The web exhibition highlights the immense scope of the Simmons & Co. archive and is intended to encourage research in the collection. The exhibition is organized into 10 categories of costume design and showcases 228 selected images drawn from 60 film and theater productions. The Web exhibition was funded by a grant from the National Endowment for the Humanities (NEH).
The Ransom Center acquired the voluminous archive of B. J. Simmons & Co. in two separate installments in 1983 and 1987. Comprising more than 500 boxes, the collection is one of the largest of its kind in the world.
From its founding in 1857 to its demise in 1964, Simmons & Co. created stage costumes for hundreds of theater productions in London, the provinces and overseas, ranging from Victorian pantomime to the “kitchen sink” dramas of the 1960s. Simmons & Co. also provided costumes for more than 100 films, including features directed by Alexander Korda and Laurence Olivier.
Please click on the thumbnails below to view full-size images.
Playwright Kenneth Brown, whose archive resides at the Ransom Center, introduces a screening of the documentary film Another Glorious Day tonight at 7 p.m. at the Ransom Center. The film explores the history, context, and performances of the Living Theatre’s European tour of his play, The Brig (1963). A question and answer session follows.
The film is centered around a 2008 revival of The Brig, the inflammatory play that exposed the harsh realities inside a U.S. Marine prison. This documentary by Karin Kaper and Dirk Szuszies puts former Marine Kenneth H. Brown’s drama into historical perspective—and makes a case for its ongoing relevance—through powerful scenes from the recent production in Berlin and illuminating interviews with directors of the play past and present, revival cast members, and the playwright himself.
The Cultural Compass had a conversation with Brown in which he discussed The Brig, its ongoing relevance, and his archive at the Ransom Center.
Brown discusses how The Brig changed the Living Theatre’s approach to productions.
The Living Theatre’s been in existence over 40 years, and it was in existence about 15 years before The Brig was done. And before The Brig was done, they were doing Brecht and various standard radical theatrical events. They did Paul Goodman and Picasso and Gertrude Stein and Brecht.
But once The Brig was done, the play, which the movie demonstrates, created the acting style and the approach to material by the company that has existed from 1963 to the present day. The whole direction of the company was re-directed by their doing The Brig. The reason being, that in order for the play to work onstage, you have 17 Marines—those are all the characters in the play—you have to make them Marines. So we had to conduct a boot camp, which went on for six weeks. By the time it was over, these guys were running ten miles and doing 60 push-ups and sit-ups, and they knew how to march, and they knew how to double-time, they knew how to half-step. They were Marines!
And that made the play absolutely riveting because it was like looking at the real thing, rather than looking at something being enacted. Because the one thing the actors said to me was, “There’s no audience in the brig. And there’s no acting in the brig because if you have to make a bed, you really have to make a bed.” There’s no making belief you’re making the bed. If some guy punches you in the stomach, he’s not really punching you, but your reaction has to be so real that it’s almost as bad as if he really punched you.
So by the time they did the play, it created this whole style and approach to material in the theater that was responsible for everything the Living Theatre did afterward. They did everything in that style and still do to this day.
Brown discusses how it feels to have his papers housed at the Ransom Center.
I’m 74 years old. A few years ago—and I’m in relatively good health—I said to myself, “Well, I’m over 70, got a nice little apartment in Brooklyn overlooking the bridge, a beautiful neighborhood with the store where I did my shopping.” I had really kind of retired from life. And it was fine. I hadn’t stopped writing. I never stopped writing. I’d been writing since I was 6 years old. But I had settled on “this is it.”
And then, in 2007, Judith Molina [co-founder of The Living Theatre], who’s now 83 years old, called me and said, “We’re reviving The Brig.” I went, “I don’t believe it.”
And then it opened in 2007, and it was a bigger hit than it was the first time. And in The New York Times, we had a two-page review with pictures. Two pages! Not a column. Two pages with pictures! And then in 2008 it went on the European tour, and then Tom Staley bought the archive, and all of a sudden, I turned around, and I had been thrown back in the pool again. And that’s kind of what my feeling of my archive, of the whole process, is.
It has enlivened interest in a lot of other stuff of mine.
Brown discusses why The Brig is still relevant to today’s audiences.
The Brig has always been relevant, which is kind of amazing to me. But I guess as long as there’s war and as long as there’s a military and especially as long as one questions the ethical right to wage war and in this ridiculous nonsense in Afghanistan and Iraq—when you do a play that studies the psychology of what it is to be a Marine, how more relevant can you get? It’s going to stay relevant forever. Until there’s peace throughout the world. Then the play’s not relevant anymore because then there’s no military threat. If there’s no military threat, then the play ceases to be relevant.
A poster in the Ransom Center’s Harry Houdini collection arrived just like Houdini would’ve wanted: folded up to an eighth of its size. Stephanie Watkins, Head of Paper Conservation, and her team faced a daunting project: the brittle paper couldn’t easily be unfolded without causing damage to the item. Once they successfully opened the poster, they had to remove dirt, acid, and discoloration, and restore missing pieces. Read about how Watkins and her team performed some magic of their own to treat this damaged item.
Please click the thumbnails below to view full-size images.
The Ransom Center acquired Mamet’s archive in 2007. The collection is made up of more than 300 boxes of material, covers his entire career through 2007, and contains manuscripts, journals, office and production files, correspondence, and multiple drafts of each of his works, including the acclaimed plays American Buffalo (1975) and Glengarry Glen Ross (1982) and screenplays The Untouchables (1987), The Spanish Prisoner (1997), and Wag the Dog (1997). These materials record the writing and revision of all of his published texts, as well as several that are unpublished or unfinished.
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A major collection of Italian opera libretti is now accessible through an online database. The collection of 3,421 items was donated in 1969 by New York rare book dealer Hans P. Kraus. The collection consists primarily of texts of Italian operas but also includes Italian cantatas, serenatas, oratorios, dialogues and Passions. The collection, which dates from the 17th through the 20th century, documents musical performances by Italian, French, German and Austrian composers performed in numerous Italian cities and elsewhere. Learn more about the collection.
Today is World AIDS Day, a day dedicated to raising awareness about HIV and AIDS, remembering the dead, and celebrating the living. The Ransom Center’s collection includes several people, both famous and ordinary, whose lives have been touched by AIDS. Among the most well known is Terrence McNally, whose plays Lisbon Traviata (1985, 1989), Lips Together, Teeth Apart (1991), A Perfect Ganesh (1993), and Love! Valour!
Compassion! (1994), as well as the Emmy-winning television movie Andre’s Mother (1988, 1990), incorporate AIDS as part of the social, emotional, and biological fabric of their characters’ lives.
All five of these works are represented in the McNally papers at the Ransom Center, in addition to manuscripts, correspondence, and production materials related to his other works, and other materials dating from his high school years through the present. His papers also include 174 computer disks with contents ranging from manuscripts to correspondence to photographs. Digital drafts exist for three of the plays mentioned above: Lips Together, Teeth Apart; A Perfect Ganesh; and Love! Valour! Compassion!
Love! Valour! Compassion!, which won a Tony for best play in 1995, is the story of eight gay friends, one of whom owns a large house in the Hudson Valley where the group meets for holiday weekends during one summer. These gatherings become a celebration of friendship and an exploration of life and desire in a time of AIDS. Andre’s Mother first took shape as a short play written for Urban Blight, a musical revue performed at the Manhattan Theater Club in 1988. Both the original eight-minute play and the television movie version, which aired on PBS in 1990 as part of the American Playhouse series, explored the confrontation between Andre’s lover and his mother, and were set at Andre’s memorial service shortly after his death from AIDS.
In addition to drafts with McNally’s handwritten corrections, the boxes related to these two works contain a small amount of correspondence from ordinary people who wrote to share their personal experiences with McNally after seeing Andre’s Mother or Love! Valour! Compassion! One letter is from a mother who lost her own son to AIDS. Another is from an older gay man who cared for his long-time partner in his final years. In 1991, Frank Rich wrote in a New York Times review that Lips Together, Teeth Apart, The Lisbon Traviata, and Andre’s Mother “offer unsentimental hope about the possibilities for intimacy at a time when fear and death rule.” McNally’s larger collection and this small pocket of correspondence are a testament to the power of stories, both public and private, to connect people.
It is 1913 at the Théâtre des Champs-Élysées, and the audience is screaming, cat-calling, and fist-fighting. It’s the most famous riot in classical music history at the premiere of the ballet The Rite of Spring, composed by Igor Stravinsky, choreographed by Vaslav Nijinsky, and premiered by the Ballets Russes.
Accustomed to more “palatable” ballets such as Swan Lake, the audience at the premiere of The Rite of Spring was shocked by the dissonant and jarring music, the violent and unnatural choreography, and the depiction of a Russian pagan tribe celebrating the arrival of spring by choosing a sacrificial virgin to dance herself to death. Upon hearing the opening bassoon solo played in an unrecognizably high register, French Romantic composer Camille Saint-Saens is said to have fumed: “if that is a bassoon then I am a baboon!” He then stormed out of the theater.
The Ransom Center holds one of the costumes that no doubt helped to spark the legendary riot. The costumes were designed by archeologist and painter Nicholas Roerich. The costume is part of the Ransom Center’s current display in honor of this year’s centenary of the Ballets Russes, located in the Director’s Gallery on the third floor of the Center through December 18.
The Ransom Center’s performing arts collection documents several popular entertainments, including vaudeville, the circus, pantomime, puppetry, and magic. TASCHEN Books recently published Magic, 1400s–1950s, and included more than 30 images from the Center’s collections. Edited by Noel Daniel, the 650-page book is a multilingual edition, with content in English, French, and German. The book is authored by Mike Caveney and Jim Steinmeyer, with contributions from Ricky Jay. Below are excerpts from the book, alongside images from the Center’s holdings.
From the chapter “From Black Magic to Modern Magic,” explained by Mike Caveney.
During the mid-19th century, the most influential magician in the world was a Frenchman named Jean Eugéne Robert-Houdin. On this advertisement for his appearance at St. James’s Theatre in London, he is seen producing a seemingly endless quantity of military plumes from a scarf. A skilled watchmaker as well as a magician, he often employed an artful combination of techniques to produce the astonishing results that made him famous.
From the chapter “The Supernatural and the Spirit Worlds,”
explained by Jim Steinmeyer.
At the Egyptian Hall theater, Maskelyne and Cooke produced a humorous play lampooning Spiritualism. Mrs. Daffodil Downy’s Light and Dark Séance parodied the excitable or suspicious characters in a Bloomsbury, London, séance parlor. At the climax of the play, Maskelyne’s illusions eclipsed those of any supposed medium when he produced a glowing skeleton that rattled its jaws and floated over the audience.
From the chapter “Chains, Blades, Bullets, and Fire: Daring and Danger in Magic,” explained by Jim Steinmeyer.
Houdini’s Milk Can Escape, first performed in 1908, reignited his career. It was a brilliant invention that allowed him to bring the excitement of his water escapes to a vaudeville stage. This poster captures the nail-biting terror. The central image is a special cut-away peek at the can’s interior, offering a view that was never seen onstage.
Tennessee Williams will be inducted into the Poets’ Corner in The Cathedral of St. John the Divine in New York City, with celebrations beginning today. Previous inductees include Elizabeth Bishop, Emily Dickinson, F. Scott Fitzgerald, Robert Frost, Langston Hughes, Herman Melville, Henry David Thoreau, Ralph Waldo Emerson, Mark Twain, Edith Wharton, Walt Whitman, and William Carlos Williams.
The Ransom Center holds materials that document the family, life, and work of the American playwright Tennessee Williams, born Thomas Lanier Williams. The collection contains numerous manuscript drafts, including those for the plays The Glass Menagerie (1944) and A Streetcar Named Desire (1947). Also included are large amounts of newspaper clippings, correspondence, and photographs.
The Tennessee Williams collection was built from four major acquisitions in the 1960s with smaller amounts of material added over the years. The nucleus of the collection began with Williams’s own papers, acquired by the Ransom Center from 1962 to 1969. These materials included over 1,000 separately titled works, numerous clippings, and several boxes of correspondence. In 1964, the Center expanded the collection with the purchase of the correspondence between Williams and his agent, Audrey Wood. In 1965, the Center acquired a large number of manuscripts, including Williams’s first full-length play, Candles to the Sun, from Williams’s official bibliographer, Andreas Brown. Brown’s materials also included a complete run of Williams’s publications, and Brown’s own correspondence, notes, and drafts from his work on Williams’s bibliography.
The Williams family papers were also acquired in 1965 from Williams’s mother, Edwina Dakin Williams. These materials included original manuscripts and works of art by Williams, over 700 letters, scrapbooks, personal memorabilia, and 650 photographs.
Four-time Tony Award-winning playwright Terrence McNally is a frequent focus of theater news these days. This summer he completed a workshop production of his new drama, Unusual Acts of Devotion, at the La Jolla Playhouse, that starred Richard Thomas and Doris Roberts. His latest musical—a stage version of Catch Me If You Can, originally a film starring Leonardo DiCaprio—just closed in a workshop production in Seattle and will move to Broadway sometime in 2010. McNally will also be represented on Broadway this season by revivals of his musical Ragtime and his dramedy Lips Together, Teeth Apart. In March, the Kennedy Center for the Performing Arts in Washington, D.C., is mounting a mini-festival of his work titled “Three Nights at the Opera with Terrence McNally” that will include productions of his The Lisbon Traviata and Master Class, and will feature a newly commissioned play focused on the opening night performance of Bellini’s I Puritani that will be titled The Golden Age.
McNally has thus far made three gifts of his papers to the Ransom Center, and researcher Raymond-Jean Frontain recently wrote an article about his work with the Ransom Center’s McNally papers. Frontain is a professor of English at the University of Central Arkansas, where he focuses on seventeenth-century literature.
So how does a specialist in seventeenth-century devotional literature find his way from the religious lyrics of John Donne to the work of contemporary playwright McNally?
“In 1993, I caught the Broadway production of A Perfect Ganesh with Frances Sternhagen, which was one of the most luminous performances that I had experienced in a long while,” Frontain explains. “The actor led me to the play. I’ve been exploring the religious bases of McNally’s drama ever since.”
Read Frontain’s article “Terrence McNally’s Connections,” in which he explores McNally’s relationship with John Steinbeck, Angela Lansbury, and others.