazine ; rev iew ed th e p la y and a l l l i k e d th e p r o d u c tio n . The com- j m ents In c lu d e d : "one o f th e e v e n ts o f any t h e a t r i c a l s e a - 21 22 s o n , " "a b r i g h t moving p l a y , " " i t has grown r i c h e r and no 2k more s a t i s f a c t o r y , " D " a b so rb in g i n t e r e s t on th e s t a g e ," • ^ T h e a t r e , A p r i l, 1931* p . 24. - 1 O R o b e rt B enchley, New Y o r k e r , F eb ru a ry 21, 1931* pp. 2 5 - 2 6 . ■^E. B. W hite, New Y o rk e r, December 26, 1931* P- 20 O tis C h a t f i e l d - T a y l o r , O utlook and I n d e p e n d e n t, F e b ru a ry 2 5 , 1931* P- 311- 21Lewis N ic h o ls, New York Tim es, F eb ru ary 26, 1935- 22 L ucius Beebe, New York H e ra ld -T rib u n e , F eb ru ary 2 6 , 1935. 2^W. G. K., New York Sun, F e b ru a ry 26, 1935- 24 r- George Ross, New York World T elegram , F eb ru ary 26, 1935. and i t h a s become " e n ric h e d i n c h a ra c te r., s t o r y and p r e s e n t a t i o n . " ^ Thus, i t would a p p e a r t h a t th e 1935 v e r s io n o f iThe B a r r e t t s o f Wimpole S t r e e t was even b e t t e r th an th e o r i g i n a l . A nother v e r s io n o f The B a r r e t t s o f Wimpole S t r e e t a p p e a re d on Broadway i n 19^5 a f t e r i t had to u re d o v e rs e a s d u rin g World War I I and p la y e d to servicem en f o r e i g h t m onths. T his tim e th e c r i t i c s were n o t as e n t h u s i a s t i c o v e r The B a r r e t t s o f Wimpole S t r e e t , w ith f o u r te e n o f tw e n ty - th r e e c r i t i c s (6 5 p e r c e n t) g iv in g th e p r o d u c tio n an e x c e l l e n t g ra d e . S e v e r a l r e v ie w e rs f e l t t h a t th e s ta g in g had been overdone f o r th e s o l d i e r s in Europe and needed to be a d j u s t e d to s u i t th e t a s t e o f th e Broadway a u d ie n c e . John Mason Brown th o u g h t t h a t Aherne k is s e d C o r n e ll as i f he were a p e r s o n a l r e p r e s e n t a t i v e f o r ev e ry l o v e - s t a r v e d 26 G I . However, th e m a j o r i t y o f c r i t i c s f e l t t h a t th e p r o d u c tio n was a s f r e s h a s i t had been a decade e a r l i e r . T o p - r a te d P ro d u c tio n s Of C o r n e l l 's tw e n ty - f o u r Broadway p r o d u c tio n s , b o th new and r e v i v a l s , f i v e were c o n s id e re d t o p - r a t e d . They in c lu d e d th e 1934 v e r s io n o f Romeo and J u l i e t ,* ^ S a in t 2^T h e a tre A r t s , A p r i l , 1935j P- 2 5 8 . 26 John Mason Brown, S a tu rd a y Review o f L i t e r a t u r e , A p r i l 7, 19^5, p. 20. 27 'The 1935 version of Romeo and Juliet was not rated separately. See footnote #48, p. 2l4. 207 s ] J o a n , th e 1937 and 19^2 v e r s io n s o f C an d id a, and th e 1935 j i i r e v i v a l o f The B a r r e t t s o f Wimpole S t r e e t . ! Romeo and J u l i e t j C o r n e ll needed tim e to m a ste r th e r o l e o f J u l i e t i n j | - Romeo and J u l i e t , h e r f i r s t S h ak esp earean p a r t , and t h e r e - ; f o r e th e p la y was p erfo rm ed i n r e p e r t o r y on t o u r f o r many j m onths. D uring th e t o u r , c r i t i c s from V a r i e t y had th e o c - I c a s io n to rev iew th e p la y f o u r tim e s in f o u r d i f f e r e n t c i t i e s . The f o llo w in g e x c e r p ts from th e s e re v ie w s p ro v id e j i e v id e n c e as to th e e v o lv in g p r o c e s s o f th e p r o d u c tio n . j The f i r s t rev iew was w r i t t e n im m ed iately fo llo w in g i | th e p re m ie re o f Romeo and J u l i e t in B u ffa lo on December 5 j I 1933- : W ith t h i s p re m ie re p r e s e n t a t i o n o f h e r much h e r a ld e d "Romeo and J u l i e t " a t th e E r l a n g e r , B u f f a lo , ; K a th a rin e C o r n e ll, d e s p i t e a l l o f th e glam our l e n t to S h a k e s p e a r e 's f a v o r i t e h e r o in e by one o f th e f i r s t l a d i e s o f th e contem porary s ta g e , d e s p i t e a f a s t : moving, r i c h l y c o lo r e d p r o d u c tio n and a t e n d e r and l o v e l y p o r t r a y a l by th e s t a r , does n o t emerge w ho lly , u n s c a th e d . U n f o r t u n a t e l y , th e r e were in th e p r e - ; m ie re a u d ie n c e , even a s t h e r e must be i n e v e ry a u d i- ; ence t h a t w i t n e s s e s th e p la y h e r e a f t e r , th o se f o r whom th e g h o s ts o f Mojeska and Marlowe w i l l f l u t t e r i n th e w ings. The p r e s e n t p r o d u c tio n and p erfo rm an ce emphasize a c t i o n o v e r e v e r y th in g e l s e . The s t o r y , d iv id e d in t h i s p o r t r a y a l i n t o two a c t s o f te n s c e n e s each, moves w ith a lm o st k a le id o s c o p ic r a p i d i t y . M c C lin tic 's d i r e c t i o n i s s t r i k i n g and o r i g i n a l , th e l i g h t i n g i s o f th e most modern ty p e and th e costum ing and mount in g s a r e as alw ays a c r e d i t to th e a r t i s t r y o f th e s t a r and o f th e p r o d u c e r. . . . In t h e s e d e p a rtm e n ts th e p r o d u c tio n i s w e ll w orthy o f i t s h i r e . 208 ! On th e h i s t r i o n i c s i d e , h a r d l y a s much can he s a i d . W ith o n ly one o r two e x c e p tio n s , t h e r e i s s c a r c e l y a p l a y e r who i s a b le to re a d S hakespeare as b la n k v e rs e i s wont to be re a d on th e E n g lis h s ta g e . Many o f th e sc e n e s a r e v o c a l l y and v e r b a l l y i n c o h e r e n t and some o f th e f i n e s t sp eech es i n a l l drama a r e w asted upon th e d e s e r t a i r . Orson W e l l e s 1 M ercutio i s one o f th e w o rst o f f e n d e r s in t h i s r e s p e c t , h i s Queen Mab speech and h i s d e a th scene b e in g w e l l n ig h i n a u d i b l e , even to th o se f a m i l i a r w ith th e t e x t . Many o f th e o t h e r m inor r o l e s d is a p p e a r th ro u g h o u t th e p erfo rm an ce i n t o v o c a l o b l i v i o n . Miss C o r n e l l 's e n a c tin g o f th e h e r o in e s t a r t s a t a l o v e ly and te n d e r p i t c h , illu m in e d by th o se f in e h i g h l i g h t s a t which she i s so p r o f i c i e n t . Her l a t e r sc e n e s , w ith th e e x c e p tio n o f th e c lo s in g tomb scene in which she i s e x q u i s i t e , a r e h ig h p i t c h e d , and a t some j u n c t u r e s a lm o st s t a c c a t o . 28 The second re v ie w was w r i t t e n in Los A ngeles s ix weeks l a t e r . Her [ C o r n e l l 's ] p erfo rm an ce a s J u l i e t i s keyed a t a f a s t p a c e . M iss C o r n e ll d is p e n s e d w ith th e a c c e p te d re a d in g o f th e l i n e s , and i n j e c t e d h e r p e r s o n a l i t y i n t o th e p a r t . She d i s r e g a r d s th e m eter o f v e r s e to p o i n t up h e r own p e rfo rm a n c e s. O ften , in t h i s r e s p e c t , she gave th e p a r t y o u th , which i t p r a c t i c a l l y alw ays la c k e d , f o r when in form er days a c t r e s s e s advanced s u f f i c i e n t l y to p la y J u l i e t , age had advanced w ith them. D i r e c t i o n o f G u th rie M c C lin tic a i d s much in th e pace o f th e p e rfo rm a n c e . B la c k o u t te c h n iq u e i s u sed f o r th e opening and c l o s i n g o f a l l 20 scenes.29 The t h i r d V a r i e t y rev iew a p p e a re d fo llo w in g Cor n e l l ' s o u t-o f - to w n t r y o u t opening in D e t r o i t on December 11, 193^* one y e a r a f t e r th e f i r s t re v ie w : Broadway w i l l s i t up and ta k e n o t i c e o f t h i s a r t i s t i c p r o d u c tio n , which i s an e l a b o r a t e and le n g th y v e r s io n o f th e S h ak esp earean t e x t . Miss C o r n e ll p ro v e s h e r a b i l i t y to e n a c t th e c l a s s i c s , pO B u rto n , V a r i e t y , December 5* 1933* P» 55- 2^ C a ll, V a r i e t y , J a n u a ry 30, 193^* P. 55* I 209 | len ding J u l i e t a y o u th fu l and naive q u a lity u n lik e j any J u l i e t sin c e Marlowe. j Rathbone proves a l i t t l e too p o lish e d a Romeo. j Aherne as the more swaggering M ercutio walking away j w ith the f i r s t sc en es. E n tire c a s t turns in e x c e l le n t perform ances. | S e ttin g s are unique, having been done in the j manner o f the I t a lia n p r im itiv e s t y le s im ila r to the a r t o f G io tto , a n g le s, g i l t , and v iv id c o lo r s p r e dominating . Whole show i s played w ith t e r r i f i c speed, having o n ly one in te r m issio n and no w a its . . . . I t i s the most fin is h e d Shakespearean o ffe r in g in y e a r s. . . . S o p h istic a te d t a s t e and many y ears o f exp erien ce j w ith Shakespearean rep erto ry i s n ecessary to appre- i d a t e t h is in t e r p r e t a tio n . 30 j Three weeks a f t e r the D e tr o it opening, Romeo and J u l i e t began i t s New York run a t the Martin Beck Theatre I I on December 25., 193^* A nother V a r ie ty r e v ie w e r was on hand; to e v a lu a te th e p e rfo rm a n c e : ' Every major l e g i t a c tr e s s wants to p la y J u l i e t some tim e. Katharine C ornell now does i t . In r e cen t years the part has been played by Jane Cowl, Eva L eG allienne, E th el Barrymore, and Helen Hayes. A ll o f them have been lo v e ly , a l l o f them have been good. But none o f them has in v e ste d the production w ith the v iv a c it y and g en era l lo v e lin e s s th a t Miss C ornell p o s s e s s e s . ; But th ere has probably never b efore been a "Romeo and J u lie t" so handicapped from a g ro ss stan d p o in t. Because, no m atter how f in e , how b e a u t if u l, how w e ll done— Shakespeare i s s t i l l Shakespeare, and $3*85 top i s a l o t o f money. . . . There are many n ic e th in g s to be sa id about the p rod u ction . I t i s la v is h and y e t in good t a s t e ; i t has e x c e p tio n a lly fin e a c tin g , and i t i s c o lo r f u l . . . . Brian Aherne aB Mercutio runs away w ith the male a c tin g honors w h ile on sta g e , towering above B a s il Rathbone' s Romeo, which i s t r a d it io n a l. . . . Charles Waldron i s e x c e lle n t as F riar Laurence, and E dith ^ V a r ie t y , December 11, 193^* p. 5 6 . | ' 210 Evans as J u l i e t ' s n u rs e i s way above p a r . S h e 's a th o ro u g h ly sch o o le d and c a p a b le a c t r e s s and has n e v e r shown i t a s much a s in t h i s p l a y . R a th b o n e ' s Romeo . . . on th e whole . . . i s a sch o o led and th o ro u g h ly a c c e p ta b le r e a d in g . Miss C o r n e l l 's J u l i e t d o e s n 't t e c h n i c a l l y seem b e t t e r th an p r e v io u s good J u l i e t s ., b u t has added v i v a c i t y and h e r p e r s o n a l charm. G u th rie M c C l i n t i c 's d i r e c t i o n and s ta g in g a re e x c e l l e n t , e s p e c i a l l y in th e b ig s c e n e s, where he h as h i s a c t o r s c o m p le te ly in command. Jo M i e l z i n e r 's s e t s and costum es a r e e x c e p t i o n a l l y f i n e . . . . Among th e s u p p o rtin g c a s t Orson W elles as T y b a lt and John M ilte rn as Montague s ta n d o u t . 31 C o r n e l l 's season o f p r e p a r a t i o n on the ro a d f o r Romeo and J u l i e t p a id handsome d iv id e n d s w ith th e New York c r i t i c s a f t e r opening n i g h t on Broadway. T h ir te e n o f th e f o u r te e n c r i t i c s gave th e S hakespearean p la y o u ts ta n d in g re v ie w s . Among th e comments w ere: "among th e p r e s e n t t r e a s u r e s o f th e t h e a t e r , " 3 2 "one o f th e most b e a u t i f u l , most s p i r i t e d , and b e s t a c te d S hakespearean p r o d u c tio n s o f o u r t i m e , "33 "a t r u l y m a g n ific e n t p r o d u c t i o n , "3^ i t c a p t u r e s th e "brave s w i r l o f ro m a n tic a c t i o n , th e r a p t u r e and pang and i n e f f a b l e g r i e f o f t h a t e t e r n a l l y m o o n lit leg en d o f th e young l o v e r s , "33 "on th e p la n e o f modern m a g n ifi- 3 ^K au f., V a r i e t y , December 25, 1934* p . 48. 32L i t e r a r y D i g e s t , J a n u a ry 5* 1935j P- 19• 3 3 j0hn Mason Brown, New York P o s t , December 21, 1934. s4 J Gilbert Gabriel, New York American, December 21, 193^. 35ibid. 211 s c e n c e ^ a n d " B r a v o . B u r n s M antle c a l l e d C o r n e ll "th e | oQ | g r e a t e s t J u l i e t o f h e r tim e ." -' P ercy Hammond r e f e r r e d to ! i ;her a s "th e most v i v i d o f th e J u l i e t s w ith in my s h o r t mem- ; o ry and th e most g i r l i s h . " ^ Brooks A tk in so n e x p la in e d | t h a t C o r n e ll had "k e p t f a i t h w ith h e r s e l f by a c t i n g J u l i e t w ith th e h u m i l i t y o f an a r t i s t who r e s p e c t s h e r m a t e r i a l . "^j j S ta r k Young gave th e p r o d u c tio n a fa v o ra b le -m ix e d re v ie w . F i r s t he compared K a th a rin e C o r n e ll w ith E le a n o ra Duse. Miss C o r n e l l 's p r o d u c tio n o f "Romeo and J u l i e t " . . . i s modern o n ly in th e sen se o f a c e r t a i n s e a rc h I f o r r e a l i s m . . . . T his i s one way o f s e a rc h in g o u t th e d i r e c t appeal., th e d ra m a tic c u r r e n t , th e im p re s - | sio n t h a t th e c h a r a c t e r s a r e moved by r e a l em otion. We must say h e re t h a t t h i s was a ls o D u s e 's method and a p p ro ach . . . . There w i l l be th o se who say t h a t in J u l i e t Miss C o rn e ll i s s t i l l Miss C o r n e ll . . . b u t . . . th e same would have been t r u e o f Duse, you i may ta k e i t o r le a v e i t . There i s a n o th e r f i n e th in g to be s a id o f Miss C o r n e l l ’s J u l i e t , she makes you b e l i e y e i n lo v e , t h a t J u l i e t lo v e s , and t h a t th e d i apason and p o e t r y o f love a re th e rew ard f o r i t s t o r - ; ment. Of v a r io u s J u l i e t s t h i s must have been one o f th e l a s t t h i n g s to be s a i d . ^ Young c r i t i c i z e d C o r n e l l 's i n d i s t i n c t a r t i c u l a t i o n o f S h a k e s p e a r e 's p o e t r y . He a ls o f e l t t h a t h e r p erfo rm an ce ! ^ B r o o k s A tk in so n , New York Tim es, December 21, 193^. ^ T i m e , December 31 j 193^-j P* 24. ■^Burns M antle, New York D a ily News, December 21, 193^- ■ 3 Q -'-'Tercy Hammond, New York H e ra ld -T rib u n e , December 21, 193^• 40 i Brooks A tk in so n , New York Tim es, December 21, 1934. 41 S ta r k Young, New R e p u b lic , Ja n u a ry 9> 1935j p. 316. 212 |would have been Improved by few er c u r t a i n s " in which she ho ru n s o f f s t a g e . " Young d i s l i k e d a l l o f M i e l z i n e r 's 's e t t i n g s b u t th e l a s t one, th e tomb o f th e C a p u le ts , and o most o f th e costum es, which la c k e d "b o ld n e ss and w e ig h t. He had mixed f e e l i n g s co n c e rn in g R a th b o n e ' s and A h e rn e 1s i n t e r p r e t a t i o n s o f t h e i r r e s p e c t i v e r o l e s , b u t t r u l y en jo y ed E vans' i n t e r p r e t a t i o n o f th e n u r s e . Of M iss E vans' n u rse we need o n ly say t h a t i t i s d a z z lin g , e x p lo re d to th e b ottom , w i t t y , g r o te s q u e and f i n a l , a t r i b u t e to and trium ph f o r S h a k e sp e a re . Not ev e ry J u l i e t co u ld o r would a f f o r d such a n u rse in th e c a s t . 44 In th e m a j o r i t y o f re v ie w s each f e a t u r e d member o f th e c a s t was g iv e n c r e d i t f o r h i s e x c e l l e n t c o n t r i b u t i o n to th e whole p r o d u c tio n . B a s i l R athbone, whom some c r i t i c s f e l t la c k e d a warmth o f e x p r e s s io n , was c o n s id e re d a s a t i s fy in g Romeo. B ria n Aherne was a t once m a sc u lin e , humorous, and d e b o n a ir , a s w e ll as v o l a t i l e and gay in th e r o l e o f M e rc u tio . E d ith Evans a s th e n u rse was a je w e l o f humor and p a th o s . Orson W elles as T y b a lt was s a rd o n ic in a f i n e , u n u s u a l way. M c C l i n t i c 's d i r e c t i o n r e c e iv e d i t s s h a re o f th e c r i t i c s ' a c c o la d e s , as d id M i e l z i n e r 's s e t t i n g s and c o s tu m e s . John Mason Brown b e s t summarized th e a t t i t u d e s o f th e m a j o r i t y o f c r i t i c s when he d is c u s s e d th e p r o d u c tio n . ho Ibid. ^3Ibid. 213 F i r s t he e x p la in e d th e im p o rtan ce o f Romeo and J u l i e t a s a t e s t o f C o r n e l l 's a b i l i t y to d ev elo p i n t o a f i r s t - r a t e a c t r e s s and p ro d u c e r: To say t h a t she emerged tr iu m p h a n tly from th e evening b o th as an a c t r e s s and a m anageress i s b u t to s t a t e an a g r e e a b le t r u t h . . . . Miss C o r n e ll h as p roduced a "Romeo and J u l i e t " which in c l u d e s more good p e rfo rm a n c e s th an any S h ak esp earean p r o d u c tio n we remember to have s e e n . 45 Brown a ls o d is c u s s e d C o r n e l l 's a t t r i b u t e s as an a c t r e s s . Miss C o r n e l l 's J u l i e t i s l u s c i o u s and charm ing . . . and r e v e a l s a Miss C o r n e ll who e q u a ls th e b e a u ty o f th e l y r i c l i n e s she sp eak s w ith a new found l y r i c b e a u ty i n h e r own v o ic e . . . . To add t h a t i t i s by a l l odds th e most lo v e ly and e n c h a n t in g J u l i e t o u r p r e s e n t - d a y t h e a t r e h as seen i s o n ly to t o s s i t th e k ind o f s u p e r l a t i v e i t h o n e s t l y d e s e rv e s .46 Brown a ls o m entioned t h a t C o r n e ll had assem bled th e b e s t a c t o r s she co u ld f in d and t h a t none o f h e r p ro m in e n t p e r fo rm ers engaged in an a tte m p t to dom inate th e s ta g e . I n stead., th e y a c te d t o g e t h e r in a c o o p e r a tiv e s p i r i t . Brown la v is h e d p r a i s e upon i n d i v i d u a l a c t o r s and th e u n iq u e con t r i b u t i o n s o f M c C lin tic and M ie l z i n e r . He r e f e r r e d to M i e l z i n e r 's s e t t i n g s as th e most r i c h l y im a g in a tiv e o f h i s c a r e e r w h ile a l s o a f f o r d i n g th e p l a y a background which n e v e r c a l l e d undue a t t e n t i o n to i t s e l f o r o b s t r u c t e d th e 47 p r o g r e s s o f th e p la y . 1 ^ J o h n Mason Brown, New York P o s t , December 21, 1934. 46 47 H I b i d . I b i d . 214 The p ro d u c tio n o f Romeo and J u l i e t r e p r e s e n t e d th e p in n a c le o f C o r n e l l ’s achievem ent as b o th an a c t r e s s and a p r o d u c e r. In no o t h e r p l a y was th e c r i t i c a l a c c la im as g r e a t . In th e f a l l o f 1935* C o r n e ll to o k h e r p r o d u c tio n o f Romeo and J u l i e t on a t o u r o f th e E a s te r n s e a b o a rd and th e Midwest, ending w ith two weeks a t th e M artin Beck The a t r e . S e v e r a l m ajor changes had been made In th e c a s t . M aurice Evans r e p la c e d B a s i l Rathbone as Romeo and was con- 48 s id e r e d a more e f f e c t i v e Romeo th an h i s p r e d e c e s s o r . Howard B arn es o f th e New York H e ra ld -T rib u n e s t a t e d M aurice Evans p la y s th e new Romeo . . . , b r in g i n g to th e p a r t m a g n ific e n t d i c t i o n and a more conven t i o n a l i n t e r p r e t a t i o n th an t h a t o f B a s i l Rathbone l a s t se a so n . He i s e x t r a o r d i n a r i l y f i n e i n th e g r e a t p a s s a g e s o f th e work* g iv in g them r e s t r a i n e d power and a lo v e ly l y r i c a l q u a l i t y . 49 John Mason Brown w ro te : Mr. E vans' Romeo i s a g r e a t improvement o v e r Mr. R a th b o n e 's . He i s in d e e d th e best,, th e most p e r suasive., th e most l i k a b l e and most u n d e r s ta n d a b le Romeo t h a t I , a t l e a s t have e v e r se e n . His i n t e r p r e t a t i o n h as n o th in g i n common w ith Mr. R a th b o n e 's . Where Mr. Rathbone was sad, s i n i s t e r , and e x tre m e ly a r c t i c , Mr. Evans i s gay, o p e n h e a rte d and a lm o st t r o p i c a l . U n lik e most Romeos, he r e f u s e s to be downed by th e part. . . . 48 Few m ajor re v ie w s were w r i t t e n ab o u t th e two-week ru n . Most o f th e new spapers u sed t h e i r s e c o n d - s t r i n g c r i t i c s , who d id l i t t l e more th an n o te th e r e t u r n o f th e p r e v io u s ly - a c c la im e d p r o d u c tio n . 4q ^Howard Barnes, New York Herald-Tribune, December 24, 1935- H is Romeo may speak f a u l t l e s s E n g lis h , and speak i t c a p a b ly , b u t he h as a h o t I t a l i a n s o u l. . . .Mr. E vans' Romeo i s - - a s a l l Romeos sh o u ld be and v ery few e v e r a r e — a man o f many m oods.50 Brown made comments ab o u t c a s t i n g changes in s e v e r a l o f th e f e a t u r e d r o l e s . F lo re n c e R e e d 's Nurse i s no l e s s good, and i s o f t e n even more e f f e c t i v e th an was E d ith E v a n s 's . I t fo llo w s an e a s i e r c o u rse In a d o p tin g a n e a r - I r i s h brogue to i n s u r e some o f i t s comic p o i n t s . But i t i s a m a s te r ly c h a r a c t e r i z a t i o n , r i c h in humor, shrewd i n i t s o b s e r v a t i o n , im p re s s iv e in i t s command o f th e s ta g e and to u c h in g in i t s moments o f p a th o s. Ralph R i c h a r d s o n 's M ercutio la c k s th e p h y s ic a l g ra c e and exuberance t h a t Mr. Aherne b ro u g h t to th e p a r t . He i s l e s s moving in I t s d e a th scene . . . and f a r s u p e r i o r to Mr. Aherne in h i s a c t u a l re a d in g o f th e "Queen Mab" speech. A lthough one m isse s Moroni O l s e n 's o f f i c i o u s C a p u le t and John E m ery's dependable B e n v o lio , i t must be q u ic k ly added t h a t I r v i n g Morrow i s a much more s a t i s f a c t o r y T y b a lt th an was Orson W e lle s, and t h a t C h a rle s W a ld ro n 's F r i a r Laurence . . . has grown and b e t t e r e d w ith th e p r o d u c t i o n . 51 Brown co n cluded h i s rev iew w ith th e fo llo w in g rem arks con c e rn in g th e q u a l i t y o f th e p r o d u c tio n : The sim ple t r u t h I s t h a t Miss C o r n e l l 's "Romeo and J u l i e t " i s th e most d i s t i n g u i s h e d and co m pelling r e v i v a l o f a S h ak esp earean tra g e d y t h a t h a s been made in t h i s c o u n try in o u r tim e . I t i s a t p r e s e n t d e e p e r, more v i b r a n t , and more memorable than i t e v e r was. In o t h e r w ords, i t i s som ething t h a t e v e ry s e l f - i n d u l g e n t p la y g o e r who may have m issed I t b e f o r e w i l l want to make a p o i n t o f se e in g d u r ing i t s p r e s e n t l i m i t e d engagem ent, and t h a t no one who i s even re m o te ly i n t e r e s t e d in a c t i n g can a f f o r d to m iss, p a r t i c u l a r l y i f he happens to have seen i t l a s t y e a r . I t f in d s th e t h e a t r e f u n c tio n in g a t i t s to p -n o tc h and most glam orous b e s t . 52 ^°John Mason Brown, New York P o s t , December 24, 1935. 51I b i d . 52I b i d . ! 2 1 6 ! ; I S a in t Jo an I S a i n t Joan a ls o ra n k s a s one o f C o r n e l l 's f i n e s t TT--1 i- r, > j ! I a c h iev em en ts as b o th an a c t r e s s and a p ro d u c e r. A ll b u t : I two o f th e re v ie w s were h ig h ly f a v o r a b l e . Only R ich ard L ockridge o f th e New York Sun found th e p la y and C o rn e ll "a t r i f l e d i s a p p o i n t i n g " and "th e a c t i n g In o t h e r Im p o rta n t i r o l e s u n e v e n , " ^ w h ile th e V a r i e t y c r i t i c Ib ee seemed d l s - ; a p p o in te d b e cau se C o r n e ll had p o stp o n ed th e opening due to j a s o re t h r o a t , b u t he too c a l l e d th e p r o d u c tio n a memorable j e v e n in g . A ll th e rem ain in g c r i t i c s gave b o th Shaw and Cor- j n e l l t h e i r u n q u a l i f i e d vo te o f a p p r o v a l. R o b ert G arland r e f e r r e d to th e p r o d u c tio n in h i s comment, "A f i r s t lad y o f o u r t h e a t e r i n a f i r s t p la y o f o u r tim e, th e com bination i s : i r r e s i s t i b l e . 10 Many c r i t i c s commented on th e e x c e l l e n t p e rfo rm an ces by th e e n t i r e company, in c lu d in g B ria n Aherne as a m e l l i f l u o u s and p o is e d Warwick, M aurice Evans a s th e comic and f u s s y Dauphin, C h a rle s Waldron a s a p i c t o r i a l l y stu n n in g and enorm ously e f f e c t i v e A rchbishop o f Rheims, Kent Sm ith, c a p a b le as th e d a sh in g B a s ta r d o f O rle a n s, and Eduardo C i a n n e l l i as a c o l d l y s i n i s t e r Cauchon. Jo M i e l z i n e r 's s e t t i n g s were d e s c r ib e d by John Mason Brown: -^ R ic h a rd L o c k rid g e, New York Sun, March 10, 1936. ck ^ Robert Garland, New York World Telegram, March 10, 1936. 217 I t h a s been b e a u t i f u l l y s e t and costumed by Jo M ie lz in e r in a s e r i e s o f q u ic k ly changing b a c k - j grounds which a r e in c lu d e d in th r e e G othic a r c h e s . j The b r i l l i a n t c o l o r s o f th e costum es s ta n d o u t d r a - | m a t i c a l l y from th e d a r k ly su g g e ste d d e p th s o f Rheims j C a th e d r a l, th e t h r e a t e n i n g shadows o f th e I n q u i s i t i o n C o u rt, th e gray -b ro w n s o f th e scene by th e L o ire and ; th e t a p e s t r y l i k e q u a l i t i e s . 55 j ; S Brooks A tkinson d e s c r ib e d M i e l z i n e r 's s e t t i n g o f j th e t r i a l scene a s "banking th e s ta g e w ith th e awe and t e r - j i r o r o f i t , k eeping th e s ta g e l e v e l s d ra m a tic and th e l i g h t - j in g o f th e ju r y box shadowy and o m i n o u s . i John Mason Brown d e s c r ib e d M c C lin tic 's d i r e c t i o n as j " f l u i d , s e n s i t i v e and e v o c a tiv e , p o s se s se d o f th e same k in d : o f en erg y and th e same k in d o f p i c t o r i a l q u a l i t y which c h a r a c t e r i z e d Romeo and Juliet. B r o w n s t a t e d t h a t | S a in t Joan was a trium ph f o r C o rn e ll b o th as a manager and an a c t r e s s , and t h a t i t was one o f th e f i n e s t t h i n g s she had d o n e . The T h e a tre A rts c r i t i c commented on C o r n e l l 's ach iev em en ts i n S a in t Joan as an a c t r e s s - p r o d u c e r . Hie a r t i c l e p o in te d o u t t h a t she co u ld have s t r u c t u r e d th e p r o - ; d u c tio n i n such a way as to maximize h e r exposure and make ^ J o h n Mason Brown, New York Evening P o s t, March 10, 1936. -^B rooks A tk in so n , New York Tim es, March 10, 1936. -^Brown, New York Evening P o s t , lo c . c i t . 58i M d . ; 218 i h e r s e l f th e c e n t e r o f a t t e n t i o n . I n s t e a d , she su rro u n d ed j I i h e r s e l f w ith th e b e s t a v a i l a b l e a c t i n g t a l e n t . She d id n o t | I change th e l i n e s o f th e p la y s to i n c r e a s e o r improve h e r j r o l e s , b u t r a t h e r e d i t e d f o r v a l i d d ra m a tic r e a s o n s . In s h o r t , C o rn e ll d id n o t ta k e ad v an tag e o f th e f a c t t h a t she ! was th e p ro d u c e r to f u r t h e r h e r own i n t e r e s t s . I n s t e a d , ; h e r p rim a ry concern was good t h e a t r e and i f t h i s meant j re d u c in g h e r own l i n e s o r e l e g a n t s e t t i n g s , th en she would j do w h atev er was n e c e s s a r y to produce p la y s o f th e h i g h e s t e x c e l l e n c e . As in Romeo and J u l i e t , th e c r i t i c s went o v erb o ard f o r C o r n e ll in b o th h e r p r o d u c tio n and h e r p o r t r a y a l o f S a i n t J o a n . J u l i e t and Joan (a s w e ll a s E l i z a b e t h B a r r e t t ) ! were p a r t s t h a t o f f e r e d C o r n e ll a g enuine o p p o r tu n i t y to a c t and th e c r i t i c s r e a c t e d w ith u n r e s t r a i n e d e n th u sia sm . Candida During th e 193 0 's and 19^0' s Candida was re v iv e d f o u r tim e s , th e 1937 and 19^-2 v e r s io n s b e in g p r e f e r r e d by th e c r i t i c s . The co n sen su s o f o p in io n f o r b o th p ro d u c tio n s was t h a t a lth o u g h th e p la y was f o r t y y e a r s o l d , i t rem ained f r e s h and c u r r e n t , a tr u e modern m a s te r p ie c e . Only two c r i t i c s gave th e p ro d u c tio n l e s s th an a c o m p le te ly f a v o r a b le e v a l u a t i o n . S ta r k Young l i k e d th e p r o d u c tio n , which -^Theatre Arts, May, 1936, pp. 33^-35. ■ ' ' 219 he c a l l e d " f a r above th e a v e ra g e i n any t h e a t r e , " ^ 0 b u t he | had r e s e r v a t i o n s ab o u t C o r n e l l 's p o r t r a y a l o f th e r o l e . j Some o f h e r a u d ie n c e seemed to th i n k Miss C o r n e l l 's f i r s t moments a f f e c t e d . I d id n o t t h i n k so; she seemed., r a t h e r , a t r i f l e u n e a sy , whipped up, a s i f u n d e r some k in d o f s e n s i t i v e s t r a i n i n a c a s u a l sc e n e . She co u ld ta k e i t more sim p ly , f o r she h as n o th in g to f e a r ; she m eets w ith g r e a t and r i c h s e - ! c u r i t y e v e ry demand o f th e p a r t a s i t a r i s e s . In th e l a s t scene she ta k e s up a l l th e w o r d - b a t t l e . . . and t u r n s i t i n t o a m ira c le o f g ra c e and lo v in g wisdom t h a t i s r a r e l y seen on o u r s ta g e , and t h a t s h e e r a c t in g , no m a t t e r how good, a s d iv o rc e d from p e r s o n a l q u a l i t y , co u ld n e v e r a c h ie v e .° 1 He en jo y ed P r o s s ie a s p o r tr a y e d by M ildred N atw ick, and f e l t: t h a t R o b ert H a r r i s d id a com petent job a s M archbanks. He th o u g h t t h a t th e l e a s t s a t i s f a c t o r y perform ance was done by i A. P. Kaye a s C a n d id a 's f a t h e r , and he c o m p le te ly ig n o re d 6 2 any m ention o f Kent Smith as M o r r e ll. Young te n d ed to r e f l e c t th e f e e l i n g s o f most o f th e new spaper c r i t i c s , who e n jo y ed th e p erfo rm a n c e s o f C o r n e l l ^ an(j N atw ick, b u t had mixed r e a c t i o n s to H a r r i s and Sm ith. S e v e r a l c r i t i c s e n joyed th e comic q u a l i t i e s o f Kaye a s a " s t a b l e and a canny Cockney clown. John Mason Brown w ro te : 6° S t a r k Young, New R e p u b lic , A p r il 21, 1937, p . 322. 6 l I b i d . 62I b i d . ^ M o s t o f th e c r i t i c s enjo y ed C o r n e l l 's i n t e r p r e t a t i o n o f Candida w ith o u t any r e s e r v a t i o n s , u n l i k e Young. 64 Douglas Gilbert, New York World Telegram, March 11, 1937- One can n o t h e lp b e in g g r a t e f u l to Miss C o rn e ll f o r hav in g r e v iv e d th e p la y , and h av in g r e v iv e d i t a s w e ll a s she h as done. . . . E x c e l l e n t as was h e r o r i g i n a l i n t e r p r e t a t i o n , she h as flo w e re d m a g n if i c e n t l y as an a c t r e s s in th e i n t e r v e n in g s e a s o n s . 6 5 Jo sep h Wood K rutch d e a l t w ith Shaw 's p la y a t l e n g th , b u t he d is c u s s e d th e C o r n e ll p r o d u c tio n i n o n ly one s e n te n c e . The 19^2 v e r s io n o f Candida was th e b e s t p ro d u c tio n o f th e Shaw p la y , w ith each a c t o r i d e a l l y s u i t e d f o r h i s 66 p a r t . Many c r i t i c s conceded t h a t C o r n e ll gave a b e t t e r perform ance a s Candida th an she d id in 1937. John Mason Brown d e s c r ib e d h e r: Miss C o rn e ll h as p la y e d Candida tw ice b e f o r e b u t n e v e r so b e a u t i f u l l y as she i s now p la y in g h e r . She i s th e S p e ic h e r p o r t r a i t in th e f l e s h , b u t g r a n te d a v o ic e so r i c h and l i q u i d t h a t i t l i n g e r s long i n th e e a r s a f t e r h e r f i n a l c h o ic e h as been made. She i s r a d i a n t , m y s te r io u s , c o m p e llin g , a ll - m o t h e r i n g ; sage w ith th e s a g a c i t y o f h e r sex a s Shaw in te n d e d h e r to be; and y e t sim ple a s o n ly a t r u l y g r e a t a r t i s t can b e . 67 The comments co n c e rn in g M ild red N a tw ic k 1s i n t e r p r e t a t i o n o f P ro ssy in c lu d e d : "a b r i l l i a n t p e rfo rm a n c e , done w ith a 68 sen se o f showmanship, b u t n e v e r o v e rd o n e ," "an even more h i l a r i o u s P ro ssy th a n she f i r s t c r e a t e d , a n d "a s u p e r l a - 6 r ^John Mason Brown, New York P o s t , March 11, 1937* ^ A l l e le v e n c r i t i c s gave th e p la y a c o m p le te ly f a v o ra b le re v ie w . 67 'Jo h n Mason Brown, New York World Telegram , A p r il 2 8 , 1942. 68 L ouis K ro n en b erg e r, New York PM, A p r i l 28, 1942. ^ B ro w n , New York World Telegram , lo c . c i t . t i v e jo b , lu d ic r o u s w ith o u t b e in g o v e r s t r a i n e d , and as p r e c i s e as i t i s u p r o a r i o u s . " 7^ B u rg ess M ered ith and Raymond Massey, p la y in g th e r i v a l s Marchbanks and M o rre ll r e s p e c t i v e l y , complemented one a n o th e r e f f e c t i v e l y . W i l e l l a W aldorf c a l l e d M ered ith "th e most engaging Marchbanks" she had e v e r s e e n . 7 " '- R ic h a rd W a tts, J r . , th o u g h t t h a t he was "th e most b r i l l i a n t Marchbanks o f a l l th e a c t o r s who have t r i e d t h i s d i f f i c u l t r o l e " in th e tw en ty y e a r s he had been 72 view ing p r o d u c tio n s o f C a n d id a . John Mason Brown a ls o r e f e r r e d to M ered ith a s b r i l l i a n t and "by a l l odds th e b e s t — in d e e d th e o n ly —Marchbanks I have seen in th e t h e a t r e o f my tim e ." He added t h a t M ere d ith tu rn e d one o f "th e w o rst o f Shaw's c h a r a c t e r s i n t o a h a p p ily b e l i e v a b l e p e r s o n . " 7 ^ Burns M antle s a id t h a t t h i s Marchbanks "burns w ith an i n n e r f i r e t h a t h as n o t been approached s in c e 74 A rnold D a l y . " 1 Massey r e c e iv e d h i s s h a re o f a c c o la d e s from th e c r i t i c s . R ich ard W a tts, J r . , found t h a t Massey " b rin g s j u s t th e s u g g e s tio n o f warmth and hum anity to th e r o l e o f M o rre ll which keeps t h a t windbag . . .. from b e in g 70I b i d . 71W i l e l l a W aldorf, New York P o s t, A p r i l 28, 1942. 72 1 R ic h a rd W a tts, J r . , New York H e ra ld -T rib u n e , A p r il 28, 1942. 7-^Brown, New York World T elegram , lo c . c i t . 7^Burns Mantle, New York Daily News, April 28, 1942. 222 ! j th e annoying p r i g t h a t he can so e a s i l y become. John j ; 1 Anderson saw M assey 's M o rre ll a s a "work o f v ig o r and d i s - j t i n c t i o n which s e a rc h e s o u t e v e ry i m p l i c a t i o n o f Shaw’ s c h a r a c t e r , w h i l e W i l e l l a W aldorf c a l l e d him "a man o f ! f o rc e and sta n d in g in th e community r a t h e r th an th e s a n c t i - : YY i monious b o re so o f te n e n c o u n te re d i n Candida p r o d u c tio n s . j I The two rem ain in g members o f th e c a s t , Dudley Digges as Mr. j B u rg ess and S ta n le y B e l l a s Lexy, r e c e iv e d l a v i s h p r a i s e ! from th e c r i t i c s . John Mason Brown summed up th e f e e l i n g s o f th e c r i t i c s when he s t a t e d t h a t t h i s Candida r e p r e s e n t e d j lyO i th e t h e a t r e a t i t s most d e l i g h t f u l . P erh ap s one o f th e r e a s o n s why th e c r i t i c s h a i l e d Candida as th e f i n e s t p r o d u c tio n o f th e 194-2 season was b e cau se th e season had n o t y i e l d e d many w o rth w h ile p r o d u c tio n s and Candida was a b r e a t h o f f r e s h a i r in a s t a l e se a so n . The c r i t i c s c a l l e d th e 1946 r e v i v a l o f Candida a good, b u t n o t g r e a t , p r o d u c tio n . E ig h t o f th e f o u rte e n c r i t i c s gave th e p r o d u c tio n c o m p le te ly f a v o r a b le re v ie w s, w h ile fo u r gave i t g o o d -to -m ix ed re v ie w s, and two gave i t m ix e d -to -p o o r re v ie w s. L ouis K ro n e n b e rg e r, who had rav ed a b o u t th e 1942 r e v i v a l and th e "te a m -p la y o f th e c a s t , " now 75 '^ W a tts, l o c . c i t . 7 6 ' John A nderson, New York J o u r n a l Am erican, A p r il 28, 1942. "^W aldorf, lo c . c i t . Brown, New York World T elegram , l o c . c i t . : ............................................................. ........... '................................”””............223 ; I f e l t t h a t th e p la y I t s e l f was showing " i t s age and a i l m ents. George Jean Nathan c a l l e d th e p r o d u c tio n "an a g r e e a b le t h e a t r i c a l e v e n in g ," b u t he d id n o t l i k e i t as fin ! much as he d id i n 1942. Nathan, and n e a r l y a l l th e o t h e r ; c r i t i c s , en jo y ed th e a c t i n g o f K a th a rin e C o r n e ll, M ild red i N atw ick, and C ed ric Hardwicke ( in th e r o l e o f B u r g e s s ) , b u t j th e le a d in g men, WeBley Addy (M o rre ll) and Marlon Brando (M archbanks), were l e s s th a n a d e q u a te . Nathan d e s c r ib e d | A ddy's M o rr e ll a s "a mere r e c i t a t i o n o f th e l i n e s , " and fi B ra n d o 's Marchbanks as "w holly a m a tte r o f weak a c t i n g . " Nathan d is c u s s e d B ra n d o 's t a l e n t in more d e p th . That B rando, who i s a co m p arativ e n o v ic e , i s n o t w ith o u t p o t e n t i a l i t i e s i s l i k e l y . B u t, w ith a s t u t e d i r e c t o r s a d v is in g him, he w i l l in tim e l e a r n t h a t c o n s is te n c y in c h a r a c t e r d e l i n e a t i o n does n o t n e c e s s a r i l y c a l l f o r a c o n s i s t e n t l y monotonous manner o f speech, t h a t s e n s i t i v e n e s s l i e s i n more th an a p a le makeup and an o c c a s i o n a l l y q u iv e r in g hand, and t h a t a p i c t u r e o f p h y s i c a l weakness i s b e t t e r to be lim ned than by a c t i n g l i k e a puppy e v e r i n f e a r o f a c a t . 82 A lthough n e a r l y a l l o f th e c r i t i c s f e l t t h a t Addy was c o lo r-; l e s s in h i s r o l e , s e v e r a l c r i t i c s , in c lu d in g R o b ert G arland,; Jo sep h Wood K rutch, and Howard B a rn e s, gave him f a v o r a b le ^ L o u i s K ro n en b erg er, New York PM, A p r il 4, 1946. fin George Jean N athan, The T h e a tre Book o f th e Y ear, 1945-46 (New York: A lf re d A. Knopf, 1 9 4 b j, p. 35b. 8 l I b i d . 82Ibid. re v ie w s . John Mason Brown i n s i s t e d t h a t Brando was th e ;Marchbanks t h a t Shaw had in mind when he w rote th e p l a y . ^ P la y s R e c e iv in g Very Good Reviews Two o t h e r p la y s r e c e i v e d v ery good rev iew s from th e c r i t i c s . They were Antony and C le o p a tr a and The D o c t o r 's Dilemma, which r e c e i v e d s i x t e e n o f tw enty and f o u r te e n o f e ig h te e n h i g h l y f a v o r a b le re v ie w s , r e s p e c t i v e l y . Antony and C le o p a tra Some c r i t i c s went o v e rb o a rd ab o u t Antony and C leo p a t r a and c a l l e d i t a r a r e and memorable p r o d u c tio n , and "one o f th e most s t i r r i n g v e r s i o n s o f a S hakespearean work O h to be seen in o u r tim e ." G e n e r a lly , th e c r i t i c s f e l t t h a t w ith such a d i f f i c u l t p la y to p ro d u ce, w ith s e v e r a l p l o t s and s u b p lo t s , and in n u m erab le and q u ic k scene changes, C o r n e ll sh o u ld have been p r a i s e d f o r p r e s e n t i n g th e p l a y a t a l l . On th e w hole, c r i t i c s h e ld t h a t i t was th e b e s t Antony and C le o p a tr a th e y had se e n , b u t t h a t i t was n o t g r e a t . N e a rly a l l commented on th e gorg eo u s s e t s and c o s tum es. G odfrey T e a rle r e c e iv e d p r a i s e from th e c r i t i c s f o r h i s i n t e l l i g e n t i n t e r p r e t a t i o n o f A n to n y 's r o l e . On th e o t h e r hand, th e c r i t i c s f e l t t h a t C o rn e ll had done a ®^John Mason Brown, S a tu rd a y Review o f L i t e r a t u r e , May 4, 1946, p. 2 9 . O h R ic h a rd W a tts, J r . , New York P o s t, November 28, 1947. i . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . " " . . . . . . . . . ’ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225'] com petent jo b , b u t i n some r e s p e c t s she was w a n tin g . She j i la c k e d th e a b i l i t y to convey th e w antonness and w i l i n e s s o f j C le o p a tr a . C o r n e ll was s t i l l p la y in g th e gran d la d y when j th e r o l e r e q u i r e d t h a t she p la y a tram p. Thus, when C leo - | p a t r a was supposed to be a r e g a l queen C o r n e ll had no d i f f ic u lty ., b u t she f a l t e r e d when th e r o l e r e q u i r e d C o r n e ll to f l i r t o r a c t l i k e a tram p. The co n sen su s o f o p in io n was t h a t C o r n e l l 's p r o d u c tio n o f Antony and C le o p a tr a was th e b e s t t h a t had been done w ith in th e p a s t few d e c a d e s, and t h a t th e c a s t was a group o f g i f t e d young c l a s s i c a l a c t o r s and a c r e d i t to M c C lin tic a s th e d i r e c t o r . i 1 The D o c t o r 's Dilemma A lthough The D o c to r 's Dilemma had been w r i t t e n by Shaw more th an t h i r t y y e a r s b e f o r e , th e c r i t i c s f e l t t h a t i t d id n o t seem d a te d and i t was a good id e a to p r e s e n t th e p l a y . N early a l l commented on th e h ig h c a l i b r e o f th e c a s t which had been assem bled and th e f a c t t h a t th e l e n g th o f th e p l a y had been e f f e c t i v e l y s h o rte n e d , even though t h i s had r e s u l t e d in few er l i n e s f o r C o r n e ll. Both as an a c t r e s s and a m anageress Miss C o r n e ll p ro v es h e r wisdom and h e r s k i l l . . . . She p ro v e s t h a t th e s i z e o f a p a r t h as n o th in g to do w ith th e f a s c i n a t i o n i t can p o s s e s s in th e p l a y i n g . . . . Miss C o rn e ll i s g e n e r o s i t y i t s e l f w ith h e r fe llo w p l a y e r s . P l a i n l y what m a t t e r s to h e r i s th e good o f th e p la y r a t h e r th an th e l e n g th o f th e p a r t ^ She h a s b ro u g h t t o g e t h e r an a d m ira b le company. ^John Mason Brown, New York Post, March 12, 1941. 226 | Most o f th e c r i t i c s d id n o t c o n c e n tr a te t h e i r a t t e n t i o n on C o rn e ll b ecause o f h e r c o m p a ra tiv e ly sm all r o l e , b u t i n s t e a d p r a i s e d th e o v e r a l l perform ance o f th e e n t i r e c a s t and how w e ll th e y seemed to work t o g e t h e r . j l P la y s R ec eiv in g Good Reviews j The g e n e r a l a t t i t u d e ab o u t Dear L i a r was t h a t i t was n e i t h e r a drama n o r a p l a y . I n s t e a d , i t c o n s is t e d o f i re a d in g a s e r i e s o f l e t t e r s from which th e c h a r a c t e r s o f th e two w r i t e r s ev o lv e d . The m a j o r i t y o f th e c r i t i c s l ik e d th e way C o r n e ll and B ria n Aherne re a d t h e i r l i n e s and com p lem ented each o t h e r . Aherne was c o n s id e re d to have had th e b e t t e r p a r t b ecau se he was re a d in g Shaw's l e t t e r s and Shaw was a b e t t e r l e t t e r w r i t e r than Mrs. P a t r i c k Campbell. The re v ie w e rs who had r e s e r v a t i o n s ab o u t th e perform ance m ain ly f e l t t h a t th e two a c t o r s f a i l e d to e l i c i t th e n a s t i n e s s o f th e two c h a r a c t e r s . On th e whole, The C o n stan t Wife was found to be an e n jo y a b le evening in th e t h e a t r e , b u t n o t w orthy o f rav e re v ie w s. I t was one o f th e b e t t e r th in g s p r e s e n t e d t h a t season b u t n o t an o u ts ta n d in g p r o d u c tio n . S e v e ra l c r i t i c s f e l t th e p la y was d a te d and in co n g ru o u s w ith modern, s o p h i s t i c a t e d a t t i t u d e s , and had a p l o t t h a t d id n o t r in g t r u e . O th ers conceded th e absence o f a l e g i t i m a t e p l o t and m erely c o n s id e re d th e p r e s e n t a t i o n as amusing e n t e r t a i n m e n t. 1 ........................... " .”..’ . 227 Most c r i t i c s found C o r n e ll to be com petent b u t n o t ex c e p - 1 | t i o n a l in h a n d lin g comedy. She seemed to be more co n cern ed j w ith th e developm ent o f th e t o t a l r o l e th an p la y in g f o r i th e im m ediate la u g h . A co u p le o f c r i t i c s su g g e ste d t h a t | p e rh a p s C o r n e ll la c k e d th e r e q u i s i t e tim in g f o r an accom- i p l i s h e d com edienne. I The r e a c t i o n to The Three S i s t e r s was v e ry e n t h u s i - j a s t i c . The c r i t i c s l a v is h e d a c c o la d e s on th e a l l - s t a r | c a s t , th e costum es, and th e s e t t i n g s . C o r n e ll and th e o t h e r a c t o r s seemed to i n s p i r e each o t h e r to g r e a t e r p e r - j form ing h e i g h t s . The few re v ie w e rs w ith s tr o n g a d v e rse comments d i r e c t e d t h e i r a t t e n t i o n to th e p l a y i t s e l f , which j th e y deemed d u l l , d r e a r y , and too h eav y . They c o n s id e re d th e tempo o f th e p la y o u t o f p la c e w ith modern t h e a t r e . No Time f o r Comedy was n o t Behrman a t h i s b e s t and i t was a g re e d t h a t th e p l a y was e x tre m e ly weak. There was, on th e o t h e r hand, a d i v i s i o n o f o p in io n as to C o r n e l l 's perform ance in h e r f i r s t comedy r o l e . Most o f th e c r i t i c s o p in ed t h a t C o r n e ll d id th e b e s t w ith h e r l i m i t e d l i n e s t h a t co u ld be e x p e c te d o f any a c t r e s s . A lthough comedy was : n o t C o rn e ll a t h e r a b s o lu t e f i n e s t , s t i l l she co u ld h a n d le th e m a t e r i a l b e t t e r th an m ost. On th e o t h e r hand, a few c r i t i c s o b se rv e d t h a t C o r n e ll m issed th e d e l i v e r y needed to a c h ie v e la u g h s on s p e c i f i c l i n e s . In g e n e r a l t h e r e was l i t t l e e n th u sia s m f o r Sidney H ow ard's p l a y A lie n Corn, and mixed r e a c t i o n s to C o r n e l l 's h a n d lin g o f h e r m a t e r i a l . Most c r i t i c s f e l t t h a t d e s p i t e a j i v e ry weak s c r i p t C o r n e ll was a b le to c r e a t e e x c i t i n g t h e - | j a t r e s o l e l y on th e b a s i s o f h e r own i n d i v i d u a l t a l e n t . O th ers b e l i e v e d t h a t d e s p i t e C o r n e l l ’ s b e s t e f f o r ts ., th e ! p o o r q u a l i t y o f th e m a t e r i a l was too much f o r even h e r to • : overcom e. The c r i t i c s f e l t t h a t th e com bination o f Maxwell j Anderson and K a th a rin e C o r n e ll was p o t e n t i a l l y e x c e l l e n t , and th e y were d is a p p o in te d when t h e i r e x p e c t a t i o n s were n o t ] r e a l i z e d in The W ingless V i c t o r y . The m ajor fla w was t h a t j th e p la y was too wordy and uneven. A n d e rso n 's w r i ti n g i m a n ife s te d g r e a t p o e t i c i n s i g h t and f e e l i n g , b u t he sim ply ; f a i l e d to a d e q u a te ly d ev elo p o r p r e s e n t h i s th o u g h ts . C o r n e ll p o r tr a y e d a t r a g i c O parre, b u t d e s p i t e h e r e x c e l l e n t h a n d lin g o f th e r o l e th e co n sen su s o f th e c r i t i c s was t h a t th e p o o r m a t e r i a l was too much to overcome. P la y s R e c e iv in g Mixed Reviews i In th e v a s t m a j o r i t y o f th e p la y s which r e c e iv e d mixed re v ie w s , th e c r i t i c s d i s l i k e d th e p la y s as th e y were w r i t t e n . That Lady was c o n s id e re d a d u l l , b o rin g v e h i c l e , and was f r e q u e n t l y d e s c r ib e d as a soap o p e ra melodrama in a p e r i o d s e t t i n g . The re v ie w e rs c o n c e n tr a te d more on th e a n t i - w a r theme o f F low ers o f th e F o r e s t th an on i t s l i t e r a r y m e r i t s . A lthough th e y were w r i t t e n in b e a u t i f u l and p o e t i c 229 lan g u ag e, th e c r i t i c s f e l t t h a t th e two p la y s by P ry, The Dark I s L ig h t Enough and The F i r s t b o r n , had n e i t h e r a s p in e n o r a theme. L ucrece and A ntigone were b o th con s id e r e d noble e x p e rim e n ts, and C o rn e ll was lauded f o r a t l e a s t p r e s e n tin g them. However, n e i t h e r p la y worked w e ll on s ta g e n o r made good t h e a t r e . A f te r th e opening n i g h t o f L u c re c e , p ro d u c e r A rth u r Hopkins came b a c k s ta g e and i n - 86 formed C o r n e ll, "This i s y o u r most s u c c e s s f u l f a i l u r e . " A lthough th e s e two p la y s were n o t r e g a rd e d as s u c c e s s f u l by th e c r i t i c s , C o rn e ll c o n s id e re d them a r t i s t i c triu m p h s. As a p ro d u c e r she b e l i e v e d she had an o b l i g a t i o n to p r e s e n t p la y s s o l e l y as a r t i s t i c e x p e rim e n ts even though th e y m ight n o t be com m ercial s u c c e s s e s . P r i o r to th e 1 9 5 0 's , th e c r i t i c s u s u a l l y la v is h e d p r a i s e on C o r n e l l 's a c t i n g and f e l t t h a t d e s p it e th e weak n e ss o f th e s c r i p t h e r a c t i n g t a l e n t s were a lo n e s u f f i c i e n t to make th e p ro d u c tio n a c c e p ta b le t h e a t r e . However, in The P r e s c o t t P r o p o s a ls , The Dark I s L ig h t Enough, and The F i r s t b o r n , t h e r e was a n o t i c e a b l e s h i f t in th e c r i t i c s ' tr e a tm e n t o f C o r n e l l 's p r o d u c tio n s . No lo n g e r were th e y w i l l i n g to o v e rlo o k th e sh o rtco m in g s o f h e r p l a y s . Whereas in th e p a s t th e c r i t i c s found C o r n e l l 's a c t i n g by i t s e l f s u f f i c i e n t to l i f t a weak p la y above m e d io c r ity , th e con sen su s d u rin g th e l a t e 1 9 5 0 's was t h a t d e s p i t e h e r b e s t 86 Katharine Cornell, I Wanted To Be an Actress (New York: Random House, 19^1)* P^ 116. e f f o r t s , C o r n e ll co u ld no lo n g e r r i s e above h e r m a t e r i a l . Her s t y l i z e d way o f a c t i n g , h e r r e g a l b e a r i n g , and th e type o f p la y i n which she had e x c e l l e d were now p a s s e . The r e a l i s t i c a c t i n g o f th e l a t e 1 9 5 0 's which dom inated th e American t h e a t r e had r e n d e re d C o r n e ll an anachronism . P e r haps th e most s i g n i f i c a n t commentary on t h i s p a r t i c u l a r p o i n t was made by R ic h a rd Hayes, who w ro te : There i s a m elan ch o ly about Miss K a th a rin e Cor n e l l ' s p r o d u c tio n which i s n o t to be d i s p e l l e d . She h as la b o re d a t t h i s w ith such s i n c e r i t y and a s p i r a t i o n , b ro u g h t to i t th e i n s t r u m e n t a l q u a l i t y o f h e r p e rso n and i n f a l l i b l e glam our o f p r e s e n c e , commanded d i v e r s l a r g e t a l e n t s —y e t th e r e s u l t can n o t be s a id to come o f f more th an m ild ly . . . . Miss C o r n e l l 's c o n s c io u s n o b i l i t y , h e r cerem o n i o u s n e s s , th e i n t i m a t e q u e s t o f h e r v o ic e a re p o te n t a g a in , and w i l l n e v e r c e a se to b e, one h o p es. I f h e r p e r s o n a l i t y shows no f r e s h e x p a n sio n , she a n nounces n o n e t h e l e s s a p e r s o n a l d i s t i n c t i o n too e a s i l y p a t r o n iz e d in a tim e which o f f e r s so l i t t l e to th e e n e r g ie s o f i d e a l i s m . I co u ld w ish m y se lf, o f t e n , f o r r a t h e r a l e s s a u to m a tic in v o c a tio n o f g ra n d e u r and f o r th e a d m issio n , i n t o Miss C o r n e l l 's sen se o f l i f e , o f more m oral a m b ig u ity , s o i l and g r i t : b u t th en Bhe i s th e p r i s o n e r - - p e r h a p s n o t too u n w i l l i n g — o f t h a t s e c u l a r h a g io g ra p h y o f o u r time which e x a c t s , as th e p r i c e o f p u b lic fo n d n e ss, com f o r t i n g e s t h e t i c im ages o f th e u n d i l u t e d and th e s i m p l i s t i c . We, no l e s s th an Miss C o r n e ll, a r e th e p o o r e r . 87 Hayes had d e c l a r e d what o t h e r s had i n tim a te d : nam ely, t h a t C o r n e ll was an a c t r e s s o f a n o th e r tim e when a proud woman o f r e g a l b e a r in g sto o d f o r an i d e a l t h a t was no lo n g e r im p o rta n t o r r e l e v a n t in th e 1 9 5 0 's . The ^ R i c h a r d Hayes, Commonweal, May 23, 1958, pp. 205- 2 0 6. ...... ' ' ' ""... 231 a u d ie n c e s and c r i t i c s were now co n cerned w ith th e p l i g h t j i o f th e common, sim ple p erso n and n o t th e l i f e o f a queen. ! I P lay s R ec e iv in g M ix ed -to -P o o r Reviews I Of a l l th e p la y s produced hy C o r n e ll, th e one which; r e c e i v e d th e p o o r e s t c r i t i c a l r e c e p t i o n was Lovers and 1 F r i e n d s . There was alm o st unanimous agreem ent t h a t th e p la y was d r e a d f u l b ecau se o f a p u e r i l e , i n s i p i d theme. I t i s r a t h e r i n t e r e s t i n g t h a t a l l th e c r i t i c s were men and one; r e v ie w e r e x p re ss e d th e o p in io n t h a t becau se th e p l a y was w r i t t e n by a woman, s t a r r e d a woman, and was ab o u t women, p e rh a p s th e fem inine a p p e a l was l o s t on th e male c r i t i c s . ; The p r o d u c tio n was a com m ercial s u c c e ss d e s p i t e th e s e n e g a t i v e re v ie w s--m o s t o f th e a u d ie n c e c o n s i s t i n g o f women. Summary C o r n e l l 's p r o d u c tio n s were a s s u c c e s s f u l a r t i s t i c a l l y as th e y were com m ercially . More th an h a l f o f th e Broadway rev iew s were f a v o r a b le , w hereas o n ly 12 p e r c e n t were e i t h e r m ix e d -u n fa v o ra b le o r u n f a v o r a b le . T w o -th ird s o f h e r p r o d u c tio n s were e i t h e r good, v ery good, o r to p - r a t e d . The c r i t i c a l d e c lin e o f C o r n e l l 's p r o d u c t io n s , j u s t l i k e h e r f i n a n c i a l dow nturn, to o k p la c e i n th e 1 9 5 0 ' s w ith th e a d v en t o f a new ty p e o f t h e a t r e w ith which C o r n e l l 's s t y l e o f a c tin g and type o f p la y s were n o t c o m p a tib le . 232 C o r n e ll was o f a n o th e r tim e and form o f t h e a t r e and h e r a p p a re n t I n a b i l i t y o r u n w illin g n e s s to a d a p t le d to h e r t h e a t r i c a l e c l i p s e . i CHAPTER V I I I 1 | SUMMARY, CONCLUSIONS, AND RECOMMENDATIONS | | Summary I K a th a rin e C o r n e ll made h e r p r o f e s s i o n a l s ta g e i d e b u t i n 1 9 1 6, b u t was o v e rlo o k e d by th e c r i t i c s u n t i l 1920, when she p la y e d Jo in L i t t l e Women. In 1921 she s t a r r e d i n A B i l l o f D ivorcem ent and r e c e iv e d h e r f i r s t m ajor c r i t i c a l a t t e n t i o n from th e n ew sp ap ers. T h e r e a f t e r , j C o r n e ll s t a r r e d i n a number o f Broadway p r o d u c t io n s , each ! o f which in c r e a s e d h e r fame as an a c t r e s s . In g e n e r a l , she p la y e d p a t h e t i c o r s i n f u l h e r o in e s i n e i t h e r s e n t i - i m e n ta l dramas o r m elodram as. Only in Shaw 's Candida was she g iv e n a r o l e which allo w ed h e r to d e m o n stra te h e r | g r e a t c a p a c i t y a s an a c t r e s s . D e s p ite th e d e a r t h o f good j a c t i n g v e h i c l e s made a v a i l a b l e to h e r , C o r n e ll rem ained p o p u la r w ith b o th th e c r i t i c s and th e p u b l i c . A f t e r d e - ; v e lo p in g a s i g n i f i c a n t fo llo w in g , C o r n e ll was c o n t i n u a l l y u rg e d to f in d p a r t s which p e r m it t e d h e r to r e a l i z e h e r t r u e p o t e n t i a l a s an a c t r e s s . F i n a l l y , she d e c id e d to form h e r own p r o d u c tio n company and th u s s e l e c t p la y s f o r h e r s e l f which would p r e s e n t a c h a lle n g e to h e r a c t i n g t a l e n t . In 1931^ C o r n e ll p u rc h a se d th e r i g h t s to th e p la y 233 The B a r r e t t s o f Wimpole S t r e e t . She d e c id e d to produce t h i s p la y and formed C. & M. C. P ro d u c tio n s , I n c . , a c o r p o r a t i o n which t h e r e a f t e r produced a l l p la y s i n which she ap p e a re d . C o r n e ll was v e s te d w ith com plete c o n t r o l o v er th e b u s in e s s o p e r a t i o n s o f th e new company, a lth o u g h she d e le g a te d r e s p o n s i b i l i t i e s in c e r t a i n a r e a s . Many new p l a y s were s e n t to C o r n e ll f o r p o s s i b l e p r o d u c tio n , and on s e v e r a l o c c a s io n s t h i r d p e rso n s would s u g g e st th e p r e s e n t a t i o n o f a p a r t i c u l a r p la y . G e rtru d e Macy, C o r n e l l 's company m anager, took c a re o f th e b u s in e s s d e t a i l s o f th e company, such as n e g o t i a t i n g c o n t r a c t s w ith a c t o r s and pay in g b i l l s . Ray H enderson, th e p r e s s a g e n t, to o k c a re o f p r e s s r e l e a s e s and p u b l i c r e l a t i o n s . G u th rie M c C lin tic , C o r n e l l 's husband, d i r e c t e d n e a r l y e v e ry p la y and s e l e c t e d th e c a s t . C o r n e l l 's com pensation f o r h e r s e r v i c e s as an a c t r e s s was i n i t i a l l y 10 p e r c e n t o f th e g r o s s r e c e i p t s , b u t t h i s was l a t e r r a i s e d to 15 p e r c e n t . C o r n e ll alw ays b e l i e v e d in b e in g f a i r to th e o t h e r a c t o r s in h e r p r o d u c tio n s and she alw ays p a id them a re a s o n a b le s a l a r y . However, i t was n e v e r n e c e s s a r y to pay them e x o r b i t a n t wages b ecause many a c t o r s were w i l l i n g to a c c e p t a s m a lle r s a l a r y to work w ith C o r n e ll th an th e y would have r e c e iv e d in o t h e r p r o d u c tio n s . Being h e r own p ro d u c e r, C o r n e ll was a b le to ap p ear i n a wide v a r i e t y o f c l a s s i c a l and ro m a n tic r o l e s s u i t e d to h e r a c t i n g a b i l i t y which allo w ed h e r to b roaden h e r t a l e n t s . I t i s e n t i r e l y p o s s i b l e t h a t o t h e r p ro d u c e rs m ight n o t have g iv e n h e r th e o p p o r tu n ity to a tte m p t th e s e b e t t e r p a r t s . As h e r own producer., C o rn e ll had c o n t r o l o v e r h e r a c t i n g v e h i c l e s and was n o t s tu c k w ith p a r t s on which o t h e r p r o d u c e rs th o u g h t th e y co u ld make a p r o f i t . A l l th e p la y s which C o r n e ll produced were i n keep in g w ith th e f i n e s t s ta n d a r d s and n e v e r d id she p r e s e n t a p l a y sim ply to make a p r o f i t . Throughout h e r e n t i r e c a r e e r C o r n e ll alw ays sought e x c e l l e n c e . C o r n e l l 's i n i t i a l p r o d u c tio n , The B a r r e t t s o f Wim p o le S t r e e t , a c h ie v e d enormous su c c e ss and p e r m itte d h e r to c o n tin u e to p r e s e n t f i r s t - r a t e dramas and com edies. C o r n e ll proved t h a t good t h e a t r e co u ld a t t a i n com m ercial s u c c e s s . She p la y e d E l i z a b e t h B a r r e t t 1,019 tim e s, g ro s s e d o v e r $ 2 ,0 0 0 ,0 0 0 from a l l th e p r o d u c tio n s o f The B a r r e t t s o f Wimpole S t r e e t , and made a p r o f i t from t h i s s in g l e p la y o f n e a r l y $500,000. C o rn e ll p r e s e n te d two S hakespearean p r o d u c tio n s , Romeo and J u l i e t and Antony and C l e o p a t r a . When she p ro d u ced th e form er in 1935.? S h ak esp eare had n o t been s u c c e s s f u l l y done on Broadway in o v e r a d ecad e. S h o r tly t h e r e a f t e r , o t h e r s fo llo w e d w ith d i f f e r e n t Shake s p e a re a n p r e s e n t a t i o n s : John G ielgud i n Ham let, Maurice Evans in Hamlet and R ic h a rd I I , Orson W elles i n J u l i u s C a e s a r , and A lf re d Lunt and Lynn Pontanne in The Taming o f th e Shrew . L ik ew ise, C o r n e l l 's Antony and C le o p a tr a in 1947 e n jo y ed th e l o n g e s t run f o r t h a t p l a y s in c e i t had been w r i t t e n . The 230 p e rfo rm an ces o f The Three S i s t e r s s e t a r e c o r d f o r th e R u ssian c l a s s i c in E n g lis h . Again, i t s su c c e s s in d u ced o t h e r s to p r e s e n t o t h e r p la y s by R u ssian p l a y w r ig h ts ] f o r exam ple, I n a C l a i r e a p p eared in A Month i n th e C ountry by Iv an Turgenev, and The C herry O rchard was r e v iv e d w ith Eva L e G a llie n n e and Jo se p h S c h i l d k r a u t i n th e le a d in g r o l e s . C o r n e l l 's p r o d u c tio n s in tro d u c e d new p la y w r ig h ts and a c t o r s to American a u d ie n c e s . Jean A n o u ilh , C h r i s to p h e r P ry , and Andre Obey had t h e i r p la y s a p p e a r f i r s t on th e American s ta g e i n C o r n e ll p r o d u c t io n s . Well-known E n g lis h a c t o r s such a s M aurice Evans, B ria n Aherne, Laurence O l i v i e r , and E d ith Evans made t h e i r American s ta g e d e b u ts i n C o r n e ll p r o d u c t io n s . In a d d i t i o n , many c u r r e n t s t a r s a p p eared d u rin g th e e a r l y s ta g e s o f t h e i r c a r e e r s i n th e s e p r o d u c tio n s : Marlon Brando, Orson W e lle s, Tony R a n d a ll, G regory Peck, C h a rlto n H eston, K irk D ouglas, E l i W allach, Anne Ja c k so n , Maureen S t a p l e t o n , B u rg ess M e re d ith , Raymond Massey, and L u th e r A d le r. D uring h e r y e a r s as a p r o d u c e r, C o r n e ll s p e n t a t o t a l o f 336 weeks, n e a r l y s ix and o n e - h a l f y e a r s , to u r in g on th e ro a d . She a v erag ed te n to tw elve weeks each y e a r on th e ro a d , a p p e a rin g in f o r t y - t h r e e s t a t e s and 136 d i f f e r e n t c i t i e s . N early e v e ry p r o d u c tio n which ap p eared in New York sp e n t a tw o- to fo ur-w eek p r i o r p e r io d on a t r y o u t ro a d to u r , and n e a r l y a l l o f them went on post-New York t o u r s . Five C o r n e ll p r o d u c tio n s e n jo y ed road t r i p s tw enty weeks o r lo n g e r, w h ile a n o th e r f i v e l a s t e d te n weeks o r lo n g e r . The to u r t h a t g a in e d th e most p u b l i c i t y f o r C o rn e ll was th e 1933-3^- r e p e r t o r y t o u r which p r e s e n te d The B a r r e t t s o f Wimpole S t r e e t , Romeo and J u l i e t , and C an d id a. I t was e s tim a te d t h a t th e t o u r p la y e d b e f o re 500*000 people ap p eared in s e v e n ty -s e v e n c i t i e s , and l a s t e d tw e n ty -n in e w eek s. In many o f th e c i t i e s in which C o rn e ll to u re d , she s e t box o f f i c e r e c o r d s . In d eed , d u rin g h e r f i n a l t o u r in 1959 w ith Dear L i a r , C o r n e ll was s t i l l b re a k in g box o f f i c e r e c o r d s i n such p la c e s as P hoenix. At a tim e when th e n a t i o n a l tr e n d showed a d e c lin e i n t o u r in g weeks, C o r n e ll was c o n tin u in g to t r a v e l e x te n s i v e l y th ro u g h o u t th e U n ited S t a t e s . She went on m ajor ro ad t o u r s when o t h e r s b e l i e v e d th e ro ad was dead and road a u d ie n c e s would n o t resp o n d to any to u r in g com panies. As a d i r e c t r e s u l t o f h e r s u c c e s s f u l 1 9 3 3- 3^ r e p e r t o r y t o u r , many o t h e r m ajor p r o d u c tio n s d e c id e d to a tte m p t ro ad to u rs o f t h e i r own. During th e n e x t th r e e y e a r s , th e ro ad e x p e r ie n c e d a trem endous comeback b o th i n term s o f q u a n t i t y and q u a l i t y o f p r o d u c tio n s . C o rn e ll had d em o n stra te d t h a t ro a d a u d ie n c e s would tu r n o u t f o r good p la y s and o t h e r s th e n fo llo w e d h e r le a d . C o r n e ll c o n tin u e d to t o u r n e a r l y a l l o f h e r p ro d u c t i o n s o u t s i d e o f New York C ity u n t i l th e end o f h e r c a r e e r i n i 9 6 0 . She alw ays b ro u g h t to th e ro ad th e same p ro d u c t i o n s in which she had ap p eared on Broadway and n e v e r a t tem pted to p r e s e n t i n f e r i o r p la y s which m ight have had g r e a t e r com m ercial a p p e a l. She a ls o endeavored to to u r w ith th e same c a s t t h a t had a p p eared in New York o r w ith one o f e q u a l s t a t u r e . I f a s t a r such as Laurence O l i v i e r had to le a v e th e p r o d u c tio n a f t e r th e Broadway ru n , she h i r e d a le a d in g a c t o r o f commensurate c a l i b r e to a p p e a r on t o u r . C o rn e ll alw ays gave th e ro ad a u d ie n c e s t h e i r money’s w o rth , which had n o t been th e case w ith many o t h e r ro ad com panies. As a r e s u l t , h e r t o u r s were u s u a l l y b e t t e r r e c e iv e d th an o t h e r s d u rin g h e r tim e , and h e r road a u d i ences n e v e r d e s e r t e d h e r . Even in th e 1950’s when C o r n e l l ' New York fo llo w in g began to wane, th e ro ad rem ained l o y a l and flo c k e d to see h e r . During th e th r e e decades o f C o r n e l l 's c a r e e r as an a c t r e s s - p r o d u c e r , she r e a l i z e d an o v e r a l l p r o f i t o f $381,647 from tw e n ty -fo u r o f h e r tw e n ty -n in e p r o d u c tio n s , and g ro s s e d in e x c e ss o f $ 1 2 ,0 0 0 ,0 0 0 . During h e r New York engagem ents, C o r n e l l 's g ro s s r e c e i p t s were $ 5 ,1 0 0 ,0 0 0 , w hereas on th e ro ad h e r g ro s s r e c e i p t s were $6 , 9 0 0 , 0 0 0 . ......... " ......... 2 3 9 ] I In th e span o f t h r e e d e c a d e s, C o r n e l l 's a v erag e j | w eekly g r o s s r o s e a mere 13 p e r c e n t . The i n c r e a s e was due j 1 to th e h i g h e r p r i c e s f o r t i c k e t s r a t h e r th an to an i n c r e a s e i in th e number o f p eo p le a t t e n d i n g h e r p r o d u c tio n s . L ik e w ise , i n each s u c c e s s iv e decade h e r o v e r a l l box o f f i c e r e - : c e i p t s d e c re a s e d n e a r l y $ 1 ,0 0 0 ,0 0 0 . Both th e number o f j p la y s produced by C o r n e ll and th e number which were f in a n - i c i a l l y s u c c e s s f u l went down in each s u c c e s s iv e decade. During t h i s same p e r io d o f tim e , th e a v erag e c o s t o f a p ro - ? d u c tio n ro s e 119 p e r c e n t . For exam ple, th e s a l a r i e s o f l a c t o r s and d i r e c t o r s had d o u b led . Thus, C o r n e l l 's p ro d u c t i o n c o s t s in c r e a s e d p e r c e n ta g e - w is e n in e tim es more than h e r r e c e i p t s , a m ajor f a c t o r in seven o f h e r l a s t e i g h t p r o d u c tio n s lo s in g money. C o r n e l l 's p r o d u c tio n s were a r t i s t i c s u c c e s s e s and were u s u a l l y w e ll r e c e iv e d by th e c r i t i c s . More th an h a l f th e re v ie w s examined gave h e r p r o d u c tio n s h ig h p r a i s e , as opposed to j u s t 12 p e r c e n t m ix e d -u n fa v o ra b le o r u n fa v o ra b le re v ie w s . Of h e r tw e n ty - fo u r Broadway p r o d u c tio n s , f iv e were t o p - r a t e d , t h r e e were c o n s id e re d v ery good, e i g h t were c o n s id e re d good, seven r e c e iv e d mixed re v ie w s, and o n ly one p la y c o u ld be c l a s s i f i e d a s m ix ed -p o o r. C o r n e ll alw ays ask e d , "Does t h i s p l a y have a r t i s t i c m e r it? " r a t h e r th a n , " Is t h i s p la y a good v e h i c l e f o r me?" Even though she was th e p ro d u c e r, C o r n e ll would s t i l l s e l e c t a p la y which had 240 ! i a sm all p a r t f o r h e r . She d id n o t a tte m p t to maximize h e r ! ex p o su re o n s ta g e , b u t su rro u n d ed h e r s e l f w ith th e b e s t | i a c t i n g t a l e n t a v a i l a b l e . She d id n o t change l i n e s to i n c r e a s e o r improve h e r p a r t , b u t e d i t i n g was done f o r v a l i d d ra m a tic r e a s o n s . C o r n e l l 's p rim a ry concern was good t h e a t r e and n o t h e r own g l o r i f i c a t i o n . Many c r i t i c s m entioned | t h i s f a c t in t h e i r re v ie w s and t h i s may a c c o u n t f o r h e r c o n s i s t e n t l y h ig h c r i t i c a l a c c la im . The c r i t i c a l d e c l i n e o f C o r n e l l 's p r o d u c tio n s , l i k e • h e r f i n a n c i a l d e c l i n e , c o in c id e d w ith th e r i s e o f a new type o f t h e a t r e : p s y c h o lo g i c a l r e a l i s m . As t h i s new form g a in e d momentum d u rin g th e 19 5 0 's , C o r n e ll was l e f t b e h in d . : Her ro m a n tic , d e c la m a to ry s t y l e o f a c t i n g and th e type o f p la y in which she had e x c e l l e d were no lo n g e r a p a r t o f t h i s n a s c e n t t h e a t r e . They were o f a n o th e r tim e which no lo n g e r had a s i g n i f i c a n t p la c e i n American t h e a t r e . As p s y c h o lo g ic a l r e a l i s m became ensconced on Broadway, h e r New York a u d ie n c e s began to d e s e r t C o r n e ll, and h e r p ro d u c - : t i o n s l o s t money. On th e o t h e r hand, th e ro ad a u d ie n c e s took lo n g e r to a c c e p t p s y c h o lo g ic a l r e a l i s m , and t h e r e f o r e C o r n e l l 's fo llo w in g on th e ro ad rem ained l o y a l to th e v ery end o f h e r c a r e e r . In a d d i t i o n to th e d i f f i c u l t i e s p r e s e n te d by a t h e a t r e form a t odds w ith h e r a c t i n g s t y l e , C o r n e l l 's problem s were f u r t h e r compounded by th e sim ple f a c t t h a t d u rin g th e 1 9 5 0 's t h e r e were no s u i t a b l e r o l e s f o r a woman h e r age. 241 C o r n e ll was now In h e r f i f t i e s and she co u ld no lo n g e r a p p e a r as E l i z a b e t h B a r r e t t , J u l i e t , and th e l i k e —r o l e s which c a l l e d f o r a much younger woman. No.new p la y s were b ein g w r i t t e n f o r h e r and fem ale p a r t s f o r a 5 0- y e a r - o l d r o m a n t i c - s t y l e a c t r e s s sim ply d id n o t e x i s t . By i 9 6 0 , C o r n e ll had run o u t o f money w ith which to i n v e s t i n new p r o d u c tio n s . Seven o f h e r l a s t e i g h t p la y s had been economic f a i l u r e s . In a d d i t i o n , G u th rie M cC lin tic p a sse d away i n 1 9 61. As a r e s u l t o f th e s e f a c t o r s , C o r n e ll f a i l e d to produce any more p la y s (h e r l a s t b e in g in i 9 6 0 ) and h e r p r o d u c tio n c o r p o r a t i o n was d is s o lv e d in 1 9 6 3 . C o n c lu sio n s F i n a n c i a l Success 1. The p la y s produced by K a th a rin e C o r n e ll g ro ss e d o v e r $ 1 2 , 0 0 0 , 0 0 0 , one o f th e h i g h e s t amounts made by any American p r o d u c e r. More th an $5*000,000 was r e c e iv e d d u r in g th e D e p re ssio n y e a r s o f th e 1 9 3 0 's , a tim e when t h e a t r i c a l a c t i v i t y was a t i t s n a d i r and most t h e a t r i c a l p r o d u c tio n s l o s t money. During th e 1 9 4 0 's , $ 4 ,5 0 0 ,0 0 0 was g ro s s e d even though th e c o u n try was l i v i n g th ro u g h th e a g o n ie s o f World War I I . C o r n e ll a c h ie v e d economic s u c c e s s b o th on Broadway and on th e ro a d . In f a c t , 58 p e r c e n t o f a l l g r o s s r e c e i p t s : 2 4 2 | i were from ro ad a u d ie n c e s . U n lik e most o t h e r ro a d p roducers,; C o r n e l l 's income was n o t c o n fin e d to a s i n g l e show ( u s u a l l y | a p o p u la r Broadway s u c c e s s ) ; b u t r a t h e r was d e r iv e d from ! i many p r o d u c tio n s o v e r a t h i r t y - y e a r p e r i o d . Road a u d ie n c e s | c o n t i n u a l l y flo c k e d to see C o r n e l l 's p r o d u c tio n s th ro u g h o u t! I h e r e n t i r e c a r e e r . Even in th e 1 9 5 0 's when C o r n e l l 's Broad-; way g r o s s e s were low, she c o n tin u e d to e n jo y f i n a n c i a l su e- ; c e s s on th e ro a d . i i 2. C o r n e l l 's p r o d u c tio n s in th e 1 9 5 0 's r e a l i z e d a n e t p r o f i t o f $ 5 7 6 , 2 3 5, and th ro u g h o u t th e m id -1 9 4 0 's she earn ed an a d d i t i o n a l $ 1 3 2, 1 9 5 . However, th e 1947-48 p r o d u c tio n o f Antony and C le o p a tr a l o s t $104,000, and t h e r e a f t e r a l l p r o d u c tio n s , save The C o n sta n t W ife , l o s t money. Thus, C o r n e l l 's f i n a n c i a l su c c e ss as an a c t r e s s - p r o d u c e r came to an end i n th e m id -1 9 4 0 's. On th e o t h e r hand, enough p r o f i t had been r e a l i z e d from th e e a r l i e r p ro d u c t i o n s to e n a b le C o r n e ll to s u s t a i n tw elv e y e a r s o f su b se - q u en t f i n a n c i a l l o s s e s . 3. C o r n e ll g ro s s e d more th an $ 4 ,0 0 0 ,0 0 0 from to p - q u a l i t y p la y s by S h a k e sp e a re , Shaw, and Chekhov. A lthough Antony and C le o p a tr a l o s t $104,000, n e v e r t h e l e s s i t was c o n s id e re d an o u ts ta n d in g a r t i s t i c ach ie v e m e n t. A lthough S hakespeare and Shaw had p r e v i o u s l y been p r e s e n t e d on Broadway, th e s e p r o d u c tio n s a t t r a c t e d o n ly a v ery sm all segment o f t h e a t r e g o e r s . C o r n e l l 's p r o d u c tio n s a t t r a c t e d 243 | a much l a r g e r a u d ien ce and In tro d u c e d a l a r g e p o r t i o n o f I i th e m asses to good t h e a t r e . j A r t i s t i c S uccess 1. The c r i t i c s ' rev iew s were u sed to m easure C or n e l l ' s a r t i s t i c ach iev em en ts as an a c t r e s s - p r o d u c e r . Of : th e 402 re v ie w s o f Broadway p r o d u c tio n s t h a t were e v a lu a te d , 208 (o r more th a n 50 p e r c e n t) were c o m p le te ly f a v o r a b le , i w h ile o n ly 49 (12 p e r c e n t) were e i t h e r u n f a v o ra b le o r mixed- t o - u n f a v o r a b l e . By an overwhelming m a j o r i t y , th e c r i t i c s p r a i s e d C o r n e ll b o th as an a c t r e s s and as a p ro d u c e r. E ig h te e n o f tw e n ty - fo u r p r o d u c tio n s ( tw o - t h i r d s ) were r a t e d good o r b e t t e r . Five o f th e s ix p r o d u c tio n s ran k ed l e s s th an good were produced a f t e r 1948. Thus, h e r a r t i s t i c d e c lin e ten d ed to be co n c o m ita n t w ith h e r f i n a n c i a l e c l i p s e . As C o r n e ll began to r e c e i v e l e s s f a v o ra b le r e v ie w s , h e r Broadway a u d ie n c e s began to grow s m a lle r . 2. Throughout h e r e n t i r e c a r e e r , C o r n e ll a t t a i n e d enormous a r t i s t i c su c c e ss on th e ro a d . She n e v e r p r e s e n te d s e c o n d - r a te t o u r in g companies b u t alw ays took h e r Broadway p r o d u c tio n s on t o u r w ith th e same c a s t t h a t a p p eared In New York o r w ith one t h a t was e q u a l In q u a l i t y and s t a t u r e to th e o r i g i n a l s t a r s . Both th e ro ad a u d ie n c e s and c r i t i c s resp o n d ed w ith d e v o tio n and a c c o la d e s to t h i s p r a c t i c e and even a t th e end o f h e r c a r e e r she c o n tin u e d to r e c e iv e f a v o r a b le re v ie w s on th e ro a d . I n f lu e n c e on American T h e a tre 1. K a th a rin e C o r n e l l 's g r e a t e s t I n f lu e n c e on th e American t h e a t r e was h e r lo n g e v ity and s u c c e ss a s a B ro ad - ! i i way and to u r in g p ro d u c e r. Her tw e n ty -n in e y e a r r e c o r d I s ! | a l l th e more rem ark ab le In view o f th e f a c t t h a t i t was a t t a i n e d d u rin g a p e r io d which in c lu d e d a d e p r e s s io n and a : w o rld w ar. C o r n e l l 's d u r a tio n as a p ro d u c e r h as o n ly been exceeded by th e S h u b ert b r o t h e r s and th e T h e a tre G u ild . 2. At a tim e when o t h e r p ro d u c e rs c o n s id e re d th e ro a d to be dead and t h e r e f o r e e l e c t e d n o t to t o u r , C o rn e ll was w i l l i n g to ta k e a chance and proved th e o t h e r s were wrong in t h e i r judgm ent. For n e a r l y two d ecad es p r i o r to ; C o r n e l l 's t o u r s in th e e a r l y 1 9 3 0 's , Broadway s t a r s such as John B arrym ore, Jane Cowl, and E t h e l Barrym ore c o n fin e d t h e i r t h e a t r i c a l a c t i v i t y to Broadway and a few m ajor E a s te r n c i t i e s . When C o r n e ll made h e r h i s t o r i c r e p e r t o r y t o u r i n 1 9 3 3- 3^* she p la y e d i n t h e a t r e b u i l d i n g s t h a t had been c lo s e d te n to tw enty y e a r s o r had been c o n v e rte d to m otion p i c t u r e h o u se s. Once she proved t h a t to u r in g co u ld be f i n a n c i a l l y p r o f i t a b l e , o t h e r box o f f i c e a t t r a c t i o n s such a s Helen Hayes, A lfre d Lunt, and Lynn Fontanne f o l lowed s u i t and d evoted whole seaso n s to t o u r i n g . By th e end o f th e 1 9 3 ° 's n e a r l y e v e ry m ajor s t a r had a p p eared on th e ro a d , a lth o u g h C o r n e ll c o n tin u e d to a p p e a r i n more p la y s and more c i t i e s th an any o t h e r s t a r . 3- C o r n e ll d id n o t a tte m p t to p a n d e r to th e t a s t e s o f th e ro ad a u d ie n c e s by p r e s e n t i n g o n ly p o p u la r p l a y s . I n s t e a d , she b ro u g h t to th e ro ad th e same p la y s she p r e s e n te d on Broadway and g e n e r a l l y w ith th e same c a s t s . Cor n e l l gave th e ro ad au d ie n c e q u a l i t y p r o d u c tio n s and n e v e r a tte m p te d to p r e s e n t a n y th in g l e s s . She d id much to e l e v a te th e a p p r e c i a t i o n o f t h e a t r e th ro u g h o u t th e U n ite d S t a t e s . 4. C o rn e ll en couraged o t h e r p ro d u c e rs to e s sa y S h ak esp earean p l a y s . For n e a r l y two d ecad es p r i o r to h e r 193^ p r e s e n t a t i o n o f Romeo and J u l i e t , S hakespearean p r o d u c tio n s had done p o o r ly a t th e box o f f i c e . The f i n a n c i a l s u c c e ss o f C o r n e l l 's p r o d u c tio n co n vinced o t h e r p ro d u c e rs t h a t S h ak esp eare co u ld do w e ll a t th e box o f f i c e . S e v e ra l new p r o d u c tio n s were t h e r e a f t e r mounted, in c lu d in g H am let, The Taming o f th e Shrew, R ic h a rd I I , and J u l i u s C a e s a r . The same k in d o f c h a in r e a c t i o n ensued when C o r n e ll s u c c e s s f u l l y produced The Three S i s t e r s . W ith in a few y e a r s , o t h e r p ro d u c e rs a tte m p te d a d d i t i o n a l Chekhovian and Rus s ia n p l a y s . 5. C o r n e ll s e t box o f f i c e r e c o r d s f o r s e v e r a l p la y s by Shaw, a s w e ll as h e r p r o d u c tio n s o f Antony and C le o p a tr a and The Three S i s t e r s . She exposed la r g e s e g m ents o f th e American t h e a t r e a u d ie n c e to q u a l i t y t h e a t r e . 6. Many s t a r s a p p eared in C o r n e ll p r o d u c tio n s d u rin g th e e a r l y s ta g e s o f t h e i r c a r e e r s , in c lu d in g Marlon Brando, Orson W e lle s, K irk D ouglas, Tyrone Power, Tony R a n d a ll, and C h a rlto n H eston. She a ls o in tr o d u c e d B ria n A herne, M aurice Evans, and Laurence O l i v i e r to th e American s ta g e . Many o f th e s e a c t o r s l a t e r acknowledged th e d e b t th e y owed to C o r n e ll. They were exposed to th e d i s c i p l i n e o f a p r o f e s s i o n a l company which r e s p e c t e d each member o f th e c a s t no m a tte r how sm a ll h i s r o l e . C o rn e ll t r e a t e d each member o f h e r company w ith r e s p e c t and each in tu r n gave h i s b e s t . 7. C o r n e l l 's s t y l e o f a c t i n g was o f th e ro m a n tic s c h o o l which em phasized b e a u t i f u l s ta g e p i c t u r e s and e x c e l l e n t d i c t i o n . I t was a s t y l e t h a t had i t s r o o t s in th e n i n e t e e n t h c e n tu ry and was commonly u sed in t r a g i c and c l a s s i c a l p l a y s . The a u d ie n c e s o f th e D e p re ssio n y e a r s were e a g e r to escap e from th e s o c i a l i l l s o f t h e i r tim es and flo c k e d to C o r n e l l 's p r o d u c t io n s . As s o c i a l c o n d itio n s im proved in th e U n ited S t a t e s f o llo w in g World War I I , th e t a s t e s o f a u d ie n c e s changed. Now th e y were e a g e r to w atch th e p s y c h o lo g i c a l, r e a l i s t i c p la y s o f T ennessee W illiam s and A r th u r M i l l e r , and th e s o - c a l l e d Method s t y l e o f a c t i n g esp o u sed by Lee S tr a s b e r g . K a th a rin e C o r n e ll was n o t a v e r s a t i l e enough a c t r e s s to change h e r s t y l e o f a c t i n g to conform to th e changing tim e s . Her i n a b i l i t y to a d a p t to th e new forms o f r e a l i s m caused h e r Broadway a u d ie n c e s to d e c l i n e s u b s t a n t i a l l y . A lthough she c o n tin u e d to p r e s e n t ........................................................................... """ 2 4 7 | : i th e b e s t p la y s a v a i l a b l e to h e r , C o r n e l l 's a u d ie n c e s , p a r - I t i c u l a r l y i n New York, dw indled to th e p o i n t where h e r j i (Broadway p r o d u c tio n s l a s t e d o n ly f i v e o r s ix weeks. C or n e l l ' s road a u d ie n c e s , who took much lo n g e r to a c c e p t t h i s new form o f t h e a t r e , rem ained l o y a l to h e r to th e v e ry end ! o f h e r c a r e e r . i Recommendations j A g r e a t d e a l o f m a t e r i a l co n c e rn in g C o r n e l l 's c a r e e r b o th as an a c t r e s s and a s an a c t r e s s - p r o d u c e r rem ain s to be exam ined. C o r n e l l 's a c t i n g r o l e s and a c t i n g s t y l e sh o u ld be s tu d ie d in d e p th . Comparisons o f h e r t r a g i c v e r s u s h e r comic r o l e s sh o u ld be made and d is c u s s e d . The re v ie w s o f C o r n e l l 's p r o d u c tio n s on to u r co u ld be compared w ith th e New York re v ie w s. A nother stu d y co u ld be done o f The B a r r e t t s o f Wim- p o le S t r e e t as a p la y and a s produced by C o r n e ll. The o t h e r p r o d u c tio n s o f th e p la y in London, Canada, and Aus- t r a l i a co u ld be an a ly z e d as w e l l . C o r n e l l 's t o u r s co u ld be compared to th o se o f o t h e r t o u r in g companies o f h e r tim e , p a r t i c u l a r l y to th o se o f L e G a llie n n e , Hampden, and th e T h e a tre G u ild . I B I B L I O G R A P H Y I 248 BIBLIOGRAPHY Books A herne, B r ia n . A P ro p e r Jo b . B oston: Houghton M i f f l i n , 1969. The American T h e a tre : A Sum o f I t s P a r t s . New York: Samuel F ren ch , 1971. A nderson, John. The American T h e a t r e . New York: D ia l P r e s s , 1938. ;__________ . Box O f f i c e . New York: Jo n a th a n Cape and H a rris o n Sm ith, 1929* lA tkinson, B rooks. Broadw ay. New York: M acm illan, 1970. Broadway Scrapbook. New York: T h e a tre A rts Books, 19^ 7 . Baumol, W illia m J . , and Bowen, W illiam G. P erform ing A rts --T h e Economic Dilemma. New York: T w en tie th Cen- t u r y Fund, 1 9 8 6'. B e n tle y , E r i c . What I s T h e a tre ? and The D ram atic E v e n t. 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Clurman, H a ro ld . The F e rv e n t Y e a r s . New York: H i l l and Wang, 1957. C ole, Toby, and Chinoy, H elen K ric h , ed s. A c to rs on A c tin g . New York: Crown P u b l i s h e r s , 1964. C o r n e ll, K a th a r in e . I Wanted To Be an A c t r e s s . [As t o l d t o Ruth Woodbury S ed g w ick .] New York: Random House, 1941. D avis, F i t z r o y . Q u ic k s ilv e r . New York: H a r c o u rt, B race, 1942. Donaldson, F ra n c e s . The A c to r-M an ag ers. Chicago: Henry Regnery, 1920. D uerr, Edwin. The L ength and Depth o f A c tin g . New York: H o lt, R in e h a r t & W inston, 1962. E u s t i s , Morton. P la y e rs a t Work. New York: T h e a tre A rts Books, 1937. F a r b e r, Donald C. From O ption to O pening. New York: Drama Book Shop P u b l i c a t i o n s , 1965. F r e e d le y , George, and Reeves, John A. A H i s to r y o f th e T h e a t r e . New York: Crown P u b lish e rs^ 1968. Funke, Lewis, and Booth, John E ., e d s. " K a th a rin e C o r n e l l ." A c to rs T alk About A c tin g . New York: Avon Books, 1961. Pp. 121-54. G e is in g e r , M arion. P la y s , P la y e r s & P la y w r ig h ts . New York: H a rt P u b lis h in g , 1971. G illm o re , M argalo. Four F l i g h t s Up. B osto n : Houghton M i f f l i n , 1964. G illm o re , M argalo, and C o llin g e , P a t r i c i a . The B.O.W .S. New York: H a rc o u rt, B race, 1945- Gordon, R uth. M yself Among O t h e r s . New York: Atheneum Books, 1971- G o re lic k , M ordecai. New T h e a tre s f o r O ld . New York: E. P. D u tto n , 1 9 6 2 . Green, A bel, and L a u rie , J o e , J r . Show B iz from Vaude to V id e o . New York: Henry H o lt, 195.1. H a r t n o l l , P h y l l i s , ed. The C oncise Oxford Companion to th e T h e a t r e . London: Oxford U n i v e r s i t y P r e s s , 1972. __________, ed. The Oxford Companion to th e T h e a t r e . 3rd ed. London! Oxford U n i v e r s i t y P r e s s , 1 9 6 7 • H e w itt, A lan. 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S ig h ts and S p e c t a c l e s , 1 937-1956. New York: F a r r a r , S t r a u s s and Cudahy, 195&'* M c C lin tic , G u th r ie . " D ire c tin g Old and New P o e tic Drama." P roducing th e P l a y . E d ite d by John G a ssn e r. New York: H o lt, R in e h a r t & W inston, 1941. Pp. 4 32-35. __________. Me and K i t . B o sto n : L i t t l e , Brown, 1955- Macgowan, K enneth, and M e ln itz , W illia m . The L iv in g S t a g e . Englewood C l i f f s , N . J . : P r e n t i c e - H a l l , 1955- M alvern, G ladys. C u rta in Going Up. New York: J u l i a n M essner, 1943. M antle, B urns, ed. The B e s t P la y s o f 1921-22 th ro u g h 1 9 4 6 -4 7 . New York: Dodd, Mead, 1922-47- Meserve, W a lte r. An O u tlin e H is to r y o f American Drama. Totowa, N . J . : L i t t l e f i e l d , Adams, 19&5• M ie lz in e r , J o . D esig n in g f o r th e T h e a t r e . New York: B ram hall House, 19&5- Moody, R ic h a rd . America Takes th e S t a g e . Bloom ington: In d ia n a U n i v e r s i t y P r e s s , 1955- Moore, Thomas G ale. The Economics o f th e American T h e a t e r . Durham, N .C .: Duke U n i v e r s i t y P r e s s , 19&8. Morehouse, Ward. M atinee Tomorrow. New York: McGraw- H i l l , 1949. M o rris, Lloyd. C u r ta in Tim e. New York: Random House, 1953- Moses, M ontrose J . , and Brown, John Mason, e d s . The Amer ic a n T h e a te r As Seen by I t s C r i t i c s , 1752-1934*1 New York: W. W. N orton, 1934. N athan, George J e a n . E n c y c lo p e d ia o f th e T h e a t r e . New York: A lf re d A. Knopf, 1940. The E n te r ta in m e n t o f a N a tio n . New York: A lf re d A. Knopf, 1942. The Morning A f t e r th e F i r s t N ig h t. New York: A lf re d A. Knopf, 1938* __________ . The T h e a tre Book o f th e Y ear, 1942-43 th ro u g h 1949-50~ New York: A lf re d A. Knopf, 1943-50. 253 Nathan^ George J e a n . The T h e a tre in th e F i f t i e s . New York: A lfre d A. Knopf, 1953- __________. The T h e a tre o f th e Moment. R u th e r f o rd , N . J . : F a r le ig h D ickinson U n i v e r s i t y P r e s s , 1936. Oppenheimer, George, ed. The P a s s io n a te P la y g o e r . New York: V iking P r e s s , 1 9 6 3 • P oggl, J a c k . T h e a te r In A m erica. I t h a c a , N .Y .: C o rn e ll U n i v e r s i t y P r e s s , 1 9 6 8 . Rathbone, B a s i l . In and Out o f C h a r a c t e r . Garden C ity , N .Y .: Doubleday^ 1 9 6 2 . Rlgdon, W a lte r, ed. The B io g r a p h ic a l E n c y c lo p e d ia and Who's Who o f th e American T h e a t e r . New York: James H.' Heineman, 1966. S o b el, B ern ard , ed. The New T h e a tre Handbook. New York: Crown P u b l i s h e r s , 1959- S o th e rn , Edward Hugh. J u l i a M arlow e's S t o r y . New York: H o lt, R in e h a r t & W inston, 1954• S tag g , J e r r y . The B r o th e r s S h u b e r t . New York: B a l l a n t i n e Books, 1 9 6 8 . Taubman, Howard. The Making o f th e American T h e a t r e . New York: Coward-McCann, 19&5• W ilson, G a r ff . A H is to r y o f American A c t i n g . Bloom ington: In d ia n a U n i v e r s i t y P r e s s , 1956. Young, S ta r k . Im m ortal Shadows. New York: H i l l and Wang, 1948. Y urka, B lan ch e . Bohemian G i r l . A thens: Ohio U n i v e r s i t y P r e s s , 1970. P e r io d ic a ls Adams, M ildred. "Katharine C ornell P r e se n ts." D e lin e a to r , February, 1933, PP- 34, 64, 6 6 . Am erica. March 28, 1931; January 28, 1933; Ju ly 2 9 , 1933; March 21, 1936; March 28, 1936; January 2 3 , 1937; March 13, 1937; May 1 3 , 1939; March 2 9 , 1941; December 1 3, 1947; December 24, 1949; January 9, 1954; March 1 9 , 1955; May 17, 1958; A p ril 1 6, i 9 6 0 . American Mercury. November* 1935* PP- 22-23* 164-67. A rts and D e c o r a t i o n . March, 1931* P- 54; A p ril* 1931* P- 46; February* T933* P* 56; A p ril* 1933* PP- 4 8-49. B alio* Tlno* and McLaughlin* R o b ert G. "The Economic Dilemma o f th e Broadway T h e a tre : A Cost S tu d y ." Edu c a t i o n a l T h e a tre J o u r n a l * XXI (March, 1 9 6 9 )* 81-100. Barnes* Howard. "The P ro o f o f th e P lay I s in I t s D i r e c t i o n . " T h e a tre M agazine* December* 1929* PP- 20* 74. B erkeley* P h i l i p . "Watchman* What o f th e Road?" T h e a tre A r t s , October* 1935* PP. 7 8 0 - 8 5 . Bernheim* A lf re d L. "T h e a tre : A D ep ressed I n d u s t r y . " New R e p u b lic , F eb ru a ry 1 3* 1929* PP- 341-43. B i l l b o a r d . F eb ru a ry 21* 1931; May 21, 1932; March 4* 1933; December 2* 1933; A p r il 24* 1934; J a n u a ry 5* 1935; March 9* 1935; A p r il 20* 1935; March 21* 1936; December 5* 1936; J a n u a ry 2* 1937; March 27* 1937; November 12* 1938; A p r i l 15* 1939; A p r i l 2 9 * 1939; J u l y 22* 1 9 3 9 ; J u l y 2 9 * 1939; June 22* 1940; March 22* 1941; O ctober 11* 1941; J a n u a ry 2* 1943; December 11* 1943; A p r i l 7* 1945; F eb ru ary 1 6* 1946; March 2* 1946; A p r i l 1 3* 1946; May 3* 1947; J a n u a ry 3* 1948; O ctober 2 9 * 1949; Decem b e r 3* 1949; December 16* 1950; December 22* 1951- Bookman. A pril* 1931* PP* 182-83. "The Broadway A n g el." Newsweek* O ctober 17* 1955* PP. 91- 96. "Broadw ay's W orst Season Y e t ." B u s in e s s Week* J u ly 4* 1953 PP. 32-33. Canadian Forum. May* 1932* p. 316; January* 1935* p . 153* C a th o lic W o rld . A p ril* 1931* PP* 79-80; February* 1933* pp. 5 8 6- 8 7 ; A p ril* 1933* P. 77; February* 1935* p. 597; May* 1935* PP. 216-18; A p ril* 1936* pp. 8 5 - 8 6 ; F e b ru a ry 1937* pp. 598-99; May* 1937* pp. 211-13; June* 1939* pp. 344-45; May* 1941* p . 216; June* 1942* pp. 338-40; February* 1943* PP- 597-98; January* 1944* p . 3 9 3 ; A pril* 1946* pp. 71-72; May* 1946* p. 1 6 7 ; January* 1948* pp. 357-58; January* 1950* p. 392; F e b ru a ry , 1950 p. 307; February* 1952, p . 392; February* 1954* pp. 386-87; A p ril* 1955* p. 6 5 ; July* 1958* p. 3 1 0 . 255 C h u r c h i l l , A. "Behind th e C u r t a i n ." S a tu rd a y Review o f L i t e r a t u r e , O ctober 22, 1955* P* 21. Commonweal. February 25, 1931* P» 469; January 11, 1933* p . 301j March 1 5 , 1933* p. 553; January 4, 1935* p. 2 9 1j A p ril 26, 1935* P. 740; March 2 7 , 1 9 3 6, p. 6 0 9 * January 8 , 1937* p. 304; March 26, 1937* p. 612; May 5* 1939* P. 48; March 28, 1941; May 5* 1941, pp. 82- 84; May 2 9 , 1942, pp. 135-36; January 1 5 , 1943* p. 3 2 6 ; December 17* 1943* p. 2 3I ; A p ril 1 3 * 1945* p. 648; March 8 , 1946, pp. 5 2 5 - 2 6 ; December 12, 1947* p. 226; December 1 6, 1949* p. 2 9 3 ; December 28, 1951, p. 299; January 22, 1954, p. 404; A p ril 22, 1 9 5 5, p. 78; May 23* 1958, pp. 205-206; A p ril 15* I960, p. 6 5 . C o r n e ll, K a th a rin e . "One f o r th e Road." T h e a tre A r ts , May, 1954, pp. 27-29, 90. C o sm o p o lita n . Ju n e , 1945* PP. 8 , 12-13, 142. C ric h to n , K yle. "Who Says th e Road Show I s Dead?" S c r i b n e r s , J u ly , 1927* pp. 4 9-54. Cue M agazine. A p r il 7* 1945J November 8 , 1947j March 10, 1955. Drama. A p r i l , 1931* p. 4. E a to n , W a lte r P r ic h a r d . "On th e One-Night S ta n d ." Amer ic a n M agazine, Ju n e, 1911* PP. 246-56. __________. "W hat's th e M a tte r w ith th e Road?" American M agazine, J u ly , 1912, pp. 359-68. E u s t i s , Morton. "The D i r e c t o r Takes Command." T h e a tre A r t s , F e b ru a ry , 1936, pp. 114-20. "New Hope f o r th e Road." T h e a tre A r t s , February, 193^* PP. 943-51. Forum. Ju n e, 1937* p. 354; A p r i l , 1946, pp. 752-53; F e b ru a ry , 1948, pp. 88-89; J a n u a ry , 1950, p. 2 7 . Golden, John. "P roducer P ro b lem s." Commonweal, December 1 2, 1941, pp. 193-95. G r i f f i n , A lic e . "One f o r th e Road." T h e a tre A r ts , May, 1954, pp. 27-29, 90. 256 H am ilton, Nancy. "Ode to I n t e l l e c t u a l A c tin g ." S ta g e , F e b ru a ry , 1933* p . 31. H a r p e r s . O ctober, 1945; March, 1948. " H e a d lin e r: K a th a rin e C o r n e l l ." Newsweek, December 15, 1934, p p . 34-35. "How A c to r s , A uthors and P ro d u c e rs D iv id e th e P e o p le ’s Money." American Magazine, November, 1913* PP. 47-52, 1 0 2- 1 0 6 . Kaufman, W olfe. "R oad's B ig g e s t Comeback, H in te r la n d L e g it B e s t Since 1 9 2 9 ." V a r i e t y , A p r il 28, 1937* P. 6 5 . K e rr, W a lte r. " K illin g Off th e T h e a t e r ." H a rp e rs, A p r il, 1955* PP. 55-62. K ru tch , Jo sep h Wood. "The C r i s i s in th e T h e a t e r ." N a tio n , Septem ber 7* 1932, pp. 211-12. Langner, Lawrence. "The R o a d 's th e T h in g ." V a r i e t y , J a n u a ry 7* 1942, p. 1 8 9 . "A L e t t e r from G u th rie M c C lin tic ." T h e a tre A r ts , A p r il, 1943* PP. 212-15. L i f e . F e b ru a ry 27, 1931* p. 18; May 5, 1941, pp. 83-84; J a n u a ry 4, 1943* pp. 33-35; A p r il 1 6 , 1945* PP. 105- 108; August 20, 1945* PP. 6 5 - 6 6 ; March 18, 1946, pp. 73 -7 5 ; December 1, 1947* PP. 76-78; Ja n u a ry 18, 1954, PP. 75-77; A p r il 11, 1955* pp. 105-106; December 21, 1959* P. 61. L i t e r a r y D i g e s t . March 7* 1931* PP. 18-19; September 12, 1931* P. 8 ; J a n u a ry 7 . 1933* p. 15* March 11, 1933* pp. 20-21; F eb ru ary 24, 1934, p . 24; May 21, 1934, p. 26; J a n u a ry 5, 1935* p . 19; Septem ber 21, 1935* P- 20; J a n u a ry 11, 1936, p. 19; F e b ru a ry 1 5 , 1936, p. 19; March 21, 1 9 3 6, p . 19; March 20, 1937* p. 28. Look. December 2 3, 1947* PP. 6 5 - 7 1 . M c C lin tic , G u th rie . " F r y 's F i n e s t : The Dark I s L ig h t Enough." T h e a tre A r t s , March, 1955* pp. 2 6 - 2 7 . McDermott, W illiam F. " C o r n e l l 's J u l i e t . " S ta g e , Ja n u a ry , 1935* PP. 32-33. 257 Macgowan, Kenneth. "The C r is is on Broadway." H arpers, December, 1928, pp. 112-18. Mann, Arthur. "The American Theatre Goes Broke." Amer ican Mercury, A p r il, 1933* PP* 417-23. Moore, Thomas G ale. "Broadway Theatre Myths." Tulane Drama Review, P a ll, 1 9 6 5 * PP. 95-109. Nathan, George Jean. "The Road." American Mercury, July 19, 1927, PP. 376-78. N a tio n . February 2 5, 1931j PP. 224-25; January 11, 1933* pp. 47-48; March 15, 1933* P* 299; January 9* 1935* p. 5 6 ; A p ril 24, 1935* PP. 490-91; March 2 5 , 1 9 3 6, p. 392; January 9* 1937* pp. 53-54; March 2 7 , 1937* pp. 361-62; A p ril 29, 1939* PP. 509-10; March 22, 1941, p. 331; January 2, 1943* p . 31; December 18, 1943* p. 740; March 2, 1946, p. 2 6 9 ; A p ril 20, 1946, p. 487; December 1 3, 194-7* PP- 654-55; December 3* 1949* p. 555; Ja n u a ry 16, 1954, p. 57; March 12, 1955* p . 226; May 17* 1958, p. 456; A p r il 1 6, i 9 6 0 , p. 343. New M asses. January 8 , 1935; January 5* 1937; A p ril 1, 1941; December 21, 1943. New R epu blic. February 2 5, 1931; January 18, 1933* PP- 268-69; March 8 , 1933* p . 101; J a n u a ry 9* 1935* p. 316; A p r il 24, 1935* P- 316; J a n u a ry 15* 1936. p. 286; March 25* 1936* p . 198; F e b ru a ry 3, 1937* PP. 411-12; A p r il 21, 1937* P. 322; May 3 * 1939* p . 378; March 24, 1941, p. 404; December 28, 1942, p. 857; A p r il 9* 1945* p. 477; March 4, 1946, p. 3 1 7 ; December 1 5 , 1947* p. 34; December 19* 1949* p. 20; J a n u a ry 7* 1952, p . 22; J a n u a r y 4, 1954, p . 2 1 . Newsweek. February 2 5 , 1933* P- 26; December 15* 1934* p. 15; A p ril 20, 1935* P. 17; December 28, 1935* p. 25; March 21, 1936, p. 22; January 2, 1937* p. 22; March 20, 1937* P- 22; May 1, 1939* p. 45; March 24, 1941, p. 70; May 2 5 , 1942, pp. 60-61; January 4, 1943, p. 64; December 1 3 , 1943* p. 90; A p ril 9* 1945* p. 87; March 4, 1946, p. 80; A p ril 15* 1946, p. 84; December 8 , 1947* P. 76; J a n u a ry 19, 1948, p . 82; December 5, 1949, p. 84; December 17* 1951* p. 6 9 ; December 28, 1953* P* 47; March 7, 1955* p . 85; May 12, 1958, p . 94; March 2 8 , i 9 6 0 , p. 6 2 . 258 New Y o r k e r . June 7, 1930, pp. 26-28; F eb ru a ry 14, 1931, pp. 23-25; F e b ru a ry 21, 1931, PP* 25-26; December 26, 1931, PP. 24-26; June 25, 1932, pp. 24-25; December 31, 1932, pp. 22-24; March 4, 1933, p . 26; December 29, 1934, p . 28; Ja n u a ry 5, 1935, P. 30; A p r i l 20, 1935, P. 28; March 21, 1936, p . 26; May 2, 1936, p. 4 l; J a n u a ry 2, 1937, p. 26; Ja n u a ry 2 3 , 1937, p. 28; March 20, 1937, P. 36; A p r i l 29, 1939, P- 34; March 22, 1941, p . 37; May 3 , 1941, p . 12: May 9, 1942, p . 34; Ja n u a ry 2, 1943, P. 32; May 3 , 1943, p. 12; December 11, 1943, pp. 48-50; A p r i l 7, 1945, PP- 40-42; A p r il 1 3 , 1946, p. 57; December 6 , 1947, p. 62; O ctober 2 3 , 1§48, p. 16; December 3, 1949, P- 6 9 ; December 15, 1951, P- 6 6 ; December 2 6, 1953, PP. 44-4-5; May 29, 1954, pp. 5 8 - 6 0 ; March 5 , 1955, P- 6 3 ; May 10, 1958, pp. 74-76; March 2 6 , i 9 6 0 , pp. 8 0 - 8 1 . N orth American R eview . Ju n e, 1939, PP- 3 6 7- 6 8 . O utlook and In d e p e n d e n t. F e b ru a ry 2 5 , 1931, P. 311; A p r i l, 1933, P. 46. P r in g l e , Henry, and P r in g l e , H elen. "Why Don’t They F ig h t? " L a d ie s Home J o u r n a l , J u ly , 1936, p . 9. P u la s k i, J a c k . "The Road, Or What Road?" V a r i e t y , J a n u a r y 2 , 1934, p. 117. __________. "Road’s Top G ro s s e rs in th e P a s t 10 Y e a r s ." V a r i e t y , Ja n u a ry 7, 1942, p . 1 8 7 . "R oad's Top L e g it G ro s s e s ." V a r i e t y , A p r i l 28, 1937. S a tu rd a y Review o f L i t e r a t u r e . A p r i l 11, 1931, PP. 726- 27; Ja n u a ry l 4 , 1933, p . 375; J a n u a ry 3 0 , 1937, p . 19; May 5, 1939; A p r i l 7, 1945, PP. 20-22; March 9, 1946, pp. 24-26; March 16, 1946, p . 3 8 ; May 4, 1946, pp. 28- 30; December 20, 1947, PP- 22-25; December 17, 1949, pp. 24-25; December 2 9 , 1951, pp. 18-19; J a n u a ry 2, 1954, pp. 55-56; A p r il 3 , 1954, p. 39; March 12, 1955, p. 26; May 17, 1958, p . 29; A p r il 2, i 9 6 0 , p . 33- Saxon, 0. Glenn. "The P l i g h t o f th e L iv in g T h e a tre in the U n ite d S t a t e s : An Economic S tu d y ." T h e a tre A r t s , A p r i l, 1954, pp. 6 6 - 8 6 . S c h o l a s t i c . F e b ru a ry 1 3 , 1937, p . 19; December 8 , 1947, pp. 1 5- 1 8 . Scribners. March, 1937, PP- 66-70. 259 "The Show Business,, Too, Becomes B a n k e rs ’ B u s i n e s s ." B u s i n e s s Week, November 11, 1931, PP- 28-29. The S t a g e . J a n u a ry , 1933, P- 6; F e b ru ary , 1933, PP- 7-8 ; March, 1933, pp. 7, 12-13; Ja n u a ry , 1 9 3 4, p . 9; A p r i l, 1934, p . 2 3 ; May, 1934, pp. 11-12; Septem ber, 1934, p. 31; J a n u a ry , 1935, pp. 32-33; A p r i l, 1 9 3 6, pp. 30-33; May, 1 9 3 6 , pp. 26, 28; A p r i l , 1937, p. 78; A p r i l 1, 1939, P. 22; A p r il 15, 1939, PP- 18-21. T h e a t r e . March, 1931, PP- 19-20; A p r i l, 1931, PP. 24, 3 3 - 35- Theatre A r t s . February, 1931, p. 123; A p r il, 1931, PP- 273-77; May, 1931, p . 383; A p ril, 1932, p. 266; March, 1933, PP. 179-80; May, 1933, p. 342; October, 1933, PP. 755-56; November, 1933, PP. 827-29; January, 1934, p. 8 ; August, 1934, p. 576; February, 1935, PP- 92-94, 101-102; A p r il, 1935, p. 2 5 8 ; June, 1935, pp. 400, 403; February, 1936, p. 114; A p r il, 1936; May, 1936, pp. 334-35, 337; June, 1936, pp. 463-64; January, 1937, pp. 36-51; F e b ru a ry , 1937, PP- 89-95; May, 1937, pp. 340, 344, 347; Ju n e, 1939, pp. 395-96; May, 1941, pp. 3 2 7- 29, 333; F e b ru a ry , 1942, p. 103; J u ly , 1942, pp. 421- 22; F e b ru a ry , 1943, PP- 103-104; A p r i l , 1943, pp. 212- 15; F e b ru a ry , 1944, p. 74; A p r i l, 1946, pp. 1 9 6- 9 8 ; November, 1947, P- 2 6 ; J a n u a ry , 1948, pp. 12, 15; F e b ru a ry , 1950, p . 8 ; March, 1954, p. 11; May, 1954, pp. 26-29; F e b ru a ry , 1955, pp. 72-75; March, 1955, PP. 26, 89; May, 1955, p . 17; Ju n e, 1 9 5 8, pp. 9-11. T h e a tre W orld. May, 1941, pp. 102-103; May, 1944, p. 18; Ju n e , 1945, p . 29; A p r i l, 1946, pp. 2 3, 28; May, 1946, p. 27; J a n u a ry , 1948, pp. 31-32. Time. February 2 3 , 1931, P* 24; December 2 6 , 1932, pp. 15- 1 6 ; February 27, 1933, p. 18; December 3 1 , 1934, p. 24; A p ril 22, 1935, P. 26; December 30, 1935, P- 22; May 23, 1936, p. 55; January 4, 1937, pp. 2 9 - 3O; A p ril 3, 1939, P. 23; May 1, 1939, p . 6 l ; March 24, 1941. p. 43; May 11, 1942, p. 40; December 21, 1942, pp. 45-46, 48; December 1 3, 1943, P- 44; A p ril 9, 1945, p. 8 8 ; March 4, 1946, p. 54; A p ril 1 5, 1946, p. 9 1 ; December 8 , 1947, p. 76; December 5, 1949, P- 6 6 ; December 17, 1951, p. 7 6 ; August 3 , 1953, P. 59; December 28, 1953, P- 34; March 7, 1955, p . 92; May 12, 1958, p. 6 6 ; A p ril 2 7 , 1959, p. 53; October 1 9 , 1959, P- 70; March 28, i 9 6 0 , p. 58. Town and Country. March 1, 1931, p. 19- 260 "Two by Two A cross th e U .S ." L i f e , December 21, 1959* P» 6 l . "Two Hundred Y ears o f U.S. T h e a t e r ." L i f e , November 19* 1951* PP. 110-20. V an ity F a ir . May, 1933* PP. 31-32,* August, 1933* pp. 32- 33* 49; October, 1934, PP. 45-46; March, 1935* p. 48. V a r i e t y . (A ll i s s u e s betw een J a n u a ry , 1931 and Ju n e, ' 1 9 8 0.) Vernon, G r e n v i l le . "The Im portance o f th e R oad." L i t e r a r y D ig e s t, J u ly 21, 1934* p. 26. V ogue. A p r i l 1, 1931* p. 77; F e b ru a ry 15, 1933* p . 72; A p r i l 15* 1933* PP- 61, 8 6 ; F e b ru a ry 1, 1937* p . 54; J a n u a ry 15* 194-3* P- 44; November 15* 1947* p. 113; O ctober 15* 1954, p. 95. Woman1s J o u r n a l . March, 1931* pp. 12-13. W oolf, S. J . "Again That C o r n e ll-M c C lin tic Team." New York Times M agazine, F eb ru a ry 21, 1943* P- 17. W o o llc o tt, A lex an d er. "Miss K i t t y Takes to th e Road." S a tu rd a y Evening P o s t, August 18, 1934, pp. 14-15, 70- 72. Newspaper A r t ic le s B la c k f r ia r s . October 18, 1930. Boston Evening T r a n sc r ip t. September 6 , 1930. Boston G lobe. February 5* 1946; February 10, 1946; Febru- ary 24, 1946; May 6 , 1952; May 11, 1952; A p ril 26, 1955- Boston H erald. March 2 5 , 1945; February 5* 1946; February 10, 1946; May 6 , 1952; A p ril 2 6 , 1955- Brooklyn C it iz e n . March 27* 1945* Brooklyn D a ily E a g le . February 10, 1931; February 15* 1931; Ju ly 19* 1931; December 21, 1932; February 21, 1933; December 21, 1934; A p ril 9* 1935; March 10, 1936; December 24, 1 9 3 6; March 11, 1937; A p ril 18, 1939; March 27* 1945; December 10, 1951- 261 B ro o k ly n Tim es U n io n . December 24, 1935- B u f f a lo C o u r ie r - E x p r e s s . O c to b e r 9, 1947; December 7* 1950; O c to b e r 1 6 / 1959• ChicaRo D a ily News. May 18, 1943• ChicaRo D a ily T r i b u n e . May 18, 1943; May 23, 1943; Novem- b e r 16, 1947; F e b ru a ry 12, 1950; December 25, 1951* ChicaRO J o u r n a l o f Commerce. May 18, 1943• ChicaRo S u n . J a n u a ry 5* 1942. C h r i s t i a n S c ie n c e M o n ito r . March 9* 1932; O c to b e r 3* 1934; D ecem ber 22, 1934; M arch 27, 1945; F e b ru a ry 5* 1946; May 6 , 19 5 2 j A p r i l 14, 1955- C i n c i n n a t i P o s t . J a n u a ry 22, 1946. C i n c i n n a t i T i m e s - S t a r . J a n u a ry 22, 1946; O c to b e r 28, 1947* C le v e la n d News. O c to b e r 14, 1947; December 19, 1950. C le v e la n d P l a i n D e a l e r . May 4 , 1943; May 9 , 1943; O cto b er lk~, 1947; November 1 3 , 1949; December 17* 1950. C le v e la n d P r e s s . May 4 , 1943; May 5* 1943; O c to b e r 14, 1947; D ecem ber 19* 1950. The D a ily W o rk e r. F e b ru a ry 20, 1939* Des M oines R e R i s t e r . A p r i l 15* 1947. Des M oines T r i b u n e . A p r i l 15* 1947- D e t r o i t F re e P r e s s . F e b r u a ry 18, 1941; A p r i l 8 , 1947; D ecem ber 12, 1950. D e t r o i t News. F e b ru a ry 18, 1941; December 12, 1950. D e t r o i t T im e s. F e b ru a ry 18, 1941; A p r i l 8 , 1947; December 12, 1950; J a n u a ry 26, i 9 6 0 . G re e n sb o ro R e c o rd . A p r i l 6 , 1959* Kronenberger, Louis. New York PM, April 28, 1942. 262 London D a ily T elegrap h and P o s t . May 14, 1942. London News C h r o n ic le . August 21, 1930. London T im e s. A ugust 21, 1930. Los A n g eles T im e s. F e b ru a ry 15, 1931] Ju n e 1, 1932; J a n u - a r y 2 3 , 1934j J a n u a ry 26, 1934] J a n u a ry 30, 1934. Miami H e r a l d . M arch 17, 1959] M arch 25, 1959- M o n tre a l S t a r . F e b ru a ry 2, i 9 6 0 . New Y ork A m e ric a n . F e b ru a ry 10, 1931] December 21, 1932] F e b ru a ry 21, 1933] December 21, 1934] F e b ru a ry 2 6 , 1935] A p r i l 9, 1935] December 24, 1935] March 10, 1936] D ecem ber 24, 1936] March 11, 1937. New Y ork D a lly M i r r o r . December 24, 1936] M arch 11, 1937] A p r i l 18, 1939] March 2 7 , 1945] November 2 7 , 1947] November 2 3 , 1§49] December 10, 1951] December 17, 1953] F e b ru a ry 24, 1955; May 1, 1958] March 18, i 9 6 0 . New Y ork D a lly News. F e b ru a ry 20, 1933] F e b ru a ry 22, 1933] D ecem ber 21, 1934] F e b ru a ry 26, 1935] A p r i l 9, 1935] M arch 10, 1936] December 24, 1936] M arch 11, 1937] A p r i l 18, 1939] M arch 12, 1941] A p r i l 28, 1942; Decem b e r 22, 1942; November 3 0 , 1943] M arch 27, 1945] F e b ru a r y 19, 1946; A p r i l 4 , 1946; November 27, 1947] Novem b e r 2 3 , 1949] D ecem ber 10, 1951] D ecem ber 17, 1953] F e b ru a ry 24, 1955] May 1, 1958] March 18, i 9 6 0 . New York E v en in g G r a p h ic . F e b ru a ry 10, 1931. New Y ork E v en in g J o u r n a l . December 24, 1936; March 11, 1937. New Y ork E v ening P o s t . F e b ru a ry 10, 1931] F e b ru a ry 27, 1931] May 9 , 1931] A ugust 1, 1931] November 3 0 , 1932; D ecem ber 17, 1932; December 21, 1932; F e b ru a ry 21, 1933] F e b ru a ry 26, 1935] March 10, 1936. New Y ork E v e n in g T e le g ra m . F e b ru a ry 10, 1931. New Y ork E v en in g W o rld . F e b ru a ry 10, 1931. New Y ork H e r a l d - T r i b u n e . F e b ru a ry 10, 1931] F e b ru a ry 22, 1931] M arch 8 , 1931] May 3, 1931] December 21, 1932; December 21, 1934] F e b ru a ry 24, 1935] F e b ru a ry 26, 1935] A p r i l 9 , 1935] December 24, 1935- 263 New Y ork H e r a ld - T r ib u n e . March 10, 1936; Decem ber 24, 1936; F e b ru a ry 1 4 , 1 9 3 7 j F e b ru a ry 21, 1937; F e b ru a ry 28, 1937; March 7 , 1937; M arch 11, 1937; M arch 14, 1937; March 21, 1937; J a n u a ry 29, 1939; A p r i l 9* 1939; A p r il 18, 1939; A p r i l 2 3 , 1939; A ugust 6 , 1939; M arch 12, 1941; A p r i l 26, 1942; A p r i l 28, 1942; A p r i l 3 0 , 1942; May 10, 1942; December 22, 1§42; November 3 0 , 1943; March 27, 1945; F e b ru a ry 19, 1946; March 1 3 , 1946; A p r i l 4 , 1946; November 2 3 , 194-7; November 27, 1947; November 2 3 , 1949; December 10, 1951; A p r i l 2 6 , 1953; December 13, 1953; December 17, 1953; J a n u a ry 3* 1954; F e b ru a ry 24, 1955; May 1, 1 9 5 8 ; March 18, i 9 6 0 . New Y ork J o u r n a l A m e ric a n . A p r i l 18, 1939; M arch 12, 1941; A p r i l 28, 1942; December 22, 1942; November 30* 1943; M arch 2 7 , 19^5; F e b ru a ry 19, 1946; A p r i l 4 , 1946; November 28, 1947; November 2 3 , 1949; Decem ber 10, 1951; December 17, 1953; F e b ru a ry 24, 1955; March 12, 1955; May 1, 1958; March 18, i 9 6 0 . New York M orning T e le g r a p h . F e b ru a ry 11, 1931; O c to b e r 24, 1944; A p r i l 2 9 , 1945; F e b ru a ry 20, 1946. New York M orning W o rld . F e b ru a ry 10, 1931. New Y ork PM. M arch 12, 1941; A p r i l 28, 1942; D ecem ber 22, 1942; November 30, 1943; F e b ru a ry 20, 1946; A p r i l 4, 1946; November 28, 1947- New Y ork P o s t . D ecem ber 21, 1934; December 24, 1935; December 24, 1936; March 11, 1937; A p r i l 18, 1939; March 12, 1941; A p r i l 28, 1942; December 22, 1942; November 3 0 , 1943; M arch 27, 1945; F e b ru a ry 19, 1§46; A p r i l 4 , 1946; November 28, 194-7; November 2 3 , 1949; December 10, 1951; December 17, 1953; F e b ru a ry 24, 1955; May 1, 1958; March 18, i 9 6 0 . New Y ork S u n . F e b ru a ry 10, 1931; November 30, 1932; Decem b e r 21, 1932; F e b ru a ry 21, 1933; F e b ru a ry 2 6 , 1935; A p r il 9, 1935; March 10, 1936; December 24, 1936; March 11, 1937; A p r i l 18, 1939; March 12, 1941; A p r i l 28, 1942; D ecem ber 22, 1§42; November 30, 1943; F e b ru a r y 19, 1945; M arch 27, 1945; A p r il 4 , 1§46; November 28, 1947; November 2 3 , 1949- New Y ork T im e s. F e b ru a ry 10, 1931; F e b ru a ry 15, 1931; F e b ru a ry 22, 1931; M arch 1 5 , 1931; Ju n e 3 , 1931; A ugust 1, 1931; S ep tem b er 26, 1931; O c to b e r 1, 1931; O c to b e r 5, 1931; O c to b e r 11, 1931; November 17, 1931. New York T im e s. November 22, 1931; D ecem ber 21, 1931; F e b ru a ry 7 , 1932; F e b ru a ry l b , 1932; May 2, 1932; June 25, 1932; J u l y 3 , 1932; J u l y 7 , 1932; A ugust 2 3 , 1932; November 30, 1932; December 4 , 1932; December 21, 1932; F e b ru a ry 14, 1933; F e b ru a ry 21, 1933; F e b ru a ry 25, 1933; S eptem ber 22, 1935; December 24, 1935; F e b ru a ry 13, 1936; March 1, 1936; March 10, 1936; March 16, 1936; J u ly 12, 1936; O c to b e r 24, 1936; November 2 5 , 1936; December 24, 1936; F e b ru a ry 21, 1937; F e b ru a ry 28, 1937; March 11, 1 9 3 7 ; M arch 28, 1937; March 3 1 , 1937; A p r i l 18, 1937; A p r i l 2 9 , 1937; May 12, 1937; Ju n e 1 5 , 1937; Ju n e 22, 1937; J u l y 3, 1937; J u l y 12, 1937; J u ly 1 6 , 1937; S ep tem b er 26, 1937; O c to b e r 10, 1937; December 2, 1937; May 24, 1938; May 2 9 , 1938; Ju n e 16, 1938; O c to b e r 27, 1938; J a n u a ry 22, 1939; March 3 1 , 1939; A p r i l 12, 1939; A p r i l 18, 1939; A p r il 30, 1939; May 7, 1939; May 14, 1939; A ugust 7 , 1939; A ugust 20, 1939; S ep tem b er 10, 1939; December 17, 1939; March 3 1 , 1940; November 10, 1940; November 11, 1940; F e b ru a ry 18, 1941; F e b ru a ry 24, 1941; March 12, 1941; M arch 3 0, 1941; May 10, 1941; May 3 1 , 1941; June 4 . . 1941; June 12, 1941; S ep tem b er 9, 1941; December 14, 1941; J a n u a ry 4 , 1942; J a n u a ry 2 5 , 1942; March 1, 1942; A p r i l 14, 1942; A p r il 28, 1942; May 3 1 , 1942; A ugust 9 , 1942; December 22, 1942; December 26, 1942; December 27, 1942; J a n u a ry 10, 1943; J a n u a ry 2 3 , 1943; F e b ru a ry 21, 1943; May 2 3 , 1 9 4 3 ; June 2 5 , 1 9 4 3 ; A ugust 1 5 , 1943; A ugust 22, 1943; S ep tem b er 6 , 1943; November 21, 1943; November 3 0 , 1943; December 5, 1943; March 7, 1944; A ugust 7 , 1944; A ugust 31, 1944; S ep tem b er 17, 1944; S ep tem b er 24, 1944; O c to b e r 14, 1944; November 13, 1944; December 5, 1944; F e b ru a ry 1 3 , 1945; F e b ru a ry 25, 1945; F e b ru a ry 26, 1945; M arch 2 , 1945; March 27, 1945; A p r i l 1, 1945; May 1 3 , 1945; O c to b e r 1, 1945; J a n u a r y 10, 1§46; J a n u a ry 2 7 , 1946; F e b ru a ry 17, 1§46; F e b ru a ry 19, 1946; F e b ru a ry 24, 1946; March 3 , 1946; M a rc h '15, 1946; March 3 1 , 1946; A p r i l 4 , 1946; A p r i l 14, 1946; May 28, 1946; J u l y 26, 1946; O c to b e r 5, 1946; December 2 3 , 1946; J a n u a ry 12, 1947; O c to b e r 10, 1947; O c to b e r 19, 1947; November 2, 1947; November 2 3 , 1947; November 27, 1947; December 7 , 1 9 4 f; December 9 , 1947; December 11, 1947; December 14, 1947; J a n u a ry 11, 1948; F e b ru a ry 15, 1948; F e b ru a ry 2 5 , 1948; Ju n e 16, 1§48; A ugust 6 , 1§48; S ep tem b er 2 5 , 1948; S ep tem b er 2 9 , 1§48; November 2 5 , 1§48; November 20, 1949; November 2 3 , 194§ December 4 , 1949; March 2 6 , 1950; A p r i l 3 0 , 1950; A ugust 10, 1950; November 5, 1950; November 1 5 , 1950; December 24, 1950; December 10, 1951; A p r i l 20, 1952; May 1 9 , 1952; December 17, 1953; F e b ru a ry 24, 1955. 265 New Y ork T im e s. M arch 6 , 1955; O c to b e r 2, 1955; May 30, 195b; A u g u st 13, 1956; O c to b e r 1 3 , 1 9 5 6 ; May 11, 1957; May 1, 1958; O c to b e r 14, 1959; March 18, I9 6 0 ; J a n u a ry 20, 1 9 6 1; O c to b e r 3 0 , 1961; November 5* 1961. New Y ork W orld T e le g ra m . December 21, 1932; Ju n e 22, 1933; December 21, 193^1 F e b ru a ry 2 6 , 1935; March 1 6 , 1935; A p r i l 9 , 1935; March 10, 1936; December 24, 1936; March 11, 1937; A p r i l 18, 1939; March 12, 1941; A p r i l 28, 1942; Decem ber 22, 1942; November 3 0 , 1943; M arch 27, 1945; F e b ru a ry 19* 1946; A p r i l 4 , 1946; November 2 8 , 1947; November 2 3 , 1949; December 10, 1951; December 17, 1953; F e b ru a ry 24, 1955; May 1, 1958; March 18, i 9 6 0 . P h o en ix G a z e t t e . March 9, 1959. P i t t s b u r g h P o s t G a z e t t e . May 11, 1943. S t . L ou is Globe Democrat March 21 * 1934. S t . L ou is P o st D isp a tc h . March 20, 1934; March 21, 1934. San F ra n cisco C h r o n ic le . December 16, 1 9 4 5 ; May 7* 1947; May 11, 1947; March 18, 1953. W ashington E vening S ta r . December 29* 1959. W ash in g to n News. Ju n e 1, 1942. Women's Wear D a i l y . M arch 2 7 , 1945; December 10, 1951; F e b ru a ry 24, 1955• U n p u b lish e d M a te r i a l C o rre sp o n d e n c e w ith G e rtru d e Macy, S ep tem b er 15* 1972. I n te r v i e w s w ith G e rtru d e Macy, S n e d e n 's L a n d in g , New Y ork, May 27, 1971. M c C lin tic , G u t h r ie . "More K it Than Me." U n p u b lish e d m a n u s c r ip t, 1 9 6 1 . S c h u l t h e i s s , John Edw ard. "A S tu d y o f th e 'E a s t e r n ' W r ite r i n H ollyw ood i n th e 1 9 3 0 ' s . " U n p u b lish e d Ph.D . d i s s e r t a t i o n , U n i v e r s i t y o f S o u th e rn C a l i f o r n i a , 1973. 266 S o g liu z z o , A. R ic h a rd . "E. H. S o th e rn and J u l i a M arlow e, S h a k e s p e a re a n P r o d u c e r s ." U n p u b lish e d Ph.D . d i s s e r t a tio n ., I n d ia n a U n i v e r s i t y , 1967* T elep h o n e i n t e r v i e w w ith G e rtru d e Macy, Ju n e 18, 1971- T i l l i n g h a s t , John K e ith . " G u th rie M c C lin tic , D i r e c t o r . " U n p u b lish e d Ph.D . d i s s e r t a t i o n , I n d ia n a U n i v e r s i t y , 1964. C o l l e c t i o n s K a th a r in e C o r n e ll C o l l e c t i o n , New Y ork P u b lic L ib r a r y , L in c o ln C e n te r f o r th e P e rfo rm in g A r t s . A P P E N D I C E S 267 APPENDIX A CORPORATE PAPERS 268 Z Z 4 7 S §>ta!e of Sfetu $ork Stepartumtt of §tate ss.: I hereby certify that I have compared the annexed copy with the original document filed by the Department of State and that the same is a correct transcript of said original. WITNESSmy hand and seal of the Department of State on JUN 2 t 1972 S E A L / / Secretary of State f i ll 662-504 CERTIFICATE OF INCORPORATION -of- 0 & M C PRODUCTIONS,INC♦ (Furimant to Article 2 of the stoolc Corporation Lavr) We, tho undersigned, for tho purposo of forming a oorporat.ion, pursuant to Article 2 of tho stoolc Corporation Low of tho stato of N o y i York, certify: F I R S T The name of tho corporation ahull bo 0 & M C PRODUCTIONS,INC. SECOND: Tho purpocoo for vvhloh it ia formed are: To purchase, own, loaso, produoo, exhibit, present, represent, license, soil and otherwise doal in and with thoatrioal plays, dromatio compositions, muaioal composi tions, skotohes, soonerios, books, oooroB, moving piotures, oto.; to represent os agents and otherwise owners, managers, other agents, lesseos and proprietors of masques, pageants, community dramas, thoatrioal plays, dramatic compositions, operas, musioal compositions, slcotohos, soenarios, books, sooros, moving picturos, oto.; to lioenoo others to produoo leaso, exhibit, present, roprosont, lioonso, coll and other wise doal in thoatrioal playa, dromatio compositions, oporaa muaioal oorapositions, skotohes, soenarios, books, so.oros, 271 coving pictures, oto.; and to acquire, hold, soli, aooign, oonvey, oot ovor, transfor and othorwiso doal in oopyrightod and unoopyrightod dramatic oonpooitiono, sketches, scenarios, hooka, 8oore3, oto.; to doal as aforesaid with plays, dramatio compositions, okotohoo, musical compositions, oto., for stook, road and ropcrtoiro oompaniea aa thooo terms aro commonly and genorally undoratood in tho thoatrioal profoaalon; to oarry on tho bu3inooo of propriotora of thoatrioal produotiona and to provide, ongago and employ aotoro, danoora, oingora, variety porformors, athletes and thoatrioal and musical artiato, and to produoo and present to tho public all aorta of shows, exhibitions and masques whioh are or may bo produced at a thoatro or musio hall or in tho opon air; to aoqulro copyrights, rights of roprooentation, li-oonse and privllego of any oort likoly to bo oonduoiva to tho objeots of the corporation, and to employ persons to writo, oonpooo or invent masquos, pagoanta, oommunity drama3, plays, oongs, intorludoo, prologuoa, opiloguoa, pootry, muoio and danooa and romunorato such persona and to print or publioh or oauao to be printod or published any muaio, pageant, oommunity drama, play, poem, song or words of whioh tho corpora tion may havo a oopyrlght or tho right to publioh, and to soil, distribute and doal with any matter so printod as tho corporation may noo fit; and to grant lioonooo or rights with rospo'bt to any property of tho corporation to any othor person, firm or oorpora- **2- 27 2 tlo n ; and g en era lly to oarry on the business o f th o a tr io a l -produoers and managers. THIRD: Tho to r a l numbor o f aharea whioh may be ioauod is a i l hundred (600), a l l o f whioh aharea are to be ahareo without par valu e. Tho c a p ita l o f the corporation s h a ll bo at lo a s t oqual to tho B um o f tho aggregate par value o f a l l issu ed sharos having par valu e, plua tho aggregate amount o f oonaidoration received by tho corporation for tho ioouanoo o f aharea without par valu e, plua auoh amounts as from time to timo by reaolu tion o f tho Board o f D irectors may bo transferred th ereto . FO U R T H : Tho shares s h a ll bo common shares and in a l l rospoots oqual, and tho d esig n a tio n s, proferonoea, p r iv ile g e s , votin g powers and q u a lific a tio n s o f tho sharos s h a ll be in a l l respoats the some. FIFTH: At a l l o lo o tio n s o f D irootors o f th is Corpora tio n eaoh Btookholdor sh a ll bo e n titlo d to as many votos as s h a ll equal tho numbor o f h is sharos o f stoolc m u ltip lied by the number o f dirootoro to bo elootod , and ho may oast a l l o f suoh votos for a sin g le d ireotor or may d istr ib u te them among tho number to be votod fo r , or any two or more o f them, an ha may ooo f i t . SIXTH: The p rin o ip a l bu sin ess o f f ic e o f tho oorpora- 273 tio n o h a ll bo looatod in tho Borough o f Manhattan, C ity, County and Stoto o f New York but tho corporation s h a ll havo o f f io e s at suoh place or plaoos aa i t s dirootors may dotormino. SEVENTH: Tho duration o f tho corporation s h a ll be porpotual. EIGHTH: The numbor o f d irootors o f the corporation is to bo four (4) and i t is hereby provided, pursuant to law, th at the d irecto rs aro not roquirod to be stockhold ers. NINTn: The names and post o ff io e addresses o f the d ir e cto rs u n til the f i r s t annual mooting <of tho stockholders are os fo llo w s: Nomea AddroBaea ELIZABETH A. REILLY 153 West 42nd S treot New York City H E L E N E JU R A SC H E K 152 W O B t 42nd S treet Now York c it y A N N E M A Y 152 \7ost 42nd S treot Now York c it y G EN EV IEV E O T T 152 Wont 42nd Stroot Now York C ity TEN TH : Tho namoa and addro3aos o f tho subaoribora. 2 7 4 o f th is o o r tifio a te o f incorporation and a statem ent o f the number o f shares whioh each .agrees to take in the corporation are as fo llo w s: Namoa Addressee No. o f shares ELIZABETH A. REILLY H E L E N E JU R A SC H E K A N N E M A Y 158 Went 42nd S treet New York C ity 158 West 42nd S treet Now York C ity 152. West 42nd S treet New York C ity 1 1 A ll o f the sub scrib ers to th is o e r t ifio a te are o f f u l l ago and at le a s t tw o-thirds o f them are o itiz e n s o f the United S ta te s, and at le a s t one o f them i s a rosld en t o f the S ta te o f New York, and at lo a s t one person named as a d lreotor i s a o itiz o n of the United S ta tes and a resid en t o f tho S tate o f New York. IN W ITNESS W H E R E O F , wo havo made and subscribed th is c e r t if ic a t e o f incorporation in t r ip l ic a t e , th is day o f January, 1931. S c — 5— 275 STATE O F N E W Y O R K ) ) S3: C O U N T Y O F N E W Y O R K ) O n th is day o f January, 1931, boforo m o poreonally onmo ELIZABETH A. REILLY, H E L E N E JU R A SC H E K and A N N E M A Y , to m o known and known to m o to bo tho in d iv i duals dofloribod in and who oxeoutod tho foregoing o o r tifio a te o f inoorporatlon and thoy duly and oovorally aoknonlodgod to m o th at thoy ©xoouted tho same. . 0 . g>tate at fo rk Separtmpnt of §>tate ? 1 4 7 6 l hereby certify that I have compared the annexed copy with the original document filed by the Department of State and that the same is a correct transcript of said original. WITNESS my hand and seal of the Department of State on JUN 2 7 1^72 / Secretary of State & 277 CERTIFICATE O P IN CREASE O F N U K B E R O F DIRECTO RS O F C & M C PRODUCTIONS,INC. PU R SU A N T T O SECTION 35 O F T H E S T O C K C O R P O R A T IO N 1X7. W e, the undersigned, helng a l l o f the subscribers o f the C e r tlfio a te o f Incorporation, and a l l o f the subscribers to the stook th ereo f, hereby o e r tify : 1. The name o f the corporation is C & M C Productions, Ino. 2 . The C e rtific a te o f Incorporation was f ile d in the O ffice o f the Seoretary o f s ta te on the 6th day o f January, 1931. 3 . Tho numbor of d ireotors previously authoriz ed io four. 4. The number of d irecto rs previously authoriz ed is increased by one, so that the to ta l number o f d irecto rs h ereafter sh a ll be f iv e . IN . W ITN ESS W H E R E O F , w e have mode and subscribed th is C e r tific a te in t r ip lic a t e , th is / ^ day o f January, 1931. v ' , .... ' o — --------------------------------- STATE O F N E W Y O R K } } SS: C O U N T Y O F N E W Y O R K ) O n th is / j .^ d a y o f January, 1931, before m o p erson ally oame ELIZABETH A. REILLY, H E L E N E JU R A SC H E K and A N N E KAY, to me known and known to me to be the in d ivid u als desoribod in , and who executed the foregoing C e r tific a te and they duly and se v e r a lly acknowledged to m e th j SS: ^ * " • C O U N T Y r > F N E W Y O R K ) A N N E M A Y being duly sworn, deposes and says: I am one o f the subscribers o f the C e r tific a te o f Incorporation. No stook of said corporation has been issu ed . The persons who have executed the foregoing o o r tifio a te co n stitu te a l l o f the subscribers o f the C e r tific a te o f Incorporation and a l l o f the subscribers to the stock th ereof. Sworn to before me, th is >• P.ibl ' Q- cM - ! > , u . C 9 . ^ ■ l .'k I ' ® 1 i - M .-M a H O N ' . P.ibl’ ’. STA TE O F N E W Y O R K ) / J . day o f January, 1931 7 LILLIAN K . McMAhOK .vuurr Pu M t. Qi . - c m Co. Clerk'* N ' H4J Qu j Co. nya^cr** Nu f c v *nrk C o rat» C le :.’» N *'. 1 N ’-w V f - w > . .r t h v '.'l- 2 3 . 4 7 7 §tate of fo rk ) > 5 5 .; ippartment of §>tate ) / hereby'certify that I have compared the annexed copy with the original document filed by the Department of State and that the same is a correct transcript of said original. WITNESS my hand and seal of the Department of State on JUN 2 7 197? S E A L f a t / 1 Secretary of State 280 X S 3 3 - — T ertlftcitf of Pliaoiutlos. Buatntaa C vrvoratloo^aif 9 (0 Gu'rtifiratr of StHnnhttion uf ;&HC PRODUCTIONS, INC. under.Section-1002- o l th e B u s in e s s C o rp o ra tio n L aw IT IS. HEREBY CERTIFIED THAXl ( 1 ) T h e nam e o fth e ~ co rp o ra tio n is C & M C PRODUCTIONS, INC, ( 2 ) T h e c e r tific a te o f in co rp o ra tio n w as tile d b y th e d e p a rtm e n t o f s ta te o n th e sixth d ay 0, January, ,,31 ( 3 ) T h e nam e, title and a ddress o f each o f its o ffic e r s a n d d ir ec to r s a r t: Varna A. C. Goodyear Katharine' Cornell Gertrude Macy Stanton Gri£fis T itle President Director Vice-President Director Secretary Director Treasurer Director S treet^n d 'ffu n ib e? 30 Wheatley Rd. Old Westbury, N.Y. •Palisades,S. Yi Palisades,N.Y. 8 Hanover Street New York,N.Y. 1 4 ) T h e c o rp o ra tio n e le cts to d isso lve : ( 5 ) * T h e d is so lu tio n w as a u th o rize d at a m e e tin g o f sh a re h o ld e rs b y vo te o f th e h o ld e rs o f tw o -th ird s o f - a ll th e o u ts ta n d in g shares e n title d to vo te . ~ " " " " • T U nixtiixohLiiK XK tstaccizxIaitiiipcxiiatXoiz& xauliiw xxottsm exstiaiiXbW & H iH fK X XK nW iX SiXiaU t XlSlCKii:CKi^-UiXrKKItK'riSC>iU>HX _ '._ _ Z xorzVJcizzxRfiKutfMKztoHiixc&utzMgiiiuMniXMXxuhZi&iHiuttafJ&xiiiciuvtmfiMt Itliu M < »l« u « iu w a / 281 X 333-oma« B u a lq e f IT IS HER (O T (2 )T -o i (3) T a A. K a G tH CT-90 (10-00) STATE'OF NEW YORK - DEPARTMENT OF TAXATION AND FINANCE CORPORATION TAX BUREAU, ALBANY, NEW YORK 12225 To: Secretary of State Date: December 2 , 1963 .Pursuant- to provisions of Section 1004 of Article 10 the Business Corporation Law, the State Tax Cdranission hereby consents to the dissolution on or before 12/31/63 of C. & M . C. PRO DUCTIO NS INC. Attached aro dissolution papers and- 310.00 fee. Morton T. Valley Deputy Tax Commissioner By.. > 1 0 . F iled byi E 3 Q 3 ' Net; York 3 6 , N. Y. JS W • i l l m i l b j APPENDIX B LISTS OP INVESTORS 282 Antony and Cleopatra Investors Michael Grove 5# $ 5,000 2g# profit Mrs. Marshall (Ruth) Field 5 # 5 ,000 2 Guthrie McClintic 5# 5,000 5 # profit Cullman Brothers 15# 15,000 7;g# profit A. C. Goodyear 10# 10,000 284 Participants of That Lady Production (1949) Participating Names and Addresses Interest Mrs. Louise Beck ^ 24 West 55th Street, New York City (19) ^ M r. Louis Lotito 110 Riverside Drive, New York City (24) M r. Richard Aldrich 1450 Broadway, N ew York City (18) Mr. Richard Myers 1450 Broadway, N ew York City (18) M r. Meyer Davis 119 West 57th Street, New York City Mr. Sidney P h illip s 71 Park Avenue, N ew York City Mrs. Peggy W ood Walling Route 2, Stamford, Conn. M r. Harry Linenthal 22 East 65th Street, N ew York City (21) Mr. Louis Segal 395 Broadway, N ew York City M r. William Melinker 1540 Broadway, N ew York City M r. James F. Schlesinger 47 Third Avenue, New York City (3) Mr. Winston O'Keefe 285 West 11th Street, N ew York City Mrs. Hilda Kook 6 West 77th Street, N ew York City Messrs. Arthur M . Rapf and Edward Rugoff 1270 Sixth Ave., N ew York City 16 2 / % Miss Nancy Hamilton 4 ll East 51 Street, N ew York City (22) Miss Gertrude M acy Sneden's Landing, Palisades, N.Y. C. M . C. Productions, Inc. 1270 Sixth Ave., N ew York City (20) 4 j , 4# 4$ 2 < j o % 5# 2$ 2$ 3# % 2'$ 2# 1 2/3$ 1 2/3# 40$ The Constant Wife Vivian B. Allen Carlton House, 680 Madison Avenue, N ew York City, 21 $4000 - % E stelle Barit 1 Waverly Place, Lawrence, Long Island $ 800 - 1$ William M . Chadboume 70 Pine Street, N ew York City, 5 $4000 - 5# C. & M . C. Productions, Inc. 1270 Sixth Avenue, N ew York City $5600 - 7# Cullman Brothers, Inc. l 6l Front Street, N ew York City, 38 $3200 - 4< f o Marguerite Cullman c/o Howard Cull.man, l 6l Front Street, N ew York City, 38 $ 800 - If, C. Douglas Dillon 46 William Street, N ew York City, 5 $2400 - % Florence Doody 142 W . 76th Street, N ew York City, 23 $ 800 - 1io John Emery 135 East 79th Street, N ew York City, 21 $ 800 - 1# H om er Fickett 200 East 66th Street, N ew York City $ 400 - ^ Anna M ay Franklin 67 Jane Street, N ew York City, $ 400 - ££ Philip Furst 259 W . 45th Street, N ew York City $ 800 - 1$ Stanley Gilkey 133 East 4oth Street, N ew York City $1600 - 2$ Nancy Hamilton 4 ll East 51st Street, N ew York City, 22 $ 800 - 1< ? 0 Floria V. Lasky, Agent 580 F ifth Avenue, N ew York City, 19 $1200 - Floria V. Lasky, Agent 58O F ifth Avenue N ew York City, 19 $ 800 - Floria V. Lasky 580 F ifth Avenue, N ew York City, 19 $ 400 - J. Arthur Leve 50 Broadway, N ew York City, 4 $ 800 - 1# The Constant W ife—Continued Armina Marshall l4 W . 11th Street, N ew York City $ 4Q0 - ££ Bertram A. Mayers 580 F ifth Avenue, N ew York City, 19 $ 800 - 1# Mrs. David M . Levy 300 Park Avenue, N ew York City, 17 $te>00 - 5# Theresa Helbum Opdycke 2k West 55th Street, N ew York City, 19 $ k O O - Barbara Payne 270 Park Avenue, Apt. 5-E, N ew York City $ 800 - 1$ Sylvia Singer, Rebecca Singer & Michael Halperin, Trustees, c/o F itelson & Mayers, 580 F ifth Avenue, N ew York City, 19 $ 800 - 1$ Helen Smith 270 Park Avenue, Apt. 5-E, N ew York City $ 800 - 1i o Charles G . Strakosch Hotel Schuyler, 57 W . i+5th Street, N ew York City $1600 - 2# Jean B. WebBter c/o Edwin Webster, Kidder Peabody & Co. 17 Wall Street, N ew York City, 5 $ 800 - 1# The P rescott Proposals N am e Amount N am e Amount Richard Rodgers $2000 Luise M . Silcox, $1000 Oscar Hammersteln, 2nd 2000 representing Authors Howard S. Cullman 4000 League Fund Peter Reinheimer 500 Ralph W . Warren 500 Kurt Reinheimer 500 Mrs. Dan Golenpaul 500 Henry Jaffe 1000 Edward S. Ely 1000 W ickliffe W . Crider 1000 Marshall Jamison 1000 Arthur Homblow, Jr. 2000 Mary Martin and 1000 Frank Sullivan 500 Richard Halliday Joseph H . Hazen 1000 B illy Wilder 2000 and Hal Wallis Guthrie McClintic 5000 Mrs. Edward Kook 1000 Gertrude Macy, repre Jo Mielziner 1000 senting Katharine 5000 Manie Sacks 2500 Cornell Frank Folsom 1000 Peggy Egbers 500 Mrs. Robert Sarnoff 500 Howard Lindsay 1000 M ax Gordon 1000 Alfred de Liagre, Jr. 1000 Mrs. Henry Ford 1000 Daniel T. O'Shea 2000 Fleur Cowles 1000 Leo Freedman 5000 Herman Bernstein 1000 Robert Ross 500 Abe Cohen 1000 Dorothy Stickney 5000 Morris M . Schrier, Joshua Logan 1000 representing Music 2000 Nedda Harrigan 1000 Corp. of America Irwin Shaw 1000 Walter Wagner 500 Henry Fonda 1000 Elizabeth I. Berlin 1000 A. Gerald Renthal 1000 Linda Louise Berlin 1000 Judith Osborn 1000 Mary Ellen Barret 1000 Florence Doody of 4000 Louis A. Lotito 1000 C. & M . C. Produc Henry Morgenthau, 500 tion s, representing group of individuals APPENDIX C SALARY SCHEDULES 288 289 Repertory Tour (1933-3*0 $500 Barrett Friar Lawrence $350 750 Browning R om eo Morrell 600 100 Dr. Chambers Capulet 100 125 Ford Waterlow Montagu Burgess 200 90 Be van Paris Lexy 85 100 Surtees Cook Tybalt 60 85 Qccy (Octavius) Mercutio Marchbanks 250 50 George Benvollo 50 50 Henry Escalus 50 50 Septimus Balthazar 50 65 Alfred 30 50 Charles 50 230 Arabella Lady Capulet Prossy 200 125 Bella 60 *100 Henrietta 75 110 Wilson Lady Montague 90 Nurse 100 Elizabeth Juliet Candida $2880. $2^20. Antony and Cleopatra Contracts Actor Part Salary Theodore Marcuse Demetrius $ 65. Alan Shayne Philo & Understudy 75- Ray Page Philo 8 0 . David Stewart Messenger 1 00. Kent Smith Enobarbus 8 wk guarantee 750. 1, 000. 1, 2 5 0. E li Wallach Soothsayer 100. Lenore Ulric Charmian 550. Diana Rivas Iras 6 0 . Joseph Wiseman Mardian 150. Oliver C liff Alexas & Clown 150. Charlton Heston Proculeus 6 0 . Rudolph Watson Gallus 6 0 . Ralph Clanton Octavius Caesar 550. Ivan Simpson Lepidus 200. Joseph Holland Pompey 175. Martin Kingsley Menas, Dercetas 6 0 . Barnet Biro Varrius 6 0 . Bruce Gordon Ventidius, Old Soldier 100. David Orrick Maecenas 100. Pamela Simpson Genl Understudy—W om en 7 5. Huntington Watts Agrippa, Understudy 150. Betty L ow Octavia 100. Charles Nolte S iliu s, Understudy 6 0. Douglass Watson Eros, Understudy 125. Dayton Lum m is Canaius 125. Richard Wilder Candius 150. Gilbert Reade Taurus 6 0 . Tour $75- (cancelled) 1st 8 wks 2nd 8 wks after 16 wks 125. too. 175- 75. 2 5 0. 70. 125. 100. 150. (cancelled) 70. 29lj Antony and Cleopatra Contracts—Continued I Actor i .......... Part Salary Tour Anthony Randall Scarus $125. $150. Robert Duke Dolabella, Understudy Caesar 125. 1 50. Robert Carricart Thyreus 6 0 . 70. Ernest Rowan Euphronius, Diomedes 75. 100. Winslow Lewis Asst. Stage Mgr. 100. James Grudier Extra, Understudy 6 0. James Neilson Stage Manager 20 0. 225. Orrin Redfield Extra, Understudy 6 0 . M arc Russo Understudy to Soothsayer, 6 0 . M e ssenger Godfrey Tearle Antonyi Riders-Rehearsals began. 9AAT Pre-opening tour of no more than 10 wits. 6$ of gross receipts on tour, excl. admission tax 7$ of gross receipts in New York minimum salary $1, 2 5 0. Pay for dresser, mgr. to pay f ir s t class passage to and from England Assistant Carpenter $120. Flyman 100. Electrician 204. Property M an 125. Wardrobe Attendant 7 5 . Assistant E lectrician 1 1 5, A ss't. E lectrician lMl-. Carpenter 130. A ss't, Electrician 129. A ss't. Electrician 15^. Second Hand 1 1 5. The Three Sisters Salary List Katharine Cornell $1200. Judith Anderson 1000. Ruth Gordon 500. Edm und G w enn 1000. Dennis King 900* Gertrude Musgrove 2^0. Alexander Knox 400. M cK ay Morris 2 5 0. Eric Dressier 350* T om Powers $ 00. A lice Behnore C liff 100. T om McDermott 50 • Stanley B ell 7 5. Walter Craig 50. P atricia Calvert 5 0 • Kirk Douglas 60. Marie Paxton 75• Edward Dimond 150. Arthur Chatterton 75• APPENDIX D PRODUCTION COST STATEM ENTS 293 2 9 4 j The Barretts of Wimpole Street i Legal Service Accts. paid, by Guthrie McClintic le s s advances (royalty, salary) Construction company Stationary Production b ills paid Production b ills paid Helene Pons Studios Jo Mielziner Century Lighting Robert Bergman Studio Co. Barretts—Results to March 1, 1953 Year 1931 $ 2, 666.95 $133,053-44 $135,720.39 4lgr playing weeks $769,248.10 Canadian Performances A ttraction's share of receipts 500, 675.27 Less A ttraction's expenses 331,550.34 169,124.95 Less cost of production 26,989-08 142,135.85 Less Guthrie McClintic 10$ interest $ 9,082.41 $ 333.85 2,715.07 2 , 155.00 5.00 3,504.92 8,888.19 3, 500.00 1,333.34 894.72 1,400.00 $ 24, 730.09 295 The B arretts o f Wimpole S tr e e t—Continued Year 1932 Gross Receipts 27 Playing weeks $ 633,020.25 Canadian Performances $ 1,445.49 Motion Picture rights 12,000.00 A ttraction’s share of receipts 444,568.71 Less expenses $ 272,180.61 $172, 388.10 Year 1933 Motion Picture rights $ 11,999*98 Income to date Total Gross Receipts 68§ weeks $1,402,268*35 A ttraction's share of receipts 945*243.98 Less expenses 603,730*95 Less cost of production 26,989*08 $ 314,523.95 March 4, 1937 Barretts grossed $1,835,648.58 Besier royalties $ 183,568.46 Share of Motion Picture rights $ 33,000.00 $185,833.59 $333,553*96 Lucrece Production 296 S C E N E R Y : Building—T. B. McDonald Construction Co. Designing—Robert Edm und Jones Painting—R. W . Bergman Studio 1 Padded Tarpaulins—J. Hansen Lumber, Boxes—Dykes Lumber Co. Hardware, Boxes, e tc .—A. W . Gerstner Labor, Boxes—A. Bond C O S T O F SPE C IA L B E D A N D ST O O L S: Ashforth. Shops Materials Paul Chalfin, expenses —I. M iller Hansen C O S T U M E S : Helene Pons Shoes, Slippers, etc. Wigs—A. Barris : Labor C U R T A IN S: I. Weiss 8s Sons M A S K S : William Stahl 8s Robert Loraine PR O PS: Ground Cloth, Prop Covers, e tc .—H. Rapiers 8s Halberds—P. Schnittger Box Couch Cover Scale Model Repairing Prop Book—H y Gebhardt Lumber Prop—Dykes Lumber Co. A r tific ia l Flowers Loaf Italian Bread—G . A. Weidhaas Labor ELEC TR IC S: Supplies'—Century Lighting Co. 3 Weeks' Rental C A R T A G E : Theatre to N.Y. Central 8s Misc.—R eilly Transfer $3,204.00 1,200.00 2 , 500.00 225.40 18.25 10.87 9.00 625.00 197.16 33.60 3, 786.00 195.50 208.50 68.00 119.07 60.00 34.95 4o.oo 3.50 53.51 4 .8 0 8.00 13-50 205.84 . 75. 1. -?5. 230.50 6.00 $7, 167. 5 2 ! 855.76 4, 258.00 1, 658.70 174.35 537.15 957.79 B A L A N C E F O R W A R D : 236.50 $15 ,6 4 5 .7 5 Lucrece Production—Continued B A L A N C E F O R W A R D PR ESS D E P A R T M E N T : Salaries—R. Henderson & J. Vincent $1,287.50 Gate Boards 102.00 (Less theatre share 40$) 40.80 61.20 Typewriter Expense 10.25 Clippings 55*80 Ray Henderson—Expense 247*28 Messenger Service 46.15 Photos—V andam m , White, etc. 713*50 Stationary & Printing 89*88 Frames'—Stanley Frame Co. 98.75 SA L A R IE S i A. Attwater 50.00 G. Macy 825*00 R E H E A R S A L S ; Rent—Cosmopolitan Theatre 65O .O O E lectric Current " " 84.00 Labor " " 56 7.00 Road Crew Salaries, w/e 11/ 26/52 325.85 Musicians, w/e 11/ 26/32 287*00 Prop Labor 15 * 75 Props 3*90 E lectric Labor 10.50 Dancing Instruction—Martha Graham 500.00 Theatre Tickets a/c Dancers 17*60 M IS C E L L A N E O U S ; Motion Picture Projection Exp.—Colin Clive 13-75 Telegrams, Cables, etc. 113*75 Typing, etc. 62.50 Telephone s 212.29 Stamps—G. Macy 15*00 Stamps, e tc .—E. S. James a/c 10.86 S. Gllkey Expense 10.85 U.S. Copyright 1.06 S. S. Passage—Brian Aheme 228.00 Check Tax .26 B A L A N C E F O R W A R D ; $15,645.75 j i i i j 2, 608. 1 1 | i i 875.O O | 2,461.58; 668.52 $22, 258.76 Lucrece Production—Continued B A L A N C E F O R W A R D : I N S U R A N C E : Floater $ 12.38 Fire 19*15 Workmen's Compensation 13*13 Public L iab ility .63 M A U R IC E B R O W N E , L T D . : 1st Payment a/c Contract 1,000.00 a/c Interest in Film Rights 1,000.00 LESS: Andre Obey—150 English Pounds @ 1.86 9/l&, rate as of June 25, 1931 j per contract $22, 258.76 75.29 2 , 000.00 2^ 331.05 | 729.81 $2 5 ,601.21 299 K A T H A R IN E COW ELL R E P E R T O R Y T O U R Production Account V O U C H E R N U M B E R S X * C O N ST R U C T IN G SETS; 1 . "Romeo and J u liet" ; J . M . Nolan, as per contract J* M . Nolan, extrao 2 . "Barrette" and "Candida": T. B. McDonald Conatructlon Co. II - FAINTING SC E N ER Y ; 1 . "Romeo and J u liet" : Bergman Studio, as per contract Bergman Studio, extras 2 . "BarrettB" end "Candida": Bergman Studio I I I . DESIGNING PR O D U C TIO N S: W oodman Thompson IV. PR O D U C T IO N SALARIES: 1 . Kate Lavson ( l l weeks @ ^O) 2* Gertrude Macy (6 weeks ^ 2 5 ) 3 . A llan A ttvater ( l week @ 150) V. PRESS DEPARTMENT: 1 . S a la ries: a . Ray Henderson (8 weeks @ 225) b . M . Nathanson (2^ weeks @50) 2 . Expenses: a . Advanced by C.& M. C. Prod., Inc. b . Advanced by K. C. Tour Account c . Labor on frames d. Advertisement e. Stanley Frames f . Midtown Signs g . Metro Photo Engraving h . Vandam m Studio (photographs) 1 . Photo-Colotype (photographs) VI. VII. DRAPERIES: 1 . I . Weiss Sons (3 p lays) 2 . Herter Dalton ("Romeo and J u lie t" bed) R E H E A R SA L EXPENSES: 1 . New York: a . Martin Beck Theatre (crew, h ea t, e t c .) b . Belaeco Theatre; Rent $50.00 Crew 557-00 Ice 1.50 o . Prompt s c r ip ts , e t c .: "Romeo and J u liet" $4.60 "Barretts" & "Candida" 34.4$ 2 . B uffalo: e . H otel b lllB : Nolan Graham Ih c u p ro n Lawson b . A1 Shea, C- Operator, 55-50 9.00 4 8 .9 3 3 6 -3 7 1 week's salary 2 days 4 . Labor se ttin g up, xehearsals e . Rehearsal lig h ts Baggage Car leaders In New York V III, PR O D U C T IO N C R E W : 1. Expenses: a. Carpenter Department b . Property Department 2 . S ala ries: Week ending l l / l l / 3 3 : A. B. Shea, 2 weeks A. Boscoe, 2 veeks V. P orter, l£ weeks Hubbard, 1 veek & 17 hours Week ending 11/25/35, 3 help ers B A L A flC E F O H W A K D : ♦5.200.00 873.00 4, 750.00 240.00 1,334.00 .1,333-00 1, 800.00 125.00 500.00 250.00 8.10 25-00 183-32 6.00 79.42 493.30 4Si2i 4 7 .7 1 .S2L52 43.83 200.00 200.00 138-75 143-50 224.00 ♦6,073.00 850.00 4.990.00 850.00 4,000.00 440.00 200.00 150.00 1.925.00 1,587.49 2,022.88 ■ 1 3 0 -3 4 340.59 1,108.50 69.05 1,518.14 214.30 100.00 23-33 1, 498.25 32.00 1,803.33 20.00 285.24 950.08 TO TALS ♦ 6,933-00 5,8 4 0 .0 0 4,000.00 790.00 3, 512.49 2, 153.22 3, 341.52 ♦27,805.55 I 3 0 0 K A T H A R IN E C O R N E L L R E P E R T O R Y T O U R Production Aocount—Continued V O U C H E R N U M B E R S totals B A L A N C E C A R R IE D F O R W A R D : ♦27,805.55 IX. C O ST U M E S; 1 . "Barretts": a. Wardrobe sa la r ie s: K linge, 4 weeks 240.00 A sslstan tj 4 weeks 117.50 ♦ 357-50 b . Wardrobe Expenses 227.51 0* Eaves Costume Co. 2 l *.00 d . I . M iller (shoes) 58.00 836.81 2 . "Candida": a. Eaves Costume Co. 335-00 b* Helene Pons Studio 150.00 o» Wardrobe Expenses 26.99 d. Blouse fo r Prossy lit. 13 e . Shoes 52.50 538.62 3 . "Romeo and J u lie t" : a. Helene Pons Studio 1,**9.50 b . *fce. F riesin ger 725.00 o . Eaves Costumes Co. 3,676.00 d. Georges (shoes) 280.60 e . Incid en tals: Dress m aterial 1&7.50 Graham costume 19.80 207.50 6,338-60 7,75*.03 X. PROPERTIES: 1 . "Romeo and J u lie t" : a. Purchases by K. Lawson 523-57 b . Henry Gebhardt *39.00 o . G. A. WeldhaaB 939.00 d . Frank Dwyer 25.00 1,526.57 2 . "Candida" and "Barretts'1: a. Purchases by K. Lawson 37-20 b . William Bradley Studio 175.*5 e . Painting wardrobe piece 20.50 d . Barrett le t te r s mimeographed 6.65 e . Expenses—J . Vincent 19-75 f . Waldorf Studios 66.00 .. 325.75 5, 852.32 XI. ELECTRICAL EQ U IPM E N T : 1. Century Lighting Co. 525.*5 2 . lamps and fix tu r e s 36.67 562.52 X II. INCIDENTALS: 1 . 2 round tr ip R.R. t ic k e ts Boston (Macy & M cCllntle) 5*.52 2 . Rathbone: a. S. S . passage to America 263*00 b . Expenses In Garmlsch H 7 .5O 382.50 3* Fencing: a. G. S a n te lli, fee 275.00 b . Swords, b lad es, e t c . 55*.00 *29.00 4 . Olga Katz.in (2 weeks' salary) 180.00 5* Marcato E levator Co. (warehouse repairs) 59.50 6 . Y lctrola Records and Music: a . Drum e ffe c ts *5.00 b . Records 21.58 c . Recording dance music 520.00 d . Musicians fo r dance music 50*.00 e . Musicians fo r rehearsals 2*.75 31**93 7* Martha Graham and g ir ls *00.00 6 . Trunks, shoe and wig boxes 507.00 9* Cains' Transfer *15.50 10. Insurance, Schaeffer: a. New York, rehearsals .73 b . Production on tour 800.00 800.73 1 1. Boxes, crates and covers: a . Matty P urcell 136.00 b . J . C. Hansen 5*9.00 *85.00 12. Orson W elles (permanent wave) 57-00 13. Unload and store returns from Buffalo 32.00 14, V. Richardson (rehearsal expenses) 6.50 15. A r t if ic ia l vines - E e llip e lll 60.00 16. M cCllntle R. R. expenses to S e a ttle W -5 * 3.862.89 TO TA L: ♦*5,796.91 X III. BILL F R O M H A RRIS FO R W IG S STILL T O C O M E 3 0 1 R evival o f The B arretts o f Wimpole S treet Production Account I . REPAINTING SETS; R. W . Bergman Studios, In c. I I . C O STU M ES: 1 . Eaves Costume Co. (mens') If It II 2 . J . K linge (la d ie s ' wardrobe) n tt 3 . Helene Pons (Browning) 4 . I . M iller & Sons (shoes) I H . CURTAINS (REPAIRED, ETC.): 1 . W eiss & Sons IV. PROPERTIES: P h ilip Roman, flow ers V. LABO R, W A R E H O U SE : VI. WIGS: 1 . A. B arris 2 . 0 . F . Bernner (Gill 1 more) V II. INCIDENTALS: 1 . E dith Smith 2 . Low's Steamship Agency, (Joyce Carey's S. S. passage one way) T O T A L PR O D U C TIO N COST: $397-80 $224.40 23.46 $247.86 50.06 149.97 200.03 250.92 46.41 745.22 30.09 19.50 53-00 102.75 35.70 138.45 25.00 239-00 264.00 $ 1,64#. 06 3 0 2 The W in g le ss V ic to r y P r o d u c tio n A ccount I. DESIGNING PRO DUCTION: Jo M ielzin er $2,500.00 II. BUILDING PRO DUCTIO N: T. B. McDonald A. Contract $2,475*00 B. E xtras and S ales Tax 423.84 2 ,8 9 8 .8 4 III. PAINTING PRODUCTION; T riangle Scenic Studio A. E stim ate 955*00 B. Extras 214.52 1,169-32 IV. D R A P E R IE S : I. W eiss & Sons A. Velour Set 225.58 B. D raperies 8.26 C. U pholstering 520.06 751.70 V. C O ST U M ES: 1 . Helene Pons Studio A. Contract 5,000.00 B. E xtras 65.98 5, 065.98 2 . Gunn & Latchford m aterials 58.00 5* Eaves Costume Co. 74.46 4 . Stockings 85.68 5- I . M iller & Sons, shoes I 76.Q5 6 . Wardrobe sa la ry 20.00 7 . A. B a rris, w igs 171.56 VI. P R O P E R T IE S: 1 . W . & . J . Sloan, sofa 214.20 2 . Rose Bogdanoff 73*58 5 . P h ilip Roman, l i l a c bush 19.00 4 . K. H artw ell, 2 p ictu re frames 100.00 5. Gebhardt 6 l.l4 6 . H otel & Theatre Carpet Co. 53*66 7* Strathmore, 2 p ic tu res 25.00 8 . Plohn & C o., 2 p ic tu res 100.00 VII. G R O U N D C L O T H S C O V ER S: Joseph Hansen 87.72 139*74 ti 1 1 V III. ELECTRICAL EQUIPMENT: Century L ighting A. Equipment 323*98 B. lemps & brackets 80.00 405-98 Labor and expenses 1 8.51 Pete Langmack 55.00 IX. REHEARSALS: THEATRE RENTALE: 1 . Ambassador Theatre, 1 s t week 62.90 2 . " " , 2nd week 110.67 173*57 5* New Amsterdam Roof 180.00 $ 7,319*86 3,651.53 626.58 227.46 457*29 252r.gr. BALANCE FORWARD: $12, 636.29 303 The W in g le ss V ic to r y P r o d u c tio n A ccou n t— C ontinued B A L A N C E C ARRIED F O R W A R D : X. R EH E A R SA L SALARIES: A. A ctors: w /e 11/ 12/36 $ 277.83 K elly 25.71 w /e 11/ 21/36 274.29 W/E I I / 23/36 69.97 $ 647.82 B. Crew: Shea & Callahan 30.00 w /e 11/ 14/36 103.12 Lavoie 157.50 Englehart 6.00 G llkey 25.00 W m . Hauser, Ambassador nrops 124.00 W/E 1 1 /21/36, Prop. Dept. 63.50 Production sa la ry , A. B. Shea 76.66 29.54 Crew b i l l s 110.91 726.23 X I. DRESS R EH EA R SA LS W A SH IN G T O N : X II. PR O D U C TIO N SALARIES: G. Macy, 4 whs. @ 100 400.00 J . N eilson 45.00 W . G. T isd a le, w/e H / 21/ 36 50.00 John C ornell 37.50 V III. SALARIES FORFEITED: W . Mia Helneman 400.00 M . Alan Hewitt 300.00 XIV. PRESS D E P A R T M E N T : R, Henderson, 2 whs. @ 100 200.00 " , 1 wk. @ 112.50 I I 2 . 5O " , 4 wks.@ 200 800.00 R. Henderson, F lo a ter account 1 ,0 0 0 .0 0 Hiotographs 11.99 XV. CAIN'S TRANSFER: 120.00 142.50 XVI. INCIDENTALS: Evelyn Drysdale 12.50 Cash to stage manager 1 2.71 Casey Trunk Co. 78.44 Leland Hayward fo r Mel Burns 325.23 E quity dues 18.00 H otel b i l l s , Hay Adams 130.75 Jo M ielzin er, h o te l b i l l s 16.00 $12, 636.29 1,374.05 390.13 532.50 700.00 2,124.49 262.50 5 2 L § 1 T O T A L C O ST O F PR O D U CTIO N : $18,613.59 304 i. i i . h i . IV. v. VI. V II. V III. IX. X. XI. T O T A L Candida Production Account 1937 EESIGNING PRO DUCTIO N: Woodman Thompson PAINTING PRO DUCTIO N; Robert W . Bergman Studio BUILDING PRO D U CTIO N ; T. B. McDonald Construction Co. PROPERTIES: Henry Gebhardt A. B. Shea F e l i p e l l i, flow ers Joe L iebovitz Joe Hanson W oodman Thompson C O ST U M ES: Eaves Costume Co. Johsnne Klinge DRAPERIES: I . W eiss & Sons TRANSFER: Joseph R e illy PRESS D E P A R T M E N T : Ray Henderson, sa la ry " " , expenses R E H E A R SA L EXPENSES: A. A ctors’ s a la r ie s B. Crew lab or, John Brunton Property labor Prank Warner A. B. Shea O liv er Lavoie T H E A T R E R EN TA L: Harry G. Sommers INCIDENTALS: Morgan F arley, ra ilro a d expenses Franklin Davis John R. B e ll - insurance C O ST O F PR O D U C T IO N $ 32.64 10.20 11.30 7.36 30.00 110.00 250.00 ■ ,#> •1 3. 37.75 52.21 $ 42.84 18.66 35.19 40.00 22.00 134 .32 115.26 j & a 140.00 182.64 78.00 23.25 10.02 89.96 36.00 l4.4o 4 .7 2 11.36 $ 200.00 400.00 14.28 293.01 171.81 75.87 i4o.oo 348.15 322.64 237.23 75.O O 30.48 $2,306.47 305 Herod and Marlamne Production Account SCENERY: Harry Horner, d esigning $1,250.00 T. B. McDonald Construction C o., "building 5>54l.46 T riangle Scenic Studio, p a in tin g 3 ,980.50 I . W eiss & Sons, draperies 1,615-43 Joseph C. Hansen, covers 512.96 Nixon Theatre, retouching 40.00 C O ST U M ES; Eaves Costume Co. V alentina Johanne K lin ge, wardrobe J e s s ie Zimmer, stockin gs Zauder B ro s., wigs Arthur A lb e r tis , Jewelry Bergdorf Goodman I . M iller & Sons, shoes S ak s-F ifth Avenue Gimbel Brothers Cleaning costumes PHESS D EPA R T M E N T : W illiam F ie ld s , expenses Romelke P ress Clipping Bureau Acme Rubber Stamp Co. S ervice Messenger Vandamm Studio, photographs Morton Nathanson, Balary 1 1 , expenses Nu-Method M atrix P la te Co. Erode Sign Co. S tan ley Frame Co. PROPERTIES: A. B. Shea, sundry p ro p erties 139.64 Henry Gebhardt 7^2.45 Bannerman, swords 91*60 F e l l i p p e l l i , flow ers 4 .0 6 ELECTRICAL EQUIPM ENT: Repairing dimmer board 55*00 Century L ighting Co. 568.41 PRELIM INARY EXPENSES: Mr. M cC lintic, two round tr ip fa r e s to Europe 1 ,6 1 3 .3 7 Clemence Dane's se c reta ry 's fa r e to Europe 304.17 A d d ition al fe e to Miss Dane's secreta ry 100.00 Typing s c r ip ts 15.00 PR O D U CTIO N SALARIES: Gertrude Macy 700.00 Florence Doody 30.00 A llan A ttw ater 110.00 42.70 •55*11 2 .0 4 10.55 210.56 550.00 45.09 25.90 17*86 65*00 5,010.20 4 ,5 0 0 .0 0 department 82.78 4.59 214.50 11.00 70.52 500.00 42.84 14.06 23.00 $12, 940.35 10, 473.29 822.61 997-77 603.41 2 , 032.54 84o.oo B A L A N C E F O R W A R D : $28,709.97 3 0 6 Herod and Marlamne Production Account—Continued B A L A N C E C A R R IED F O R W A R D : M USIC: Dr. Heinzheimer $ 800.00 A1 P earl 37.00 F e lix G reisele 70*00 H. Leopold S p ita ln y 1, 500.00 Gladys Stevenson 36*00 Ralph G ilbert 42.10 R C A Mfg. C o., records 287*75 Commercial Sound Radio Corp. 13.75 R E H E A R SA L EXPENSES: P a y ro ll, w/e 10/ 8/38 " , w/e 10/ 15/38 " , v /e 10/ 22/38 Fania Marinoff Harry Davis A1 Shea Clarence W ells O liver Lavoie A. B. Shea James Hagan Crawford Fyne Dress reh ea rsa ls, Nixon Theatre Rental o f th eatre M ISCELIANEOUS: Harry Horner, expenses W allace Cole R ia lto Service.Bureau A. B. Shea R ailroading Casey Trunk Co. R e illy Transfer Co. Dykes Lumber Co. Radio loud speaker Gertrude Macy, expenses Mrs. E l li o t , round, tr ip to B uffalo T O T A L C O ST O F PRO DUCTIO N: IESS REFUNDS: Bannerman $ 62.02 Vandaram Studio 5*H Jensen Radio Co. 2 .2 3 N. Y. C entral R. R. 6.29 Pennsylvania R. R. 15*71 Mr. M cC lintic, European tr ip s 250.00 T O T A L N ET C O ST O F PR O D U C TIO N : LESS A M O U N T S PREVIOUSLY C H A R G E D : 37.50 37-50 i4.oo 750.00 1.20 500.00 13.87 58.95 109*97 2 8 .3 0 520.69 755.36 1,308.64 300.00 7*00 115.00 53*75 57.50 113.85 2 1 .0 0 ^3.65 683.65 229.72 ♦28,709.97 2,786.60 4,20 9 .8 1 - 1 j 59-8, 74 37,305.12 3M.36 ♦36,963.76 2,48 2 .5 4 ♦34,481.22 M o Time for Comedy Production Account 4/22/39 S C E N E R Y : Designing $2 , 000.00 Painting 1, 150.00 Building 1,979-79 $ 5,177-15 Miscellaneous purchases PR O P S & D R A P E S —P U R C H A S E S & R E N T A L S : 5,1 5 7 0 5 C O S T U M E S : 1,596.39 E L E C T R IC A L E Q U IP M E N T : 1,514.85 D IR E C T O R : 5, 000.00 R E H E A R S A L E X PE N SE S: Company salaries 661. in Com pany crew 368.76 Stage hands 971.75 Theatre expenses 182. 46 Scripts & parts 64.20 Miscellaneous 2 , 307.65 P R E L IM IN A R Y A D V E R T ISIN G J Press agent salary & expense 440.90 Newspaper advertising 452.74 Photos & signs 640.62 1, 534.26 Carting 279.50 Office expense 300.00 Auditing 60.00 Social Security 76.58 Insurance 80.86 Long distance telephone & cables 108.70 O U T O F T O W N T R Y O U T PR O FIT: $20, 975.07 5, 571.44 $15^601.63 3 0 8 The D o c t o r 's Dilemma P r o d u c tio n A ccount March, 194l SCENERY: B uilding $3, 061.88 P ain ting 3,46 0 .0 0 $ 6 , 521.88 DRAPERIES & U PH O LSTERING : I . Weiss 830.90 Jo Hansen 184.62 1,015.52 C O ST U M ES: Pons 1,130.25 EaveB 1, 698.50 Sundry 287.68 3,116.43 PROPERTIES:* 1,168.64 FEES: D irector 4,000.00 Scene designer 1, 500.00 Costume designer 225.00 5,725.00 SALARIES: A ctors, rehearsals 706.46 Stage manager 300.00 Macy 500.00 1,506.46 PRESS: A gent's sa la ry 825.00 P rin tin g , photographs, e t c . 1 , 281.81 2 , 106.81 LA BO R: Crew, e tc . 1, 436.50 Dress reh earsals (D etro it) 814.58 2, 251.08 LIGHTING EQUIPMENT:* 426.16 INCIDENTALS: . 510.81 TRANSFER: 550.00 R E H E A R SA L TH EA TR E: 483.04 TAXES & INSURANCE: 349.44 T O T A L $25,731.27 LESS: Out o f town tryout p r o fit: D etro it w/e 2/22 3,348.18 Columbus & C incinnati w/e 3 /1 2 , 205.36 Cleveland w/e 3 /3 ^ 521.33. NET C O ST AT N E W Y O R K OPENING: $19, 209.44 C H E C K T O C. & M . C. PRODUCTIONS, INC. H E R E W IT H 790.56 T O T A L RECEIVED FO R PR O D U C TIO N COSTS: $20,000.00 *These two item s would norm ally be much higher, but a great deal o f equipment and p ro p erties came from our own warehouse. The above c o sts represent only the money th a t was a c tu a lly spent by u s. 309 Rose Burke Production Account 12 R.T. N Y C to SF - RR 8 c Pullman. (3 Mainbocher - 2 Macy - Stage mgr - Wheeler W illiam s, M cC lintic, Aumost, J Crew; 4 R T N Y C to SF by A ir) 1 . Mr. M cClintic 2 . Mr. Oenslager 3- Wheeler W illiam s B uilding - P ain tin g - F ireproofing A gent's salary & a d v ertisin g p u b lic ity Furniture - C urtains, e t c . Mainbocher Bergdorf Goodman (h a ts) 3,^98.69 Judy's four ensem bles 2 l8 .lt- Maid B utler & in c id e n ta ls — shoes, stockgs 509-69 S a ls fo r Cast & S ta ff - A ctors' Living Exs - 2 weeks f o r f e it to Judy; 3 vks f u l l s a l Aumont Rehearsal lig h t and heat Rehearsal labor Transfer—Phones & Telegraph, In cid e n ta ls, e t c . A lfred Wright ( le g a l disbursem ents re M erivale) Tax - S .S. sec u r ity Henri B ernstein liv in g expenses M cC lintic's liv in g expenses Mainbocher's liv in g expenses ^Photographs charged on la s t 3 veeks operating expenses. **Does not include carpet, in c id e n ta l ch a irs, lea th er books & various item s used from D octor's Dilemma & C ornell warehouse. *xxDoes not include approxim ately $5,000 worth of equipment, switchboards, lamps, e t c . belonging to Miss C ornell: 25$ o f T otal production co st Received'from Henry B ernstein U ncollected balance (To be deducted from share o f operating p r o fit) TRANSPO RTATIO N: FEES: SCENERY: PRESS:* PROPS:** W A R D R O B E : ELECTRICS:*** REHEARSALS: SUNDRIES: $ 3,871-59 3. 000.00 1, 250.00 1. 000.00 2, 3 0 1. 1 + 1 1 , 326.79 2 , 798.76 4, 520.72 142.22 4,939-07 133.61 412.38 548.02 160.21 134.44 1, 025.00 499.00 112.73 $28,175.95 7,04 3 .9 9 5,000.00 $ 2 ,043 .9 9 The Three Sisters Production Account February 1, 1943 X. FEES: M c C lin tic Macy a . M atley s b . (K o iran sk y (Salam a $ 4 ,0 0 0 .0 0 4 0 0 .0 0 2 , 0 0 0 .0 0 8 0 0 .0 0 2 0 .0 0 $ 7 , 2 2 0 .0 0 XI. SCENERY: I . W eiss a . ( T ria n g le S c e n ic S tu d io (T . B. McDonald C o n s tru c tio n Co. 782.75 2 ,9 2 4 .0 0 4 ,0 6 8 .4 8 7 ,7 7 5 .2 3 III. PROPERTIES: V ario u s a. M arg aret H a rris b . W a lte r Y e a tts c. G e rtru d e Macy d . C. & M. C. P ro d u c tio n s , In c . 5 8 5 .2 8 1 5 2 .0 6 8 7 .5 9 8 6 .8 3 2 , 1 0 0.00 2 , 9 9 1 . 76 IV. COSTUMES: H elene Pons a. (E aves Costume Co. (B rooks Costume Co. b . ( I . M i ll e r , sh o es (B ergdorf-G oodm an c. V ario u s d. E . M ontgomery 1 ,7 4 1 .4 1 2 ,7 0 1 .7 5 409.05 2 7 4 .5 0 1 8 .5 4 3 2 5 .3 8 1 6 2.59 5 ,6 3 3 .2 2 V. REHEARSAL EXPENSES: a . E dvard Dimor.d ( p r e lim in a r y s a la r y ) a 2 . Comnany and Crew, w /e l l / l 4 / 4 2 8 3 . " ” " " 1 1 /2 1 /4 2 a 4 . " ( a c t o r s ) " 1 1 /2 8 /4 2 3 0 0.00 7 7 1 .1 8 2 ,1 2 4 .9 0 2 , 324.15. 5, 5 2 0 .2 3 b . S ta g e crew , w /e 1 1 /2 8 /4 2 b 2 . " " , " 1 1 /2 8 /4 2 8 1 9 .8 4 1 ,2 8 9 .6 6 2 , 1 0 9.50 c . R e n ta l o f E l l i o t T h e a tre & p ia n o 5 7 6.40 5 7 6 .4 0 VI. PRESS: P h o to g rap h s a. T yping & m essen g er s e r v ic e b . S c r i p t s , s ig n s , e t c . e . W a lte r A lfo r d (e x p e n se s) d. P r e s s ( s a l a r i e s ) e. Stam ps 1 3 5.75 6 3 .5 5 IO8 .9 9 2 0 3 .5 0 8 0 6.75 “ £-..lfc 1,433.69 V II. TAXES: S o c ia l s e c u r ity N. Y . S ta t e Unemployment In s u ra n c e F e d e r a l E x c ise ta x O ccupancy ta x 9 5 .4 5 2 5 7 .7 1 2 8 .6 3 2.00 3 8 3 .7 9 V I I I . LIGHTING: V ario u s C. & M. C. P ro d u c tio n s , I n c . 516.82 2,400.00 2, 9 1 6 .8 2 IX. INCIDENTALS: T r a n s p o r ta tio n - E. H a r r is " - E. Gwenn S c r i p ts and p a r t s N. Y. T elephone Co. (L .D . to C a l i f .) E x p re ss d e li v e r y ch arg e 200.88 1 6 7 .6 3 54.05 6 1 .6 0 2.00 4 8 6 .1 6 X. TRANSPORTATION AND HAULING: R e il ly T r a n s f e r Co. P e n n sy lv a n ia R .R . (N.Y. to W ash.) 800.00 6 6 4.15 1 ,4 6 4 .1 5 TOTAL PRODUCTION COST: $ 3 8 ,5 1 0 .9 5 311 Lovers and Friends Production Account December, 1943 V O U C H E R : I. FEES: The Motleys Guthrie McClintic $1,500.00 4, 000.00 $ 5,500.00 II. S C E N E R Y : Building Painting I. Weiss (drapes & covers) Hardware, etc. 3,512.80 1,671.58 803.59 ... 7, 7*90 6,065.87 III. PR O PER TIES: F elip p elli (flowers, trees, e tc .) O ne table " mirror " mantle " carpet Incidentals & bric-a-brac 590.85 90.90 125.00 85.OO 80.80 130.06 1,102.61 IV. E L E C T R IC S: Gelatins and buls 5if. 2i f V. C O S T U M E S : Miss Cornell Cast 2,iifif .99 1,882.52 4,027.51 VI. PRESS: Salaries (less Income tax) Expenses 468.30 580.65 1,048.95 VII. R E H E A R S A L S : Salaries (less tax) Theatre expense Dress rehearsals 1,897.85 233. i f 2 73^.31 2,865.78 VIII. G E N E R A L E X PE N SE S: Insurance M . Hayes Cornell o ffice Various (scrip ts, Percy Harris' transportation from C a lif., e tc .) 500.00 552.65 1,000.00 365.78 2,418.43 IX. T A X E S: Check herewith to John C. Wilson 474.33 X. R E IL L Y T R A N S F E R : 450.00 XI. R A IL R O A D IN G : And second baggage car to Detroit 1 , 068.02 T O T A L C O S T O F P R O D U C T IO N : $25,075.7^ Antigone Production Account Scenery $ 5, 362.10 Properties 355.59 E lectrical equipment 437.55 Wardrobe 2,554.67 Advertising, printing and publicity 1,450.83 Stage labor 992.31 Rehearsal salaries and expenses 1,997.56 Staff salaries 1, 550.00 Hauling and transfer 764.62 Director's fee if, 000.00 Designer's fee - scenery 750.00 Traveling expenses 331.41 Purchase of production contract rights 5, 000.00 Scripts 79.O O Office expenses 400.00 Insurance 228.68 Federal and state payroll taxes 137.21 Auditing fees 50.00 Expenses of postponing engagement .J5 1 2 J6 Total cost of production $26,952.89 C. & M. C. Productions, Inc. Antony and Cleopatra Production Costs as at November 29, 19^7 SCENERY: Designing $ 3,000.00 Painting 12,846.50 Building 22,094.99 Drapes 4,344.03 Miscellaneous supplies and rigging 411.09 PROPS: Henry L. Gebhardt 1,440.20 I. Weiss and Sons 97.92 Miscellaneous band props 283.86 C O S T U M E S : Clothes— Eaves Costume Com pany $15,169.88 Edith Intyens 2,390.00 Valentina 6, 711.00 24,270.88 Accessories— Oscar Bemner - wigs 322.32 Edith Intyens - wigs 315.00 T. 0 . Day - shoes 554.00 La Ray Boot Shop 147.08 I. M iller - shoes 15.25 Georges - boots 37.50 Jessie Zimmer - stockings 255.50 Sears Roebuck - boots shoes 296.21 Bergdorf G oodm an - shoes 42.69 Elizabeth Arden 29.00 Miscellaneous .. T2.-82 2,088.38 Designer 1,500.00 E lectrical Equipment Director R E H E A R S A L SA L A B IES A N D E X P E N SE S: Company salaries 3,788.95 Stage managers 1,458.33 Com pany crew 3,505.05 Stage hands 3,341.59 Musicians 219.00 Wardrobe w om an 197.00 Theatre expenses and rent 283.52 Miscellaneous 32.67 B A L A N C E F O R W A R D : $42,696.61 j 1,821.98 | 27,859.26 1, 557.51 5,000.00 1 2 .826.11 $91,761.47 314 f I I C. & M . C. P roductions, Inc. Antony and C leopatra—continued Production Costs as a t November 29, 1947 j ■ - - j $91, 761.47 | B A L A N C E CARRIED F O R W A R D : PRELIM INARY ADVERTISING: P ress agent sa la ry P ress expenses Photos Frames and signs Newspaper a d v e rtisin g MUSIC: Composer M usicians Expenses General Manager Company Manager O ffice Expense Accounting Fees P ay ro ll Taxes C arting Insurance A ctors * tra n sp o rta tio n M iscellaneous TO TA L $ 1, 700.00 303.51 1, 014.76 229.98 2,588.48 5, 836.73 500.00 345.80 28.51 940.31 9 3304 2 4 l.66 1, 500.00 200.00 421.08 1, 750.00 200.00 698.65 258.46 $104,741.70 Captain Carvallo Production Costs as of June 50, 1951 Scenery painting and building Scenery designer Costume designer Cost tunes Props E lectrical equipment R E H E A R S A L SA L A R IE S A M D E X PE N SES: Company salaries Stage managers Stage hands and crew Wardrobe w om an Production secretary Theatre expenses Scripts and parts PR ELIM IM R Y A D V ER TISIN G : Press agent salary and expenses Newspaper advertising Photos and signs Printing ^ 954.08 610.00 1,475.95 100.00 166.00 265.48 101.00 1, 279.55 2, 422.50 688.84 115.15 $ 9,584.65 1, 500.00 650.00 2 , 295.^2 442.15 557.71 5, 668.51 4,504.02 General manager salary 750.00 Company manager salary 150.00 Office expense 1,000.00 Actors' cancelled contracts 600.00 Carting 450.00 Actors1 transportation 571*07 Insurance 2 5 0 .00 Auditing 100.00 Payroll taxes 204.05 Miscellaneous 86.94 T O T A L P R O D U C T IO N C O S T S $27,144.48 The Constant Wife Estimated Production Costs Fees $ 4,500.00 Scenery 6, 500.00 Costumes 5, 000.00 Rehearsal expenses 5, 000.00 Transfer 400.00 Press & Advertising 4,000.00 General Manager 1, 250.00 Office 1, 000.00 Taxes 500.00 Insurance & Legal fees 550.00 Railroad 1, 500.00 Bonds 10, 000.00 Reserve 2, 200.00 T O T A L $1 * 0 , 000.00 The Prescott Proposals Com pany Production Costs as at January 2, 195^ S C E N E R Y i Designing $ 2,750.00 Painting and Building 25, 27 6 .9 7 Miscellaneous Purchases and Expenses 2 ,109•66 Props Purchases and Rentals Costumes E lectrical and Sound Equipment Purchases and Rentals Director R E H E A R S A L EX PEN SES: Salaries Com pany Company Crew Stagehands Stage Managers Production Assistant Theatre Expenses and Rent Scripts and Parts Miscellaneous P R E L IM IN A R Y A D V E R T ISIN G : Press Agent Salary and Expense Newspaper Advertising Photos and Signs Mailing List and Circularization Printing Company and General Manager Office Expense Legal Fees and Expenses Auditing Fees Railroad and Transportation Payroll Taxes Carting Insurance Miscellaneous 5,819.60 2 , 872.82 5,557-66 2 , 515.00 215.00 12, 760.08 876.59 295.50 584.55 1,511.06 7,5^7.44 2,252.56 4,084.60 124.89 $ 28,156.65 9,911.50 12,249.66 5,665.80 5,000.00 14,516.50 15, 500.55 1.215.00 1. 100.00 1, 990.59 250.00 2,120.41 471.94 2,061.00 500.00 2 S .7 „ . . 5£ T O T A L P R O D U C T IO N C O S T S $100,654.77 318 The Dark Is Light Enough C om pany Production Costs February 5, 1955 SC E E E R Y : Building and painting $17,115-00 Designer 3,500.00 Miscellaneous purchases 212.49 Props Purchases Costume purchases E lectrical and sound purchases Director R E H E A R S A L EX PEN SES: Com pany salaries 3, 009•56 Stage managers' salaries 1,325-00 Crew salaries 1,745 -82 Stagehands 1,452.47 7,552.85 Theatre rentals and expenses 884.44 Scripts 91-85 Miscellaneous 203-55 PUBLICITY: Preliminary newspaper advertising 3,001.00 Press agent salary 1,000.00 Press agent expenses 276.54 Photos and signs 978.79 Gertrude Macy salary Com pany manager salary Office expense Actors and other transportation Legal fees and expenses Auditing fee Carting Payroll taxes Insurance Miscellaneous $20,827.49 5, 012.18 11,775-59 717.42 5, 000.00 8, 712.69 5,256.35 1, 000.00 550.00 1, 250.00 1,364.46 760.70 250.00 605.60 445.54 200.00 106.26 T O T A L P R O D U C T IO N C O S T S $63,834.06 The Firstborn Com pany Production Costs as at M ay 31/ 1958 S C E N E R Y : Designing $ 2,500*00 Painting and Building 16,653*98 Miscellaneous purchases and expenses 650.4 l $19,804.37 Props purchases and rentals 770*25 Costumes 17/907*89 E lectrical and sound equipment 6,259*59 D IR E C T O R 1 Stage - Fee 5/000.00 Living expenses 700*00 5/700.00 R E H E A R S A L EX PEN SES: Salaries Com pany 4,112.69 Company crew 2,44-5.00 Stagehands 2,909*28 Production assistant 75*00 Wardrobe and dressers 157*50 Stage managers 1,641.67 Theatre expenses and rent 1,049.16 Scripts and parts 107.14 Miscellaneous 123*07 12, 630.51 P R E L IM IN A R Y A D V E R T ISIN G i Press agent salary and expense 1,73^*^8 Newspaper advertising 6,979*92 Photos and signs 1, 165.68 Printing 503*72 10, 183.78 Company manager 2,270.50 Office expense 1,500.00 Contract cancellation Maria Fein 1,009-28 Auditing fee 350.00 Railroad and transportation - author and director 2,588.24 Hospitalization and HIP 425*97 Payroll taxes 595*15 Carting 986.75 Music 1,572.00 Insurance 400.00 Miscellaneous and telephone 244.07 Author's Living Expenses 578■l4 T O T A L P R O D U C T IO N C O S T S $85,576.29 Dear Liar Com pany Production Costs as at April 18, 1959 S C E N E R Y ; Designer fee $ 600.00 Drapes 1,055.18 $ 1, 655.18 Props 98l*09 C O S T U M E S s Designer 1,000.00 Purchase s 2,558.56 5>538.56 E lectrical 679*85 Director 2,500.00 R E H E A R S A L EX PEN SE: C om pany salaries 420.00 Stage manager salaries 1,006.00 Scripts 227.46 Miscellaneous 58.21 1, 711.67 PEELIM IM PY A DV ER TISIN G : Promotion 500.00 Press agent 500.00 Photos and signs 508.05 Printing 48.44 1, 156.49 Office expense 1,000.00 Com pany manager salary 1,050.00 Music composer and recordings 2,501.51 Legal fees and disbursements 4,000.00 Auditing fee 550.00 Pre-production expense 1,200.00 Actors' transportation 578.20 Payroll taxes 140.20 Insurance 500.00 Miscellaneous 156.60 T O T A L P R O D U C T IO N C O S T S $25,096.93 Dear Liar Com pany P re -to u r Expenses as a t December 15, 1959 SALARIES: Stage managers $1,100.00 Company manager 600.00 Cast 225.00 D river 200.00 A D V ER TISIN G : Photos and signs 111.45 D E P A R T M E N T A L : Costumes 515*25 E le c tr ic a l 156.00 Props 698.75 T R A N S P O R T A T IO N : Truck r e n ta l 700.00 A irlin e s 1,554,57 O ffice expense 800.00 Legal disbursem ents 544.15 S c rip ts 97*80 P a y ro ll tax es 87.58 Theatre r e n ta l 125-00 Audit ing 125.00 M iscellaneous 172.86 T O T A L $7,595*19 Dear L iar Company Layoff Expenses December l k , 1959 to December 2.6, 1959 SALARIES: Company manager P ress agent Stage manager Wardrobe Crew D river R ailroad and tra n sp o rta tio n Auto expenses C arting O ffice expense P a y ro ll tax es Wardrobe expense M iscellaneous $ 500.00 650.00 150.00 95 .0 0 125.00 100.00 680.72 1 + 9 7 .0 3 .79.70 250.00 50.52 50.00 1 + 5 .1 1 T O T A L E X P E N S E $ 3,073.08 323 Dear L iar Company Pre-New York Opening Expenses as a t June 24, i 960 S C E N E R Y : Designer $1,650.00 B uilding 1,869*45 E L E C T R IC A L : Purchases and re n ta ls 857*28 L ighting C onsultant 600.00 PROPS: Purchases and re n ta ls 1,197*92 Drapes 1,026.91 T H E A T R E EXPENSES: Stagehands tak in g in 922.05 Box o ffic e a s s is ta n ts 254.56 M iscellaneous 28.92 PUBLICITY: Newspaper 6,821.6 6 Photos and sig n s 550.04 M ailing l i s t 46.05 C arting M iscellaneous T O T A L P R E -N E W Y O R K O P E N IN G E X P E N SE S i 1 ! i [ ! $ 3/ 519*45 ; 1, 457.28 I j 2 , 224.85 ! 1, 185.51 7/197*75 465*64 55* 5 P , $16, 085.56 Dear Liar Com pany Closing Income and Expenses as at June 24, i 960 IN C O M E : Props sold $ 425.00 City Excise tax adjustment 576.00 Legal fees cancelled 500.00 Insurance adjustment and refunds 2,392.92 Royalties received 1,371.^8 Payroll tax adjustment 68.80 Miscellaneous 42.61 SENSES: Transportation 257.92 Carting 526.00 Publicity 177.40 E lectrical 70.04 Auditing fee 100.00 $5,376.81 931.36 N E T C L O S IN G IN C O M E R E C E IV E D : $4, 445.45 APPENDIX E ACCOUNTING STATEM ENTS 325 Statement of Katharine Cornell 1935 Production Account R E C E IPT S A M D C R ED ITS: Received from C. & M . C. Productions, Inc. $10,000.00 " " " " " " " " 2,000.00 P rofit from F L O W E R S Q F T H E FO R E ST , Baltimore 5,151.61 Moroni Olsen, purchase of shoes I t-. 00 Brenda Forbes, " " " 20.00 E X PE N D IT U R E S: T H E B A R R E T T S Revival Production Cost 1,648.06 F L O W E R S O F T H E F O R E S T Production Cost 11,702.714- Records of R O M E O A N D JULIET Music 250.00 Guthrie McClintic, round trip to England ^70.35 Ray Henderson, salary to June f ir s t 730.00 $17,175-61 lli-,821.15 C R E D IT B A L A N C E IN B A N K , JU N E FIRST, 1935 $ 2, 5514-.1 4 6 C. & M . C. Productions, Inc. September 7, 1940 S T A T E M E N T O F S H A R E O F PR O FIT S R o Time for Com edy Royalties Received April 2 0, 1940 - $1,810.46 April 27 711.93 M ay 4 864.58 March 16, 1940 - 5,4oo.oo April 20 5 8 .8 7 M ay 18 204.11 June 8 9 2.54 June 22 246.58 July 6 162.15 July 13 90.00 Sept. 7 $3,386.97 9,378.13 Adjustments a fter Closing: Printing Rebate Less Foreign Exchange Paid LESS: Losses W eek ending M ay 18 M ay 25 March 2 3, March 30 April 6 April 13 M ay 11 1940 35.30 4.72 316.92 1, 023.76 1, 656.70 2 , 231.17 1^ 6 5 .7^ 2 2 ^ 8 $12, 795.70 T O T A L 6,494.29 $6,301.41 Due C. & M . C. Productions, Inc.: 51$ of $6,301.41 $3,213.72 Final Statement of The Three S isters Account June 25, 1943 R E C E IPT S Received from C .& M * C. Productions, Inc. it u tt ^ ti tr tr tt Operating p rofit from "The Three Sisters" Rental for Props & E lectrics charged on statements in favor of C. & M . C. Productions, Inc. but never paid Eaves Costume Com pany (sale of costumes) tt it n it it tt D IS B U R S E M E N T S Production cost of "The Three Sisters" $38,510*95 (This figure includes $4,500 paid to C. & M . C. Productions, Inc. for e le c tr ic a l equipment and furniture from our -warehouse) Bonuses at end of N.Y. City engagement Russian W ar R elief, Inc. Bonuses at end of Road Tour Check to C. & M . C. Productions, Inc. tt it 11 ^ " tt tt tt it it tt » Check for balance herewith: 1, 330.00 535.52 1, 510.00 15, 000.00 25, 000.00 10, 000.00 Note to Mr. G r iffis: Check herewith Check previously Paid C.&M. C. Productions, Inc. for equipment Paid to Comell-McClintic Office Account Total p rofit from "The Three Sisters" for the Corporation j I I $ 25, 000.00 | 15, 000.00 | 65, 990.63 j I 3, 000.00 | 400.00 ! 70.70 ! 109, 460.73 i 91,906.47 17, 55^.26 17, 55^.26 10, 000.00 4-, 500.00 4-,000.oo $ 36, 054-.26 329 C. & M . C. P R O D U C T IO N S , INC. Antony and Cleopatra . Statements of Receipts, Disbursements and Expenses as at June 16, 1948 RECEIPTS: Prom . Lenders $125, 000.00 LESS D IS B U R S E M E N T S A N D E X P E N SE S: Net costs to M ay 1, 1948 Add Legal expense - Musicians dispute Closing Expenses: General manager $500.00 Crew expense 225.63 Hauling 460.00 Actors Return Transportation 752.1_9 $ 100.00 1,937.82 $105,324.91 2,037.82 107,362.73 Less Refund on taking out In N ew fork Income from sale of costumes Income from sale of scenery Profit for three weeks ended M ay 22, 1948 (Schedule # l) 62.77 1, 000.00 450.00 6 ,829.10 8,341.87 N E T C O S T S T O D A T E 9 9,020.86 BALANCE A V A IL A B L E F O R D ISTR IB U T IO N $ 25,979.14 S U M M A R Y O F C A S H PO SITIO N Cash In bank Tax cash account 26, 178.02 15,185.42 41,363.44 Less withholding taxes payable Alien Income Tax Withheld N ew York State Income Tax withheld Payroll taxes payable N ew York City Excise Tax payable Accrued Insurance Due Katharine Cornell - Hotel expense Beven weeks 71.00 9,469.96 1,486.53 2, 066.11 20.70 1, 850.00 420.00 15,384.30 B A L A N C E $ 25,979-14 C. & M . C. Productions, Inc. The Constant Wife For Year Ending December 31, 1952 INCOM E: Box O ffice R eceipts $577,669-44 M iscellaneous 1,499*56 T o tal Income 579,169•00 EXPENSESt Production Costs 33,553*76 Running Expenses 469>808.96 T o tal Expenses 503, 562.72 N ET PLA Y PROFIT: 75,806.28 LESS OUTSIDE PARTICIPATION SH A R E 4- 3# 32, 596.70 CO RPO RA TIO N SH A R E 57# 43,209-58 For Year Ending December 31, 1953 INCOM E: Box O ffice R eceipts 340, 327.87 M iscellaneous Income 1,405»77 T o tal Income 341,733.64 EXPENSES: Running Expenses 271,639*92 Net P lay P r o fit fo r Year 70,093*72 LESS OUTSIDE PARTICIPATION SH A R E 43$ 30,140.30 C O RPO RA TIO N SH A R E 57# $ 39,953*42 331 P i n t o ,W i n o k u r & Pa g a n o ACCOUNTANTS ANO AUDITORS so cast A 2 -* street, new tor* 1 7 MURRAY HILL *-*MO The Baric Is Light Enough C om pany Statement of Cash Receipts and Disbursements as at September 30, 1956 Balance available - October 1, 1955 $21, 214.4-5 H E C E IFT S: Amateur rights Insurance refund Payroll tas adjustment $ 200.00 3.56 370.00 $ 573.56 D IS B U R S E M E N T S : Cancelled actor's contract Storage City sales tax Costume cleaning Auditing Miscellaneous 3, 000.00 650.00 366.34 210.70 56-03 4.94 If,288.01 N E T L O SS F O R T H E T E A R 3,714.45 B A L A N C E A V A IL A B IE F O R D IST R IB U T IO N $17,500.00 Nov Being Distributed: Overcall Original capital $11)-, 700.00 2,800.00 T O T A L $17,500.00 APPENDIX P CONTRACTS 332 November 23, 19^2 Miss Judith Anderson Plaza Hotel N ew York, N. Y. Dear Miss Anderson: This le tte r w ill serve as a m em orandum of our agreement in connection with your contract dated November 19, 19^2 between yourself and C. & M . C. Productions, In c., and covering your employment in the part of Olga in T H E T H R E E SISTERS. It is understood that you have agreed to accept as compensation a fla t $1,000 each and every week the play is presented u n til such time as the f u ll production cost has been repaid, at which time you are then to receive ten (10$) per cent of the weekly gross box o ffice receipts against a minimum of $1,000. The above compensation is based on an eight performance week with any extra performances computed pro rata. C. & M . C. Productions, Inc., has agreed to reimburse you for your railroad expenses from Los Angeles to N ew York City and return. Very sincerely yours, C. & M . C. P R O D U C T IO N S , INC, By_______Gertrude M acy Secretary Accepted: Judith Anderson 334 C O N T R A C T AGREEMENT m ade t h i s 3 r d d a y o f N o v em b er 1 9 ^ 2 b e t w e e n SEIEC T OPERATING CORPORATION ____________________________ _________________________________________________ __ M a n a g e r o f t h e _ _ _ _ _ _ _ _ _ _ _ _ ______________________________________________ BARRYMORE THEATRE, Kew Y o rk C i t y _____________________________________________ p a r t y o f t h e f i r s t , a n d ‘ Guthrie M c C l i n t i c K a t h a r i n e C o r n e l l i n THREE SISTERS w i t h R u th G o rd o n , J u d i t h A n d e r s o n , p a r t y o f t h e s e c o n d p a r t . D e n n is K in g a n d Edmund. G ven n WITNESSETH, T h a t t h e p a r t y o f t h e f i r s t p a r t a g r e e a t o f u r n i s h f o r t h e p u r p o s e h e r e i n a f t e r nam ed t h e B a rry m o re T h e a t r e , e x c e p t t h e M a n a g e r ’ s B o x , l i g h t e d , h e a t e d a n d c l e a n e d , v l t h t h e s c e n e r y a n d e q u ip m e n t t h e r e i n c o n t a i n e d , J a n i t o r , u s h e r s , t i c k e t s e l l e r s , d o o r k e e p e r s , c o u p o n a n d r e g u l a r t i c k e t s , h o u s e p r o g r a m s , a n d r e g u l a r h o u s e l i c e n s e , e x c l u s i v e o f S u n d a y s , f o r a p e r i o d o f b e g i n n i n g 21 s t d a y o f D e c . 1 9 4 2 a n d e n d i n g a s h e r e i n a f t e r p r o v i d e d f o r , s a i d e n g a g e m e n t com p r i s i n g r e g u l a r e v e n i n g a n d u s u a l a n d h o l i d a y m a t i n e e p e r f o r m a n c e s . T h e p a r t y o f t h e s e c o n d p a r t a g r e e s t o f u r n i s h K a t h a r i n e C o r n e l l i n ThK kh SIST ER S v i t h R u th G o rd o n , J u d i t h A n d e r s o n , D e n n is K in g "an d E dm und Gwenn v i t h i n t h e c a s e , a s a c o m p le te s c e n i c p r o d u c t i o n ( f i r e o r o o f e d a c c o r d i n g t.p l a v ) a n d e v e r y t h i n g n e c e s s a r y t o t h e p e r f o r m a n c e s c o n t e m p l a t e d b y t h i s c o n t r a c t , n o t h e r e i n b e f o r e a g r e e d t o b e f u r n i s h e d b y t h e p a r t y o f t h e f i r s t p a r t , a n d t o g i v e s a i d p e r f o r m a n c e s i n a p r o p e r a n d c r e d i t a b l e m a n n e r , v i t h c o m p le t e c a s t o f c h a r a c t e r s , a n d a l l c o s tu m e s f o r t h e s a m e ; a l s o t o f u r n i s h a l l p e r i s h a b l e p r o p e r t i e s a n d s p o t , f l o o d s a n d a n y o t h e r f o r m o f la m p s a n d e l e c t r i c a l e q u ip m e n t r e q u i r e d ; a l s o t o f u r n i s h s c e n e a n d p r o p e r t y p l o t s a n d t h e m u s ic p a r t s f o r o r c h e s t r a , p r o v i d e t h e c o n s e n t o f t h e a u t h o r f o r s a i d p e r f o r m a n c e s , a n d p a y a u t h o r ’ s r o y a l t i e s ; a l s o t o f u r n i s h a n d d e l i v e r t o t h e p a r t y o f t h e f i r s t p a r t , a t l e a B t t v o v e e k s p r i o r t o t h e b e g i n n i n g o f t h e v i t h i n n a m ed e n g a g e m e n t, t h e n e c e s s a r y p r i n t e d m a t t e r p r o p e r l y l i n e d a n d d a t e d , p h o t o g r a p h s , p r e s s m a t t e r , c u tB a n d a n y s p e c i a l d e v i c e s , f o r a d v e r t i s i n g s a i d p e r f o r m a n c e s a n d r e c e i v e i n f u l l c o n s i d e r a t i o n t h e r e f o r e : S e v e n t y (10$) p e r c e n t o f t h e f i r s t T e n T h o u s a n d ( $ 1 0 ,0 0 0 .0 0 ) D o l l a r s a n d S e v e n t y - f i v e ( 75$) p e r c e n t o n a l l o v e r t h a t am o u n t o f t h e g r o s s r e c e i p t s v e e k l y . S h o u ld t h e g r o s s r e c e i p t s a n y w e e k r e a c h o r e x c e e d N i n e t e e n T h o u s a n d ( $ 1 9 ,0 0 0 .0 0 ) D o l l a r s t h e n t h e p a r t y o f t h e s e c o n d p a r t i s t o r e c e i v e S e v e n t y - f i v e ( 75$ ) p e r c e n t o f t h e e n t i r e g r o s s r e c e i p t s t h a t v e e k i n s t e a d o f a n y o t h e r t e r m s . I t i s u n d e r s t o o d a n d a g r e e d b y a n d b e tw e e n t h e p a r t i e s h e r e t o t h a t s h o u l d t h e g r o s s r e c e i p t s d e r i v e d f r o m t h e p r e s e n t a t i o n o f s a i d a t t r a c t i o n f a l l b e lo w t h e sum o f F o u r t e e n T h o u s a n d D o l l a r s ( $ 1 4 ,0 0 0 .0 0 ) a v e e k t h e n a n d i n t h a t e v e n t e i t h e r p a r t y h e r e t o s h a l l h a v e t h e r i g h t t o t e r m i n a t e t h e h e r e in a m e d e n g a g e m e n t o n g i v i n g t h e o t h e r p a r t y o n e v e e k 'B n o t i c e i n w r i t i n g t o t h a t e f f e c t . n o t l a t e r th e m p r i o r t o t h e n i g h t p e r f o r m a n c e o n t h e M onday I m m e d ia te ly f o l l o w i n g t h e S a t u r d a y o f t h e v e e k d u r i n g w h ic h t h e g r o s s r e c e i p t s s h a l l h a v e f a l l e n b e lo w t h e s a i d sum o f F o u r t e e n T h o u s a n d D o l l a r s , a n d o n t h e e f f e c t i v e d a t e o f s u c h n o t i c e t h e h e r e in a m e d e n g a g e m e n t a n d t h e l i c e n s e o f t h e p a r t y o f t h e s e c o n d p a r t t o t h e u s e o f t h e v i t h i n n am ed t h e a t r e s h a l l t e r m i n a t e . I f t h e o p e n i n g o f t h e a b o v e n am ed a t t r a c t i o n s h a l l o c c u r a f t e r t h e b e g i n n i n g o f a v e e k s o t h a t l e s s t h e n e i g h t p e r f o r m a n c e s s h a l l b e r e n d e r e d d u r i n g t h e o p e n i n g v e e k , t h e n n o t w i t h s t a n d i n g s u c h f a c t , t h e p o r t i o n o f t h e o p e n i n g v e e k d u r i n g w h ic h p e r f o r m a n c e s s h a l l b e r e n d e r e d s h a l l b e c o n s i d e r e d a v e e k f o r t h e p u r p o s e o f t h e p a r a g r a p h o f t h i s a g r e e m e n t a b o v e s e t f o r t h g r a n t i n g e i t h e r p a r t y t h e o p t i o n o f t e r m i n a t i n g t h i s l i c e n s e o n o n e w e e k ’ s n o t i c e i f t h e g r o s s r e c e i p t s d e r i v e d f r o m t h e p r e s e n t a t i o n o f t h i s a t t r a c t i o n s h a l l f a l l b e lo w t h e sum o f F o u r t e e n T h o u s a n d D o l l a r s a v e e k f o r t v o c o n s e c u t i v e v e e k s . H o w e v e r, t h e m inim um g r o s s r e c e i p t s o f $ 1 4 ,0 0 0 .0 0 p e r v e e k r e q u i r e d f o r t h e p u r p o s e o f e x e r c l B i n g s u c h o p t i o n s h a l l b e r e d u c e d b y t h e sum o f $ 1750.00 f o r e a c h p e r f o r m a n c e l e s s t h a n e i g h t g i v e n . T h e p a r t y o f t h e f i r s t p a r t a g r e e s t o s h a r e v i t h t h e p a r t y o f t h e s e c o n d p a r t o n t h e c o s t o f 1 a d v e r t i s i n g m u t u a l l y a g r e e d u p o n a t t h e p r o r a t a s h a r e o f t e r m s o f t h i s c o n t r a c t . T h e p a r t y o f t h e f i r s t p a r t a g r e e s t o f u r n i s h n e c e s s a r y s t a g e h a n d s i n c l u d i n g b e a d c a r p e n t e r , h e a d p r o p e r t y m an a n d h e a d e l e c t r i c i a n t o w o rk t h e show b u t n o t t h e c o m p an y c r e v . T h e p a r t y o f t h e s e c o n d p a r t u n d e r t a k e s t o c a r r y o u t a n d b e s o l e l y r e s p o n s i b l e f o r e v e r y a n d n i l o b l i g a t i o n s w i t h r e s p e c t t o t h e S o c i a l S e c u r i t y t a x l a v s — b o t h F e d e r a l a n d S t a t e , a r i s i n g o u t o f w o rk p e r f o r m e d b y i t s e m p lo y e e s h e r e i n . T h e p a r t y o f t h e f i r s t p a r t s h a l l a l l o w a s u f f i c i e n t n u m b e r o f e m p lo y e e s t o a l l o w t h e p a r t y o f t h e s e c o n d p a r t , v i t h i n a p e r i o d n o t t o e x c e e d e i g h t ( 8 ) h o u r s d u r i n g r e g u l a r u n i o n h o u r s , o n t h e d a y o f o p e n i n g , t o t a k e i n i t s b a g g a g e a n d s e t u p a n d h a n g i t s B c e n e r y a n d e f f e c t s , a n d s h a l l f u r n i s h a s u f f i c i e n t n u m b e r o f e m p lo y e e s t o a l l o v t h e a t t r a c t i o n n o t t o e x c e e d f o u r h o u r s , i m m e d i a t e l y a f t e r t h e l a s t p e r f o r m a n c e t o t a k e dow n a n d t a k e o u t i t s 6c e n e r y a n d e f f e c t s - * — T h e r e c e i p t s o f e a c h p e r f o r m a n c e s h a l l b e a s c e r t a i n e d b y t h e s t a t e m e n t o f t h e s a l e a t t h e b o x o f f i c e , v e r i f i e d b y t h e c o u n t o f t h e t i c k e t s t a k e n a t t h e d o o r s , a n d s e t t l e m e n t m ay b e m ade a t t h e e n d o f e a c h v e e k , o r a t s u c h o t h e r t i m e s a s s h a l l b e m u t u a l l y a g r e e d u p o n b y t h e p a r t i e s h e r e t o . T h e p e r f o r m a n c e s t o b e g i v e n b y t h e C om pany o f t h e p a r t y o f t h e s e c o n d p a r t m u s t c o n f o r m v i t h a l l t h e L aw s a n d O r d in a n c e s o f t h e C i t y , S t a t e a n d N a t i o n a l G o v e r n m e n ts . A t t r a c t i o n s p l a y i n g t h i s T h e a t r e s h a l l a d v e r t i s e o n l y i n s u c h p a p e r s a s a r e a p p r o v e d b y t h e M a n a g e r o f t h i s T h e a t r e a n d p l a c e s u c h a d v e r t i s i n g o n l y th r o u g h B uch a d v e r t i s i n g a g e n c i e s a s t h e p a r t y o f t h e f i r s t p a r t s h a l l d e s i g n a t e . No b i l l i n g o r a d v e r t i s i n g o f a n y k i n d w h a t s o e v e r s h a l l b e d o n e b y t h e p a r t y o f t h e s e c o n d p a r t w i t h o u t t h e w r i t t e n c o n s e n t o f" t h e p a r t y o f t h e f i r s t p a r t a n d a v i o l a t i o n o f t h i B c l a u s e s h a l l b e c o n s i d e r e d a v i o l a t i o n o f t h e w h o le c o n t r a c t . . • • D ie p a r t y o f t h e f i r s t p a r t a g r e e s t o s h a r e v i t h t h e p a r t y o f t h e s e c o n d p a r t o n t h e c o a t o f a l l a d v e r t i s i n g m u t u a l l y a g r e e d u p o n a t t h e p r o r a t a s h a r e o f t e r m s o f t h i s c o n t r a c t . T h e p a r t y o f t h e f i r s t p a r t a g r e e s t o f u r n i s h n e c e s s a r y s t a g e h a n d s i n c l u d i n g h e a d c a r p e n t e r , h e a d p r o p e r t y m an a n d h e a d e l e c t r i c i a n t o v o r k t h e show t u t n o t t h e c o m p an y c r e w . T h e p a r t y o f t h e s e c o n d p a r t u n d e r t a k e s t o c a r r y o u t a n d b e s o l e l y r e s p o n s i b l e f o r e v e r y a n d a l l o b l i g a t i o n s v i t h r e s p e c t t o t h e S o c i a l S e c u r i t y t a x l a v s — b o t h F e d e r a l a n d S t a t e , a r i s i n g o u t . o f v o r k p e r f o r m e d b y i t s e m p lo y e e s h e r e i n . T h e p a r t y o f t h e f i r s t p a r t s h a l l a l l o w a s u f f i c i e n t n u m b e r o f e m p lo y e e s t o a l l o w t h e p a r t y o f t h e s e c o n d p a r t , v i t h i n a p e r i o d n o t t o e x c e e d e i g h t ( 8 ) h o u rB d u r i n g r e g u l a r u n i o n h o u r s , o n t h e d a y o f o p e n i n g , t o t a k e i n i t s b a g g a g e a n d s e t u p a n d h a n g i t s s c e n e r y a n d e f f e c t s , a n d s h a l l f u r n i s h a s u f f i c i e n t n u m b e r o f e m p lo y e e s t o a l l o w t h e a t t r a c t i o n n o t t o e x c e e d f o u r h o u r s , i m m e d i a t e l y a f t e r t h e l a s t p e r f o r m a n c e t o t a k e dow n a n d t a k e o u t i t s s c e n e r y a n d e f f e c t s . S h o u ld t h e p r o p e r t y o f t h e p a r t y o f t h e s e c o n d p a r t b e m oved i n t o t h e t h e a t r e o r o u t o f t h e sam e o n a n y d a y o t h e r t h a n t h e d a y o f o p e n i n g a n d d a y o f c l o s i n g , o r b e f o r e o r a f t e r t h e r e g u l a r t i m e f o r w h ic h t h e s t a g e h a n d s a r e r e g u l a r l y e m p lo y e d a n d p a i d b y t h e p a r t y o f t h e f i r s t p a r t t h e n t h e e x p e n s e t h e r e o f , l e s s t h e am o u n t i t w o u ld h a v e c o s t t h e p a r t y o f t h e f i r s t p a r t o n t h e d a y o f o p e n i n g a n d d a y o f c l o s i n g s h a l l b e b o r n e b y t h e p a r t y o f t h e s e c o n d p a r t . A s p a r t c o n s i d e r a t i o n f o r t h e b o o k in g h e r e i n p r o v i d e d f o r , i t i s a g r e e d t h a t t h e U n i t e d B ook i n g O f f i c e , I n c . s h a l l h a v e t h e e x c l u s i v e r i g h t t o b o o k t h e s a i d p l a y i n a n y a n d a l l c i t i e s i n t h e U n i t e d S t a t e s o f A m e r ic a a n d C a n a d a . I f t h e s a i d p l a y i s b e i n g p r e s e n t e d i n t h e d i f f e r e n t c i t i e s i t s h a l l r e c e i v e t h e sam e t e r n s i n t h e sam e c i t i e s a s o t h e r p l a y s o f l i k e c a l i b r e a n d d r a w in g p o w e r . D ue c o n s i d e r a t i o n s h a l l b e g i v e n t o t h e r e l a t i v e e x p e n s e o f t h e p l a y a n d o f t h e t h e a t r e i n a r r i v i n g a t s u c h t e r m s . T h e p a r t y o f t h e f i r s t p a r t h a s t h e e x c l u s i v e p r i v i l e g e t o s e l l o r h a v e s o l d s h e e t m u s ic , p h o n o g r a p h o r r a d i o r e c o r d s , s o u v e n i r b o o k s , a n d c a n d y a n d r e f r e s h m e n t s d u r i n g t h i s e n g a g e m e n t e x c e p t b o o k l e t s s o l d b y p a r t o f 2n d p a r t f o r b e n e f i t A c t o r s 1 ' F u n d . D ie p a r t y o f t h e s e c o n d p a r t a g r e e s t o s h a r e w e e k ly i n t h e c o s t o f i c e f o r t h e c o o l i n g p l a n t o n t h e p r o - r a t a s h a r e o f t h e t e r m s p r o v i d e d f o r i n t h i s c o n t r a c t d u r i n g s u c h p o r t i o n o f t h i s e n g a g e m e n t a s s a i d c o o l i n g p l a n t s h a l l b e i n o p e r a t i o n . T h e c o s t o f p a i n t i n g t h e h o u s e b o a r d s o n t h e f r o n t o f t h e b u i l d i n g p r i o r t o t h e o p e n i n g a n d p a i n t i n g sam e o u t a f t e r t h e l a s t p e r f o r m a n c e , s h a l l b e s h a r e d b y b o t h p a r t i e s o n t h e p r o - r a t a s h a r e o f t e r m s p r o v i d e d f o r i n t h i s a g r e e m e n t . T h e p a r t i e s s h a l l s h a r e i n l i k e m a n n e r i n t h e c o s t o f p u t t i n g u p t h e e l e c t r i c s i g n p r i o r t o t h e o p e n i n g a n d t a k i n g t h e sam e dow n a f t e r t h e l a s t p e r f o r m a n c e . Ho r u b b e r s ta m p o r a n y w r i t t e n i n s e r t i o n s , c h a n g e s o r e r a s u r e s m ade i n t h i s c o n t r a c t b y p a r t y o f t h e s e c o n d p a r t s h a l l b e b i n d i n g u p o n t h e p a r t y o f t h e f i r s t p a r t . T h e p a r t y o f t h e s e c o n d p a r t f u r t h e r a g r e e s t h a t ( e x c e p t a t t h e T h e a t r e h e r e i n n a m e d ) , w i t h o u t t h e w r i t t e n c o n s e n t o f t h e p a r t y o f t h e f i r s t p a r t , h e w i l l n o t a l l o w t h e C om pany t o a p p e a r , p l a y o r p e r f o r m , o r t o b e a d v e r t i s e d t o a p p e a r , p l a y o r p e r f o r m , o r t o r e n d e r a n y p r o f e s s i o n a l s e r v i c e , o r b e a d v e r t i s e d i n a n y w ay a s a n a t t r a c t i o n a t a n y t h e a t r e , c a b a r e t o r o t h e r p l a c e o f a m u s e m e n t, r e s t a u r a n t o r o t h e r p l a c e p a t r o n i z e d b y t h e p u b l i c , i n c l u d i n g C lu b s o r B e n e f i t s , w h e t h e r a c h a r g e i s m ade b y s u c h p l a c e s o r n o t , p r i o r t o t h i s e n g a g e m e n t i n t h e C i t y o f Hew Y o rk , d u r i n g t h e r u n a t s a i d T h e a t r e a n d f o r a p e r i o d o f e i g h t ( 8 ) v e e k s s u c c e e d i n g t h e t e r m i n a t i o n o f t h e e n g a g e m e n t a t t h e T h e a t r e n a m ed i n t h i s c o n t r a c t , e x c e p t u p o n a g r e e m e n t e n d o r s e d o n t h i s c o n t r a c t . I n c a s e t h e p a r t y o f t h e s e c o n d p a r t v i o l a t e s t h i s c o n d i t i o n h e h e r e b y a g r e e s t o p a y s a i d p a r t y o f t h e f i r s t p a r t a s l i q u i d a t e d , s t i p u l a t e d , a n d a g r e e d d a m a g e s , a n d i n n o v i s e a s a p e n a l t y , t h e sum o f T h r e e T h o u s a n d D o l l a r s p e r w eek a s p a r t i a l d a m a g e s , a n d t h e p a r t y o f t h e s e c o n d p a r t c o n s e n t s t h a t i n t h e e v e n t o f h i s b r e a c h o f t h i s c l a u s e h e r e i n , t h a t t h e p a r t y o f t h e f i r s t p a r t o b t a i n a n i n j u n c t i o n f r o m a n y C o u r t o f c o m p e te n t J u r i s d i c t i o n , r e s t r a i n i n g t h e a d v e r t i s i n g o f o r t h e a p p e a r a n c e o f s u c h C om pany, a t a n y o t h e r T h e a t r e f o r t h e t e r m , a n d t h a t h e w i l l i n t e r p o s e n o d e f e n s e t h e r e t o . I n c a s e t h e s a i d p a r t y o f t h e f i r s t p a r t h a s a n y m o ney i n i t s h a n d s b e l o n g i n g t o t h e s a i d s e c o n d p a r t y , t h e y m ay r e t a i n t h e a m o u n t o f s a i d a g r e e d d a m a g e s , a n d a p p l y t h e sam e t o t h e p a y m e n t t h e r e o f . I n t h e e v e n t o f d e s t r u c t i o n o f t h i s T h e a t r e , b y f i r e o r n a t i o n a l o r l o c a l c a l a m i t y , o r a n y u n f o r e s e e n o c c u r r e n c e i n c l u d i n g s t r i k e s o r l o c k o u t s w h ic h s h a l l r e n d e r t h e f u l f i l l m e n t o f t h i s c o n t r a c t b y t h e p a r t y o f t h e f i r s t p a r t i m p o s s i b l e , i t s h e l l n o t b e h e l d l e g a l l y r e s p o n s i b l e b y t h e p a r t y o f t h e s e c o n d p a r t f o r a n y d a m a g e s c a u s e d t h e r e b y . I n t h e e v e n t o f t h e T h e a t r e b e i n g c l o s e d , b e c a u s e o f f u r t h e r r e h e a r s e l s o f t h e C om pany o f t h e p a r t y o f t h e s e c o n d p a r t o r o n a c c o u n t o f s i c k n e s s o r i n a b i l i t y o f t h e p r i n c i p a l p e r f o r m e r , o r f o r a n y o t h e r c a u s e w h a t s o e v e r , e x c e p t i n g o n l y a s r e c i t e d i n t h e p r e c e d i n g p a r a g r a p h , t h e n t h e p a r t y o f t h e s e c o n d p a r t 6h a l l p a y t h e r e n t o f t h e s a i d 'T h e a t r e f o r t h e ti m e c l o s e d , a n d i n a d d i t i o n t h e r e t o a l l o t h e r e x p e n s e s o f e v e r y nam e o r n a t u r e i n c u r r e d b y p a r t y o f t h e f i r s t p a r t f o r t h e p u r p o s e o f t h e p a r t y o f t h e s e c o n d p a r t , o r f o r t h e i r J o i n t i n t e r e s t i n t h e a t t r a c t i o n t o b e p l a y e d h e r e u n d e r . A nd t h e p a r t y o f t h e s e c o n d p a r t a g r e e s t h a t e v e r y m em b er o f t h i s C om pany s h a l l a b i d e b y a n d c o n f o r m t o t h e r u l e s a n d d i s c i p l i n e f o r t h e g o v e rn m e n t o f t h i s T h e a t r e d u r i n g t h e t e r m o f t h i s c o n t r a c t , a n d t h a t h e w i l l p a y f o r b r e a k a g e o r dam ag e t o p r o p e r t y i n c u r r e d b y a n y m em b er o f t h i s C om pany. T h e f r e e a d m i s s i o n , i f a n y , e x c e p t t o l o c a l p r e s s , a n d p r i c e s s h a l l b e s u b j e c t t o m u t u a l u n d e r s t a n d i n g . IN WITNESS WHEREOF, t h e p a r t i e s h e r e t o h a v e s e t h a n d s a n d s e a l s t h e d a y a n d y e a r f i r s t a b o v e written. SELECT OPERATING CORPORATION C . & M. C . PRODUCTIONS IN C . G e r t r u d e M acy . S e c 'y . 336 MEMDRANDUM OF AGHEEMENT m ade t h i s f i r s t d a y o f O c t o b e r , 1 9 4 7 , BY AND BETWEEN C . & M. C . PRODUC TIO N S, IN C . o f 1 2 7 0 S i x t h A v e n u e , New Y o r k , New Y o rk ( h e r e i n a f t e r r e f e r r e d t o a s " t h e M a n a g e r " ) O f t h e o n e p a r t AND KATE O 'B R IE N , c / o THE INTERNATIONAL COPYRIGHT BUREAU L T D ., o f 1 1 , H a y m a r k e t, L o n d o n , S . W. 1 ( h e r e i n a f t e r r e f e r r e d t o a s " t h e A u t h o r " ) , o f t h e o t h e r p a r t . W H E R E A S t h e A u th o r i s t h e A u t h o r a n d P r o p r i e t o r o f a n o v e l e n t i t l e d : "ESA SENORA" ("F O R ONE SWEET G RAIE") a n d W H E R E A S b y a n A g re e m e n t o f O c to b e r 25t h 1 9 4 6 t h e A u th o r a n d t h e M a n a g e r have agreed o n c e r t a i n t e r m s r e g a r d i n g t h e d r a m a t i z a t i o n o f t h e s a i d n o v e l a n d WH E R E A S t h e A u t h o r h a s g r a n t e d t o t h e M a n a g e r a n o p t i o n o n t h e r i g h t s o f s u c h d r a m a t i z a t i o n ( h e r e i n a f t e r r e f e r r e d t o a s " t h e s a i d p l a y " ) a n d W H E R E A S t h e M a n a g e r h a s e x e r c i s e d h i s o p t i o n a n d a c c e p t e d t h e s a i d , p l a y a n d p a i d t o t h e A u th o r t h e sum o f O ne T h o u s a n d D o l l a r s ( $ 1 , 0 0 0 ) , a n d o n M ay 2 2 , 1 9 4 7 a n a d d i t i o n a l O ne T h o u s a n d D o l l a r s ( $ 1 , 0 0 0 ) , b o t h a s a d v a n c e p a y m e n ts a g a i n s t r o y a l t i e s andi W H E R E A S t h e M a n a g e r d e s i r e s t o e x t e n d h i s o p t i o n a n d t o p r o d u c e a n d p r e s e n t t h e s a i d p l a y i n t h e U n i t e d S t a t e s o f A m e r ic a a n d t h e D o m in io n o f C a n a d a u p o n t h e t e r m s a n d c o n d i t i o n s h e r e i n a f t e r m o re f u l l y s e t f o r t h NOW THEREFORE i n c o n s i d e r a t i o n o f t h e p r e m i s e s , m u t u a l p r o m i s e s a n d c o v e n a n ts h e r e i n a f t e r s e t f o r t h a n d o t h e r v a l u a b l e c o n s i d e r a t i o n THE PARTIES AGREE AS FOLLOWS 1 . EACH p a r t y h e r e t o r a t i f i e s a n d c o n f i r m s t h e M inim um B a s i c A g re e m e n t m ade w i t h s u c h am en d m e n ts t h e r e t o , i f a n y , a s m ay h a v e b e e n a d o p t e d a t t h e d a t e o f t h i s c o n t r a c t . T h e s a i d M inim um B a s i c A g re e m e n t i s d ee m ed i n c o r p o r a t e d h e r e i n i n i t s e n t i r e t y a s t h o u g h p h y s i c a l l y a t t a c h e d h e r e t o , a n d t h e t e r m s a n d p r o v i s i o n s t h e r e o f s h a l l a p p l y i n a l l m a t t e r s a n d i n s t a n c e s n o t s p e c i f i c a l l y c o v e r e d a n d p r o v i d e d f o r b y t h i s A g r e e m e n t. I n t h e e v e n t o f a n y c o n f l i c t b e t w e e n a n y o f t h e p r o v i s i o n s o f t h i s P r o d u c t i o n C o n t r a c t a n d t h e S a id M inim um B a s i c A g r e e m e n t, t h e s a i d t e r m s a n d p r o v i s i o n s o f t h e M inim um B a s i c A g re e m e n t s h a l l p r e v a i l , a n d s u c h c o n f l i c t i n g c l a u s e s h e r e o f s h a l l b e d ee m ed a u t o m a t i c a l l y t o c o n fo rm t o t h e s a i d M inim um B a s i c A g r e e m e n t. 2 . THE A u th o r h e r e b y w a r r a n t s t h a t s h e i s t h e A u th o r a n d P r o p r i e t o r o f t h e s a i d p l a y a n d h a s t h e s o l e r i g h t t o e x e c u t e t h i s l e a s e . 3 . THE A u th o r h e r e b y g r a n t s t o t h e M a n a g e r t h e s o l e a n d e x c l u s i v e r i g h t t o p r o d u c e a n d p r e s e n t t h e s a i d p l a y o n t h e s p e a k i n g s t a g e i n t h e U n ite d S t a t e s o f A m e ric a a n d t h e D o m in io n o f C a n a d a u p o n t h e t e r m s a n d c o n d i t i o n s h e r e i n a f t e r s p e c i f i e d . 4 . THE M a n a g e r a g r e e s t o p a y a n a d d i t i o n a l T h re e H u n d re d a n d F i f t y D o l l a r s ( $ 3 5 0 ) u p o n s i g n i n g a s a f u r t h e r a d v a n c e a g a i n s t r o y a l t i e s , t o c o v e r t h e p e r i o d e n d i n g D e c e m b e r 3 1 , 194-7. 5 . t h v M a n a g e r a g r e e s t o p r o d u c e a n d p r e s e n t t h e s a i d p l a y o n o r b e f o r e t h e 1 5 t h d a y o f J a n u a r y 1 9 4 8 f a i l i n g w h ic h a l l r i g h t s h e r e i n a f t e r g r a n t e d s h a l l r e v e r t t o t h e A u th o r u n l e s s t h e M a n a g e r o b t a i n s a n e x t e n s i o n o f h i s r i g h t s f o r a f u r t h e r p e r i o d o f s i x m o n th s a g a i n s t a f u r t h e r p a y m e n t o f N in e H u n d re d D o l l a r s ( $ 9 0 0 ) i n a d v a n c e o n a c c o u n t o f r o y a l t i e s . 6 . t h e R o y a l t i e s s h a l l b e o n t h e f o l l o w i n g p e r c e n t a g e b a s l s : - E l x p e r c e n t ( 656) u p t o t h e f i r s t $ 5 ,0 0 0 o n a l l g r o s s w e e k ly b o x o f f i c e r e c e i p t s . E i g h t p e r c e n t ( 856) a f t e r $ 5 ,0 0 0 b u t n o t e x c e e d i n g $ 7 ,0 0 0 o n a l l g r o s s w eekly b o x o f f i c e r e c e i p t s . T e n p e r c e n t (lO jt) a f t e r $ 7 ,0 0 0 b u t n o t e x c e e d i n g $ 1 5 ,0 0 0 o n a l l g r o s s w e e k ly b o x o f f i c e r e c e i p t s . E l e v e n p e r c e n t ( 1 1 $ ) t h e r e a f t e r o n a l l g r o s s w e e k ly b o x o f f i c e r e c e i p t s e x c e e d i n g $ 15 , 0 0 0 . 7 . IN t h e e v e n t t h a t u n d e r t h e t e r m s o f t h e M inim um B a s i c A g re e m e n t t h e M a n a g e r s h a ll be e n t i t l e d t o s h a r e i n t h e p r o c e e d s o f a n y s u b s i d i a r y r i g h t s , i t i s a g r e e d t h a t t h e M a n a g e r s h a ll r e c e i v e t h e f o l l o w i n g p e r c e n t a g e : - a ) - T h e m o t io n p i c t u r e r i g h t s - 3 3 1 /3 % . b ) - R a d io a n d T e l e v i s i o n r i g h t s - 3 3 1 /3% c ) - S to c k A m a te u r a n d S ta g e r i g h t s o t h e r t h a n f i r s t - c l a s s - hO$. t 337 8. THE M a n a g e r s h a l l h a v e t h e r i g h t i f h e s o d e s i r e s t o p r o d u c e t h e p l a y o r c a u s e t h e p l a y t o h e p r o d u c e d I n G r e a t B r i t a i n (w h ic h f o r t h e p u r p o s e s o f t h i s a g r e e m e n t s h a l l b e d e e m e d t o c o m p r is e G r e a t B r i t a i n , N o r t h e r n I r e l a n d , t h e F r e e S t a t e o f E i r e , t h e C h a n n e l I s l a n d s a n d t h e I s l e o f M an) ( h e r e i n a f t e r c a l l e d " t h e B r i t i s h t e r r i t o r y " ) p r i o r t o p r o d u c t i o n I n t h e U n ite d S t a t e s o f A m e ric a a n d t h e D o m in io n o f C a n a d a ( h e r e i n a f t e r r e f e r r e d t o a s "T h e A m e r ic a n t e r r i t o r y " ) a n d t h e a d v a n c e p a y m e n ts m ade b y t h e M a n a g e r o n a c c o u n t o f r o y a l t i e s s h a l l i n t h a t e v e n t b e c o n s i d e r e d t o b e o n a c c o u n t o f r o y a l t i e s f o r t h e p r o d u c t i o n i n t h e B r i t i s h t e r r i t o r y o n t h e f o l l o w i n g p e r c e n t a g e b a s i s : - S i x p e r c e n t ( 6 $ ) u p t o U . , 5 0 0 o n a l l g r o s s w e e k ly b o x o f f i c e r e c e i p t s . E i g h t p e r c e n t ( 8 $ ) b e t w e e n h i , 5 0 0 a n d 1 2 ,0 0 0 o n a l l g r o s s w e e k ly b o x o f f i c e r e c e i p t s . T e n p e r c e n t ( 1 0 $ ) b e tw e e n 1 2 ,0 0 0 a n d 1 2 ,5 0 0 o n a l l g r o s s w e e k l y b o x o f f i c e r e c e i p t s . E l e v e n p e r c e n t ( 1 1 $ ) t h e r e a f t e r . 9 . PROVIDED t h e M a n a g e r h a s c o m p lie d w i t h a l l t h e t e r m s a n d c o n d i t i o n s o f t h i s A g r e e m e n t, i n w h i c h e v e r t e r r i t o r y h e f i r s t p r o d u c e s t h e p l a y , h e s h a l l h a v e t h e e x c l u s i v e r i g h t t o p r o d u c e a n d p r e s e n t t h e p l a y o n t h e s p e a k i n g s t a g e i n t h e o t h e r t e r r i t o r y p r o v i d e d t h a t w i t h i n a p e r i o d o f t h r e e m o n th s fr o m t h e d a t e o f t h e f i r s t p e r f o r m a n c e i n M a n h a t ta n ( i n t h e c a s e o f a n A m e ric a n p r o d u c t i o n ) o r i n t h e W e st E n d o f L o n d o n ( i n t h e c a s e o f a B r i t i s h p r o d u c t i o n ) h e s h a l l s o n o t i f y t h e A u th o r i n w r i t i n g , a n d s i m u l t a n e o u s l y p a y t o t h e A u t h o r 's a g e n t t h e sum o f One T h o u s a n d D o l l a r s ( $ 1 , 0 0 0 ) , w h ic h a d v a n c e s h a l l n o t b e r e t u r n a b l e i n a n y e v e n t . I n c o n s i d e r a t i o n o f t h i s n o t i c e a n d p a y m e n t, t h e M a n a g e r s h a l l h a v e t h e r i g h t t o m ake s u c h p r o d u c t i o n n o t l a t e r t h a n f o u r m o n th s a f t e r t h e c l o s i n g o f t h e r u n o f t h e p l a y i n t h e c o u n t r y w h e re f i r s t p r o d u c e d . 1 0 . IN t h e e v e n t t h a t t h e s a i d p l a y i s p r o d u c e d i n c o u n t r i e s o u t s i d e t h e A m e r ic a n a n d B r i t i s h t e r r i t o r i e s , t h e M a n a g e r , s u b j e c t t o t h e t e r m s e n d c o n d i t i o n s o f t h e M inim um B a s i c A g r e e m e n t, s h a l l r e c e i v e t w e n t y - f i v e p e r c e n t ( 2 5 $ ) o f t h e n e t p r o c e e d s t h e r e f r o m . 1 1 . A l l m o n ie s p a y a b le t o t h e A u t h o r f r o m t h e M a n a g e r u n d e r t h i s c o n t r a c t , f o r p e r f o r m a n c e s i n t h e U n i t e d S t a t e s a n d i t s t e r r i t o r i e s , a n d t h e D o m in io n o f Ca n a da , s h a l l b e p a i d t o t h e A u t h o r 's a g e n t , M is s M ary P r i t c h e t t , o f 55 W e st 4 2 n d S t r e e t , New f o r k 1 8 , New Y o r k , a n d a l l r o y a l t i e s p a y a b l e f r o m p e r f o r m a n c e s i n t h e B r i t i s h t e r r i t o r y s h a l l b e p a y a b l e t o T h e I n t e r n a t i o n a l C o p y r ig h t B u r e a u , L t d . , o f 1 1 , H a y m a r k e t, L o n d o n , S . W. 1 . T h e s a i d M ary P r i t c h e t t a n d t h e s a i d I n t e r n a t i o n a l C o p y r i g h t B u r e a u L t d . s h a l l b e e n t i t l e d t o r e c e i v e t h e J o i n t com m i s s i o n o f T e n P e r c e n t ( 1 0 $ ) o n p H r o y a l t i e s a n d a d v a n c e p a y m e n ts s o l e l y f r o m t h e A u t h o r , a n d s h a l l b e e n t i t l e d t o r e c e i v e a T e n P e r c e n t ( 1 0 $ ) c o m m is s io n o n t h e t o t a l g r o s s su m s p a i d f o r s a l e o r l e a s e o f a i 1 s u b s i d i a r y r i g h t s s o l o n g a s t h e y s h a l l c o n t i n u e t o r e n d e r s e r v i c e . IN WITNESS WHEREOF THE HANDS OF THE PARTIES HERETO THE DAY AND YEAR HEREINABOVE F IR S T WRITTEN C .& M. C . PRODUCTIONS IN C . b y G e r t r u d e M acy . S e c 'y . KATE O 'B R IE N 338 O F F IC E O F K A T H A R IN E C O R N E L L S O C K K l’ B L L E H C E N T E K 1370 S ix -rn A v e n u e N e w Yo r k C m r G e b t b u d e M a c t June 16, I9A 3 John C. Wilson, Esq. 10 Rockefeller Plaza New York City- Dear Jack, The following expresses our understanding in regard to the production of IOVERS AND FRIENDS, by Dodie Smith: 1. You and our company will participate in the production, sharing on cost, profits and losses in the ratio of fifty percent ( 50$) each, in which par ticipation all proceeds from picture, foreign, and subsidiary rights shall be included. 2. Katharine Cornell will play the part of Stella, at the salary of fif teen percent ( 15$) of the gross weekly receipts, without guarantee, plus the salary of her theatre maid. 3- Guthrie McClintic is to direct the play, and to receive $1,000 a week during the rehearsal period, plus two and one-half percent ( 2^$) of the gross weekly receipts for his services as such director. Both his and your hotel expenses while out of town will be charged to the production. 4. You shall be the signatory to the dramatic contract with Dodie Smith, and shall hold the rights of the Manager under that contract, and handle the business of operating the play from your office. But the production and rehearsal arrangements, estimates for sets, costumes and properties, etc., and the casting of the play, will be handled from our office. The cast must be approved by you, and you will be consulted on all artistic points. 5. The theatre, to be mutually selected for the New York run of this play, should give Miss Cornell her usual New York terms. 6. You may charge $200 a week, beginning with the opening date, to cover the administration of the business connected with the operating of the play, which includes general overhead items such as rent, telephone, stationery, auditor, etc. The salary of Mr. Keefe as press representative will of course be charged to the running expenses of the production. 7. The programs and all advertising are to read "Katharine Cornell and John C. Wilson present." 8. The try-out towns to be played on the preliminary tour must not only be agreeable to Miss Cornell, but she must receive her usual terms. 9 . In New York City twelve center orchestra seats in rows D and E shall be held out for Miss Cornell and her office as house seats, and all free lists and passes must be subject to our approval. 10. You have agreed to co-operate with us in the employment of. the company manager and stage manager, and at least the electrician of Miss Cornell's regular crew. It shall be mutually agreed between us what rentals or charges should be paid by the production for any of our storehouse proper ties or electrical equipment. 1 1. All advertising copy, and any road tour which may be planned, shall be subject to our approval. Very sincerely yours, C. & M. C. PRODUCTIONS,'INC. By_________________________ Secretary APPENDIX G CORRESPONDENCE 339 ! 3^o ; f Shubert-Alvin Theater, Pittsburgh, Pa., M arch 24th, 1932 ;Rudolf Besier, Esq.., Hotel de Normandie, St. Peter Port, Guernsey, C.I . England Dear M r. Besier: It is a r e lie f to know that the publication of your a rticle in London has caused no further trouble to you. W e saw copies of the "Time and Tide" with the Editor’s note, which we hope se ttle s i t once and for a ll. Egotist that I am , i t did not occur to m e that M r. M adden might be blamed, rather than myself. I sh all be glad to explain to him i f you think i t necessary, but probably he w ill never know i t . At the time of m y writing, you evidently had not received word of the extraordinary receipts your play attracted in Boston, Washington and Philadelphia. In the la tter city , the f ir s t week reached $32, 0 0 0.00, and the second and fin a l week w ill exceed that. As I wrote you the other day, Miss Cornell iB anxious that you understand that so far the difference in the grosses is en tirely due to the varying sizes of the theaters played. W e are hoping that the great difference between business on tour and even the capacity receipts played to in N ew York w ill solace you for the termination of the N ew York engagement. W e realise that with the closing week of nearly $22,000.00 in N ew York, i t seems hard to accept the fact that Miss Cornell closed her season there, but I want to t e l l you, privately, the facts underlying Miss Cornell’s decision: W hen Miss Cornell took her six weeks' rest la st autumn, she was in a very m uch worse physical condition than any of us realised, and we now know that she had not done th is, she would have suffered a very serious breakdown, which probably would have meant the end of her acting for some time to come. N o doubt she realised th is and she m ade the decision to fin ish her N ew York season and take your play on tour th is spring. It is evident now that the strain of playing Elizabeth is m uch greater on her than any of us knew. Accordingly, i t has been wise of her to take the play to these chief c itie s now, other wise i t is possible she could not have done so for at least another year. : 3^1 Rudolf Besier, Esq. -2- j Thus,, you see, from a financial standpoint, everybody I is the gainer, since the receipts are so much in excess of what she would have played to had she remained in New York u n til the end of the present season. In writing you, I find i t is d iffic u lt to m ake th is en tirely clear, but i f you had come over and had seen the performance she gives as Elizabeth, and had met Miss Cornell and discovered the super-sensitive person she is , you would know what the acting of th is part for year and a half has meant to her, emotionally, mentally and physically. She continually talks of the fact that she really never w ill fin ish playing "The Barretts of Wimpole S tr ee t," but w ill return to i t in future years; so although i t m ay seem that you are missing some of the possible royalties at the present time, we fe e l that in the end you w ill be more than compensated by the fact that she, ! rather than any other actress, did your play. Please regard th is in I str ic t confidence and i f you write her, do not mention the subject of ; her health, as i t is a delicate one, which we find she m uch prefers that we do not dwell upon. H ow is your new play about Lord Byron progressing? Does i t seem that i t may, after a ll, be a piece for her? W e a ll trust you are en tirely recovered and s t i l l hope we m ay see you somewhere on th is tour, as i t has now been decided to extend i t u n til June, which w ill make i t possible for her to appear in Los Angeles and San Fran cisco. ; The enclosed a rticle by M r. Woollcott expresses m y opinion of "Mourning Becomes Electra." The c r itic s wrote ecsta tica lly 1 about th is drama, but to m e the play seemed highly overrated. The public response f e l l o ff after the f ir s t few weeks. As for M r. Shaw's ' "Too True to be Good," I think i t is stu ff Shaw has said time and again and more interestingly in other pieces. In fact i t seems to m e that Shaw just babbles. The c r itic a l reaction has been, for the most part, unfavorable, and the public on tour - i t has not yet been seen in N ew York - is more or le ss indifferent. The Theater Guild, cannily, has given i t the advantage of such an extraordinary person as Beatrice L illie , who some day is going to break out of her obvious boredom and give the real show which might m ake th is tedious drama endurable. With best wishes. Yours very sincerely, (Guthrie McClintic) 342 October ik , 1932 Dear Bobby: In regard to your personal fee in connection with the pro duction of "Lucrece," I think we should come to some definite s e ttle ment . I In your le tte r of October sixth, you suggested two ways of j arranging i t : j "(a) a fla t sum of $2 , 000; or, | (b) $1500 payable in three installm ents, as per the regular j scene designers' contract, plus $50.00 a week—th is la tter amount to j begin when the cost of production has been paid, and to continue as j long as the show runs, both in N ew York and on the road." i I am perfectly agreeable to (a) and, as you anticipated, I would naturally choose that way. But, I understand and sympathize with your preference for (b); also, I am sure Kit, too, would like to fe e l j that you had, in a way, a part of the production. i However, the question I bring up is that the fla t prices | involved—$2 ,0 0 0 in the fir s t instance, and $1500 in the second—are too close to each other in amounts. It seems to m e that i f we agree on method (b), $1,000 would be a fairer amount for a cash advance. D o you appreciate m y point of view that the fla t sum in method (b) is not enough smaller than (a) to warrant m y consideration? Please t e l l m e frankly what you think about th is. I hope I have been clear. With kindest regards, always, ; Sincerely yours, (Guthrie McGlintic) Robert Edm ond Jones, Esq. Radio Keith Orpheum Corp. I 1560 Broadway N ew York City G M :P RADIO-KEITH-ORPHEUM CORPORATION 1560-1564 BROADWAY NEW YORK Sept. 28, 1952 Mr. Guthrie M cC lintie, Belaseo Theatre, Hew York, N. Y. Dear Guthrie: That p lay i s a dream - the fin e s t thing I have read in years. I t i s n ' t p h y sic a lly p o ssib le fo r m e to do i t , but I'm going to do i t ju s t the same; I cou ldn 't say "no" to i t . I haven't time to t e l l you th is morning a l l the wonder f u l th in g s I think about i t , except to say th at i t i s something th a t I understand deeply, and so I know th a t I can help you make i t in to something remarkable. You and K it w ill have to be a l i t t l e le n ie n t w ith me about appointments because I work on schedule in Radio C ity and am already overworked and d istra cted . Evenings and lunch hours are my fr ee tim e. 343 Pay me what you lik e , but pay m e enough so th a t I can have very good a s s is ta n ts to carry out the work. I f e e l a tremen dously p o s itiv e and v it a l and b e a u tifu l th ing coming out o f th a t m anuscript. W ill you w rite m e a l e t t e r with a l l d ates, e t c .? C all up my secreta ry and arrange an appointment fo r dinner th is week or n ex t, except Saturday or Sunday. VIA/) rej/ rb (Robert Edmond Jones) P .S . What th ea tre w i l l "Lucrece" be played in? I want to know be cause I want to design i t d e fin ite ly fo r that th ea tre. Would i t in te r e s t you to have the p lay done in the manner o f the la te R enaissance. The sto ry o f Lucrece as we know i t from Shakespeare i s p ecu lia r ly Renaissance in fe e lin g . 3 4 4 RADIO-KEITH-ORPHEUM CORPORATION 1560-1564 BROADWAY NEW YORK October 6 , 1932 Mr. Guthrie M cC lintie, B elasco Theatre, New York, N. Y. Dear G uthrie: I am very glad to t e l l you th at th e Union i s allow ing me to do "Lucrece," and I am ready to go ahead a t any tim e. I am p e r fe c tly w illin g to leave the p u b lic ity e n tir e ly to Mr. Henderson, because he always handles th in gs in a most d is tin g u ish ed way. With regard to my personal fe e , we can arrange i t in e ith e r o f two ways: a) a f l a t sum of $2000; or, b) $1500 payable in three in sta llm en ts, as per the regular scene d esigners con tract, p lu s $50.00 a week - t h is la t t e r amount to begin when the co st o f production has been paid, and to . continue a s long as the show runs, both in New York and on the road. You w i l l n a tu ra lly want to choose the f i r s t way, because th e amount i s sm aller; but I g rea tly p refer the second way, because i t g iv e s me a continuous in te r e s t in the show, and makes m e f e e l th a t in a way I belong to i t . A sim ila r arrangement worked out to everybody's s a tis fa c tio n in "Green Pastures." I s h a ll have to use a s s is ta n ts to help me do the a ctu a l work, and they w ill probably co st me $1000 before the show opens. I cannot t e l l you how glad I am to be working on t h is wonderful p la y w ith you and K it. Had you thought o f Robin de la Condimine (Robert Farquaharson) a s one o f the narrators? He would be a m agnificent f o i l fo r Edith Evans. hej/ rb (Robert Edmond Jones) 345. AYOT ST LAWRENCE, WELWYN,. HERTS. STATION: WHEATHAMPSTEAD, G. N. R. 2* MILES. TELEGRAMS: BERNARD SHAW, CODICOIE. 30th July 1 9 k l Delectable Katharine, I took the success of The Doctor’s Dilemma as a matter of course, with you in it. I got the photographs: they look all right except that Dubedat is fifty years too old. He should be a beautiful stripling who looks 1 8, though he is in fact a few years older, and not in the same street with the other men, morally or physically. Jennifer is a sort of woman I hate: one who never looks facts in the. face, and lives in a lying dream. My favorite female in the play .is Minnie Tinwell, daughter of joy and shyboots, who can steal the play in two minutes if she is put to it. In the original production she was played to perfection by the daughter of an American bishop. When you go on tour, double the two parts: there will be time for you to change after your exit in the second act, and you save a salary. I could find a dozen Jennifers more easily than I could find one Minnie. As to filming Candida, I strongly advise not to do it until the war is over and taxation back to reasonable levels. I have made nothing out of The Doctor's Dilemma: all the dollars you send me are sold to the British Treasury, which will take every cent of the price, and more, back from me in Income Tax and Surtax. Something of the same kind must be happening to you, or very soon will. Candida can wait: you will be irre sistible in it at 70 as you are now; and I will be able to live on your earnings as I have done so often before. If only I had written another part good enough for you! So you remembered my 86th birthday. I was bom 50 years too soon. I notice that you ask a percentage on profits. Have you noticed that I ask a percentage on receipts? There may be no profits; and there are always receipts; and the profits can never exceed the receipts. And the receipts can always be ascertained, whereas it may take ten lawsuits to settle what the profits are. Ask Guthrie whether he has considered this? Yours oldest author G. BERNARD SHAW Miss Katharine Cornell Rockefeller Center 1270 Sixth Avenue New York City U. S. America APPENDIX H TOURING INSTRUCTION SHEETS TO THEATRE MANAGERS 346 KATHARINE C O R N ELL In 3 4 7 "The B a r r e tts o f Wlmpole S treet" Company a r r iv e s from Baggage e a rs a r r iv e Company d ep arts to H A U L stags: call Carpenter Department Property Department E le c tr ic Department To ta k e In 5 k 3 So vork 1 1 1 To take out I 3 M UST H A V E CIEAR STA G E AND RIGGING IOFT PRO PERTY D E PA R TM E N T 2 k itc h e n t a b le s o f f sta g e 1 0 c h a ir s f o r a c to r s to s i t on DRESSING R O O M S must he fr e s h ly scrubbed and clean ed throughout. K iss C o r n e ll's D ressin g Room: Carpet on th e f lo o r Comfortable couch Comfortable ch a ir Large m irror KIECTRIC D EPA R TM EN T S There are two b la ck -o u ts during the p la y , vhen th e auditorium must be COM PIETELY DARK. So p le a se se e a l l e x it li g h t s In th e auditorium and elsew h ere are fr e s h ly dipped so th a t no lig h t shcrvs. OHIS IS M O ST IM PO R TA N T TO TH E M A N A G E R : BOX OFFICE: I t i s n ecessa ry and ex c e e d in g ly Important th a t th e sta g e o f your t h e a t e r be h e a te d t o a high tem perature. I t must be EOT. I f th e r e a r e d rau g h ty doors or windows, th e se must be r e p a ire d so t h a t th e r e a re no draughts - and th e Btage can be k e p t HOT. T h is i s IMPERATIVE. M iss C o rn ell i s very su sc e p tib le to ta k in g c o ld . I f she i s 1 1 1 the th e a te r has to be c lo s e d . So p le a se take every p reca u tio n to sa fe-gu ard h e r h e a lth . P le a se h old fo r M iss C o rn ell 6 s e a ts , k In th e th ir d row l e f t cen ter a i s l e and 2 In th e f i f t h row r ig h t cen ter a i s l e . Do n ot r e le a s e th e se u n t il so In str u c ted by K iss C orn ell o r h er manager, A lla n A ttv a te r . B t a g e KATHARINE C O R N ELL in The B a r r e tts o f Wlmpole S treet" TRANSFER REQUIREMENTS: Baggage cars a r r iv e from Company departs to T heater H a ll Stage C a ll k 2 0 - f t rack wagons baggage 3 4 8 MISS C O R N ELL' S C O M P A N Y "L U C R E C E " has i t s f i r s t performance in the H A N N A TH EA TER , C LEV EL A N D . 0. on TU ESD A Y NIGHT, N O V E M B E R 29, 1932 Engagement Is fo r F ive n ig h ts; M ATS. TBURS. & SAT. Baggage car p laced fo r loading at 33rd S t. & 11th Ave. N E W Y O R K C E N T R A L Saturday noon, November 26. Crew Lv. New York, Grand C entral S ta tio n S at. Nov. 26 a t 6.20 pm At . Cleveland Sun. " 27 " 7*55 Company Lv. New York, Grand C entral S ta tio n , S at. Nov. 26 a t 11.45 pm Ar. Cleveland Sun. " 27 at 12.20 noon H A U L in Cleveland (u n less otherw ise n o tifie d ) Sunday, Nov. 27 at 9 A.M. Cleveland Transfer Co. Prospect 7825 ST A G E C R E W CALL; 10 A.M. C L E V E L A N D H O T ELS Cleveland H otel S ta tle r H otel Hollenden H otel Carter H otel (form erly Winton) S ter lin g H otel Wade Park Manor ST A G E DIM ENSIONS: room and bath II It $2.50 and up $2 .5 0 " n $ 2.00 " " sin g le $12.00 per week double 17.50 " '' sin g le $10.00 per week double 12.00 " " $3.00 and up sin g le S .00 " " double s u ite s from 7*00 per day Wall to w a ll 6 5 1 Curtain to back w a ll............ 361 Height to F ly f lo o r ...............30' " " G ridiron.................72' Between G irders....................... 50' Proscenium w idth..................... 361 h e ig h t................... 30' JA M ES V IN C EN T Stage Manager 3 4 9 KATHARINE CORNELL IN REPERTORY Company arrives from Baggage cars arrive Company departs to HAUL STAGE CALL Carpenter Department Property Department Electric Department Carpenter Department Property- Department Electric Department CARPENTER DEPARTMENT: Absolutely necessary we HAVE CLEAR STAGE AND RIGGING LOFT 32 sets of lines used Spot a couple of lines on each side of fly rail (L & R) to hand spots PROPERTY DEPARTMENT: 2 kitchen tables off stage 10 chairs for actor6 to sit on DRESSING ROOMS must be freshly scrubbed and cleaned throughout. Miss Cornell's Dressing Room: Carpet on floor comfortable couch comfortable chair large mirror ELECTRIC DEPARTMENT: There are two black-outs during "The Barretts of Wlmpole Street" when the auditorium must be COMPLETELY DARK So please see all exit lights in the auditorium and elsewhere are freshly dipped so that no light shows. THIS IS MOST IMPORTANT. TO THE MANAGER: It is necessary and exceedingly important that the stage of your "theater be heated to a high temperature. It must be HOT. If there are draughty doors or windows, these must be repaired so that there are no draughts and the stage can be KEPT HOT. This is IMPERATIVE. .Miss Cornell is very susceptible to taking cold. If she is ill, the theater has to be closed. So please take every precaution -to-cafe-guard her health. Thank you. KATHARINE CORNELL IN REPERTORY Box Office: Please hold for Miss Cornell for every performance, matinees and nights, 6 seats: 4 in the third row left center aisle and 2 in the fifth row right center aisle. Do not release these until so instructed by Miss Cornell or her manager, Allan Attwater. To take is To take out 1 0 1 0 6 6 3 3 To work To work "The Barretts of Wlmpole "Romeo and Juliet" Street" and "Candida" 12 1 3 1 3 1 3 5 0 KATHARINE CORNELL IN "ROMEO AMD JULIET" SUPERS: Used In "Romeo end Juliet" only REHEARSAL: 3 young women between 20 and 25 years old 2 medium-sized men 5 stalwart men between 20 and JO years old KATHARINE CORNELL IN "ROMEO AND JULIET" ORCHESTRA: For "Romeo and Juliet" only 1 drummer If orchestra is used only classical music must be played. KATHARINE CORNELL COMPANY TRANSFER REQUIREMENTS: Baggage cars arrive from Company departs to Theater HAUL Stage call 1 ItO-ft wagon 8 20-ft rack wagons About 50 pieces KATHARINE CORNELL REPERTOIRE CO. Playing "THE BARRETTS OF WIMFOLE STREET" & "ROMEO & JULIET" 2 Baggage cars - 40 People. Transfer requirements, when both plays are given, 1 x 1*0; 8 X 20 ft wagons. 50 pieces when Hotels are distributed. Each production about 5 loads, of which 1 must be a 1*0 ft. "The Barretts of Wlmpole Street" "Romeo & Juliet" Get in Work Get out Get in Work Get out Carpenter Dep 5 1 5 10 12 10 Props " 1 * 1 l * 6 3 6 Electric " 3 1 3 3 3 3 Company carries 6 in their Crew - 2 in each department. Whenever BOTH shows are played during the engagement, the "Romeo" 'Get in" number of men is to be called. The number to 'Work' depends on whichever play iB given. SUPERS or EXTRAS for "Romeo & Juliet" ONLY. 3 Young women between 20 & 25 years 2 Medium height men " & " 5 Stalwart men " & " Use orchestra if house has one, but not necessary. SNARE DRUM used for "Romeo & Juliet" prologue only. Must h a v e c l e a r s t a g e a n d R i g g i n g Loft. JZ sets of lines Spot a couple of lines on each side of fly rail (L.R) to hang spots on Company and baggage cars arrive....... ....... Please Call Transfer Co. at Baggage carB..... . Please Call Theatre stage staff at................... . f™?8 \ staee Mgrs. Allan Attwater., Co. Mgr. Gertrude Macy ) = > • = > "The Barretts of Wlmpole Street" ORCHESTRA: REHEARSAL: IEAEER: The company carries the following music: Overture: (Seven minutes) Excerpts from "Hansel and Gretel"....................... Humperdinck Entr'Acte After Act I: (five minutes) Selection from "Rosenkavalier"................ Richard Strauss Rondlno ...................................... Beethoven-Kreisler Entr'Acte After Act II: (nine minutes) Gavotte from "Iphigenia" ................................... Gluck Minuet from "Berenice".......................................Handel Minuet in G ................... Beethoven Gavotte..................... Gossec Finale: Pastel Minuet . . . Paradis KATHARINE CORNELL in "The Barretts of Wlmpole Street" BOX OFFICE: Please hold for Miss Cornell for every performance, matinees and nights, 8 seats: A - in the third row left center aisle, and 4 in the fifth row, right center aisle. Do not release these until instructed to do so by Miss Cornell or by her manager, Mr. Attwater. I APPENDIX I INDIVIDUAL TOUR GROSSES 352 M o Time f o r Comedy Tour 1939. 1 * 0 Seaton Oross O ct. 2 -7 Boeton W ilbur *17,263.00 * * O ct. 9-1* Boston • i 7.M 9 .OO O ct. 1/5-17 Bev Haven Shubert O ct. IB W orcester C lark U. Aud. 20, 8 10 .00 O ct. 19-21 b p e rf B uffalo S rlan g e r O ct. 2J-28 D e tro it Cass 26, 269-00 O ct. 30- l l A Cleveland Hanna 20,001.63 I ot. 6 vcck Chicago H a rris 20,293-50 *OY. 13 * w ■ 21, 0 1 0 .0 0 ■or. 2 0 ‘ m ■ 23,356.60 t o r . 27 * S t. Louie American 21,637.00 Dee. * Tulaa Convention H. ll,162.00 Pfp. 5 V leh lta Ponca 3,029.50 5, 0 0 9 .0 0 Dec. 6 2 p e rf Kansas C .. Mo. K unic. Aud. 3,*67.50 Dee. 7 Omaha, Neb. Paramount 5,316.50 Dee. 8 Des Moines ShTlne 6,099.25 Deo. 9 Davenport Orpbeum * , 6 9 *.0 0 Dee. 11-13 b p e rf Milwaukee Davidson 10,759.00 Dee. I t 1 p e rf Madlaon Parkway 2, 9 1 6.0 0 Dec. 15-16 3 p e rf M innple. Lyceum 10, 6 1 6.0 0 Dee. lfi S t. P aul A uditorium * ,2 8 2 .0 0 Dee. 19-20 Dee. 21 *• Travel 8pokane Fox * ,0 1 6 .8 1 Dee. 22 •* T ravel 2, 6l * .8 6 Dee. 23 Tacoma Temple Dee. 25-27 S e a ttle M etropolitan 13,669.79 Dee. 28-30 Ib rtla a d M ayfair 12,019.50 J e n . 1-6 San F ran cis 00 Curran 20,** 3-00 J e n . 6-13 • ■ 26, 7*0 .0 0 J e n . 15-20 LA BUtmoxa 17,212.50 J e n . 22-27 IA ■ 18, *0 9 .0 0 J e n . 28-29 — T ravel Jen . 30 Amarillo Paramount J e n . 31 O kla. C ity fihrlne 20,519-63 Teb. 1 F t. Worth M&Jeetie F eb. 2-3 D allas Melba F eb. 5 A ustin Paramount 3,593-60 Feb. 6 Feb. 7-8 3 p e rf San Antonio Houston Texas Music g a l l * , 7 2 0 .2 8 2,983-*3 2,805.58 3,2*6.*0 F eb. 9 Travel 3, 2*6 .* 0 *,5*5-00 Feb. 10 2 p e rf New O rleans K unlc. Aud. 3,538.00 Feb. 12 F eb. 1 3 - lt Birmingham A tlan ta Temple S rlan g e r 3,577-50 2,75*-50 2 , 7 1 2 .5 0 2 , 7*6 .0 0 F eb. 15 F eb. 16-17 C harlotte Richmond C arolina ly r i c 2,737-62 1,701.97 2 , 0 8 8 .7 6 1,853.02 F eb, 1 9-2t 9 P e rf Washington R atio n al 23, 1 60.00 Feb. 26-3/2 P ittsb u rg h 1 H Tftn 18,399.75 »fer. t- 9 P h ila d elp h ia F o rre s t 21,893.50 H er. 11-16 « • 21,223.50 H er. 18 1 p e rf Bethlehem Boyd 1, 7 00.00 So o th e r perfonnances - S oly Week H er. 23 P rinceton McCarter 2 , 3 7 8.0 0 Her# 26 Wilmington Playhouse 2,761-50 H er. 27 Beading Rajah 1, 7 00.00 H er. 28 Her. 29-30 3 p e r t Herehey Columbus Conaunity Aud Burtwun 3, 725.00 9 6 1.27 9*7.20 l,JO *.65 A p ril 1 So. Bend Oranada 3, 5 1 8.50 A p ril 2*4> Chicago Grand Opera 8,715.*0 A p ril 8-13 • • 9,727-20 A p ril 13 Toledo Paramount *,*33-50 A p ril 16 A p ril 17 Akron C olonial 2,15*.37 1,9*7.30 Youngstown la rk 733.*8 A p ril 18 Ith a c a S trand 2,903.00 A p ril 19-20 Rochester M ason's Aud. 2,758.00 A p ril 22-27 Toronto Royal Alexan 17, 0 00.00 A p ril 29 Ottawa C ap ito l 18,339-50 A p ril JO -5/t M ontreal Hie M ajesty Hay 6 Providence A lU e 1, 8 00.00 Hey 7-11 Brooklyn H aje stlo 7,751.50 354 That Lady (1949-50) No. Of Dates City-Theatre Gross Performances Oct. 18-22 Buffalo-Erlanger $ 23,372.00 7 Oct. 24-29 Toronto-Royal Alexandra 16,361.50 (Can.) 8 Oct. 31-Nov. 5 Detroit-Cass 19,510.50 8 Nov. 7-12 n 1 1 19,652.00 8 Nov. lU-19 Cleveland-Hanna 24,089.74 8 Nov. 22-26 New York-Martin Beck 23,870.00 7 Nov. 28-Dec. 3 ti if 25,004.20 8 Dec. 5-10 tf tf 23,3^5-to 8 Dec. 12-17 n tf 21,801.05 8 Dec. 19-24 ft ft 20,130.20 8 Dec. 26-31 ft ft 18,034.50 8 Jan. 2-7 tt n 16,416.20 8 Jan. 9-14 m tt 15,535.00 8 Jan. 16-21 n if 16,463-80 a Jan. 23-28 ti « 13,768.50 8 Jan. 30-Feb. 4 Chlcago-Harris 17,049.50 8 Feb. 6-11 tt ti 19, 098.50 8 Feb. 13-18 n n 19, 017.50 8 Feb. 20-25 it it 15,533.50 8 Feb. 27-28 St. Paul-Auditorium 2,9^3.50 2 Mar. 1-4 Minneapolis-Lyceum 14,622.50 6 Mar. 6-11 St. Louis-American 22,529.50 8 Mar. 13 Des Moines-KRNT Theatre 4,301.50 1 Mar. 14-18 Kansas City, Mo.-Orpheum 16, 037.00 7 Mar. 20 Topeka-Municipal Audit. 2,670.50 1 Mar. 21 Tulsa-Convention Hall 4,163.50 1 Mar. 22 Oklahoma City-Home 4,339.34 1 Mar. 23 Dallas-Majestic 8,474.40 2 Mar. 24- (Cancelled) Mar. 25 Fort Worth-Majestic 4,146.23 2 Mar. 27 San Antonio-Texas Theatre 4,537.36 1 Mar. 28-29 Houston-Metropolitan 9,315-84 3 Mar. 3° * * Travel Mar. 31-April 1 New Orleans-Poche 10,024.00 3 April 3 Montgomery-Lanier H. S. 2, 232.94 1 April 4-6 At lanta-Towe r 6,872.50 4 April 7-8 Birmingham-Temple 7, 269.65 3 April 10-12 Columbus-Hartman 5,282.86 4 April 13 Travel April 14-15 Wllmington-Playhouse 5, 896.95 4 April 17-22 Baltimore-Ford's 10,592.00 8 April 24-29 Bo ston-Plymouth 13.629.50 8 $527,935.16 220 SUMMARY Weeks Performances Gross Pre-New York 5 39 $102,985.74 New York 10 79 194,368.85 Poet-New York -15- 102 230,580.57 Total 28 220 $527,935.16 m m o n 8 8$ s» a . 8 A M ) s"ft P » *) a ^ a a 1 |S » 8 8 ft ft 8 8 8 8 6 a i i i i i i i s i a' » s ' a 8' a' f t s « 9 * 8 8 I I ft ft & 8 ft ft |j f S I § § < ! & ' S a H 9 tt 3 t z 3 s i t • a 1 S ■ s ft a * s i i i i i * s ' a s ' s' f tf t a 8 f t 8 ft 8 8 8 ft 8 9 f t P 8 i i 3&SS i i i i 3 * ft 9 *\ « $§ £ a' ft 8 » w s' spj? 5 7 a' S » ft a 5 I o ? E ^ - S 4 * * * > 22 3 h \. > .< H • >»,» t ffSS£ O « « H t> N r A fl A m O « | A 3 ~£ n i i w i i i i a i % d 3 i l i . n i l & a3: s s : fifi^ M I a :« S * Sails! I * M & h | a h1 I si | ! h 111 * & K & & C D ‘ H I I I I 5$ a a 3 I I 9 T 2 A 9 9 I I I I § s cQ H o \m a * 5 i 3 s l J ! l L . , r i H H H r j p t H H H -T VO 3 I s I I I 1 1 t i I I i 4 4 4 14441 4 1 4 4 4 4 4 4 44444 4 4 4 I S i S S I I I s * £ I 35 6 Dear L iar Tours (1959) P roduction Coats $ 2 3 ,0 9 6 .9 3 (4 /1 8 /5 9 ) Spring Tour Company Share o f Paten C ity T heater B o x o ffic e R e c e ip ts Mar. 2 -8 Phoenix Sombrero T heater (600 s e a ts ) Mar. 10 Tucson U n iv e r sity Aud. (2000 s e a ts ) Mar. 14-16 Palm Beach S o c ie ty o f Four A rts Mar. 17 S arasota M unicipal A uditorium (1700 seats'! $2 7 , 1 8 8 .1 9 Mar. 23-28 8 p e r f Miami Coconut Grove (900 s e a ts ) 15, 0 0 0 .0 0 Mar. 3 0-A p ril 1 * Miami I I I I 15, 0 0 0 .0 0 A p r il 6 -7 OreenBhoro, N. Ca. Aycock (2518 s e a ts ) A p r il 8-9 Memphis, Tenn. E l l i s Aud. M usic H a ll (2000 s e a ts ) A p r il 10-11 3 p erf Hev O rlean s, la.. M unicipal A uditorium (2600 s e a ts ) 17, 1 6 1 .0 3 A p r il 13 S hreveport, l a . M unicipal A uditorium (2530 s e a ts ) A p r il 15-18 (Mat. - 18) P re-to u r Expenses $7/593-19 (1 2 /1 3 /5 9 ) A tla n tic C ity P r o fit f o r 7 weeks F a ll Tour ’ farren T heater $ 3 /5 1 0 .9 5 1 1 ,3 3 8 .5 5 O ct. 9 Hempstead, L .I . H o fstra Playhouse (2200 s e a ts ) (4 , 0 0 0 . 0 0 ) O ct. 10 Brooklyn Walt Whitman H a ll (2482 s e a ts ) O ct. 12 P rin ceton McCarter O ct. 13 W hite P la in s R K O K eith (1337 s e a ts ) O ct. 14 Bchenectady P roctor (2000 s e a ts ) O ct. 15 7 p e r f B u ffa lo JCLeinhans (2839 s e a ts ) 2 5 ,4 0 8 .9 9 O ct. 17 Toronto Massey H a ll (2765 s e a ts ) . O ct. 20 Q r a n v ille , Ohio Swasey Chapel (1200 s e a ts | (3 ,0 0 0 .0 0 ) O ct. 21 4 p e r f F t . Wayne, Ind. S c o ttis h R ite (2000 se a ts , ( 3 , 5 0 0 . 0 0 ) O ct. 22 M uncle, Ind. B a ll S ta te (3500 B eats) ( 3, 5 0 0 . 0 0 ) O ct. 23 Bloom ington, Ind. Ind. U. Aud. {3788 s e a ts ) ( 4 , 500. 0 0 ) ( 14, 197. 5 0 ) O ct. 26 C h arleston , 111. Ia n tz G ym O ct. 28-29 4 p e r f Milwaukee R iv e r sid e T heater O ct. 31 W innetka, 111. Skokie School Aud. 13, 0 0 0 .0 0 Nov. 3 (T u ea.) Cedar F a lls , Iowa I .S .T .C . Auditorium Nov. 4 S ioux C ity , Iowa Orpheum T heater Hov. 5 Omaha, Neb. Music H all Hov. 6 5 p erf Kansas C ity , Mo. M usic H a l l ' 1 5 ,4 4 9 .4 1 Hov. 7 Manhattan, Kan. Kansas S ta te U. Hov. 9 Lawrence, Kan. U. o f Kansas Hov. 10 5 p erf Emporia, Kan. S t. Teach. C o lleg e 1 7 , 8 1 6 .1 7 $12, 2 0 5 .7 9 Nov. 13-1*+ Denver, C ol. A uditorium T heater P r o fit 5 weeks 357 P e a r L i a r s To u t b — Co n t i n u e d Company Share of P ates C lt£ T heater Box O ffic e R ece ip ts Nov. 16 (week) Los A ngeles H untington H artford $21, 6 67.90 Nov. 23-28 Los A n geles 1 1 n 22, 5 82.90 Nov. 3 0-P ec. 5 San F ran cisco Geary T heater 2 0 ,7 0 3 .7 5 P ee. 7 Sacramento Sacramento J . C o ll. Aud. P ec. 9 P ortlan d , Ore. Paramount T heater P ec. 11 6 p erf Vancouver, B.C. Queen E liz a b e th Theater P ec. 12-13 (F r i. & 2 S a t. ) S e a ttle Moore Theater 2 4 ,1 3 3 .2 5 P r o fit 4 -weeks $16, 5 00.00 P ec. 14-26 la y o f f —E xpenses $ 3>073*08 Box O ffic e G rosses P ec. 28-J a n . 2 Washington N a tio n a l 2 6 , 883.25 Jan. 4 1 Baltim ore l y r i c Jan. 6-9 6 p erf 1 Nev Haven Shubert 2 1 ,8 1 4 .0 5 Jan. 11-12 Madison, V is . Union Jan. 13-16 Chicago E rlan ger 2 2 ,1 5 6 .7 4 Jan. 18-23 Chicago S rla n g er 2 3 ,3 3 6 .2 9 Jan. 25-30 D e tr o it Shubert 1 4 ,4 6 7 .4 0 P r o fit 5 weeks $ 8 ,9 1 8 .3 9 Feb. 1 -6 M ontreal Her M ajesty 's 2 0 , 0 09.32 Feb. 8 B u rlin g to n , V t. Memorial Aud. Feb. 9 H artford B u sh n ell Memorial Feb. 10-11 P h ila d elp h ia Academy o f Music Feb. 12 5 p erf Bethlehem Grace H a ll 19,95 9 -6 5 Feb. 13-1*+ - H Days O ff F eb. 15 Columbia, S . Ca. Township Auditorium Feb. 16 Clemson, S . Ca. U niv. Auditorium Feb. 18-20 5 p erf A tlanta Tower T heater 1 5 ,2 2 5 -8 4 Feb. 22 Savannah C ity Auditorium Feb. 23 Thom asville M unicipal Aud. Feb. 24 Columbus Boyale Feb. 25-26 Birmingham Temple Feb. 27 6 p erf Montgomery Ianner H .S. Aud. 1 8 ,3 7 4 .5 4 P r o fit 4 weeks $13, 6 45.82 Feb. 29 Floren ce C offee Aud. Mar. 1 Oxford, M iss. F u lto n Mar. 2 -* Day O ff Mar. 3 F a y e tt e v ille Men's Gym Mar. 4 T ulsa M unicipal Aud. Mar. 5 5 p erf P a lla s McFarland 1 5 ,9 3 4 .5 0 Mar. 7 H untington, W. V lr. K eith A lbee Mar. 9 N orfolk Center T heater Mar. 11 Durham U n iv e r sity Aud. Mar. 12 4 p e r f Hichmond W.R.V.A. T heater 13, 1 63.38 P r o f it 2 weeks $ 4 1 2 .1 5 APPENDIX J RAY HENDERSON RELEASES 358 From: Ray Henderson SPEC IA L - H O T D U P L IC A T E D 27 P R O D U C E R S IE C LIH ED BESIER'S " T T O 1 , barretts of w impole street" " H o le ss than 27 well-known managers and stars read and ! rejected Rudolf B esier's 'The Barretts of Wimpole Street' in America," i ;says Richard J. Madden, representative of the author. "The reasons | given ranged from a general disinclination to have any tr a ffic with a costume drama to a b e lie f that the play lacked general appeal because j i t was the love story of Elizabeth Barrett and Robert Browning and i hence of interest only to the Barrett cu lt. "I submitted the play to Miss Cornell on March 26, 1930; long before it was produced at the Malveru F estival in England. Sometime in M ay of that year, when Miss Cornell was traveling through the Panama ; Canal en route to California to begin an engagement there in 'D is- j honored Lady,' I received a telegram from her asking for terms. By i the time she arrived in Los Angeles she had purchased the drama, though the contracts actually were not executed u n til June 27 of that year. ; "The only reason that I did not - fortunately, as i t eventually turned out - offer the manuscript to Miss Cornell during it s early career in m y hands is that she then was appearing in 'The Age of Inno cence ' and experience has taught m e that i t is idle to try to interest a star in a costume drama when at the moment she is acting one. "in England 'The Barretts of Wimpole Street' was refused by two producers before Sir Barry Jackson decided to produce it at the Malvern F estival on August 18, 1930." B esier's Barrett-Browning romance has been acted in the state theaters in Copenhagen, Stockholm, Oslo, Vienna, Berlin, Budapest, R om e and Australia. r m i Itay Henderson VTOTITN rOR T H E T P M Curran Theater Baa Fraoclaoo E xclu sively C alifornia THAT LEQEKDAKr TRAIL t PIE R O A D HI 1932 O m b ris k morning in January, 1932, Broadway woke w ith more than I t s custom ary ysva. The t r i a l o f Mayor Walker n ot y e t had begun. Mr. R ock efeller to a l l in te n ts and purposes s t i l l was the fa th e r of the d ry s . The A tla n tic vne unconquered by a lo n e -fly in g Aaaton. Washington vae untroubled by th e m a rtia l cry o f angry v eteran s. Mr. Borah’e lo ck s s a fe ly were w ith in the fo ld s of h is p a rty . The new y ea r was in ar.d no b a t te r than th e o ld one* P ro sp e rity s t i l l was around th e corner and the P resid en t vna counselling th e way o f th e spend t h r i f t fo r a natio n brought up under the regimen o f a t h r i f t y Vermonter. The th e a tr i c a l season ag a in was the w orst in the h is to ry o f th e s ta g e . The drams had gone to th e dogs. Mr. Z le g fleld and th e s o p h is tic a te s had not met. So Broadway yawned, long and wide, but q uickly t h i s turned in to a gape o f astonishm ent vnen i t s eye read in th e corning newspaper th a t K atharine C ornell, an in s titu tio n so e s ta b lis h e d in th e Empire Ib e a te r th a t to th in k o f h e r n ot being th e re with a l l h e r B a rre tts was to th in k o f Manhattan w itnout Tamany, was about to pack h e r b o nnette and h e r shaw ls, take F lush under h e r a r c and w ith a l l th e b ro th e rs, the s i s t e r s , th e cou sin , the d o cto rs, the s u ito rs , and th e te r r i b l e f a th e r go tra v e lin g in to th e country* Unheard of! So long sin ce had a lady o f q u a lity ventured such a course th at th e idea shocked th e good burghers o f 1932 and s tir r e d not a l i t t l e coazotlon on th a t w in try morning. I t was tru e th a t tra v e le rs had rep o rted th a t beyond the unfrozen r iv e r la y cany g re a t c i t i e s o f fabulous s iz e , c i t i e s n o t untapvn to depression and the fev e rs a tten d an t on th e 18th Amend ment. A , few courageous tro u p e rs, i t was s a id , had gone out on the t r a i l . The s to r ie s were c o n flic tin g . Some d eclared tne in h a b ita n ts of the h in te rla n d were n o t u n lik e th o se o f th e m etro p o lis, th a t th e men wore c lo th e s cu t in London and the voren were conversant with th e fash io n s of P a ris , th a t n a tio n a l p o li tic s a n t in te rn a tio n a l debts were f a a l l i a r c o n v e rsatio n al themes and Indiana as ra re as a B uffalo cn Brcacvay, but i t was d i f f i c u l t to b e lie v e . Others in s is te d i t was th e land c f b a rb a ria n s, th a t th e a te rs were empty and th e people unversed la R ia lto lo re d esp ite the e a rn e st endeavours o f the cany syndicated c o lu s a is ts to educate the n a tiv e s to the wlsdoa o f New York. Most in s is te n t among th e l a t t e r in fo x a srs were th ose lAo had escaped Main S tre e t f o r th e b ig c i ty . So I t was absurd th a t K atharine C o rn ell, who s t i l l was drawing a l l th e town to th e good o ld Bev Empire to see th a t u tt e r ly charming play about the B a rre tt ch ild ren and t h e i r Sire and t h e i r lo v e rs could be thin k in g o f so e c c e n tric a move as th i s J.auat in to th e p ro v in c es. Ito one b eliev ed i t . Item s c re p t here and th e re in tn e d a lly p ress darkly h in tin g t h a t i f Miss C ornell d id close a t the Empire, th e follow ing Monday she would unpack h e r wares in h e r own th e a te r , th e Belasco, a few blocks n o rth . N aturally! Ko one toured th ese days. The road was dead and on ly by a door-to-<loor canvas in th e cane o f c u ltu re could anyone v e s t o f th e Hudson be p e r suaded to see a liv in g a c to r . So Broadvay, h a lf amused, h a lf annoyed, tu rn e d over and v en t to sle e p again. But on F ebruary 13, prow lers n o t resp e c tin g th e M ayor's curfew b e ll , might haw sean th e tru c k s draw up to th e stage door o f th e Empire and Wimpole s tr e e t pass o ut o f i t . She was going, b ut of course she would be back, J u s t a few weeks to whet th e a p p e tite and aha and o ld Papa B a rre tt would be fig h tin g i t out a l l over again , s a fe ly housed in M+th s t r e e t . Veeks passed and then aonths and s t i l l she was away. S to rie s d rifte d in to town from th e h interland, mouthed by haggard co u riers who o ut rede th e p o st to t e l l o f crowds undreamed o f in th e Glorious Days o f Booth and B a rre tt, who packed th e a te rs to see Kiss C o rn ell. That th e e c s t a ti c years o f Modjeaka and M ansfield, Marlowe and S othern, Bernhardt and Duse had come again! I t was in c re d ib le . The road was dead. That was s e ttle d , as i t had been s e ttle d f o r years p a s t d esp ite th e adventures of such s p i r i t s a s E th e l Barrymore and George A rlis s and o th e r in tre p id to u r is ts o f th e s ta g e . What was K iss C ornell doing tra v e lin g around th is vayf The ta le s were in te r e s tin g , b u t d id n 't pey s a la r ie s . She had b e t te r coce home to New York where th in g s were safe and sane and no w ild mobs would tr y to te a r h er o ut o f h e r Lincoln to ca rry h er In trim zph dot's Woodward Avenue. B esides th in g s were p icking up. Dev York was sera ■»n.«4ng every day. Why, Mayor Walker h im se lf was a s good as a circus* But Broadvay bad to b e lie v e now th a t she meant what she s a id when she d ec lared she was going to to u r. E x tra c h a irs were placed in a l l th e th e a te rs she v is ite d . In Boston aha h*d refu sed to s ta y more than th re e veeks, though the side w alls had bulged and th e re c e ip ts f o r the l a6t week had gene two tnousanc giddy d o lla rs over th e a c tu a l c a p acity o f th e playhouse because th e Bostonese would stand ra th e r than miss the Browning c la s s ic . In Washington the pu b lic re a lly fo rg o t th e Senate long enough to buy every tic k e t f o r th e engagement fiv e days before th e a c to rs reached the C a p ita l. F or a fo rtn ig h t the s ta r played th e F o rre s t T heater in P hilad elp h ia w ith i t s 1700 s e a ts and i t s 30 e x tra c n a lrs f i l l e d a t every s in g le one o f the perform ances. A fte r th e f i r s t s ix days o f $32,060, h er second, Holy Week, reached $33,657# which th e Quakers said was some kind o f a reco rd , and a t a 'Wednesday m atinee 252 people stood th re e hours to see th e p la y . But most d if f i c u lt f o r the M anhattanites to b e lie v e vas th e week in B altina re which re g is te re d £29,836.50. Almost as in c red ib le were th e veeks th a t follow ed in P ittsb u rg h , w ith i t s id le s te e l m ills , one D etro it w ith i t s laggard f a c to r ie s , which hovered - and then fin a lly s e ttle d down a t the £30,000 mark. Such th in g s d id not happen and th is vas the th ir d year of the G reat D epression. 80 p elian p ile d on p e lia n . When th e news ran s w iftly ov er th e w ires th a t a f t e r four veeks which th e sm all ca p acity o f the H arris T heater lim ited to $100,000, v v j a c tre s s and her as s o c ia te s gave a s p e c ia l m atinee in th e huge Chicago C ivic Opera House f o r th e b e n e fit o f the sick te ach ers who had su ffe re d from the c i t y ’s budget and te n thousand people were tu n e d away, the Kev York p re ss unanimously refu sed to p r in t such a palpable myth. Yet i t was tnie* F a n ta stlo but tru e. O n l y , when a t l a s t aha ranched Loa A ngeles, d id m atters touch a r e a l it y Broadvay OOUld g rasp , fo r I t had heard o f Bollywood and knew th a t near i t vaa a c ity named a f t e r th e ang ela. The dlapatches to ld o f a f i r s t n ig h t th a t vns a blue book o f th e n atio n p ic tu re w orld, o f a ta ra who s a t In ermine and s a tin , black t n l l a and high h ata - the l a t t e r removed * ■ to gass upon th e lady who had sa id N O to Hollywood In words th a t rang around tha w orld. For once* t h i s In im itab le f lr e t- n if ;: t audience saw what happened on th e sta g e , which must have been an unique experience fo r them who are accustomed only to see each o th e r and to be seen. At th e end o f the p la y they cheered, but w hether I t was f o r th e woman vno said N O o r th e pootesa vfao s a id TBS la a question. Then began th e g re a t game of 197*2 which r iv a lle d th a t o f th a Garbo guessing co n te st. Would th e lacy remain adamant o r was she p laying th e m agnates! The b e ts ran h ig h . She vould; she w o u ld n 't. And Hollywood Boulevara t h r i lle d through *nd through when she l e f t town s t i l l saying N O and ta k in g w ith h e r th e record th a t echoed over th e s ta te o f C a lifo rn ia , the la r g e s t gross th e re f o r a spoken drama f o r e ig h t perform ances in th a memory o r liv in g oen, $23, 150. 5 0. Zn Gan Frnnclseo th e box o ffic e boys d isplayed aa cu rio s paper money t h a t In c o n tra s t to th e modeei b i l l s o f tcn&y seemed as la rg e a s a red blanket and gold th e co lo r o f th e nuggets o f 'h9» Had not our P resid en t adjured th e populace to l e t loose the s tr in g s o f th e ir money bags and spend, spend, spend u n ti l I t h u rt end were the lo y a l San F ranciscans doing J u s t t h a tt I t req u ired an added week to take in a l l the e rstw h ile hoarded currency before th e a c tre s s could board the Overland Lim ited f o r New fo rk . By th is tim e Broadvay vas convinced th e s ta r had'm eant what she s a id when she remarked she vas going on to u r. Eavlng tra v e le d 7000 m llea must mean something. I t seemed th e re r e a lly v as a road and th e s to r ie s th a t s if te d back oould be proved by box o ffic e statem en ts. Crossing th e C o rn ell t r a i l here and th e re th e B a rre tt a c to rs shook hands w ith such prosperous tro u p e rs as E ureaie L eontovitch and h e r Grand H otel b oarders, v lth th e m erry Scan d a ls o f George White, during th re e veeks th ese th re e companies had lowered th e gold reserv e o f P ittsb u rg h some $90,000 much to tn e amazement o f S ecretary M ellon. Somewhere on ro u ts th e B a rre tts exchanged bows w ith Miss Anderson and K iss head who were known to th e pu b lic a t la rg e Mr. O’N e ill's p ic tu r e o f country l i f e in N ew Icelan d and they nodded p le a s a n tly over m utually agreeable box o ffic e re c e ip ts . In Chicago, V a lte r Hampden coming o ut o f th e w est bowed courteously to E liza b eth B a rre tt and advanced h is opening so as n ot to c o n flic t v lth h e rs , h is gracious a c t being rewarded by an a d d itio n a l soId-out house f o r Cyrano. Between Los Angeles and San F rancisco the C o m e ll p la y ers waved hands to the Joyous workers In Tha Green P astu re s, shouting fig u re s a t ec.cn o th e r, which rain ed much lik e th e ra is in g o f th e a n ts . And in D etro it th ey found le v L e s lie 's "rhapsody in 31ack" rep ea tin g so many tin e s th a t I t had become a h a b it o f th e c itiz e n s to buy th e ir se a ts v lt h th e ir morning co ffe e . That mad t r i o in "Crazy Q u ilt" vas hearc i f n ot seen fo r the trium phant shouts o f th e mobs th a t f i l l e d auditorium s through th e south and th e m id^/est echoed through the country s id e . a n th e m ile p o sts th u s seemed nevly burnished, a l l the th e a te r doors newly p o lish e d . T h is, th e n , was th e road, dead, dead, dead. 80 a f t e r 5**1 perform ances Mias C o rn ell ended h e r to u r i n San Fxancisoo. She had appeared in fo u rteen c i t i e s . I t i s estim ated th a t n ea rly $1,500,000 was p aid by th e U nited S ta te s to see th i s p la y during th e approxim ate six te e n months i t v as acted* F lush d id n 't m iss a perform ance. Always th e re vas E liz a b e th ’s s i t t i n g roon a t th e end o f the day; no m a tte r where c r hov f a r be tra v e le d always he reached 50 Wimpole S tre e t and h is b ask et, which he s u c c e ssfu lly chewed so th a t i t tw ice had to be rep laced . A p la c id dog b u t su b jec t to tempemment t l x i t seems. His only excitem ent were the gazes o f g o lf h ie m istress played. Soon he le a m e a th a t here vas one b a ll he would not be p a tte d on the Hffd f o r re tr ie v in g , but he l e a n e d to accept i f n ot tc share th e id io sy n c ra sie s o f hinan n a tu re , f o r had he n o t bad to put up v lth nizzberless o ld la d le s and gentlemen who I n s is te d ha be In v e stig a te d as a suspect o f fav o rin g th e forbidden weed. F or gossip around th e f ir e s id e In yeerti to come th e re a re th ese in c id e n ts o f th e g re a t road o f 1932: 1337 autographs were w ritte n . . . se v e ra l hundred l e t t e r s were answered v lth a HD ••• th e re vere handshakes to make a P resid en t flin c h . . . a g ala p a rty in Kansas C ity to ce le b ra te the 500th performance vhes the s ta r danced v lth everybody, even those who did n ’t know hov ••• th e fashion e d ito r who a rriv e d a t the tn e a te r to make a sketch o f the l a t e s t P a ris ia n gown to d isco v er In stead fash io n s o f 16^5 were p rev alen t in Wimpole S tre e t . . . the Browning s o c ie tie s heard o f but seldom vere heard from . . . th e enthusiasm o f th a t f i r s t night In Sun F rancisco • which reduced the a c to rs to te a r s . . . th e rumors about th a t movie re fu s a l . . . th e Hollywood p la y ers who vented to re tu rn e a s t and become a c to rs a ra in . . . th e woman who by m istake vas caught in the Jam a t a m atinee, c a rrie d in to the th e a te r ag a in st her in te n tio n s and remained to thank th e management f o r giving such a n ic e show fo r nothing . . . the gentleman in Los Angeles who co u ld n 't understand the d ia le c t . . . tne te n se , ra p t e x a lta tio n o f th e Chicago . C ivic Opera House audience . . . th e shock o f the tic /.e t brokers when they discovered th a t th e s t a r was ogainet them and vould n ot accept th e ir o ffe rs o f a bonus . . . tbe m all o rd ers th e c u rta in th a t rose sharp on the minute to th e amazement and d isg u st o f the la te comers ••• th e l e t t e r s o f the au th o r, i l l on h is is la n d o f Guernsey, e>rp;csslng B ritis h approbation o f American box o ffic e re c e ip ts . . . the 77 l e t t e r s from one-n ig n ters wanting The B a rre tts ••• th e woman who co u ld n 't g e t a s e a t in New York, Joum cyec to Boston and vas c a lle d hone because h e r sailor-huB bond’s f l e e t vas ordered to C a lifo rn ia , where she tr ie d to g et in to th e C o rn ell • p lay and co u ld n 't and th e n made a t r i p to Son F rancisco where she f in a lly saw I t . . . the wigs th a t vere washed in ste a d o f dressed by the am bitious Wncnlnrtcn h a ir o re c se r, le av in g Robert' Browning in a predicam ent solved by pure B a rre tt . . . the wardrobe m istress seeking a laundress in each c ity to disco v er someone who knew how to s ta rc h p e ttic o a ts . . . Wilson th e maid lo sin g h e r p e ttlo o a t during th e play and having to e x it v lth i t unuer h er arm w hile h er d e fla te d d re ss made her lock and f e e l lik e a drenched hen . . . Fluch chewing th e e le c tr i c cable u n t i l bs n ic e s t became a F lash . . . the Wimpole S tre e t s itt in g room redecorated in Chicago . . . th e ooucb u pholstered once . . . th e th re e new dresseo f o r the s ta r , lo u r f o r H en rietta, the s to n y one, end two f o r s i s t e r A rabel, v lth nev tro u s e rs f o r a l l the gentlemen . . . the ruaor o f a mouse which sent H iss G lllm ore fly in g to th e wings . . . • Thus th e g re a t tr e k o f 1932, proving the o ld moral th a t th e road la never dead, d esp ite house-to-houne can v assers, and th a t th e public c a n 't be kept away from th e playhouse when th e re I s a good play in town. 3 6 2 From: Ray Henderson THE ROAD OF 1933-3** 13 THE OREAT ADVENTURE P ic t u r e s q u e in d e e d r e a d t h e re m in is c e n c e s o f th e o l d a c t o r s vho f l o u r i s h e d i n t h e d a y s w hen t h e r e v a s a r o a d . The g la m o r t h a t vsb th e s ta g e g a in e d m o st o f i t s g l i t t e r from th e t r o u p e r 's t r e k fro m c o a s t t o c o a s t . T he o c c a s i o n a l B ro ad v a y e n g a g em en t v a s t h e b r i g h t sta r v h lc h l i g h t e d t h e t r a i l fro m c i t y to h a m le t a n d fro m v i l l a g e to to w n . T he d a n k , d u s t y , o d o r i f e r o u s p la y h o u s e s v e r e m u s ty w ith m em ories o f th e g r e a t nam es t h a t h a d a d o rn e d t h e b i l l s . And thUB th e rom ance o f t h e t h e a t e r r e e k e d p u r p le c o l o r s t h a t s p e l l e d a v o r l d a l l i t s o v n . Tha •n o w -c o v e re d d e p o t, t h e v i l l a g e h a c k s , t h e d im ly l i t h o t e l s a l l v e r e i n p i c t u r e * T he c a r t o o n s o f th e t o p - h a t t e d , f u r - c o l l a r e d s tr a n d e d a c t o r p lo d d in g h i s v e a r y v a y hom ew ard o v e r t h e r a il road t i e s l o s t i t s b i t t e r n e s s i n t h e i l l u s i o n t h e f i g u r e c a r r i e d o f a p r o f e s s i o n t h a t v a s b r i l l i a n t , r o m a n tic , f a s c i n a t i n g . And i t v a s tr o u p i n g t h a t made t h e a c t o r a b e i n g apart from t h e r e s t o f humdrum h u m a n ity . I n r e a l i t y t h e r o a d v a s n o t so p lo t u r e s q u e a s i t h a s b e e n p a i n t e d . I t i s f a r m ore o f a n a d v e n tu r e t o u n d e r ta k e a c r o s s c o u n tr y t o u r i n 1954 th a n i t v a s i n 1 3 8 4 . T hen t h e r e no b i g b a d v o lv e s d i s g u i s e d a s t a l k i e s , a s r a d i o s , a s a u to m o b ile s t h r e a t e n i n g t h e a c t o r a t e v e r y c r o s s r o a d . T h e n t h e r e v e r e m any t h e a t e r s t o p l a y , many r a i l r o a d t r a i n s b y w h ic h t o r e a c h th e m . T h e re v a s a p u b l i c s c h o o le d i n t h e a t e r g o i n g . And th e a c to r B th e m s e lv e s v e r e v e i l b r o k e n i n t o t h e f i n e a r t o f t o u r i n g . A q u a r t e r o f a c e n tu r y ago tw o o r t h r e e h u n d re d com p a n i e s v o u ld t r a v e l t h e c o u n tr y o v e r . A l i v e a c t o r v a s n o t a c u r i o s i t y , a m useum s p e c im e n . T oday p r o b a b ly l e s s t h a n tw o o r t h r e e d o z e n tr o u p e s h av e l e f t New Y ork e v e n f o r t h e s h o r t c i r c u i t o f t h e k e y c i t i e s ; o n ly f o u r h a v e em b ark ed on a r e a l t o u r o f t h e U n ite d S ta t e s * I t i s s i g n i f i c a n t t o t h e s t a t e o f t h e t h e a t e r now t h a t t h r e e o f t h e s e c o m p a n ie s a r e h e a d e d b y p l a y e r s o f m are th a n p a s s in g r e p u t e a n d t h a t t h e f o u r t h i s p r e s e n t i n g a p l a y f i r m l y e s t a b l i s h e d b y t h r e e o r f o u r s e a s o n s ' s u c c e s s i n t h e m a jo r c i t i e s o f t h e c o u n t r y : K a th a rin e C o r n e l l , E v a Le G a ll ie n n e , W a lte r Hampden a n d "G reen P a s t u r e s . " E a ch o f t h e s e o r g a n i z a t i o n s h a s m et w ith s u c c e s s , so m etim e s i n some p l a c e s w ith e x t r a o r d i n a r y s u c c e s s , e v e ry w h e re w ith m ore th a n t h e n e c e s s a r y p a tr o n a g e t o w a r r a n t t h e t o u r s . T h is d o e s n o t m ean , h o w e v e r, t h a t t h e r o a d i s u n d e r g o in g a r e v i v a l . The r e a l t e s t c o u ld o n ly b e made v i t h a g o o d p l a y w e l l a c t e d , b u t la c k i n g t h e d i s t i n c t i o n o f a fam o u s name o r t h e p r e s t i g e o f l o n g m e t r o p o l i t a n e n g a g e m e n ts . I t i s e v i d e n t , h o w e v e r, t h a t p e o p le th r o u g h o u t t h e c o u n tr y l i k e t o s e e dram a a c t e d b y l i v i n g a c t o r s . I t i s m ore th a n e v i d e n t t h a t th e p u b l i c th r o u g h o u t t h e c o u n t r y w i l l n o t b e p e r s u a d e d t o s p e n d i t s m oney u n l e s s t h e r e i s a m ore th a n f a i r g u a r a n te e t h a t v a l u e w i l l b e r e c e i v e d . I t i s c u r i o u s t h a t 6 in c e th e s p e a k in g s ta g e p r a c t i c a l l y h a s d e s e r t e d t h e c o u n t r y a t l a r g e , t h e c o u n tr y s t i l l h a s c o n s id e r a b le know led g e o f v h a t i s g o in g o n i n t h e t h e a t e r o r s u c h o f t h e t h e a t e r a s s t i l l e x i s t s . T he n o n e o f K a th a rin e C o r n e l l, f o r i n s t a n c e , h a s p r o v e d i t s p o w er t o d raw i n s e c t i o n s o f t h e c o u n t r y w h e re sh e n e v e r h a d a p p e a r e d . One o f t h e i n c i d e n t s o n h e r p r e s e n t t o u r w h ic h moved h e r m o st d e e p ly v a s t h e c ro v d v h ic h m e t h e r on h e r a r r i v a l i n D a l l a s , T e x a s , t o w elcom e h e r , ev e n b e f o r e s h e h a d p ro v e d h e r s e l f b y a c t i n g i n t h a t c i t y . The th o u s a n d p e o p le vho w a it i n S e a t t l e f o r h e r p l a y t o b e g in a t o n e o 'c l o c k i n t h e m o rn in g a n d s a t u n t i l f o u r o 'c l o c k t o s e e i t th r o u g h v a s a t h r i l l i n g e x p e r i e n c e f o r h e r a n d s p e a k s s o u n d ly o f th e p o w er o f th e s ta g e f o r a p u b l i c v h ic h i n r e c e n t y e a r s h a s h a d t o c o n t e n t I t s e l f w ith f o u r o r f i v e s p e a k in g p l a y s d u r in g a s e a s o n . I t i s n o t en o u g h f o r t h e a c t o r t o s a y to d a y t h a t h e w i l l make a t o u r . T he t h e a t e r h a s l e t t h e r o a d s l i p th r o u g h i t s f i n g e r s . The a m a z in g t h i n g i s t h a t t h e r e i s l e f t a p u b l i c f o r t h e t h e a t e r . K a th a rin e C o r n e l l a lw a y s h a s t o u r e d e v e r 6 in c e sh e h a d h a d a n y t h in g t o s a y a b o u t h e r c o n t r a c t s . B e fo re sh e v a s e s t a b l i s h e d i n New Y ork a n d p la y e d t h e o n e n i g h t s t a n d s i n B roadw ay s u c c e s s e s a n d th o u g h t h e ro a d d i d n o t d is c o v e r h e r , s h e d is c o v e r e d t h e r o a d a n d re c o g n i z e d t h a t i f a n a c t r e s s i s t o ad v a n c e i n h e r c a r e e r sh e n e e d 6 t h e r o a d e v e n m ore b a d l y th a n t h e ro a d n e e d s h e r . H ow ever i t w as n o t u n t i l t h i s s e a s o n t h a t s h e h a s u n d e r ta k e n a w h a t m ig h t b e c a l l e d a n i n t e n s i v e t o u r , a s d i s t i n g u i s h e d fro m th e s e a s o n s v h ic h p r e s e n t e d h e r i n t h e o n e w eek , tw o w eek o r l o n g e r s t a n d s i n t h e m a jo r c i t i e s . O p en in g h e r s e a s o n i n B u f f a lo o n N ovem ber 2 9 , M iss C o r n e l l w i l l h a v e v i s i t e d 78 c i t i e s i f h e r p r e s e n t s c h e d u le i s n o t d i s t u r b e d , w i l l h a v e g iv e n n e a r l y 250 p e rf o r m a n c e s d iv i d e d b e tw e e n t h r e e p l a y s , a n d w i l l h a v e t r a v e l e d 15,660.7 m i l e s , w ith a p p e a r a n c e s i n J 2 s t a t e s o f t h e u n io n . The t h e a t e r s w i l l v a r y fro m c i t y a u d ito r iu m s s e a t i n g s e v e r a l th o u s a n d p e o p l e , m o tio n p i c t u r e p a l a c e s t o a fe w o l d p la y h o u s e r e l i c s o f t h e " g r e a t d a y s , " s t i l l s t a n d i n g w a i t in g f o r t h e o c c a s i o n a l t r o u p e r t o aw aken t h e g h o s ts o f fo r m e r g l o r i e s . E v en so t h e a c t r e s s w i l l n o t h a v e b e e n a b l e t o v i s i t a l l t h e c i t i e s s h e v i s h e d t o in c lu d e o n h e r t o u r . S e v e r a l s t a t e s a r e c l o s e d t o t r a v e l i n g a t t r a c t i o n s o r a r e o p e n o n t e n a s p r o h i b i t i v e t o t h e t o u r i n g com pany, a s i s t h e c a s e o f M ic h ig a n , e x c e p t f o r t h e c i t y o f D e t r o i t . R ichm ond, V a. w i l l make v a y f o r a b u r le s q u e show , b u t w i l l n o t g iv e h o s p i t a l i t y t o a sp o k e n d ra m a . To r o u t e a com pany th ro u g h t h e one a n d tw o n i g h t s ta n d s becom es i n c r e a s i n g l y d i f f i c u l t , f o r i t i s e s s e n t i a l t h a t n i g h t s a r e n o t l o s t i n t r a v e l i n g fro m o n e c i t y t o a n o t h e r . T he i n a b i l i t y t o s e c u r e a t h e a t e r i n o n e c i t y may make a n e n t i r e w eek im p o s s ib le t o p l a y , f o r r a i l r o a d s c h e d u le s a r e t h e f i n a l r u l i n g f a c t o r i n m aking t h e t o u r . The b o x o f f i c e r e c e i p t s a r e te s t im o n y enough o f th e a t t i t u d e o f t h e c o u n t r y to w a rd t h e a d v e n tu r e K a th a r in e C o r n e l l h a s u n d e r ta k e n . I t i s n o t s u r p r i s i n g t h a t some m o tio n p i c t u r e t h e a t e r s h a v e n o t b e e n to o k e e n a b o u t p u t t i n g o n t h e s h e l f a f i l m p u r c h a s e d f o r t h e d a t e M iss C o r n e l l h a s a s k e d t o p l a y , b u t i t h a s b e e n am u sin g t o B ee th e g r a d u a l c h a n g e t h a t h a e t a k e n p la c e i n some s e c t i o n s o f th e c o u n t r y . I f t h e s e m a n ag ers d i d n o t know M iss C o r n e l l , th o u g h o n e i s m i ld ly s u r p r i s e d th e y h a d n o t a t l e a s t h e a r d o f h e r th r o u g h t h e m o n th ly d e n i a l s o f h e r sy m p ath y to w a rd a s c r e e n c a r e e r , t h e i r p u b l i c li a s . 363 "W h y /' v i r o d o n e p i c t u r e p a l a c e m a n a g e r v l t h i n d i g n a t i o n f la m in g o u t o f e v e r y v o r d o f t h e te le g r a m , "do y o u p ro p o s e t o im p o se up o n my p a t r o n s a -£2.5 0 p r i c e w hen a t r a d e p a p e r r e p o r t s y o u o n ly c h a rg e d $ 1 .5 0 i n P o r t l a n d , O r e .? " G e n tly In fo rm e d t h a t t h e t r a d e p a p e r v a s n o t n o t o r i o u s f o r I t s a b s o l u t e a t t e n t i o n t o a c c u r a c y , t h e m a g n a te g r u d g in g ly c o n s e n te d t o t h e s c a l e M iss C o r n e l l w as c h a rg in g e v e ry w h e re o n h e r t o u r - When t h e m ull- o r d e r s b eg u n t o a p p e a r a f t e r t h e f i r s t an n o u n c em en t o f th e p r i c e s , h e b e g a n t o th a w a n d h e becam e p o s i t i v e l y f r i e n d l y v h e n th e h o u s e h a d s o ld o u t b e f o r e e v e n t h e b o x o f f i c e s a l e o p e n e d . "You s h o u ld h a v e t o l d me a b o u t M iss C o r n e l l ," h e s a i d v l t h a au d s m il e , "1 v o u ld h u v e c h a rg e d f o r h e r a n d ," v l t h a g rav e, p a u s e a s h i s l i p s d ro p p e d , "GOT I T ! " The d o l l a r s s p e n t i n v i r e s t r y i n g t o t e l l h im a b o u t M is s C o r n e l l loom ed l a r g e l y , b u t l i f e I s s h o r t . And t h i s re m in d s one o f a n o t h e r i n s t a n c e v h e r e i t v a s n e c e s s a r y t o s e n d a c a r d i n t o th e m a n a g e r t o o b t a i n a n a u d ie n c e w ith h im . A f t e r a c o n s i d e r a b l e d e l a y , t h e a d v a n c e r e p r e s e n t a t i v e v a s r e c e i v e d . I t v a s e v i d e n t i t a l l v a a a b o r e e n d a n u n n e c e s s a r y e v i l , t h i s p la y in g o f a t r a v e l i n g com pany. B u t a g a in v h e n th e m a ll o r d e r s came i n , t h i s sam e m a n a g e r v a s p h o n in g by lo n g d i s t a n c e , c a l l i n g u p o n .th e a d v a n c e c a n a s a l i f e - l o n g f r i e n d a n d c h e r i s h e d " p a l " t o o b t a i n f o r h im i f n o t a n o t h e r u n f o r t u n a t e l y c o u ld n o t b e r e v a r d e d . B u t t h e h o u s e m a n a g e rs a r e n o t a l o n e i n t h e i r I g n o r a n c e o f v h a t i s h a p p e n in g i n t h e l i t t l e v o r l d o f B ro a d v a y . T h e re v a s a l a d I n Tacom a v h o te le p h o n e d t h e t h e a t e r v h e r e M is s C o r n e l l v a s t o p l a y t h a t e v e n in g : "Hov m any b r e a d v r a p p e r s d o e s i t t a k e t o s e e t h e sh o v t o n i g h t ? ” h e a s k e d . A nd th e n t h e r e v a s t h e la d y i n D u lu th v h o v a n t e d t o know i f M is s C o r n e l l v a s a n a l t o o r a s o p r a n o . The b o x o f f i c e w a s n 't s u r e , b u t d e c l a r e d h e r a s o p r a n o . L a t e r t h e d a y f e l t t h e b o x o f f i c e s h o u ld b e in f o rm e d , so a f t e r th e f i r s t a c t s h e r e p o r t e d : ”l t M n k y o u s h o u ld k n o v t h a t M iss C o r n e l l i s a c o n t r a l t o , b u t v h e n d o e s s h e s i n g ? ” I t v a s i n M ad iso n , W is c o n s in , s e a t o f t h e U n i v e r s i t y , t h a t som eone a s k e d t h e t i c k e t s e l l e r : "W hat I s K a th a rin e C o r n e l l? " "The g r e a t e s t l i v i n g a c t r e s s , " g e n e r o u s l y r e s p o n d e d t h e b o x o f f i c e a t t e n d a n t . "B u t v h a t d o e s s h e d o ? " "S he a c t s i n a l e g i t i m a t e p la y " v a s t h e b e s t v a y t h e d e a l e r i n s e a t s c o u ld e x p l a i n i t . "D oes t h a t m ean t h a t s h e i s a l i v e ? " "S he v a s t h e l a s t tim e I h e a r d o f h e r , " s a i d t h e y o u n g man v h o v a s m e re a c c u sto m e d t o t h e viays o f t h e m o v ie v o r l d th a n t h a t o f t r a v e l i n g t r o u p e r s . A m a r i llo , fam o u s f o r i t s Gene E o v e , t h e e d i t o r v h o r o d e t o p r e s s v l r e fam e t h r o ugh h i s b o u ts v l t h M ary G a rd e n , E . E . S o th e r a a n d C h a r le s L ln d b e r g , g a v e M iss C o r n e l l a T e x an s a n d s to rm v h ic h b e a t so o n th e r o o f o f t h e a u d i to r iu m t h a t a t tim e "The B a r r e t t s o f W lm pole S t r e e t " becam e a s i l e n t d ra m a . S e e k in g t o c o n s o le t h e a c t r e s s , o n e o f t h e s t a g e h a n d s re m a rk e d : " i t ' s to o b a d M iss C o r n e l l , b u t t h e a u d i e n c e v o n 't b la m e y o u ." I t v a s i n A m a r illo , a l s o , t h a t t h e l o c a l p r e s s a g e n t B e e k in g t o im p r e s s t h e r e p o r t e r v h o v a s t o i n t e r v i e w t h e a c t r e s s p i c t u r e d h e r a s t h e m o s t te m p e ra m e n ta l voman v ho e v e r h a d v i s i t e d A m a r i llo . "W hy," h e re m a rk e d , " s h e e v e n c a r r i e s a t a p e l i n e t o m e a s u re t h e s i z e o f t h e c a r p e t i n h e r d r e s s i n g room a n d s h e w o n ’t go o n u n l e s s i t i s e x a c t l y a c c o r d in g t o s p e c i f i c a t i o n s h e r a d v a n c e a g e n t s t i p u l a t e d . So t h e r e p o r t e r c o n f i d e d t o h i s r e a d e r s t h e n e x t m o rn in g " K a th a rin e . . . ru m o r a n d a n o t h e r s u c c e s s f u l p e r s o n a g e i s fo u n d t o b e o n ly h u m a n ." I t v a s a n o t h e r T e x as v r i t e r v ho d is c o v e r e d t h a t M is s C o r n e l l " b u m s b u t n e v e r b o i l s . " T r a v e l i s a g r e a t e d u c a t o r , i t i s s a i d . One g r e a t im p ro v em en t t h a t a c t o r o f t o d a y f i n d s w h ic h v a s d e n ie d t h e s e a s o n e d t r o u p e r o f o t h e r y e a r s 1 b i n t h e m a t t e r o f h o t e l s , f o r e v e ry w h e re h e g o e s w i l l b e w e l l h o u s e d . T h e re v a s t h e o c c a s i o n h o w ev er v h e n t h e h o t e l d e p a rtm e n t o f t h e a d v a n c e b r i g a d e , v ie w in g room s f o r th e s t a r , Bav a h u g e c a t em erg e fro m t h e room a b o u t t o b e i n s p e c t e d . Tom h e l d a m ouse i n h i s s o u t h . "A h !" s a i d t h e p r o p r i e t o r w ith p r i d e , " h e 's g o t o n e ! " W hat c o m fo rt may b e t a k e n fro m t h e t o u r o f K a th a r in e C o r n e l l b y th o s e v ho v o u ld l i k e t o f e e l t h e r o a d w i l l come b a c k i s f o u n d i n t h e r e c e i p t s t o v h ic h sh e h a s p la y e d . H er M in n e a p o lis en g ag em en t p u t up a new r e c o r d i n t h a t c i t y . I n Son F r a n c i s c o s h e p u t B e r n a rd Shaw i n t o t h e r e c o r d c l a s s by a p e rfo rm a n c e o f " C a n d id a " w h ic h g r o s s e d $ 3209. 50, t h e h i g h e s t f i g u r e a t h e r p r ic e B a p l a y h a d ta k e n i n t h a t c i t y , b u t t h e f o ll o w i n g W illia m S h a k e s p e a re s t o l e t h e h o n o rs fro m S hav by a t t r a c t i n g $ 3 2 2 7 * 5 0 , th e a i f f e r e n c e b e in g i n th e s ta n d e e s cro w d ed i n t o th e t h e a t e r . Tne l a r g e s t s i n g l e n i g h t 's r e c e i p t s up t o M iss C o r n e l l 's e n t r a n c e i n T e x as w ere th o s e f o r "The B a r r e t t s o f W im pole S t r e e t " i n t h e D e n v e r C ity A u d ito r iu m , $ 5167. 50, b u t t h i s w i l l b e s u r p a s s e d i n T e x a s o r i n O klahom a v h e r e t h e a t e r s a l r e a d y s o l d o u t b e f o r e h e r a r r i v a l v l l l g iv e R u d o lf B e s i e r I n h iB C h a n n e l I s l a n d r e t r e a t s o m e th in g t o t e l l t h e n a t i v e s a b o u t . 364 From: Ray Henderson E X C L U SIV E T O M R . R O SS 1270 Sixth Ave. Cir 7-5152 T H E R O A D F L O C K S T O S H A K E S P E A R E That playgoers w ill travel 300 miles to see a 340-year-old drama is perhaps the best evidence gathered from Katharine Cornell’s extraordinary season on tour that the spoken stage holds a unique fascination for the public. In her audience in the Shrine Auditorium in Oklahoma City yesterday were people from Amarillo, Dallas, and Houston, Texas. In Memphis today Miss Cornell, Florence Reed, Maurice Evans, Ralph Richardson and Charles Waldron are speaking the lin es of Shakespeare before an audience composed not only of the town's leading citizen s but of v isito rs from H ew Orleans, La., Birmingham, A la., and Atlanta, Ga.—c itie s not included on her present tour. The actress-manager had to decline in vitation s, most of them accompanied by substantial guarantees that she present "Rom eo and Juliet" in 37 other towns, either because there were no stages large enough to accommodate her production or the places were too distant from her route. The advance sales for next week, proverbially one of the worst of the th eatrical season because of i t s proximity to Christ mas already to ta l over $25,000 for six performances. In Baltimore, Washington, Boston and Chicago "R om eo and Juliet" established a new record for c la ssic drama and in most in stances for plays ancient or modern. Her present tour is compara tiv e ly short considering her 17, 000-m iles jaunt of two seasons ago, but when she rings down the curtain on her fin a l J u liet in the Martin Beck Theater on Saturday night, January 4, she w ill have acted the play in 40 c itie s in the United States and Canada i f her present schedule is not interrupted as "R om eo and Juliet" was in her repertory on tour two seasons ago. The eagerness of the public throughout the country for the theater is greater today than i t has been in fifte e n years, but the public is wiser than i t was then and in s is ts on Broadway standards. Not even N ew York turns down an in ferior cast or uninteresting play as quickly as do the residents of Tulsa, Okla., Des Moines, Iowa or Wichita, Kansas. The grapevine telegraph system outspeeds any manage r ia l effort to deceive playgoers in the far flung corners of the country. O n the other hand i t is invaluable to the producer who is giving the road a fir st-r a te play with a fir st-r a te cast. Miss Cornell ends her tour in "R om eo and Juliet" in the Martin Beck Theater in N ew York with a fortnight of performances beginning on M onday night, December 2 3, when she w ill introduce Florence Reed in a style of character she never before has acted in N ew York, the part of the Nurse, and two prominent London actors, Maurice Evans as Rom eo and Ralph Richardson as Mercutio. F ro m : F a y H e n d e rs o n FLUSH FINDS A DOG'S LIFE IS PRETTY SWELL EXCEPT FOR KIND "OLD" LADIES AND INVESTIGATORS The m o st b l a s e a c t o r I n A m erica u n d o u b te d ly I s F l u s h , vho a c t s h im s e lf v l t h K a th a r in e C o r n e l l I n R u d o lf B e s i e r 's "The B a r r e t t s o f W lm pole S t r e e t " I n t h e M a r tin B eck I b e a t e r Monday n i g h t . And b e c a u s e F l u s h , b e in g a v e i l - b r e d c o c k e r s p a n i e l a n d o f su c h p e d ig r e e a s v a r i a n t s . a n o o t ia h n e s s , 1b c a lm , u n p e r tu r b e d an d u n e m o tio n a l v h e n h e i s c u p u b l i c view b e h in d t h e f o o t l i g h t s h e f i n d s t h a t th o s e anonym ous " d e a r o l d l a d l e s a n d g e n t le m e n ," vho h a v e n o th in g w h a te v e r t o do v l t h t h e i r tim e e x c e p t t o w r i t e l e t t e r s , c o n t i n u a l l y v a n t him I n v e s t i g a t e d . P e r h a p s I t i s b e c a u s e h e I s su c h a p e r f e c t a c t o r t h a t h e i s s u s p e c te d o f b e in g a d d i c t e d t o d o p e , a n a c c u s a t i o n v h ic h h e h a s h a d t o f a c e o n s e v e r a l o c c a s i o n s . I n P i t t s b u r g h t h e Humane S o c ie ty v a s r e q u e s t e d t o lo o k i n t o F l u s h 's c a s e a n d so t h e i n v e s t i g a t o r v e n t t o t h e t h e a t e r , in t e r v ie w e d t h e c a n in e a c t o r , f o u n d him a n a l e r t , i n t e l l i g e n t a n d s e n s i b l e yo u n g dog a n d d e c id e d ly n o t u n d e r t h e in f l u e n c e o f d r u g s . B u t t o m ake q u i t e c e r t a i n , t h e man I n s i s t e d t h a t F lu s h go th r o u g h h i s p a r t on t h e s ta g e e x a c t l y a s h e d i d a t n i g h t t o p r o v e t h a t h e a c t e d t h e same v a y a t a l l ti m e s . A nd so F lu s h v e n t th r o u g h h i s s t a g e b u s i n e s s a n d d i d I t v l t h t h e e x p e r t n e s s o f a s e a s o n e d t r o u p e r , v l t h a l l t h e la n g u o r , i n d i f f e r e n c e a n d s l e e p i n e s s v h ic h c h a r a c t e r i z e s h i s a p p e a ra n c e b e f o r e th e p u b li c a n d t h u s c o n v in c e d t h e Humane S o c i e t y 's a g e n t t h a t h e v a s n o t a d ru g a d d i c t . A v e e k l a t e r I n D e t r o i t , t h e M ic h ig a n Humane S o c ie ty v a s so d e l i g h t e d v l t h F lu s h t h a t h e v a s made a n h o n o ra ry m em ber o f t h a t o r g a n i z a t i o n a n d g iv e n a b u t t o n t o v e a r o n h i s c o l l a r I n p r o o f o f h i s good s t a n d i n g . "Row" s a y s F lu s h , " l e t t h e o l d l a d l e s w r i t e l e t t e r s ! " F lu s h b e lo n g s t o M iss C o r n e l l , v ho b e i n g a d o g - lo v e r b i t t e r l y h a s r e s e n t e d t h e i n s i n u a t i o n s t h a t F lu s h I s dop ed b e f o r e h e m akes h i s s t a g e a p p e a r a n c e s . And so a s h e s h a r e s Miss C o r n e l l 's hom e, h e f i n d s a d o g 's l i f e i s p r e t t y s w e l l a n d w o n d e rs h o v I t e v e r h a p p e n e d t h a t a n y o n e e v e r s a i d a d o g 's l i f e v a s a n y t h in g e l B e . F lu s h h a s b e e n t h e v i c t i m , n o t o n ly o f g o o d i n t e n t i o n e d p e o p l e , b u t o f t h e p r e s B . He w o u ld n 't b e a n a c t o r I f h e h a d n 't b e e n . T h e re v a s t h a t a r t i c l e b y A l b e r t P a y so n T e rh u n e , v ho b o a s t s h im s e lf a l o v e r o f d o g s a n d w r i t e s v o lu m es a b o u t th e m . I n a n e w s p a p e r f e a t u r e p a g e h e v e n t a t g r e a t l e n g t h s t o w r i t e a b o u t F lu s h a n d d e s c r i b e d h o v E l i z a b e t h B a r r e t t ' s s ta g e dog h a d r u in e d o n e o f th e m ore t e n d e r o f lo v e s c e n e s b e tw e e n E l i z a b e t h a n d R o b e rt B ro w n in g , b e c a u s e h e v a s su c h a human l i t t l e p u p p y a n d v o u ld p l a y an d a t t r a c t t h e a u d i e n c e 's a t t e n t i o n a t t h e c r i t i c a l moment o f M iss B a r r e t t ' s w o o in g . I t v a s a n e x c e l l e n t a n d am u sin g s t o r y , b u t t h e t r o u b l e v l t h I t v a s t h a t , s i n c e F lu s h n e v e r I s o n t h e s ta g e v h en R o b e rt B ro w n in g i n t h e p e r s o n o f B a B il R a th b o n e m e e ts E l i z a b e t h i n t h e p e r s o n o f K a th a r i n e C o r n e l l , i t J u s t v a s I m p o s s ib le f o r t o b r e a k up a n y lo v e s c e n e s b e tw e e n th e m . The f i r s t a n d r e a l F lu s h o f h i s t o r y v a s v e r y J e a l o u s a n d v h e n R o b e rt f i r s t c a l l e d , F lu s h b i t h i s a n k l e s a n d sh o v e d r e s e n t m e n t, a 6 o r t o f p r o p h e t i c s e n s e t h a t h e r e v a s som eone v h o v a s g o in g t o s h a r e h i s p la c o I n h i s a d o r e d m i s t r e s s ' l i f e . I t to o k many v i s i t s a n d many c a k e s b e f o r e R o b e r t v o n F l u s h 's t o l e r a n c e . Nov I t v a s to o i n t r i c a t e a t a s k t o Im pose o n a d o g a c t o r t o b i t e M r. R a th b o n e 's b o o t I n t h e f i r s t s c e n e , t o a c c e p t h i s c a k e s i n t h e s e c o n d a n d t o em b race h im i n d o g - f a s h lo n I n t h e t h i r d a n d t o r e p e a t t h i s p r o c e s s n i g h t a f t e r n i g h t . So B e s i e r , t h e a u t h o r o f "The B a r r e t t s o f W lm pole S t r e e t " a r r a n g e d i t so t h a t F lu s h n e v e r m e e ts M r. B row ning o n t h e s t a g e . F lu s h h a s n o t m is s e d a s i n g l e o n e o f t h e 685 p e r f o r m a n c e s s i n c e t h e o p e n in g n i g h t o f th e p l a y I n C le v e la n d i n J a n u a r y 2 9 , 1 9 3 1 . U n f o r tu n a t e ly f o r h i s B roadw ay r e p u t a t i o n h i s one e r r o r v a s t h a t h e c o m m itte d on h i s d e b u t i n R ev Y o rk , v h e n h e d e c id e d t o w a lk down t o t h e f o o t l i g h t s a n d th e n o f f t h e s t a g e , v h i l e h i s m i s t r e s s , M iss C o r n e l l , s u p p o s e d ly v a s b y h e r i l l n e s s c o n f in e d t o h e r c o u c h . O f c o u r s e M iss C o r n e l l h a d t o r i s e a s th o u g h b y m a g ic c u r e d a n d r e s c u e F l u s h . B ro sd v a y n e v e r f o r g o t t h i s a n d w o n 't l e t F lu s h f o r g e t i t , th o u g h h e i s q u i t e b o r e d b y b e in g re m in d e d o f I t . On h i s o p e n in g n i g h t I n E o s to n - F lu s h c h o o s e s t h e m o st s p e c t a c u l a r o c c a s i o n s f o r h i s tw o s t a g e m lsd e : -'s - h e s q u e a l e d , s o m e th in g h e n e v e r b e f o r e o r a f t e r w a rd h a s d o n e . O n ly o n c e - f o r t u n a t e l y t h i s v a s a t r e h e a r s a l - d i d F lu s h com m it t h e h o r r i f i c e r r o r t h a t v o u ld w re c k t h e p l a y , a m is ta k e v e i l w i t h i n p o s s i b i l i t i e s . When E l i z a b e t h , v l t h F lu s h I n h e r a rm s , s t e a l s down t h e s t a i r s o f 50 W im pole S t r e e t , p a s s e d t h e s tu d y d o o r .of h e r o g r e l s h f a t h e r , t o J o in t h e h u s b a n d she c l a n d e s t i n e l y h a d m a r r ie d , sh e l e a v e s n o t e s b e h i n d h e r t o t e l l h e r f a m ily v h a t s h e h a s d o n e . When P ap a B a r r e t t d i s c o v e r s who h a s f l e d h i s r o o f , h i s f i r s t th o u g h t I s o f F l u s h , vhem h e d e te r m in e s to p o is o n . H is a n g e r i s u n s p e a k a b le v h e n h e le a rn B t h a t F lu s h h&B gone v l t h E l i z a b e t h . Rov im a g in e v h a t th e a u d ie n c e v o u ld do I f F lu s h B hould s t r o l l o n th e s ta g e a t th lB mom ent a s h e o n c e d i d a t a r e h e a r s a l ! L ik e a l l a c t o r s vho r e a c h p re e m in e n c e i n t h e i r c a l l i n g , F lu s h h a s w r i t t e n h i s a u t o b io g r a p h y . F l o r a M e r r i l l d i d a l l t h e w o rk , h o w e v e r, a n d E d w in a i l l u s t r a t e d t h e b o o k , v h ic h I s c a l l e d " F lu s h o f W lmpole S t r e e t a n d B roadw ay" a n d a l r e a d y h a s s o l d o u t tw o e d i t i o n s . F lu s h v a s n in e m o n th s o l d v h e n h e made h i s s ta g e d e b u t . He i s a l a z y d o g , b u t l i k e s t o c h a s e a b a l l a n d a d o r e s w a lk in g v i t h h i s m i s t r e s s . He r e c e i v e s f a n l e t t e r s and. r e q u e s t s f o r h i s p h o to g r a p h . Many v i s i t o r s c a l l o n h im , a few t o s a t i s f y t h e i r c u r i o s i t y a s t o t h e " d o p e " s i t u a t i o n , b u t m o st o f them b e c a u s e t h e y lo v e him a c ro s B t h e f o o t l i g h t s . He I s q u i t e i n d i f f e r e n t I n t h e i r b la n d is h m e n ts , b u t sh o v e a v a s t p r e f e r e n c e f o r t h e la d le B . W hich p ro v e s v h a t a r e a l s t a g e a c t o r h e Is! APPENDIX K MISCELLANEOUS (PRESS L ISTS, ADVERTISEMENTS AND PROGRAM) 36 6 FIRST NIGHT PRESS LIST NATIONAL TH EA TR E THE CO NSTANT WIFE c » r H Brooks A tkinson Nev York Times 229 W . 43 S t. K 2 -4 Sam Z olotov II It K 113-114 L evis Funke It If N 101-102 . Louis C e lts tt ft N 1-3 Jack S ta n ley tt tt C 101-102 W alter Kerr H erald Tribune 230 W . 41 S t. K 1 -3 O tis Guernsey It II ft J 2 -4 W illiam Z in sser n ft tt J 101-102 B ert McCord it r» It 0 2 -4 Joe Plhodna ft It tt D 101-102 W alter W lnchell D a ily M irror 235 E . 5 S t. C 2 -4 Robert Coleman II tt 1 1 C 1 -3 John Chapman D a lly Neva 220 E. 42 S t. J 1 -3 Bob S y lv e ste r II tt It L 1 -3 Danton Walker II II It L 101-102 Ed S u lliv a n If * ft H 113-114 Doug Watt it n It B 1 -3 Robert Garland J r . & Am. H o te l Edison M 1 -3 James O'Connor It 210 South S t. F 6 -8 Louis Sobel It n a 113-114 John McClain If it K 111-112 Dorothy K ilg a lle n It F 2 -4 George J . Nathan It H o tel Royalton I) 113-114 Richard W atts, J r . It 75 West S t. L 2 -4 Vernon R ice tt it H 5 -7 E a r l W ilson tt it E 2 -4 Arthur P o llo ck Compass 164 Duane S t. N 2 -4 Seymour Peck II It L 113-114 W illiam Havklns W orld-T el. 36 Sutton P I. S. J 6 -8 Lee Wood II 125 B arclay S t. a 5 -7 Marie Torre tt ft B 2 -4 Ward Morehouse tt It a 111-112 Frank F a r r e ll It It a 2 -4 Tom Dash Women's Wear 8 E . 13 S t. X 6 -8 E th e l Colby J r . o f Commerce 236 W . 44 S t. H 2 -4 W hitney B olton Morning T e l. 525 w. 52 S t. K 101-102 Rovland F ie ld Newark Neva 420 Lex. Ave. M 113-114 Hal Eaton S ta r Ledger 234 W . 44 S t. F 113-114 Mark Barron AP 50 Rock. P laza a 101-102 Jack Gaver UP 220 E. 42 S t. a 6 -8 Lavrence Perry N A N A 247 W . 43 S t. H 113-114 Barry F a r r is INS 235 E . 45 S t. H 101-102 W olcott Gibbs Nev- Yorker 25 W. 43 S t. H 1 -3 Tom Wennlng Newsweek 152 W . 42 S t. E 1 -3 L. Kronenberger Time Mag. 9 R o c k e fe lle r P I. a 1 -3 G ilb ert G ab riel Cue Mag. 6 E . 39 S t. F 101-102 John M . Brovn S a t. Review 17 E . 89 S t. H 2 -4 Tom Prideaux L ife 9 Rock. P I. F 5 -7 Ir v in g Hoffman H ollywood Rep. 156 W . 48 S t. H 101-102 Richard Cooke W all S t. Jou r. 44 Broad S t. K 103-104 A lle n e Talmey Vogue 420 Lexington Ave. D ■ 1 -3 M ilton Shubert Shubert P ress 225 W . 44 S t. J 5 -7 B i l l Leonard CBS 485 Madison Ave. H 6 -8 Mary M. McBride N B C 49 w. 45 S t. L 5 -7 Tex & J in x N B C 21 E . 63 S t. 0 1 -3 Joseph S h ip le y W E V D 29 W. 46 S t. 0 101-102 M artin S ta r r WINS 28 W. 44 S t . J 113-114 S o l Jacobson P r e ss Dept. 229 W . 42 S t. nooKD l a a r r press l is t KATIOHAL* THE CONSTANT WOTS WEDNESDAY, DECEMBER 1 2 o 6- a Helen Orsebee H erald Tribune 203 Congress S t.-B k. L 101-102 Joses Beretov, J r . ■ * 230 V. h i S t. t 1 -J V ictor Tolley Nev York Times 229 V. < » 3 S t. ■ 6 -8 Leo fo lk o e r World T e l. 123 B arclay S t. t 6-a Ben Rosenberg P ost 73 V est S t. 1 101-102 Us. R. H esret, J r . J r . Am. 210 South S t. ■ 103-104 Clarence Housson m n 3 1-3 Rose B l^ o n D aily M irro r 233 * • *5 S t. K 2-4 Frank Quinn « w ■ 1 2-6 B il l White D aily Neva 220 1 . 42 S t. I 3-7 Rube Doris Morn. T e l. 525 W. 452 S t. K 111-112 E liza b eth Penrose O lasttur 420 Kadloon Ave. ■ 103-104 Edvin M iller Seventeen 488 Madlaon Av*. a 101-102 Chos. Rice T his Week 420 4 .x . Ave. ■ 101-102 Robert F rancis B illb o a rd 1564 B rortvay K 10-12 A rthur 0 . B rest Stop 340 S . 57 S t. 0 2-4 E llzobeth S o il T h e atre A rts 130 V. 56 S t. M 9-11 C ritic " ■ M 101-102 Mel Eelmer King F e a tu re s 235 S . 45 S t. a 5-7 Oene'Cohen C e n tra l P ress J 111-112 Boyd Levis H E A 461 8 th Av*. a 5-7 E. C. S tein IHP 235 S . 45 S t. M 113-U 1 * B il l Clover AP 50 Back. P I. J 103- 10U Mrs. E. V. Chose Vogue 420 la x . Av*. 0 5-7 Tom F elder Town de Country 572 HuUlon A y*. r 6-6 George S e lls Look Mxdlaoa Av*. 3 5-7 Helen V olentlne Chora 122 X. 42 S t. K 5-7 Hot Dorfman Stage P ic Prrm B ids. M 6-8 Dorothy Wheelock H arpers Bazaar 572 Medieon Av*. X 103-104 Carmel Saov n ■ i 6 -a Mary Leotherbee L ife 9 Dock. P I. L 103-104 E. Movby Green Load. Th. V ld. H ot.1 V ic to ria a 10-12 a 6-a Thyra Winslow Vm. Nude Iron J e v . Examiner 4 7 I . 6 1 S t. 72 V. 48 S t. K 105-106 Harold Clurcon Nev R epublic 119 X. 57 S t. a i- 3 J . V. Krutch N ation 2 0 v .m y S t. r 9 - i i Ronald Sovery Mont. S ta r 220 X. 42 S t. a i4 - i6 Edvard A. M iller Gotham L ife 225 V. 39 S t. 0 9-11 L. L. Stevenson D e tro it News 247 V. 43 S t. J 9-11 Mrs. C. Wyatt C ath o lic World 310 X. 50 S t. a 9 -u K. J . Bob S to a ts Z eitung 22 S. V llH aa a S t. a 9 -u Bernard Rubin D ally Worker 35 X. 12 S t. a 2 -4 C arl Jacobs C in c in n a ti E n q u irer 14 X. 92 S t. a 14-16 Irv in g Cohn M etro p o litan Host IS X. 48 S t. r 10-12 C la rissa M * Promenade 40 X. 49 S t. a 9-11 de V llle rs Kay S ullivan Parade 405 la x . A n . 0 111-112 M artin C lck stein fiklyn Eagle Bklyn a 105-106 Kurt H elloer Aufbau 209 W . 48 S t. J 101-102 John B eaufort M onitor 588 P lf th A n . a i n -1 1 2 Edvard S. Hipp Newark Nevs ffevark, S .J . a 103-104 Leo Leman Mademoiselle 122 X. 42 S t. a 105-106 Ruth Jacobs Women's Wear 8 X. 13 S t. 1 111-112 Florence Somers Redbook 444 Mtdleon A n . a 5-7 Nancy Craig W JZ 30 Bock. P I. 0 103-104 Martha Deane W O P . 1440 Broadway a 111-112 Barbara W ells " 0 10-12 M argaret A rlen CBS A 65 Madison A re. a i-3 C harles McClendon Cue 6 X. 39 6 t . a 2-4 Creighton P eet L.A. Nevs 232 x . 13 S t. 3 2-4 George F reedley T. A rts Nevs L e tte r JL9 E. 55 S t. a i4 -i6 A1 Messer T ransradio P ress 521 F if th S t. a 13-15 Lee Poscer 11 Progresso kz Elk S t. a 109-110 D aniel Blum T h eatre World 26 w. 9 s t . a 10-12 J e rry C o tter The Sign 5 Stuyvesant Oval J 10-12 John Gassoer The Forum 129 Dab 111 Rd. . a 5-7 LI 111 Taylor E squire Bklyn. 18, N.X. Med. k 46th S t. a i-3 Leo Shull fihov B iz 155 V. 46 S t. a i-3 L ester B ernstein Time 9 Bock. P la ta l 13-15 Peggy Foldes N orth Side Nevs 180 V. 58 S t. L 10-12 H erbert Schwartz P ark E ast 190 X a .t End A n . a 6-a H. L. Rowland Where 42 X. 51 S t. D 105-104 Dora Ufland Shubert P ress Dept. 225 V. 44 S t. 3 13-15 Joseph Kaye Kansas C ity S ta r 405 X. 54 S t. 369 KATHARINE CORNELL in Sidney Howanl*« “ A L I K X t O K M M BELASCO t h e a t e r M ats. Thur*. and Sal. KATHARINE CORNELL and JOHN C. WILSON present ^ — , - r0lT:RS iW D ^fllO D S by DODIE SMITH KATHARINE ^ RAYMOND CORNELL M A SSEY HENRY DANIELL • CAROL GOODNER S ta g e d b y GUTHRIE McCUNTIC Settings a n d Costumes b y fAOTlEY K A T H A R IN E C ORN ELL preients by ANTON CHEKHOV with JUDITH A N D E R SO N E D M U N D G W E N N • RUTH G O R D O N DENNIS KING • GERTRUDE M U SG R O V E ALEXANDER KNOX • McKAY MORRIS TOM POWERS • ERIC DRESSLER KATHARINE CORNELL S ta g e d by GUTHRIE McCUNTIC Sellings and Costumes by MOTLEY FOR MISS CORNELL'S ENGAGEMENT THE CURTAIN WILL RISE: Evenings, 8:30 S h a rp Matinees, 2:30 S h a rp Latecom ers w ill n o t b e s e a te d during th e first scen e! 370 GUTHRIE M cCUNTIC in association with S. HUROK presents Katharine Brian CORNELL AHERNE In Jerome Kilty's “ Dear Liar" adapted for the stage from the intimate letters of Mrs. Patrick Campbell and Bernard Shaw Directed by MR. KILTY Costumes by CECIL BEATON Lighting by Incidental Music by Jean Rosenthal Sol Kaplan presented by THE NEW ORLEANS OPERA GUILD, INC. MUNICIPAL AUDITORIUM (Small Side) FRIDAY (NIGHT) APRIL 10th — 8 :3 0 P. M. SATURDAY (MATINEE) APRIL 11th — 2 :3 0 P. M. CAST Mrs. Patrick Campbell .......................... —.......................Katharine Cornell Bernard Shaw_______ -................ — - Brian Aheme ACT I 1899-1914 INTERMISSION ACT II 1914-1939 Costumes executed by Ray Diffen, Stage Clothes Jewelry by Kramer Fur accessories by Fredrica, Paris-New York STAFF General M anager for Miss Cornell_________________ Gertrude Macy General M anager for Mr. M cClintic .................. Stanley Gilkey Press Representative M artin Feinstein Production A ssistan t ............................................. Betty Shirley Stage M an ag er ................. — ............... Irving Sudrow Booking Direction: HUROK ATTRACTIONS, INC., 730 Fifth Avenue, New York 19, N. Y. | S O S - N A T O U S A SPECIAL SERVICE ; IN C O O P E R A T I O N WITH U S O - C A M P SHOWS i j AND j j THE AMERICAN THEATER W ING i j i j PRESENTS ; j ; K A T H A R I N E C O R N E L L and B R I A N A H E R N E i WITH M A R G A L O G IL L M O R E - M c K A Y MORRIS B R EN D A FORBES S ta g e d by GUTHRIE McCUNTIC one Miss Cornell is a t her ra d ia n t b est . . . T hat peculiar m agic of hers is working in its most alluring fashion." _ WATTS, HERALD-TRIBUNE "The season's m ost brilliant play . . —UFE M A G A Z IN E fy BERNARD SHAW BRAMWELL FLETCHER CECIL HUMPHREYS COLIN KEiTH-JGHNSTON RALPH FORBES W HITFQRD KANE CLARENCE DERWENT BARRY JONES „ *,/ MISS CORNELL ,5AT <//f GUTHRIE McCLINTIC / y DONALD OENSLAGER ' ijo i& m w i / y MOTLEY 'te te a jo-) i In a clairvoyant m om ent in 1906, Bernard Shaw described K atharine Cornell a s she looked last night a t th e Shubert T heatre . . . She had, a s M r. Shaw specified, 'som ething of th e g ra c e and rom ance of a wild cre atu re, with a good d ea l of the eleg an ce and dignity of a fine lady . . — A N D E R S O N , J O U R N A L -A M E R IC A N FORREST THEATRE PHILADELPHIA 1 W eek Only, Beg. M onday Eve., Septem ber 8 Evenings $1.14, 1.71, 2.20, 2.85, 3.42 — M ats. W ed . & S at. $1.14, 1.71, 2.28, 2.85 MAIL ORDERS N O W Kindly enclose rem ittance and self ad d ressed , sta m p e d envelope

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Creator Moss, Lynda Towle (author)

Core Title A Historical Study Of Katharine Cornell As An Actress-Producer, 1931-1960

Degree Doctor of Philosophy

Degree Program Communication (Drama)

Publisher University of Southern California (original), University of Southern California. Libraries (digital)

Tag OAI-PMH Harvest,Theater

Language English

Contributor Digitized by ProQuest (provenance)

Advisor Butler, James H. (committee chair), Kaufman, Edward K. (committee member), Toscan, Richard (committee member)

Permanent Link (DOI) https://doi.org/10.25549/usctheses-c18-842203

Unique identifier UC11356045

Identifier 7421492.pdf (filename),usctheses-c18-842203 (legacy record id)

Legacy Identifier 7421492.pdf

Dmrecord 842203

Document Type Dissertation

Rights Moss, Lynda Towle

Type texts

Source University of Southern California (contributing entity), University of Southern California Dissertations and Theses (collection)

Access Conditions The author retains rights to his/her dissertation, thesis or other graduate work according to U.S. copyright law. Electronic access is being provided by the USC Libraries in agreement with the au...

Repository Name University of Southern California Digital Library

Repository Location USC Digital Library, University of Southern California, University Park Campus, Los Angeles, California 90089, USA