ST. BART•s PLAYHOUSE:
SIXTY-FOUR YEARS OF CHANGE by
BRETT ASHLEY CRAWFORD, B.S. A THESIS IN THEATRE ARTS Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of MASTER OF FINE ARTS Approved
Accepted
May, 1992
Copyright 1992, Brett Ashley Crawford
TABLE OF CONTENTS
LIST OF FIGURES
iii
CHAPTER I. II. III.
INTRODUCTION
1
THE COMMUNITY CLUB CONNECTION
5
THE BEGINNING, 1927-70
14
SUTHERIN & ROBINSON, 1970-1982
18
V.
BRIGGS, 1983-86
40
VI.
WAGEMAN, 1986-87
47
CATT, 1987 TO PRESENT
51
CONCLUSION
63
IV.
VII. VIII.
67
BIBLIOGRAPHY
71
APPENDIX
ii
LIST OF FIGURES
1.
Sutherin's Management Tree
34
2.
Sutherin's Later Years
34
3.
Briggs' Management Tree
45
4.
catt•s Management Tree
60
iii
CHAPTER I INTRODUCTION Background Theater can be studied from a variety of perspectives. The most common method is to focus on the dramas, the written products of the theater.
This method is especially
useful for extrapolating information from a work to gain knowledge regarding the era in which it was written.
Oscar
Brockett explains this methodology in the following manner, The history of theatre is often treated as though it were synonymous with the history of drama. Although it may distort the truth, such an approach is partially justified, for it is through the written drama that we gain our clearest impressions of the theatre of the past. (Brockett, pp.4-5) Studying the drama is particularly useful for studying theater in periods for which we have few other references. To understand more recent theaters, a better method is to study the practices and histories of theaters themselves. Historical study of theaters can focus on specific practices such as managerial styles or artistic work.
A formal study
of a theater in this matter can contribute to the education of future theater artists and theater managers.
A student
of theater or a practicing theater artist benefits by studying other theaters.
They are inspired and provided
models for future work of their own.
1
More importantly, a
theater's history, its successes and failures, gives guidelines and instructions to theater artists of the present and the future.
Problem St. Bart's Playhouse (Playhouse) has produced live theater in New York City for the past 64 years. as an insular community theater.
It began
However, under the
management of a powerful leader, the Playhouse grew in the early 1970's to become an acknowledged off-Broadway theater. During this change, however, the theater never fully adopted off-Broadway theatrical practices.
St. Bart's Playhouse is
now best described as a hybrid theater.
It is both a
community theater and an off-Broadway revival house. In addition to its hybrid status, the Playhouse is unique in the fact that it is physically housed within the St. Bartholomew's Community House and its management structure is within the auspices of the St. Bartholomew Community Club (Community Club).
This relationship brings
about internal problems and benefits unknown in either community or off-Broadway theaters.
There is no other
theater at this time that has this type of host relationship with a church-affiliated group.
The Playhouse's continued
existence attests to its unequalled endurance in the toughest theatrical city in the world.
Such a theater must
be documented for the education of all theater artists, 2
managers, and historians.
Previously, no efforts have been
made to document the management and artistic systems of St. Bart's Playhouse.
Thus, this study is unique and is
potentially important to the study of current theater history.
Methodology Neither the St. Bart's Playhouse nor the St. Bartholomew Community Club have complete records from the past 64 years.
In fact, record keeping from the past is
haphazard and poorly organized. study are diverse.
Research resources for this
To determine the Playhouse's history
within its superstructure, the St. Bartholomew Community Club, newspaper articles and "The History of the Community Club" were utilized.
These materials are located at the New
York City Public Library and the main office of the Community Club, respectively. As one investigates the st. Bart's Playhouse's history, particularly its management styles, artistic focus, and production history; past programs provide a primary source. This source is incomplete and provides only a skeleton on which to build.
To fully ascertain St. Bart's Playhouse's
history two other sources are utilized:
(1) newspaper and
magazine articles, and (2) personal interviews with past and present Playhouse staff and Community Club members.
3
These
sources develop a clear and unbiased description of the artistic focus, management systems, and production history of the Playhouse. Additional research was done in relevant texts regarding off-Broadway theaters, community theaters, and theater management.
This enabled a better understanding and
description of the St. Bart's Playhouse and its relationship to other theaters.
Organization This document will be broken down into seven chapters. The first chapter will explain the relationship between the Playhouse and the st. Bartholomew Community Club.
This
relationship is complicated but necessary to the understanding of the Playhouse's strengths and weaknesses. Subsequent chapters will chronologically discuss each artistic period of the Playhouse.
These chapters will
discuss the artistic focus of each period and then the management style in effect at the time.
The final chapter
will present a conclusion and projections about the Playhouse's future.
One appendix is attached listing the
Playhouse's production history including the year, title of each show, its director, and the Drama Director of the Playhouse at the time.
4
CHAPTER II THE COMMUNITY CLUB CONNECTION
To understand st. Bart's Playhouse it is essential to understand the organization in which it operates, the St. Bartholomew Community Club.
The st. Bartholomew Community
Club opened in 1927 as the St. Bartholomew Community House Club.
To use the Community House facilities, Church members
and the public alike were required to join the Club.
The
St. Bartholomew Community House was the replacement of the previously endowed Parish House on 42nd Street.
The
Community House was built adjacent to the St. Bartholomew's Episcopal Church.
The Church leader in charge of the
Community House's development was Dr. Robert Norwood.
The
Community House's ideals are fully attributable to a dream Norwood had to fulfill an existing need in the City. Norwood explained his dream, "I hope to make the Community House a home for people of mental and aesthetic perception where they may express their social impulse in an environment of kindred selves . . . " History," p.314}.
("The Centennial
Norwood seemed to place emphasis on the
auditorium in the Community House, particularly as a space where the artistic expression he envisioned could be presented.
"[Dr. Norwood) had in mind . . . a place where
5
young poets, musicians, artists, and dramatists could express themselves."
He upheld the values necessary for
pure theater to occur. The Community House served the young citizens of New York City, ages 18-35.
Bishop Manning congratulated Norwood
for seeing the need in this area, "I congratulate you that you are going to make this . . . a place of sympathy and encouragement for the young adults, poets, musicians, dramatists, and college men and women in this city" (Mullins, p.5). The Community House was essentially a haven for young adults who needed a place for expression within an often inhumane city.
In 1928, the statement of purpose for the
Community House was stated as follows:
"The general aim of
the Community House would be to render philanthropic social service to this community in the promotion of its spiritual, intellectual, and physical activities" (Mullins, p.6). The building itself is adjacent to the Church, with seven floors including the basement which houses a 60-foot lap swimming pool, an exercise gym, and a basketball court. The auditorium is on the second floor and continues up through the third floor.
The auditorium was a gathering
place for development of intellectual ideas.
The basement
was dedicated to the physical development of the group, and the remaining floors were to be used in the spiritual activities of the group. 6
The St. Bartholomew Community Club is a private organization.
Applicants must be between the ages of 18 to
35 and may remain as a member until age 45.
This age
requirement fulfills the original mission statement of serving young adults.
This age range has at times has been
adjusted to facilitate the membership's growth.
Annual dues
are required for membership. Since its inception, the Community House has always had a Drama Director on staff.
The theater for which the Drama
Director works is comprised of young adults doing dramatic activities to further enrich and explore their artistic interests.
In the beginning, their performances were in the
auditorium to an audience of their Community House peers. This activity was similar to other community theaters.
The
community was the Community House and Church members. Community theater is considered to be nonprofessional theater in which the performances are to edify and entertain a specific community.
From a management perspective, "A
nonprofessional theater is simply, one comprised of people who do not derive their income from it and do not spend most of their time engaged in it" (Langley, p.17).
The St.
Bart's Players are all nonprofessional in the fact that in the beginning through the present none of the actors or actresses receive payment for their performances.
Thus, the
St. Bart's Playhouse began as a nonprofessional, community theater serving a very distinct community. 7
It was important to theater of the time to have a viable outlet in New York City.
In the 1920's, commercial
theater plummeted due to the upsurge of movie theaters. Very soon after the beginning of the St. Bart's Playhouse, commercial theater received a second finanical blow from the Depression.
At the same time, the true origins of
off-Broadway--the Provincetown Players, Neighborhood Playhouse, Theater Guild, and Washington Square Players--had dissolved.
Thus, it would seem Norwood had provided a
unique and necessary haven for theatrical expression. The Community House adapted and changed throughout the years due to changes in the Vestry, and changes in financial and management requirements.
Norwood died before his plans
came to full fruition, and the Community House was never again as clearly led as in the beginning.
In 1953, the
Community House and its membership separated.
The Community
House was now the building, while the membership of young adults became what is now known as the St. Bartholomew Community Club.
The current stated purpose of the Community
Club is "the St. Bartholomew Community Club, the church's mission to young adults, seeks to provide for its community of members an opportunity to enrich themselves spiritually, physically, and intellectually . . . " (Mullins, p.25).
The
Community House is now open to be used by a multitude of purposes by groups outside of the Community Club.
Examples
of these current activities are AA, Alanon, DA, OA meetings, 8
Community Ministry (Homeless Shelter, Food Pantry, Clothes Closet, and Thrift Shop), Pre-school, Counseling and Human Development Center, the Manhattan Club, and the City Club. The last two clubs are membership clubs, like the Community Club, for individuals over the 35-year-old age limit of the Community Club. The management of the Community House/Club also evolved through time.
Each change in Church leadership and,
later, Community Club leaders brought changes to the group. In the beginning the Community House was governed by the Church's Board of Directors.
In 1935, several Community
House member representatives were added to the Board of Directors.
The day to day Community House activities were
run by a chaplain with the title Community House Manager. In 1953, the separation occurred between the Community House, the building, and the Community Club, the membership. To accompany the change a second board was created called the Community Club Council which was elected from the Community Club membership at large.
The daily activities
were run by a director and business manager (Mullins, pp.lS-24).
currently the Community Club is still run by the
community Club Director.
The Council is now comprised of
the chairmen of each of the Club's Committees. the Director's Committee.
It is titled
The current club committees are
Drama, Sports, Sailing, Caring in Action, Marketing, Fine Arts, Interviewing, Sunday, Pottery, Membership, and Buddy. 9
The Executive Director of the Community Club hires a staff of an Athletic Director, Drama Director, Financial Director, Program and Administrative Assistant, and Assistant Drama Director.
It is important in understanding the Community
Club to know that almost all activities of the group are guided and conducted by volunteers from the Club.
The
current Executive Director explained the Community Club's management and activities as follows: Under the guidance of a small full time staff, the Community Club members have an opportunity for collective expression. Members conceive, organize, and execute events, and in doing so form friendships, develop leadership skills, and enjoy a creative outlet which enriches their lives. All aspects of the Community Club program, including the st. Bart's Playhouse, are intended to build a sense of community among the membership. (Wiles) Financially, the Community Club is run by membership dues and Church funds.
In the mid-1970's, at the Club's
peak, it was self-sufficient with membership dues.
Since
that time, poor management caused the Community Club membership to drop from over 2,000 to under 1,000 in the early 1980's.
During that period, the Community Club
leaders left and in response their friends left with this pattern continuing until 1989. The Drama Committee consists of approximately 10% of the total Club membership.
Their activities are coordinated
by the Drama Director who at times takes other titles.
10
Before the 1970's the Community Club andjor Church funded the theater with a $5,000-$6,000 budget for the year.
The
Drama Director's salary was paid by the Community Club.
In
the 1980's, the Church ceased funding anything more than space to the theater and required the Drama Director's salary come from the Playhouse budget.
This financial
decision was due to the Playhouse's growth and success and the Church's financial problems with a smaller congregation and income. In respect to authority, the Drama Director reports directly to the Director of the Community Club, particularly with financial and membership development problems.
The
Director of the Community Club is responsible to the Rector and Vestry of the Church and represents to them the Playhouse's needs to them.
The Church Vestry may override
decisions and give advice directly to the Drama Director in extreme circumstances.
However, communication is usually
conducted through the appropriate line of authority. As the Church came into financial straits in the early 1980's, the incredible scandal over the sale of the Community House developed.
The scandal split the
congregation and created a concern regarding the possibilities of the future for all those involved in the community Club.
In 1980 the rector, Tom Bowers, announced
he was considering a $100 million offer from an unnamed developer which would entail razing the Church, Community 11
House and Gardens, "Public outrage dimmed any vague prospects for this proposal" (Hoelterhoff).
Bowers' next
plan brought about the legal battle between the Landmark Preservation Society against St. Bartholomew's Episcopal Church.
This second proposal was to remove the Community
House only and then lease the land to a developer with an approved high rise of 49 stories.
Incorporated within the
proposed high rise agreement would be a new theater, new kitchen and homeless shelter, new Community Club rooms, and a new health club.
The Landmark Preservation Society fought
this arguing that the Church cannot harm a City landmark. The Church was also sued by 41 parishioners from its own congregation.
Their suit was to have the Church pay back to
the congregation the $2 million of Church funds it had spent on legal and architect fees which should have been spent on Church programs.
In the latter case the Court of Appeals
ruled with the Church, finding that the Church leaders may administer Church property in any way they wish to make assets more productive (Dunlap) including utilizing funds for this purpose. The final decision regarding the case ruled for the Landmark Preservation Society and the Community House stands as is.
The decision was, in some respects, not in the best
interest of the Community Club and the theater, because the community House is in great disrepair and little is being
12
done by the Church for its upkeep.
Had the Church succeeded
in developing the property, the Community Club and theater would have had completely new facilities. The Community Club and Playhouse continue as best they can.
The Community Club's current membership is
approximately 800, but it has been increasing over the past two years.
Although the Playhouse does not comprise a large
percentage of the Community Club, with approximately 70 members, the Club would not want to lose it.
The Playhouse
is often a controversial element of the Community Club due to its activities being in the forefront of the public eye as well as using the prime space in the Community House the majority of the time.
It is also the only Committee which
has such a large, self supporting budget.
The Drama
Committee is regarded as a "clique" group because the Drama members are rarely involved in other Community Club activities.
This is the result of usual theater activities
which are time consuming and thus preclude other activities. However, the Playhouse is also a large selling point to prospective members.
Individuals frequently join just to be
involved in the Playhouse activities.
Therefore, as long as
the Community Club exists, it will work to maintain the Playhouse in one form or another.
13
CHAPTER III THE BEGINNING, 1927-70
The St. Bartholomew Community House opened in 1927. The first Drama Director was Leonard Young.
During his
first year, the membership was developing at the Community House.
In 1928 the Playhouse did its first production, The
Flattering Word.
During the next 24 years while Young was
Drama Director, the Playhouse performed up to four productions annually. this time.
The Playhouse was very insular at
The performers were the Community House members.
The audience was also made up of Community House members. It would seem logical that the membership would also control the Playhouse's production schedule. or see a show they would simply do it.
If they wanted to do If they had no
interest or time to do a show during one year, then shows were not produced.
Young worked for them by coordinating
and directing the shows they wanted to do. Looking at the Playhouse's production schedule during Young's tenure, it is interesting to see correlations with larger world events.
The Great Depression began in the
second year of the Playhouse's existence.
It would seem
natural for productions to cease during this time of economic upheaval.
However, the Playhouse's production
schedule was continuous through 1937 with only a lapse of production in 1932.
Contrary to the Playhouse's endurance 14
through the Depression, World War II did have a dramatic effect upon the Playhouse.
Production ceased in 1938 and
did not resume until 1948. In 1948 when Young resumed producing at the Playhouse, he began slowly doing only two productions annually in 1948, 1949, and 1950.
In his final
year, 1951, he directed four productions. The year after Young left was a large transition.
The
Playhouse did only one show directed by John High. In 1952 Steven Meyer joined the Playhouse and served as Drama Director for the next three years.
He produced solid
shows with guaranteed positive receptions from the Community Club, including Our Town, Ah! Wilderness!, and Sabrina Fair. The Playhouse's next Drama Director, Tom Jones, has since become quite well known as a playwright.
Jones worked
at the Playhouse as Drama Director from 1955 to 1959. artistic focus of this period was clear cut.
The
He produced
classics such as Lysistrata, The Chalk Garden, and Much Ado About Nothing.
He balanced these with original plays
including Mushrooms I and Mushrooms II.
Jones' career as a
playwright was launched in 1959 when his now famous show, The Fantasticks, opened.
Coincidentally, 1959 is the same
year he quit working at the Playhouse. During the next ten years the Playhouse seemed to have a revolving door policy in the employment of its drama directors.
The production pattern during this period was to
produce three shows per year.
In 1969 this pattern changed 15
to doing only two shows per year, one in the Fall and one in the Spring.
This change occurred during Linda Hunt's term
as Drama Director. Hunt was quite young and inexperienced at this point in her career.
She was a director who knew little about
technical theater.
This limited her effectiveness as a
producer and Drama Director at the Playhouse.
The position
required her to be responsible for getting all aspects of each show completed and coordinated.
This weakness came to
the forefront during the technical rehearsals for Fiorello, her first musical with the group.
Nothing was coordinated
correctly and no one really knew where to go or what to do as all the elements of theater were being brought together. The show was becoming a production about chaos.
After a
couple of days with no progress, the Drama Committee Board of Directors asked a fellow Club member, who they knew had worked in theater previously, to step in and give Linda Hunt assistance.
This man, Joe Sutherin, came in, took over, and
saved the production.
He took control and coordinated all
of the various elements--actors, orchestra, sets, and lights--so that they worked together.
Clearly, Hunt was in
over her head and she was replaced the following year. During these 43 years the Playhouse functioned as a community theater.
The community was clearly defined as the
membership of the St. Bartholomew Community House and then, after 1953, the St. Bartholomew Community Club. 16
Its
audience came from this community. talent from this community.
The Playhouse drew its
Lastly, its management came
from this community. The management of the Playhouse was board driven.
This
board was comprised of a group of volunteers from the membership of the Community House and Club.
The Board would
elect a chairman to serve as a leader in the implementation of their decisions.
The Board, with the Director of the
Community Club, hired the Drama Directors.
The Drama
Directors were hired to direct and produce the shows.
The
finances, day-to-day management, and artistic direction of the Playhouse came from the Board of Directors.
The Drama
Director did have input to the play selection, but was not a deciding factor. No other details regarding this period, artistically or in its management, are known. written records are left.
None of the Playhouse's
Sadly, the next source of
information, the Drama Directors, either did not return any of the inquires sent to them or they were not to be found in the New York area.
However, from the production history and
the recollections of older ex-Club members, the above summary was compiled.
It is a clear picture of the
Playhouse before its metamorphosis from a small community theater into an off-Broadway enterprise.
17
CHAPTER IV SUTHERIN AND ROBINSON, 1970-82
Most on-going non-profit companies grew from modest beginnings and had time to resolve fundamental artistic goals and build a local support system before plunging into a full professional and high budget status. Most were founded by a singular, dynamic artist who possessed both a vision and an ability to lead. (Langley, p.173) For st. Bart's Playhouse, the artist and leader was Joe Sutherin who joined the Playhouse 43 years after its inception.
He took a simple and insular community theater
and with time, energy, and strong personnel choices, built it into a recognized off-Broadway revival theater.
Prior to
his appointment, Sutherin was a member of both the st. Bartholomew Choir and the St. Bartholomew Community Club. As explained in the prior chapter, he came to the forefront of the Playhouse when he stepped in and took over the technical rehearsals of Fiorello in 1969.
His knowledge and
ability intrigued the Playhouse's Board of Directors and presented them with a solution to their hiring problems. Chairman Bruce Eaken explained they had never hired a club member for the position of Drama Director before and had to receive approval from the Director of the Community Club. once that was given, Eaken offered the position to Sutherin, who accepted.
Thus, in 1969 they released Linda Hunt of her
duties as Drama Director and replaced her with Joe Sutherin. 18
When Sutherin took over, the Drama Committee and Playhouse were led by a board of Drama Committee members. The Board and the Director of the Community Club hired the previous Drama Directors.
At that time, the Drama Directors
were directors brought in to produce and direct the shows. The artistic vision and business of the Playhouse was provided by the Drama Committee Board and supervised by the Director of the Community Club.
When Sutherin took over, he
created a new position--manager of the Playhouse.
Part of
his agreement to accept the position was that he have full control over all decisions and, as a result, the Board relinquished its duties.
"Sutherin wanted to make the
theater his own, and he did.
He brought focus and strength
to the theater," remembered Bruce Eaken, Chairman of the Board when sutherin was hired. When sutherin took over in 1969, the St. Bart's Players performed for an audience of about 100 at two dollars per seat.
This audience was made up of friends, Church
parishioners and Community Club members.
The shows ran one
week on Thursday, Friday, and Saturday nights.
At the
Playhouse's peak, under Sutherin's direction, the audience was made up of the greater New York public.
The seating
capacity was 410 seats which were full or completely sold out for all three weeks of performances of the large musicals.
The changes that occurred during his tenure came
19
from Sutherin's dream, talented personnel, and extremely talented casts.
These were and still are all necessary for
success in any off-Broadway theater. Like his predecessors in off-Broadway history, Sutherin wanted to make a name for himself.
"Nearly everyone who
went off-Broadway in the early 1950's did so not simply to put on productions but to establish theatres and make a life in the theatre" (Little, p.43). Playhouse with
sutherin came to st. Bart's
good credentials as a theater craftsman.
His previous theater experience gave him knowledge in acting, directing, and scenery construction while his musical background gave him talents in conducting and working as a musical director.
This knowledge and his
belief that anything is possible were powerful attributes. Sutherin believes that St. Bart's success was due to the fact that he surrounded himself with talented, hard-working people; Dick Eddy, Nell Robinson, and Bob Einhorn.
Dick
Eddy was the treasurer and the financial connection to the Church.
Eddy would fight the Church over the finances down
to every penny. Bob Einhorn.
Sutherin's next addition to his staff was
Bob had joined the Community Club in the
spring of 1971.
He took a musical theater class from
sutherin over the summer. Upon A Mattress. before St. Bart's.
In the fall he was cast in Once
"I had never done any (musical theater) I was enthralled by the whole process.
Joe noticed" (Einhorn) .
Sutherin asked Einhorn to 20
help him run the theater and Bob said yes.
He worked as
General Manager and then as Business Manager after Nell Robinson joined. Nell Robinson was also a club member.
She became
involved with the Players when Linda Hunt was in charge, but did not stay because she felt it was disorganized.
She
returned and worked as the stage manager for Bus Stop which was directed by Sutherin.
After Bus Stop, "Joe and Bob set
me down and pitched the dream" {Robinson).
She started as
Sutherin's assistant starting the next show.
As with all of
his staff, it was a volunteer position.
She became involved
"because I wanted to learn'' {Robinson).
The fourth and
largest reason the Playhouse grew in the manner it did can be attributed to Andrew Mullins, the Director of the Community Club.
Mullins encouraged sutherin's attempts of
growth for the theater. "[Sutherin] couldn't have done it without his support" {Eaken). Sutherin explained that the production selection and sometimes the casting prior to his taking over was ''run by a clique of people . . . when I took over I made them into a team by making them,
'them against me.'
It used to be
anytime you wanted to be in a show, you could. more professional with me" {Sutherin).
It became
The competitiveness
was of a high caliber, particularly considering that most of the Players had full time jobs outside of the theater. Southall, a longtime player, recalled that everyone was 21
Jane
going to acting school, always trying to find out which school Sutherin or Robinson felt was the "best" at the time. They were also taking voice lessons.
They were fighting in
the only way they now could for the roles they wanted. For those who were members during sutherin's term and have remained members to present, the "Joe" years were the best.
They were members of a wonderful, growing New York
theater.
It was exciting.
years was also different. high of 2,200 members.
The Community Club during those The membership was at an all time
Playhouse competition was up because
there were more people available for the roles.
Southall
remembered that the technical work, eventually, was not done by the actors.
The group had members who wanted to do the
technical work and not be onstage.
During this period the
Community Club was a true gathering place with a Grill that served members lunch and dinner.
The Community Club also
sponsored Tuesday Teas from 6:00-7:00 p.m.
It was not
unusual for a cast to eat together at the Grill and then go downstairs for rehearsal. memories for all.
This togetherness created fond
In this manner, the Playhouse resembled
an Art Theater from the early 1900's.
"The true and
continuous art theatre results are primarily the product of the continued association together of a group of actors and artists in a permanent company" (Cheney, p.l5).
22
This
association led to nine marriages, including Joe Sutherin to his wife Judy, who became the Playhouse's public relations and choreography specialist. Sutherin•s strong leadership was welcomed by the group. On more than one occasion he was described as a father figure in the office.
Much like a father, he had a love and
hate relationship with many of the members. dream upon them.
He pushed his
They worked hard for it, and often
resented the extra work until the rewards of applause or box office income came to be.
Those involved unanimously agree
that his leadership strengths came from his optimism and his naive belief that he and the Playhouse could accomplish anything.
Interestingly, with the favorable memories of Joe
Sutherin, all agreed that his only weakness was his tendency He did not know when or what
to be insensitive to people.
to say to someone to make them feel better about themselves. He was always honest, and at times blunt, often wounding an actor or artist's ego.
However, Sutherin's was gregarious,
which proved to be another strenth in his leadership. wanted the audience to feel like a family.
He
Often the
audience would be seeing familiar faces on stage again and again.
He wanted them to feel as if they were coming home
and seeing friends.
He and Robinson knew many of the
subscribers, especially those who gave additional donations,
23
by face and name.
This element, unusual to New York
theater, was a huge selling point for st. Bart's Playhouse and a contributing factor to its success. In Sutherin•s first year as Artistic Director, he continued the pattern of recent years of doing two shows, one in the fall and one in the spring.
He chose two
musicals, Apple Tree and How Now Dow Jones.
He recalled
that with How Now Dow Jones he walked up to the cast and said, "this show is going to work."
He realized the group
was maturing faster than he had anticipated.
In the next
season, he began his push and advertised the productions to the general public. In the 1970-1971 season, he did the musicals, Where's Charley and Once Upon A Mattress.
Where's Charley
first show Bob Einhorn had seen at the Playhouse.
was the He
remembers it being a very good show, very much a community production with small sets, etc., but very well done.
After
doing two seasons of only musicals, sutherin began getting pressure from Drama Committee members, particularly those who acted but did not sing, to do a straight play the next season. Instead of replacing a musical with a straight play, sutherin added a third show to the 1971-1972 season. Anything Goes opened the season well.
A small blurb about
the show was in the New York Times and ticket sales soared. The token straight play, Bus Stop, was the second show and 24
went well.
For the third show, Brigadoon, they enlarged the
musical accompaniment from a piano and a few pieces to a full orchestra.
Audiences were coming to these revivals
because no one else in New York City was performing revivals of classic musicals.
The income was increasing every show.
The next season propelled the Playhouse to professional status.
The season began with Bells Are Ringing, followed
by a Neil Simon Festival of three shows in three consecutive weeks.
Einhorn commented that the festival was a really
tough three weeks, but it did accomplish their goal of getting as many people onstage as possible.
The big break
for the Playhouse came with its spring musical, Oklahoma!. It received a rave review from the New York Times and was sold out for every show.
This catapulted Sutherin into the
next season with a strong base subscription audience and a reputation as an acknowledged off-Broadway theater. This period of growth was a highlight for all involved. It was thrilling to be involved with a theater growing and maturing as quickly and as well as the Playhouse.
Soon,
they added concessions, began printing programs, and then started selling advertising space in the programs. added more seats in the auditorium.
They
To accommodate sight
lines, they invested in risers for the back portion of the floor.
Eventually they even filled up the balcony.
they filled the theater for every show.
25
Still,
The next season jumped to five shows: an original show and a straight play.
three revivals,
Harvey was Robinson's
first directing position with the Playhouse.
Her talents
were evident and it immediately became a tradition that Robinson would direct a straight play every season. season finished with Guys and Dolls.
The
It was the first show
to extend to three weeks by popular demand.
The third
weekend changed the show financially from being in the red to making a profit. three weeks.
From that point on, all musicals ran
Each year the sets were getting more
elaborate, the orchestra pit was up to a twenty-two piece orchestra, and the Playhouse really needed a third weekend to cover all the production costs. In the 1974-1975 season, sutherin returned to four plays per year, three musicals and one straight play.
The
first show of this season, Preacherman, was an original musical owned by Sutherin.
It was his claim to try to get a
new show produced at st. Bart's Playhouse and then moved on to Broadway. enoug h , b u t
"They were hoping it was going to be good l.. t
wasn't" (Einhorn).
Sutherin remembers
Preacherman as his one low point at the Playhouse. "Al Veola came to do the role he did in the movie and treated everyone very poorly."
The rest of the season was a smash.
"Carousel has proved the most popular in the long list of musicals which have been revived throughout the St. Bart's Playhouse existence" (Schulman). 26
The Prime of Miss Jean
Brodie followed Carousel.
It was an excellent directorial
production, limited only by a budget of $500.
The final
show, Kiss Me, Kate, also received rave reviews, "The off-off Broadway company has a reputation for spreading itself nicely under Joe sutherin's direction" {Schulman). The highlights of the next season were South Pacific and The Music Man.
South Pacific was a peak of happiness
for the Playhouse.
Not only was the show a hit, but the
rehearsal process was especially fun.
Sutherin and his wife
had just had their first child and their happiness permeated the production.
It was not missed by the reviewers,
"Producer/Director, Joe Sutherin, who also conducted, really possesses the magician's touch when it comes to staging musicals" (Schulman).
For The Music Man, sutherin added
just one more job to his usual show duties, that of actor. He starred as the Music Man.
Descriptions of him conducting
from the stage are irreplaceable memories from those in the audience and in the cast. For the next two seasons, Sutherin tried moving one production a year from the auditorium into the Church itself.
In 1977 he moved The Sound of Music, and the
following year The Crucible.
The benefits of performing in
the Church are that it has a seating capacity of 1200 and it has remarkable acoustics.
The problems with productions in
the Church are that the sets must come down each Saturday night for Church services on sunday. 27
Also, if the Church is
not full it has reverse acoustics where the audience can be heard as well as the actors, not to mention that if not full it appears more empty than it actually is.
The Playhouse's
audience did not increase enough to fill the additional available seating so that the problems definitely outweighed the benefits. The Playhouse was running smoothly by 1977.
The houses
were sold out and the theater had a strong subscription base.
The two highpoints or outstanding memories from
Sutherin•s last season were from Finian•s Rainbow and a short lived but unique exchange program to London. Finian•s Rainbow as a St. Bart's production was as successful as had become the custom for a Sutherin revival. What made the show special in Sutherin•s recollection was the fact that the set was selected to be used as the setting for part of a made-for-television movie. It was filmed at the Playhouse on the stage.
Sutherin regrets that he never
saw the production nor remembers its title, but recalls the contact and experience with pride in the fact that his theater was chosen. The London exchange was a unique experience.
It began
not through sutherin, but from his greatest supporter, Andrew Mullins.
Mullins had a close friendship with Peter
Delaney, a London priest, who often came to St. Bart's to give guest lectures and sermons.
Peter Delaney was the
rector for the All Hollow's by the Tower Episcopal Church. 28
Like Mullins, he had a tie with a theater group that performed in his church.
Delaney and Mullins arranged with
Sutherin, Robinson, and the Drama Committee to do a yearly exchange.
The exchange would occur in the summer and be in
addition to the regular Playhouse schedule.
The first show
St. Bart's Playhouse chose was Melissa, While She Sleeps. This choice was made because it was an original piece and was suitable for a church.
Thus, it satisfied the
specifications outlined by Delaney who was the driving force and financier for the exchange. Betjmania.
The London troupe brought
The London company returned for a second
exchange with Pudding Lane, but the exchange stopped there. This was primarily due to the London actors' objections. They expected high regard and treatment and a clear road to possibilities on Broadway.
St. Bart's Playhouse could not
fulfill their expectations and they chose not to return. The 1980-81 season was Sutherin's final season with the Playhouse.
He explained his decision to leave was due to a
combination of reasons.
First, he had an opportunity to
leave the city and raise his family in a more rural atmosphere and to increase his income. atmosphere of the Playhouse had changed.
Secondly, the The conflict had
begun regarding the Church's desire to tear down the community House and lease the property to a developer.
This
conflict brought with it many inspections by city administrators and Landmark Preservations Society personnel. 29
These inspections led to the closing of the auditorium's balcony.
This action reduced the seating capacity of the
space by 140 seats which resulted in a loss of income, and, in all reality, denied the Playhouse its ability to make a profit.
sutherin had installed a lighting system, risers,
added an apron onto the stage, brought in talented craftsman, and created a company of actors.
He had done
everything he could to insure the Playhouse's growth.
He
believed that powers beyond his control were preventing any further growth and actually were pushing him backward.
He
lost the drive to stay seeing for himself a better career and life opportunities outside of New York City. After Sutherin's departure, the leadership of the Playhouse was turned over to his assistant, Nell Robinson. She inherited a much different organization than Sutherin had managed.
She faced more problems.
Robinson's term will
be discussed after a management analysis of the Sutherin era. When sutherin took over he converted the management style from board driven to artist driven.
Part of his
agreement to take the position had been that he would be the "chief."
During his term, he always controlled the
management functions of planning, organizing, staffing, supervising, and controlling.
In terms of staffing, in both
administrative and production areas, he began small and grew.
With the administration he began with himself and 30
Dick Eddy, as treasurer.
The next year he added Bob
Einhorn, and two years after that Nell Robinson became a full-fledged part of the theater's staff. Sutherin was the leader and artist who brought the St. Bart's Playhouse out of its community theater shell and took it into the realm of professional theater.
The definition
of a community theater is "Organized theater which is localized in a particular community and depends upon that community for its artistic and material existence" (Gard, p.9), which describes St. Bart's Playhouse from 1927 to Sutherin's term.
The definition of a professional,
off-Broadway theater is one which is geographically outside of the Broadway perimeters as defined by Actors Equity Association.
Artistically,
Off-Broadway is defined by the variety of its uses. It is a showcase for new actors and directors, a place where new talent can be discovered. It is a place to revive Broadway failures and restore the reputations of playwrights who may have been ill served in the regular commercial theater. It provides the means of encouraging the growth of theaters that exist ... and so engage the loyalties of talented professionals that they can develop continuity of production and consistent artistic policy. (Little, 15) Clearly, at the end of his term, the theater had in almost all respects become an off-Broadway house.
31
However,
in the instances where it does not and remains community oriented is where it becomes the unique commercial theater hybrid it is. During Sutherin's period of growth, he learned a lesson Langley explains as one which is endemic in the art of theater, "The more this process, this act of theatre, is formalized, the more support personnel, equipment, and money it requires" (Langley, p.29). The staff grew as the theater grew.
As the theater
grew, equipment was added, for instance, risers, a lighting system, full orchestras, and a four-foot apron was added to the stage.
Sutherin's goals for growth were clearly
commercial.
Cheney explains commercialism in theater, "
. the American commercial theatre is organized to earn profits in competition, and its art will always be pulled down to that standard which experience has shown will please the largest group of money spenders" (Cheney, p.21). sutherin was commercially oriented in the choice of his shows.
His business manager, Bob Einhorn, explained the
reasoning behind the choices: . . . we were trying to build an audience, we figured if we had better shows, cast, the whole thing, the bigger the show, the bigger the orchestra, the bigger the set, the more people you'll get. . . . We also were very, very selective in the choices of shows we made. We tried to make sure they were popular shows. . . . We wanted the audiences, we needed the money to build the shows we wanted to build. 32
The plan worked.
The audiences carne, the shows became
bigger and the money carne in.
sutherin's management goals
were achieved. Financially, in the beginning, the budgets were limited to the $5,000 to $6,000 given to the Playhouse by the Community Club.
At its peak, the Playhouse had a budget of
approximately $32,000 per show.
The difference between the
Community Club amount and the later amount was simply earned income.
Sutherin's salary was paid by the Community Club.
All other fees, for director, choreographer, musical director, design fees, etc., were paid from the specific show's budget.
Eihnorn and Eddy were volunteers.
Robinson
was paid only a director's fee until the 1979-1980 season when a small salary was added. shows grew as the budgets grew.
The quality and style of the In the beginning of
Sutherin's term the $2,500-$3,000 per show did not cover basic production needs.
Obviously, the $30,000 increase per
show made an impressive difference.
It enabled the
theater's status to change from a community theater to an off-Broadway house able to compete in a commercial atmosphere. sutherin was a dictatorial leader.
The communication
and power heirarchy at the beginning of his term looked as follows (Figure 1) :
33
Ve!try Director of the Community Club
~---------Business
Manager
t---------Treasurer Artistic Director I ~ Club Members Des1gners
••
Figure 1 - Sutherin's Management Tree Sutherin had total control in the management and creation elements of the Playhouse, especially taking into consideration he was directing all the shows. In his final year, the management hierarchy had changed.
The Playhouse had grown considerably, and sutherin
utilized a larger, mostly volunteer, staff (Figure 2). However, no many how much power he delegated, everyone knew he made the final decisions. Vestry Director of thf Community Club ·---·Business Manager ----Drama Committee Chairman -----Treasurer Artistic Director
l
Assistant Artistic Director ~
Designers Subscriptions Marketing Communications Backstage Box Office Publicity Promotion Costumes Concessions House Management Technical Director ~
Club Members Figure 2 - Sutherin's Later Years 34
Thus, Sutherin's years were a time of great growth and excitement for the st. Bart's Playhouse. atmosphere was changing.
When he left the
A new Director of the Community
Club was replacing Andrew Mullins.
The Church was trying to
sell the Community House, and financially the Playhouse was cut back by a decrease in seats from the closing of the balcony.
This was the changing shape of the Playhouse when
Nell Robinson moved up from Assistant Artistic Director to Artistic Director of the st. Bart's Playhouse. Robinson stayed with the theater the next two years. She maintained as
well as she could the artistic goals that
Sutherin and she had created in the past. The productions maintained their excellent quality, particularly the dramas which Robinson directed.
All those
who knew her agreed in the fact that her directing abilities are her strength.
Key recurring words used when describing
Robinson's directing are brilliant, terrific, and excellent. Einhorn explains her directing technique by a personal example, She really knows how to direct plays by getting into the nuts and bolts of the characters. Blocking came out of relationships. I had this big monologue in Last of the Red Hot Lovers and she would sit down and work with me making me talk to her. She was very naturalistic. Her hard work came out on stage. This is confirmed in reviews of her shows, such as the following for her direction of The Importance of Being 35
Earnest, "'The Importance of Being Earnest' proved them more than equal to capturing the essence of Wilde's farce . . . . In this instance a great deal of the credit for the effervescent production should go to (director) Nell Robinson" (Schulman). Though she was an excellent dramatic director, she lacked strengths in musical direction.
Robinson compensated
for this by hiring talented musical artists including such well-known individuals as Susan Schulman and Peter Webb. Though the productions continued at a high quality level, Robinson's term as Artistic Director were years filled with political turmoil.
There was a division among
the Players themselves--those who liked sutherin and those who did not.
Those who did not had disliked the
professionalism attained during his period and the competition which often kept them from getting roles.
This
faction pressed for a clean sweep and a new beginning without the sutherin influence.
A second factor
contributing to the turmoil and the individual who made it possible for the anti-Robinson faction to succeed, was Bill Roberts, the new Director of the Community Club.
Members
would later reflect that the period when Roberts was in charge of the Community club was the time the Playhouse was at its lowest. Roberts accepted the position with a misunderstanding of what the Community Club was. 36
He believed he was to be
directing the operations of an outreach program for the underprivileged.
He did not approve of the Community Club's
activities nor the ideals it was based upon (Southall). ''Bill Roberts was destructive to the Playhouse and the Community Club" (Robinson).
Robinson explained that when
Roberts took over he accepted the resignations from all the Committee chairmen. the Club.
They left the Club.
Their friends left
Thus, many of the excellent Club leaders were
gone by the end of his first year. Einhorn explained that Roberts' philosophy for the Club heavily affected the Playhouse.
Roberts demanded that the
Community Club focus on the community within.
He did not
allow any sort of expansion outside of the Community Club. Robinson acknowledged that perhaps he was misled in his job position, but nonetheless she felt he was destructive. He let things slide.
He tore down established systems and
did not rebuild a replacement for them.
She felt he
honestly thrived on complaints and conflict because they seemed to surround him. The political turmoil within the Playhouse and Community Club peaked when the faction intent on removing Robinson from the Playhouse aligned themselves with Roberts. Robinson explained that her biggest mistake was underestimating Roberts.
In her second year Roberts
received letters from the faction requesting that he remove
37
Robinson, which he did. He accepted her resignation by Christmas of 1982, with the understanding she would complete the season. The turmoil became so great that she did not stay, as expected.
The final show, Fiorello, was produced by the
Drama Committee members, because Robinson's replacement was not available until the summer. Thus came the end of an era.
Robinson had been a large
part of the Sutherin years of growth and had done all she could without him to maintain the Playhouse to its expected level.
She was successful for a time, but failed in her
ability to foresee the political discontent which pulled the Playhouse down with a thud. During Robinson's two years, the management system was similar to that under Sutherin.
Dick Eddie remained as
Treasurer and Bob Einhorn continued as Business Manager. At the beginning, she gave herself the title Managing Producer. The definition of this position is "the person who assumes responsibilities of producership and general management" (Langley, p.38).
The key to the title by definition is the
producer is absent.
Thus, it seemed to be a transitional
title after sutherin left.
Later in the first season, she
took the title of Artistic Director.
What differed between
the Robinson and Sutherin management systems is that when
38
Robinson was promoted she did not replace herself, thus she was doing the work she had always done plus taking on the responsibilities of Artistic Director. The volunteer executive staff beneath her decreased from Sutherin's time.
She did instigate a cultural exchange
program in her second season.
Otherwise, her volunteer
staff covered the areas of box office, marketing, promotion, technical director, and communications.
As always, there
was also the Drama Committee chairman who was responsible for Club relations.
The management system was still artist
driven with Robinson in charge of all the management functions. Obviously there was a management problem in the fact that her direct superior did not support her or her activities as is usual in that situation.
In fact, Roberts
welcomed the opportunity to remove Robinson at the demand of a few Club members.
Bill Roberts remained with the
Community Club through 1987 and luckily, his influence was not felt again in such a degree until the end of the 1986-1987 season. Robinson's two years were years of decline for the Playhouse due to the fact that any organization falls when encompassed by people with different objectives.
It was a
loss to the Playhouse of a good administrator and an excellent director.
It was also the completion of an era of
growth that has not been equalled. 39
CHAPTER V BRIGGS, 1983-86
Tom Briggs took over the helm of the Playhouse from Nell Robinson in 1983. the members.
It was a major time of change for
For the past twelve years they had only known
Sutherin and Robinson as their leaders. regime left at the turnover to Briggs.
Many of the past Those who had not
been supportive of sutherin or Robinson were pleased with the change.
A third group committed to the Playhouse and
not its leaders also remained.
But, not all members
accepted Briggs with open arms, preferring the patterns of the past.
Getting the group's acceptance and support was
Briggs' first goal and challenge. the group was very limited.
His past experience with
In the 1982-83 season he
directed the St. Bart's Playhouse production of The Boyfriend.
He had no further interchanges with the members
until June of 1983, even though he was hired by Bill Roberts in December of 1982.
Part of his employment was the
understanding that he had a prior out-of-town commitment until June.
The turnover brought polemic responses.
Many
members regarded his takeover as a breath of fresh air and an added vitality to the Playhouse while others felt that the Briggs years were the lowest years in the Playhouse due to the divisions his presence caused.
40
In the years after
Briggs took over, he made a lot of changes.
Drama Committee
members who were loyal to the past obviously had problems with his changes. The critical point of his acceptance with the group seemed to be his tendency to use outside Equity actors to cast shows to their fullest potential.
Casting with
professionals is an action that is easy for a director to take when trying to help a theater grow in professionalism. However, such casting practices leaves the community aspect, the true heart of the Playhouse, behind.
Kathy Wolf,
business manager of the Playhouse since 1983, feels most Artistic Directors at St. Bart's Playhouse make a mistake by driving toward professional, blockbuster productions.
She
explained that they try to make the Playhouse more than it is. Briggs• ability to cast Equity actors by waivers was retracted from St. Bart's Playhouse and all other church-affiliated theaters in 1986.
Equity members and
Equity theaters complained that the church-affiliated theaters were taking advantage of Equity's leniency in allowing Equity performers in their shows with a showcase waiver.
These theaters were competing with Equity theaters
with equal talent, but the church-affiliated theaters were not having to pay the dues or actors' wages.
Equity agreed
and proclaimed that no Equity members could work in a church-affiliated theater without a contract or without 41
abiding by all showcase rules.
In the past, Equity had been
problematic and it did not take much for them to be convinced to take this action. Briggs• goals when he took over St. Bart's Playhouse were to (1) make more interesting choices in shows, particularly choosing those that were not seen every day. Since Sutherin had begun producing revivals, st. Bart's was the only theater doing them.
By Briggs• time, many other
theaters, including Broadway, were doing revivals.
And,
(2)
to get more Drama Committee people involved and more Club members involved with the Drama Committee. Briggs accomplished most of his goals.
He feels he
found a good balance with the choices he made in shows.
He
admits that choosing the first season was possibly his hardest challenge because he did not know the group well enough to be able to choose shows in which their talents could serve.
He accomplished the first half of his second
goal with the creation of the Drama Committee Advisory Board (DCAB).
This board has a president and includes a chairman
for each of the theater's activities, such as concessions, public relations, and box office.
That person is
responsible for making sure the functions of his/her area are accomplished.
He admits he did not succeed in
attracting more Drama Committee members from the Community
.
42
Club.
It seemed that in the majority of cases, people in
the Drama Committee joined the Community Club with the Drama Committee already in mind. After producing his first large musical, L'il Abner, with a 40 person cast, including live chickens and pigs, he made a third goal to chose small ensemble musicals, "even my production of Gypsy was not grandiose.''
In looking back, he
feels that the smaller production style of lesser known shows is the mark he made on the Playhouse. Briggs was the first to be put under financial pressure by the Church.
His solution to earn extra income was
"Fascinating Fridays."
These were a series of cabaret
events with a full bar, tables and a runway off the stage in the auditorium.
He brought in talent from advertising in
Backstage for comedians and singers to work for no fee. concessions he had the food donated. each Friday night. success.
For
Two shows were done
The projects were a great financial
Everything earned was straight profit.
His three seasons were successful.
Examples of his
success are obvious in the following review excerpts: "Gypsy was given a rip-roaring revival by the st. Bart's Players recently.
We have grown accustom to this group's
outstanding efforts.
Quite often their revivals outshine
the Broadway originals" (Schulman);
"[110 In The Shade] is
an indelible production, with Tom Briggs' direction painstaking in detail.
And, for once, there was a flawless 43
cast" (Schulman); and for Stage Door "Considering all those women he had to set on different tracks, one can't help but marvel at Tom Briggs' firm direction" (Schulman).
For
himself and the members, the highlight of his years was the production of Allegro. joy • .
For Briggs, it was his "pride and
. the best design ever on the stage . . . and the
show had never been seen.''
Briggs received permission to
rewrite and re-score the piece. product.
He came up with a winning
This work and the production of The Christmas
Carol, an original version by Ray DeMattis, were the two instances during Briggs' tenure when the Playhouse was working under the artistic definition of a successful off-Broadway house, "Off-Broadway has been most successful in reclaiming Broadway's mistakes and reviving classics that were an anathema to commercial producers" (Little, pp.100-101). The management system of the Playhouse was altered by Briggs' creation of the Drama Committee Advisory Board. This board met monthly to coordinate the various functions of the Playhouse and set the policies ruling casting and choice of seasons.
The DCAB began with the board consisting
of the following departments:
President/Chairman, Box
Office Chairman, Advertising Chairman, House Manager, Program Chairman, Publicity Chairman, Concession Chairman, Technical Chairman, and Entertainment Chairman.
For the
second and third years, the Advertising Chairman was removed 44
and a Development Chairman was added.
Each chairman
coordinated his or her area's activities throughout the season.
This greatly increased the members involvement with
the day-to-day activities of the Playhouse.
The board is
strictly advisory in its management capacity. The management system from 1983-86 can be diagrammed as follows (Figure 3): Vestry
L
Director of the Community Club
1·--------D.C.A.B. Artistic Director Administrative Director Business Manager Press Re resentative Musical Director Cast/Drama Committee Members Figure 3 - Briggs' Management Tree The titles chosen for the office staff of Artistic Director (see definition, Ch. 6) and Administrative Director (the Artistic Director's assistant) were consistent throughout the three seasons.
The Administrative Director
is not listed in the title definitions given by Langley in "Theatre Management and Production in America;" however, the position's duties were equal to that of a General Manager or Managing Director. making, and casting.
Briggs controlled personnel, policy Though the existence of DCAB gave the
45
impression that the Playhouse was now a board managed company, the truth of the situation was it was still an artist driven company with a new set of advisors. Briggs ended his three-year tenure with the Playhouse at the end of the 1985-86 season to take a position with Rodgers and Hammerstein.
As the transitional figure out of
a 12-year growth span, Briggs was successful, though controversial.
His methods and choices created a new path
for continued growth.
The Playhouse had become stagnant at
the end of the Sutherin/Robinson era and Briggs gave the Playhouse energy and a change in artistic direction that was a positive move forward.
46
CHAPTER VI WAGEMAN, 1986-87
Melissa Wageman was in charge of St. Bart's Playhouse from spring of 1986 until fall of 1987.
She had worked the
previous year as the Administrative Director for the Playhouse.
When Tom Briggs quit the Playhouse to take a job
at Rodgers and Hammerstein, she moved up to the position of Artistic Director. Her goals when she took over were primarily financial. She had received an ultimatum from the Church that if the Playhouse did not make a profit or at least break even, it would not continue. sound was her focus.
Thus, keeping the Playhouse financially Luckily, she succeeded and the
Playhouse went into the black for its 1986-87 season. Her year at St. Bart's, however, brought many challenges. by the group.
Possibly the greatest challenge was acceptance When Tom Briggs left, he had a large and
strong following of people.
On top of that, unlike previous
Drama Directors, she did not direct any of the productions. To make matters worse, her choices in directors caused great consternation among the members who felt the directors were untalented. The season opened with Oklahoma which received highlighted publicity in the New York Times and had a mediocre review in Backstage.
It was practically sold out 47
for every performance. and was a flop.
Mister Roberts was the second show
With twenty-twenty hindsight, Wageman
admits that Mister Roberts was an artistic mistake. Cole was the highlight of the season.
It received rave
reviews, "I just saw 'Cole,' an entertainment based on the words and music of Cole Porter, . . . and have since wondered why the production never reached here--for I thought it an ideal vehicle for Off-Broadway.
Happily, St.
Bart's Playhouse has finally brought 'Cole' to life in these parts" (Schulman).
The costumes were unique.
The designer
was also a wholesaler for designer clothes, and agreed to do the show at a very low cost. its own moments of crises.
Cole, like any production, had Wageman could now look back
lightly in retelling the fact that they painted the stage three days before opening, but for some chemical reason the paint would not dry.
They tried fans for two days and
finally, the night before opening, had to pull up the entire deck, reverse it, and repaint it. The Unexpected Guest, like all the Agatha Christie productions, was a sellout and great financial success. Man Of La Mancha was the final production of the year and the time in which all the year's repressed tensions exploded in the group.
It was also the show during which
Melissa Wageman decided to leave the St. Bart's Playhouse. It was a low point for the season, and for some, it was the low point of their career at St. Bart's Playhouse. 48
As in
past shows that season, the cast was unhappy with the director who also happened to be the resident designer. However, with this production, the cast formed a group similar to a lynch mob, and demanded from Wageman, a week before opening, that the director be removed and replaced or they would not do the show.
She acquiesced and replaced
Vaughn Patterson with Craig Kienzle, the show's musical director.
The confrontation resulted in her resignation and
in Tom Briggs being asked to leave the Community Club.
He
had been pictured by many as the ring leader of the lynch mob, and his rebuttal did not have any affect with the Director of the Community Club, Bill Roberts.
Luckily,
before the season ended, Andrew Mullins returned as Director of the Community Club and most of the bad feelings amongst the group were calmed by his interaction. Artistically, Wageman felt that her biggest obstacle was the Church.
She perceived many possibilities with the
Playhouse, but the Church had to decide what it wanted.
In
her opinion, if the Church wants the Playhouse to make money, it has to do more than demand it.
It has to give
emotional and financial support. The management system was altered in one degree when she took over.
Due to financial stresses, Wageman did not
hire an assistant.
She chose to run the office by herself.
She also did a package deal with the designers for more shows but with cheaper design fees. 49
With the one exception of not having an assistant, the management structure remained the same as the previous year with Briggs. Playhouse.
Her title was Producing Director of the A definition for this title is not listed in
Langley; however, it implies that the duties would be that of a producer as well as that of a director, in artistic terms.
Thus, it seems synonymous with the more common title
to this position, Artistic Director.
She did not fill her
job position as defined by its title in the fact that she did not artistically direct the Playhouse, though she deftly produced and managed its activities.
She had no artistic
goals for the Playhouse during her year. The year was not a year of growth for the St. Bart's Playhouse.
The members reflected their unhappiness with
Wageman's artistic decisions and seemed to have no will or energy to work on the productions.
Thus, the Playhouse had
an overworked leader who made inexperienced decisions that led to a large personality conflict that resulted in her decision to leave.
50
CHAPTER VII CATT, 1987 TO PRESENT
Christopher Catt took the position of Artistic Director of the St. Bart's Playhouse in the fall of 1987.
Beyond
seeing one production at the Playhouse a few years back, he had no prior contact or connections with the Playhouse or Community Club.
He went through a three-step interview
process including interviews with Melissa Wageman, the Drama Committee and Andrew Mullins, the Director of the Community Club.
During his final interview with Mullins, he was
offered the position. During the past five years, the Playhouse has experienced changes under Catt's influence.
The style of
the shows technically has become simpler, the condition of the auditorium has improved, the energy and professionalism has increased, the season has changed to two straight plays and two musicals, and he has invigorated the Drama Committee members.
Very special to Chris Catt's tenure has been his
work creating a closer relationship between the Playhouse and the Community Club. When Catt took over the Playhouse, he felt it was demoralized. disrepair.
The auditorium itself was in incredible The floor and equipment had been cannibalized.
The balcony was filled with garbage.
His first effort in
restoring the auditorium was simply cleaning it out. 51
"We
put everything in a gigantic pile on the floor of the auditorium.
I had to call the Department of Sanitation to
come in and move it.
The pile was 10 feet high and about 30
feet long . . . . " Catt•s goals when he took over the Playhouse were complex.
First, he wanted to conquer the technical aspects
of the shows and give the productions a specific look. Second, he wanted to invigorate and invest in a program of straight plays.
The Playhouse had been doing one Agatha
Christie per year and investing little money and energy into them.
Thus, the productions had the worst sets and the
worst costumes; they were simply overall weak and less professional productions.
With effort and time put into a
straight play, Catt felt it would be more rewarding and a better production focus for the Playhouse.
His final goal
was to artistically bring a "type of energy" to the Playhouse.
Catt wanted to see this energy and enthusiasm
not only on stage but in the "side car elements" as well, the concessions, house management, raffles, and box office. catt wanted to bring this energy by getting more members involved in each aspect of the productions. To date, Chris Catt has accomplished his stated goals. The sets have a style.
They are simpler, streamlined, and,
when possible, minimalistic.
The season has changed from
three musicals and an Agatha Christie to two musicals and two straight plays.
Most noted by those who have worked 52
with Catt is the energy he has brought to the Playhouse. "[He] was a breath of fresh air for the Playhouse . . • " commented Barbara Blomberg, long time player.
She further
observed that he really put back a sense of community in the Playhouse.
Kathy Wolf, the current Business Manager,
agrees with Blomberg in this observation, "Chris brought new energy the the place.
. . .
The great thing about Chris is
how hard he works and cares."
Catt, with clear insight,
agrees as well, "Getting an energy and enthusiasm about what we are doing, I think, is my single biggest contribution." In addition to this, he has reestablished the public and fellow professional's view of the Playhouse as a high quality theater.
He has also restored the space itself,
investing in new electric systems, a new floor, fans, and needed repairs to the auditorium. In his first season he faced what to many Artistic Directors would be a large obstacle, he lost the rights to one of the season's scheduled shows. made an auspicious beginning for him.
He felt it actually It forced him to make
a decision, stand by it, and become the leader in the group's eyes (Catt).
His choice, Baby, was a hit.
For him,
he felt it an ideal play for him because he had just been through the experience of having a child. obviously rubbed off.
His enthusiasm
Wolf, a member of the cast, explained
that Catt, "· . . made Baby and the whole first year very special, there was a kind of magic about it. 53
The entire
season was a hit. sold out houses.
Bye, Bye Birdie ran for three weeks to Come Blow Your Horn received a rave review
in Backstage, "Director Marvin Kahan gave us a production that sparkled from start to finish" (Schulman). For the second season, Catt enlarged the season to six productions.
It was too much.
Wolf explained that they had
simply bitten off more than they could chew. out by the end of the year (Wolf) .
catt burned
The shows were still of
a high professional caliber, but those running the machine were worn out by the end.
In fact, Applause was a high
point of Blomberg's 20 year experience with the Playhouse, "It was a great part and I loved working with Chris.
Plus,
Charles Strouse came to see the production." For the 1989-90 season, Catt pulled the reins in and produced four shows.
The season was a financial success,
covering all expenditures plus the budgeted $10,000 profit for the Church and an additional $2,000.
The season opened
with Pippin' which was a smash critically and at the box office.
David Sheward's comments regarding the production
note that, "any production of Pippin' has got to have a snappy, sure-fire staging . . . Chris Catt's production at St. Bart's Playhouse definitely fits the bill.
. . .
The
non-Equity cast is of a thoroughly professional caliber." The next production, Noises Off, was also a hit.
It
was the first straight play by the Playhouse that was not an Agatha Christie or a musical that sold out as if it were. 54
It was the first straight play invigorated under Catt's plan to meet his goal of success.
Catt feels Noises Off was the
high point of his tenure at St. Bart's Playhouse so far: My high point was Noises Off, particularly in terms of doing a piece of work that began as an exercise that turned into being closer to projecting to me a world view. I found it challenging on an emotional level because I thought what the play was saying was really neat, and, the project itself was very, very successful. Goals I tried to reach in staging and characterization . . . seemed to come to fruition in a way that I don't think has happened on any other show that I have done here. The following two shows of the season, American Pop and Promises, Promises, were not successes and, interestingly, two of the three low points in Catt's memories of the Playhouse.
Neither were box office nor critical successes.
Internally other elements affected Catt.
American Pop was
supposed to be directed by another director.
However, he
left before the show opened which put Catt as the director of something with a content and focus of American popular culture he had not and would not have chosen.
With
Promises, Promises, Catt felt that two factors contributed to his negative feelings.
First, he was artistically
drained after directing Pippin', Noises Off, and American Pop, while simultaneously training for and completing the New York City Marathon.
Second, he did not make the correct
creative decisions in his personnel for the show.
It
culminated with non-ending scenic problems and "a musical 55
director who couldn't play the piano and a choreographer who could not choreograph" (Catt).
Thus, the 1989-90 season was
a rollercoaster season of highs and lows for the Playhouse. The next season included another success and yet another pair of disasters. Cabaret.
The opener of the season was
It was a critical and financial success.
Fate
then turned against the Playhouse when the rights for The Foreigner were revoked and Catt replaced it with Room Service.
Room Service was critically well received, but a
box office failure.
Once Upon A Mattress was the third show
of the season and did as expected, nothing outstanding or unfavorable. The final show of the season was Kiss Me, Kate, the second difficult show of the year.
It was riddled with
scenic disasters including drops falling opening night and which continued to be problematic throughout the run. show was very dangerous for those on stage.
The
For Catt, Kiss
Me, Kate was another low point of his career at the Playhouse.
In addition to the multitude of scenic problems,
his longtime relationship with the resident scenic designer, Ven Borromeo, came to an unpleasant end, "
. . literally at
the same time his set was falling out of the sky" (Catt). Financially the season was a disappointment.
The total
deficit of $15,000 came from two main contributing factors. First, due to the recession, the usual income from donations
56
of $15,000 was only $8,000.
Second, Room Service was an
outstanding loss in comparison to the budgeted income for the usually successful The Foreigner. Financial stresses and demands from the Church have pervaded Catt•s tenure.
A change in the accounting system
began the year he took over as Artistic Director. Previously, the earned income from the Playhouse was used to produce the shows, while the salary for the staff was paid from the Community Club budget.
In 1987 the Church decided
that the Playhouse could afford to pay their staff out of their own budget.
Thus, the operating budget for the shows
was decreased by $30-$35,000.
At the same time, the Church
stipulated that the Playhouse should pay rent to them for the use of the auditorium out of their profits in the amount of $10,000.
To keep production costs and quality up and pay
these additional amounts, Catt had to increase the Playhouse income by $45,000 or cut the operating budgets.
In the past
five years, the budget, with those additional expenditures, has only balanced once.
After the 1991 recession and
financial losses suffered by the Church and the Playhouse, the Church informed Catt that if he did not finish with a balanced or profitable year in the 1991-92 season they would close the Playhouse.
He was unable to defer the ultimatum
but he was able to remove the $10,000 Church surcharge from
57
the budget.
Only time will tell whether the profits will be
made and if not, whether the Church will hold to its statement. In the past, to battle the pressure of financial success Catt implemented a fundraising concept based on producing low cost concert versions of m~sicals in addition to the usual season.
These fundraisers were used several
times in the 1988-89 season and the Drama Committee felt that Catt was money hungry, not understanding the actual pressures he was under.
Since that time it has been usual
to have one or two fundraisers a year which net $5,000 to $7,000 apiece.
Examples of the fundraisers are 'Welcome
Home Alumni Cabaret• in 1988-89, Company in Concert in 1989-90, Joseph and the Amazing Technicolor Dreamcoat and Rogers and Hart in 1990-91.
In fact,
Rogers and Hart was
so successful it moved on to Queens Theater In The Park. The financial status of the Playhouse is a further example of how it is a hybrid theater.
It is not subsidized
and is forced to be financially self-sufficient even though it is limited to a community selection of actors and a limited space.
What is particularly difficult is that the
Playhouse has not been able to qualify for a grant. hybrid.
It does not qualify as a community theater;
It is a it
does not qualify as a professional theater; and, it does not
58
have a production schedule with new plays, developing directors, or unique productions which could pull in grants from that perspective. The management system has remained fairly stable during Catt•s time at St. Bart's Playhouse.
As throughout the
Playhouse's existence, the line above him is the same.
He
is directly responsible to the Director of the Community Club who is responsible to the Vestry of the Church.
When
he took the job, he requested the title of Artistic Director defined as "A person who has full artistic and in some cases also managerial authority over a non-profit theater production or company" (Langley, p.38).
This aptly states
his duties, especially his first year when he was the only staff member with any additional office staff jobbed in when needed.
From the second year to date, he has utilized an
assistant position to his. variety of titles.
This position has taken a
The first year the position was held by
Arthur Fredric with the title Associate Artistic Director. Fredric ran the box office and spent much of his energy on the artistic elements of the Playhouse including a fundraiser centered on Jerome Robbins.
For the 1989-90
season Marianne Mortimer replaced Fredric and retained the title General Manager.
According to Langley that title
holds the following responsibilities, "A person who has full management responsibility for a commercial theatre season or series, or a non-profit theatre company and may also make 59
most artistic decisions .. (Langley, p.38).
The title in this
case was half correct since catt makes most of the artistic decisions.
In 1990-91, the position was filled by Libby
Croteau who took the title Managing Director.
Croteau was
fired mid-season due to a variety of factors, one of which was she adhered to her title and refused to do jobs which she felt beneath her.
However, there were no positions
under her to do those jobs.
It is a two person office with
all management activities being run by one person, from letter typing to box office to ad sales to advertising placement.
For the 1991-92 season, the title has remained
the same, with the position being filled by Brett Crawford. Graphically, the management hierarchy works as follows (Figure 4): Vestry
I . ~---------Drama
Director of the Commun1ty C1 ub
I
Committee Advisory Board
Artistic Director
I Designer Managing Director Director Choreographer Business Manager Publicist Musical Director Cast/DramJ Committee Figure 4 - Catt's Management Tree
catt and DCAB, as established during the Briggs era, set the production schedule and policies regarding play 60
selection and casting.
Their decisions must be approved by
the Director of the Community Club and the Vestry.
The
current production policy is that four plays and one fundraiser are done per season.
The current season is
comprised of two musicals and two straight plays.
Catt
selects the directors, designers, choreographers, and musical directors as well as his office staff. DCAB select each season's plays.
Catt and
The current casting policy
is that shows are cast from Community Club members. However, if parts are left uncast after open auditions and cannot be filled from within the group then Catt obtains DCAB and Community Club approval to bring in outside talent at no pay. The Playhouse is currently under an artist driven management system. from DCAB.
Catt makes the decisions with advice
The ultimate decisions are made by him.
He was
hired by the group with the expectation that he would make the correct decisions for them.
The unique situation of the
Playhouse is in the fact that it is possible to consider it a shared leadership because without the Community Club the Playhouse would not exist.
However, its current status is
such that the theater is driven by catt and confirmed by the members.
He performs the management functions of planning,
organizing, staffing, supervising, and controlling.
He
utilizes the members directly in the areas of planning and organizing, but he makes all final decisions. 61
Since Catt•s arrival, the Playhouse has grown one step further toward professionalism while simultaneously increasing the community ties of the the Drama Committee members.
This is an anomaly unattained by any other
Artistic Director of the Playhouse.
He has also faced and
conquered challenges which are unique to his period:
( 1) a
deteriorating space, and (2) financial cuts and requirements from the Church.
He has established a capital development
portion of the budget for renovating such things as the floor or buying new blacks, basically fixing things as they demand.
So far, financially, he has kept the Vestry, if not
pleased, at least at bay.
The 1991-92 season has received
more demands for financial solvency from the Church.
It is
likely that whether the theater operates in the red or black, Christopher Catt will keep the theater moving forward.
He will make whatever changes are necessary to
keep the energy and momentum alive.
62
CHAPTER VIII CONCLUSION
St. Bart's Playhouse has grown and changed in the past 64 years.
The St. Bart's Playhouse began as a community
theater in 1927 serving a small community comprised of the membership of the St. Bartholomew Community House.
The
Playhouse served within the Community House's principles as being an intellectual and artistic outlet and venture for the young adults in New York city.
The Playhouse continued
in its insular community fashion until 1970. In 1970, the Playhouse received a leader, Joe sutherin, who saw the Playhouse as a unique theatrical voice for revivals of classic musicals in New York City.
His vision
and his drive took the Playhouse from being essentially an auditorium with actors and an audience numbering less than 100 friends and family of the actors into a theater with 410 seats performing with full orchestra to an audience comprised of citizens of the greater New York area.
This
change altered the Playhouse's standing from a community theater to an off-Broadway type theater.
The only element
which remained unchanged was that the actors and running crew for the productions came from a talent pool restricted to the membership of the St. Bartholomew Community Club. Currently, the Playhouse retains its commercial theater status even though it has seen four artistic directors since 63
Sutherin's great period of growth.
The St. Bart's Playhouse
still draws its talent from the Community Club.
It has the
largest subscribership of its history at $28,000.
The
yearly production schedule consists of two musicals and two straight plays.
Financially, the Playhouse is in a more
tenuous position than it has ever been before.
This results
from the Church's ultimatum demanding financial success or else it will close the Playhouse's doors.
Contributing to
this is the fact that the economy is weak with inflated prices for theatrical supplies and decreased ticket sales and donations from the recent recession. Assuming that the Playhouse has successful productions and fundraising in the 1991-92 season and the Playhouse continues on into the 1992-93 season, reevaluation and changes must occur.
It is a given fact that the Church
Vestry will not alter its opinions or financial demands. Therefore, the Playhouse must change to accomplish its financial goals.
Simply stated, for its future the
Playhouse must find a way to meet its expenses.
To do this
it must either increase its income, decrease expenditures, or both.
Three options seem appropriate at this time given
the limited economy.
First, the Playhouse could alter its
season to producing an Agatha Christie and one large popular musical to earn large amounts of ticket sales income.
The
second two shows could then be two smaller productions, one musical and one a straight play. 64
This would increase income
while maintaining catt•s goal to maintain a straight play program.
The second option would be for the Playhouse to
cut back to three productions, with two being popular musicals for guaranteed box office income.
Third, the
Playhouse could completely restructure itself.
In addition
to the Playhouse productions it could become a rental agent for the space booking other performance groups.
Another
element to this restructure which might bring in additional income would be to maintain an in-house scenic production company which would pay rent to the Playhouse at a percentage of its income from the shows it contracts outside of the Playhouse. Obviously, these decisions must be made soon in order to put them in place for the next season.
The artistic
director is hoping to make decisions regarding next season by the end of February. Financial difficulties are common to all off-Broadway theaters in New York City this year.
The Playhouse's
financial problems help define it as a professional theater with the exception of having non-professional casts.
That
is the singular element which makes the Playhouse special. The Playhouse is a commercial hybrid.
It is considered by
reviewers off-Broadway or off-off-Broadway.
It is not
recognized by Actors Equity Association as off-Broadway because it does not use Equity actors.
But, no matter what
it is called, the St. Bart's Playhouse is clearly unique and 65
special in its theater history.
It is a theater that
deserves applause for its endurance, growth and tenacity in a city where many larger theaters have disappeared.
66
BIBLIOGRAPHY Anthony, Florence."Birdie Soaring at St. Bart's." New York Post 13 May 1988: 28. "New Show Has It Made In The Shade." New York Post 27 Jan. 1989: 38. "A Real 'Pip' of A Show at st. Bart's." 10 Nov. 1989: 40. Blomberg, Barbara. Briggs, Tom.
Personal interview.
Personal interview.
New York Post
2 Nov. 1991.
31 oct. 1991.
Brockett, Oscar G. The Theatre, An Introduction. New York: Holt, Rinehart and Winston, 1974. Catt, Christopher.
Personal interview.
3rd Ed.
28 Oct. 1991.
The Centennial History of St. Bartholomew's Church in the City of New York 1835 - 1935. E. Clowes Chorley, New York: 1935. Cheney, Sheldon. The Art Theater. Alfred A. Knopf, Inc., 1925. "A Classic Comes Back." Going Out Guide. "Curtain Still Going Up." C18.
Binghampton, New York:
New York Times, 15 Mar. 1986: New York Times, 13 Oct. 1983:
Davis, L. J. "God and Mammon on Park Avenue." Times, 1 May 1988: Sect. 7-14.
New York
Dunlap, David W. "Court Backs St. Bart's In Tower Legal Battle." New York Times, 29 Apr. 1987: B3. Eaken, Bruce.
Telephone interview.
Einhorn, Bob.
Personal interview.
23 Nov. 1991. 31 Oct. 1991.
Filichia, Peter. "A Matter of Expanding Horizons - St. Bart's Playhouse Has Evolved from Community Theater into a Sophisticated Organization." Theatre Week 20 Feb. 1989: 32-37. Gard, Robert E., and Gertrude s. Burley. Community Theater - Idea and Achievement. New York: Duell, Sloan and Pearce, 1959. 67
Gluck, Victor. Rev. of "The Unexpected Guest." Feb. 1987: 41A. "Goldie Oldie."
New York Times
2 May 1985:
"Harvest T'1me. "
New York Times
26 Jan. 1978:
Backstage 3
C25. C18.
Hoelterhoff, Manuela. "The Battle For St. Bart's: Mortar v. Mission?" The Wall street Journal 21 Jan. 1986: 26 "How To."
New York Times,
"Kate the Great."
17 May 1974:
New York Times,
32.
12 Nov. 1975:
50.
Langley, Stephen. Theatre Manaaement and Production in America. New York: Drama Book Publishers, 1990. Little, Stuart W. Off-Broadwav. The Prophetic Theater New York: Coward, McCann and Geoghegan, Inc., 1972. Mullins, Andrew J. W. Rev. The Community Club - Approaching Fifty Years Review and Reappraisal. 1973. "New Spoon River." "Revival."
New York Times,
New York Times
Robinson, Nell.
23 Mar. 1985:
1 May 1986:
Personal interview.
C11.
C23.
2 Nov. 1991.
Schulman, Jennie. Rev. of "A Twist of Mystery." Backstage, 30 sept. 1977: 46. Rev. of "Allegro. "
Backstage,
Rev. of "Annie Get Your Gun. 1981: 83.
22 June 1984: Backstage,
"
Backstage,
Rev. of "The Boyfriend. "
14A.
27 Nov.
26 Nov. 1982: 66.
.
Rev . of "Carousel."
Backstage,
23 May 1975:
28.
.
Rev . of "Carousel."
Backstage,
5 June 1981:
90.
---.
Rev. of "Cole."
---.
Rev. of "Come Blow Your Horn." 1987: 30A.
Backstage,
3 Apr. 1987: Backstage,
44A. 23 Oct.
---. Rev. of "A Funny Thing Happened On The Way To The Forum." Backstage, 10 Feb. 1984: 2A. 68
---
Rev. of "Fiorello."
---
Rev. of "Gypsy."
---
Rev. of "Hello Dolly."
Backstage,
Backstage,
27 May 1983:
26 Oct.
Backstage,
27A.
28 May 1982: 70.
Rev. of "Last of the Red Hot Lovers." Feb. 1982: 58. Rev. of "L'il Abner.
1984:
100.
Backstage, 19
Backstage, 28 oct. 1983:
"
106.
Rev. of "Oklahoma."
Backstage,
9 Nov. 1973:
Rev. of "Oklahoma."
Backstage,
24 Oct. 1986: 40A.
Rev. of "Our Town.
Backstage,
3 Apr. 1981:
"
20.
74.
Rev. of "Peg O'My Heart. " 88.
Backstage,
25 Nov. 1983:
Rev. of "Sound of Music. 61.
Backstage,
24 June 1977:
"
Rev. of "South Pacific."
Backstage,
11 June 1976: 22.
Rev. of "The Importance of Being Earnest." Backstage, 26 Sept. 1980: 68. Rev. of "The Spiral Staircase." 1983: 152. Rev. of "Stagedoor." Rev.
of "Pippin."
Backstage, Backstage,
Backstage, 25 Feb. 3 May 1986: 40A. 17 Nov. 1989:
"Simon Comedy Opens St. Bart's Theater Season." Times, 1 Oct. 1987: C16. "Singing For Supper." Southall, Jane.
Personal interview.
"Tiny Tim, Big As Life." "The Unexpected Guest."
C24.
21 Nov. 1991.
New York Times,
Telephone interview.
"The Verdict's In."
New York
New York Times, 27 Feb. 1986:
"St. Bart's 'Doll's House'." C10. sutherin, Joe.
30A.
8 Sept. 1981:
1 Nov. 1991.
New York Times, 10 Dec. 1985: C21. New York Times, 23 Jan 1987:
New York Times, 69
31 Jan 1985:
C2.
C16.
Wageman, Melissa. "Whodunit."
Telephone interview.
New York Times,
Wiles, Cheryl. Wolf, Kathy Fox.
30 Oct. 1991.
30 Jan 1986:
Personal Interview. Personal Interview.
70
C22.
10 Dec. 1991. 29 Oct. 1991.
APPENDIX ST. BART'S PLAYHOUSE - PRODUCTION HISTORY DATE/PLAY
DIRECTOR
DRAMA DIRECTOR
1918 The Flattering Word The Immortal Beloved The Little Father of the Wilderness
Leonard Young Leonard Young
Leonard Young Leonard Young
Leonard Young
Leonard Young
1920 Outward Bound Dear Brutus
Leonard Young Leonard Young
Leonard Young Leonard Young
1930 The Nine O'Clock Revue The Witch of Ender Seven Keys to Baldpate
Leonard Young Leonard Young Leonard Young
Leonard Young Leonard Young Leonard Young
1931 Androcles and the Lion April Folly The Passing of the 3rd Floor Back Stumbling Feet *
Leonard Young Leonard Young
Leonard Young Leonard Young
Leonard Young Leonard Young
Leonard Young Leonard Young
1933 A Willingness to Experiment The Gateway *
Leonard Young Leonard Young
Leonard Young Leonard Young
1934 Sister Beatrice
Leonard Young
Leonard Young
1935 Mr. Pimm Passes By The Tyranny of Tears Fashions
Leonard Young Leonard Young Leonard Young
Leonard Young Leonard Young Leonard Young
1936 The Vision of Bartholomew Assistance Please The 13th Chair
Leonard Young Leonard Young Leonard Young
Leonard Young Leonard Young Leonard Young
1937 Mary Rose
Leonard Young
Leonard Young
71
DATE/PLAY
DIRECTOR
DRAMA DIRECTOR
1948 Duley The 13th Chair
Leonard Young Leonard Young
Leonard Young Leonard Young
1949 The Man Who Came to Dinner outward Bound
Leonard Young Leonard Young
Leonard Young Leonard Young
1950 Mrs. Moonlight Androcles and the Lion
Leonard Young Leonard Young
Leonard Young Leonard Young
1951 What the Deuce * Junior Miss The Show Off What A Life
Leonard Leonard Leonard Leonard
Leonard Leonard Leonard Leonard
1952 Hay Fever
John High
John High
1953 Our Town See How They Run
Steven Meyer Steven Meyer
Steven Meyer Steven Meyer
1954 The Male Animal Ah! Wilderness! Sabrina Fair
Steven Meyer Steven Meyer Steven Meyer
Steven Meyer Steven Meyer Steven Meyer
1955 Green Grow the Lilacs
Tom Jones
Tom Jones
1956 The Mad Woman of Chaillot An Italian Straw Hat
Tom Jones Tom Jones
Tom Jones Tom Jones
1957 Much Ado About Nothing Mushrooms I*
Tom Jones Tom Jones
Tom Jones Tom Jones
1958 The Time of Your Life Lysistrata The Chalk Garden
Tom Jones Tom Jones Tom Jones
Tom Jones Tom Jones Tom Jones
72
Young Young Young Young
Young Young Young Young
DATE/PLAY
DIRECTOR
DRAMA DIRECTOR
1959 Mushrooms II * Anatol John Brown's Body
Tom Jones Tom Jones Tom Jones
Tom Jones Tom Jones Tom Jones
1960 Autumn Garden Good News
George Mallonee George Mallonee
George Mallonee George Mallonee
1961 Charley's Aunt Bittersweet Alice In Wonderland The Enchanted
George George George George
George George George George
1962 Everyman On The Town Cave Dwellers
George Mallonee George Mallonee George Mallonee
George Mallonee George Mallonee George Mallonee
1963 Inside Out Pale Horse Pale Rider
George Mallonee George Mallonee George Mallonee
George Mallonee George Mallonee George Mallonee
1964 Oh, Kay Joan of Lorraine
George Mallonee George Mallonee
George Mallonee George Mallonee
1965 South Pacific Separate Tables The Pajama Game
Pat Baldauff Pat Baldauff Pat Baldauff
Pat Baldauff Pat Baldauff Pat Baldauff
Michael Smith Michael Smith
Michael Smith Michael Smith
Clinton Atkinson
Clinton Atkinson
1967 our Town
Clinton Atkinson
A Trip to Chinatown
Clinton Atkinson
separate Tables
Clinton Atkinson
Clinton Atkinson Clinton Atkinson Clinton Atkinson
1966 Between Two Thieves A Man For All Seasons The Importance of Being Earnest
73
Mallonee Mallonee Mallonee Mallonee
Mallonee Mallonee Mallonee Mallonee
DATE/PLAY
DIRECTOR
DRAMA DIRECTOR
1968 Light Up The Sky
Clinton Atkinson
Four For February
Clinton Atkinson
Spoon River Anthology
Linda Hunt
Clinton Atkinson Clinton Atkinson Linda Hunt
1969 Fiorello Hay Fever
Linda Hunt Linda Hunt
Linda Hunt Linda Hunt
1970 Apple Tree How Now Dow Jones
Joe Sutherin Joe sutherin
Joe sutherin Joe Sutherin
1971 Where's Charley Once Upon A Mattress
Joe Sutherin Joe Sutherin
Joe Sutherin Joe Sutherin
1972 Bus Stop Anything Goes Brigadoon
Joe Sutherin Joe Sutherin Joe Sutherin
Joe Sutherin Joe Sutherin Joe Sutherin
Joe Sutherin Joe Sutherin & Nell Robinson Joe Sutherin
Joe Sutherin Joe Sutherin
Joe Sutherin Nell Robinson
Joe Sutherin Joe sutherin
Joe sutherin Joe sutherin Joe Sutherin
Joe sutherin Joe Sutherin Joe sutherin
Joe sutherin Joe sutherin
Joe sutherin Joe sutherin
Nell Robinson Joe sutherin
Joe sutherin Joe sutherin
1973 Bells Are Ringing Neil Simon Festival
Oklahoma! 1974 Lovers and Other Strangers Harvey How To Succeed In Business Rabbit Ears * Guys and Dolls 1975 Preacherman * Carousel The Prime of Miss Jean Brodie Kiss Me Kate
74
Joe Sutherin
DATE/PLAY
DIRECTOR
DRAMA DIRECTOR
Joe Sutherin Nell Robinson Joe sutherin Nell Robinson Joe Suther in
Joe Joe Joe Joe Joe
Jeff Dunn Joe Sutherin Nell Robinson Howard Kessler, Dan Kirsch Joe Suther in Joe Suther in
Joe Suther in Joe Suther in Joe Suther in,
Joe Suther in Joe Suther in Joe Sutherin Nell Robinson
Joe Joe Joe Joe
Suther in Suther in Suther in Suther in
Joe Sutherin Joe Suther in Nell Robinson Nell Robinson
Joe Joe Joe Joe
Suther in Suther in Suther in Suther in
Joe Suther in Joe Suther in
Joe Suther in Joe Suther in
Nell Robinson Joe sutherin Nell Robinson Joe Sutherin Joe sutherin
Joe Joe Joe Joe Joe
Mark D'Allesio Nell Robinson Susan Schulman
Nell Robinson Nell Robinson Nell Robinson
Nell Robinson Peter Webb
Nell Robinson Nell Robinson
1976
I am A Camera The Heiress South Pacific Wait Until Dark The Music Man
Suther in Suther in Suther in Suther in Suther in
1977
Auntie Marne Sound of Music A Twist of Mystery The Boys From Syracuse Plain and Fancy
Joe Suther in Joe Suther in
1978-1979
The Pajama Game The Crucible Brigadoon Fallen Angels 1979-1980
Finian's Rainbow Marne Angel Street Craig's Wife Melissa, While She Sleeps A Man For All Seasons 1980-1981
The Importance of Being Earnest Anything Goes Picnic our Town Carousel
Suther in Suther in Suther in Suther in Suther in
1981-1982
Annie Get Your Gun A Doll's House Godspell Last of the Red Hot Lovers Hello, Dolly
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DATE/PLAY
DIRECTOR
DRAMA DIRECTOR
1982-1983 A Spiral Staircase Becket The Boyfriend Fiorello
John Daines Nell Robinson Tom Briggs Peter Webb
Nell Robinson Nell Robinson Nell Robinson St. Bart's Players
1983-1984 L'il Abner Tom Briggs Peg O'My Heart Denis Lynch A Funny Thing Happened On The Way To The Forum Walter Bobbie Engaged Jon Edward Deary Allegro Tom Briggs and Louis Mattioli 1984-1985 Gypsy A Christmas Carol* Spoon River, Illinois* The Verdict On The Town
Tom Briggs Tom Briggs Tom Briggs Tom Briggs Tom Briggs
Tom Briggs Ray DeMattis Frank Doelger Wm. Sevidge, Jr. Tom Briggs and Louis Mattioli
Tom Tom Tom Tom Tom
Briggs Briggs Briggs Briggs Briggs
1985-1986 Working A Christmas Carol The Hollow The Sound of Music Stage Door
Tom Briggs Ray DeMattis Jill Charles Louis Mattioli Tom Briggs
Tom Tom Tom Tom Tom
Briggs Briggs Briggs Briggs Briggs
1986-1987 Oklahoma! Mister Roberts Cole The Unexpected Guest Man of La Mancha
Kurt Wageman Vaughn Patterson Louis Mattioli Frank Doelger Craig Kienzle
Melissa Melissa Melissa Melissa Melissa
1987-1988 come Blow Your Horn Baby Go Back For Murder Perfectly Frank Bye, Bye Birdie
Marvin Kahan Christopher Catt Mark McQuown Lynnette Barkley Christopher Catt
Chris Chris Chris Chris Chris
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Wageman Wageman Wageman Wageman Wageman
catt Catt Catt catt Catt
DATE/PLAY
DIRECTOR
DRAMA DIRECTOR
Christopher Catt
Chris Catt
Harry Miller Tom Briggs
Chris catt Chris Catt
Marvin Kahan
Chris Catt
Christopher Catt Louis Mattioli
Chris Catt Chris Catt Chris Catt Chris catt Chris Catt
Promises, Promises
Christopher Catt Christopher Catt Christopher Catt and Tom Briggs Christopher Catt
1990-1991 Cabaret Once Upon A Mattress Room Service Kiss Me Kate
Christopher Catt Craig Kienzle Christopher Catt Christopher catt
Chris Chris Chris Chris
Jean Prinz Kerf Christopher Catt Christopher Catt
Chris Catt Chris Catt Chris Catt
1988-1989 Applause Witness For The Prosecution 110 In The Shade How The Other Half Loves An Evening with Carol Hall Sugar 1989-1990 Pippin' Noises Off American Pop
1991-1992 Steel Magnolias Damn Yankees! Biloxi Blues How To Succeed In Business Without Really Trying#
* -
Chris Catt Catt Catt Catt Catt
Steven Earl-Edwards Chris Catt
Original piece
# - Not yet completed production. How To Succeed In Business Without Really Trying opens May 1, 1992.
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