Eugene Smith, Molly Stark, Ward Smith, Charles Hudson, Richard Marr; seated: Laura Manning, Betty Oakes.
The following precedes each entry
"In Lieu of Reviews"
Around 40 years ago, I began a major project that eventuated in the publication of my multivolume series, The Encyclopedia of the New York Stage, each volume covering a decade. For some reason now lost to the sands of time, I chose to start with the 1970s. After writing all the entries through 1975 and producing a typed manuscript of 1,038 pages my publisher (Greenwood) and I decided it would be best to commence with the 1920s. So the 1970-1975 material was put aside as I produced volumes for 1920-1930, 1930-1940, and 1940-1950. With those concluded, Greenwood decided it was all too expensive and not sufficiently profitable, so the remaining volumes were cancelled, leaving my 1970s entries in limbo.
Those familiar with the published volumes will note that the entries there are generally far more detailed than those in the ones being archived here.
To compensate, I used the research I’d done on the 1970s to write a book for Greenwood called Ten Seasons: New York Theatre in the Seventies, which described all aspects of that era’s theatre, onstage and off. Many years later, in 2012, I began a postretirement “career” as a theatre reviewer, which led to my creating this blog as an outlet for my reviews. Over the past eight years or so I’ve posted nearly 1,600 reviews, a substantial number having first appeared on other websites: Theater Pizzazz, The Broadway Blog, and Theater Life.
Now, however, with the New York theatre in suspension, and my reviewing completely halted, is probably the perfect time to post as many as possible of the entries I prepared for the never-published 1970-1975 book. The entries that follow are in alphabetical order. Each entry has a heading listing the subject categories of the work described: the author (A), the director (D), additional staging (ADD ST), when credited; the producer (P), the set designer (S), the costume designer (C), the lighting designer (L), the source (SC), the theatre (T), the dates of the run, and, in parentheses, the length of the run. The original entries also contained the names of all the actors but I’ve omitted those here.
I will try to post at least one entry daily. When time allows, I’ll provide more. The manuscript exists on fading, fragile paper and, because no digital files exist, must be retyped. Hopefully, the tragic health situation we’re all enduring will abate before I get too far into posting these entries but, for the time being, devoted theatre lovers may find reading these materials informative.
ANTIQUES [Musical Revue/Old Age] M/LY: Alan Green and Laura Manning; D: Mario Martone; CH: Jeffrey K. Neill; S: Bruno C. Scordino; C: William Christians; L: R.H. Rizzio; P: Video Techniques i/a/w Dore Schary Productions; T: Mercer-O’Casey Theatre (OB); 6/19/73-6/24/73 (8)
Antiques offered one of the least effective treatments of the theme of old age seen on New York stages during the decade. “Shows as bad as Antiques should have the courtesy to be as brief as possible,” growled Clive Barnes, when he learned that an unexpected intermission had been added to the show. (Archival sources, presumably citing the program, note the lack of an intermission.)
A modest company of actors who looked anything but elderly cavorted through a series of uninteresting songs about the pains and pleasures of senescence. The purpose was to suggest that “to be old is not necessarily to be dead.”
Abelard and Heloise
Absurd Person Singular
“Acrobats” and “Line”
All My Sons
All Over Town
All the Girls Came Out to Play
And Miss Reardon Drinks a Little
And They Put Handcuffs on the Flowers
And Whose Little Boy Are You?
Anne of Green Gables