Program for the 1949 Rockland Summer Plays production of The Glass Menagerie, produced for the benefit of The Rockland Foundation, a nonprofit organization.

This 1949 production starred Helen Hayes and Julie Harris, and was directed by Alan Anderson, son of playwright Maxell Anderson. The Chairman of the production was Mrs. Maxwell Anderson. One of the Production Assistants was Mrs. Kurt Weill (aka Lotte Lenya).

The Sponsors, listed on the back page, are a Who's Who of the theatrical world, including: Mr. Maxwell Anderson, Miss Katharine Cornell, Miss Paulette Goddard, Mr. and Mrs. Oscar Hammerstein II, Mr. Rex Harrison, Miss Helen Hayes, Mr. and Mrs. Ben Hecht, Mr. Alan Jay Lerner, Miss Carson McCullers, Mr. Burgess Meredith, Miss Lilli Palmer, Mr. Elmer Rice, Mr. and Mrs. Kurt Weill, Mr. Tennessee Williams, and many others.

Eight page program (two folded sheets), side stapled, 6x9.25 inches.

SIGNED by MAXELL ANDERSON, KURT WEILL, RODDY MCDOWALL, HELEN HAYES, JULIE HARRIS, and two others, as follows;

On the front cover are the signatures of:

MAXWELL ANDERSON, the Pulitzer Prize winning playwright, in pencil at the top of the front page; "Max Anderson / thanks". His signature and thanks are dark and clear. Maxwell Anderson is the father of the play's director, Alan Anderson, and was one of the Sponsors of the Rockland Summer Plays (as listed on the back cover). His wife, Mrs. Maxwell Anderson, is listed in the program as Chairman of the Rockland Summer Plays productions.

RODDY MCDOWALL, the actor, boldly in blue ink. In 1949 McDowall was 20 years old and in New York to become a U.S. Citizen and to break into Broadway. Around the time of this performance of The Glass Menagerie he and Julie Harris met and became lifelong friends. During the 1950s they both lived in New York and worked on Broadway, Harris becoming a major star, and McDowall managing to "break the mold" in how he was judged as an actor. During this 1950s period they also dated a bit and were both close friends with Montgomery Clift.

KURT WEILL, the composer, in pencil on the front cover. His signature is faint but legible. Mr. Kurt Weill is listed as one of the Sponsors, and his wife (shown as Mrs. Kurt Weill) is listed as a Production Assistant.

On the cast page are the signatures of:

HELEN HAYES, the renowned actress. Signed boldly in blue ink. Helen Hayes played Amanda Wingfield (the mother).

JULIE HARRIS, who was 23 at the time, signed her name very lightly in pencil, so lightly that it is almost unnoticeable if you pull your head back a ways from the page, but legible if you get your eyes close. Julie Harris played "Laura, her daughter". It's nice to have her early signature in this 1949 production, as faint as it is.

WILL HARE, a stage and screen actor, signed in blue ink. Will Hare played "Tom, her son".

JOE SULLIVAN, a theatrical actor, signed in blue ink. Joe Sullivan played "The Gentleman Caller".

The program is in GOOD condition,with a horizontal center fold, some faint droplets to the rear cover, and light signs of handling and use. A nice copy of this rare, multi-signed program.

Laid-in is a single sheet listing the two remaining programs of the Rockland Summer Plays: "Joan of Lorraine", written by Maxwell Anderson and directed by Alan Anderson; and "Down in the Valley", with music by Kurt Weill. The sheet has creasing at the top edge, and a center fold.

All performances took place at the Nyack High School Auditorium. I wish I had been there.

About the 1949 ROCKLAND SUMMER PLAYS (from the Nyack News and Views website):

******The 1949 Rockland Summer Plays marked the inaugural season of the Rockland Foundation, launched by a landmark benefit performance of The Glass Menagerie starring Helen Hayes and a young Julie Harris at Nyack High School.

Tennessee Williams, drove from Manhattan to attend the performance. On his way, he picked up his friend, author Carson McCullers,******

WHITLOCK'S COLLECTION OF ETHIOPIAN MELODIES. As Sung with Great Applause by William Whitlock at the Principal Theatres in the United States. Who's That Knockin' At The Door. Published by C.G. Christman, 404 Pearl Street, New York City, circa 1846. Cover illustration designed by lithographer Eliphalet M. Brown, Jr. (1816-1886) who served as Commodore Perry's photographer for his 1852 expedition to Japan. Early printing as indicated by the listing of only two songs on the front cover, Mary Blane and Who's that Knockin'.

Sheet Music for voice and piano, composed and sung by Wm. Whitlock. Illustrated yellow lithograph title cover printed by Edward Jones & George W. Newman depicting a minstrel show with two performers on the Bowery Theater stage, William Whitlock playing banjo and Master John Diamond dancing a jig, a woodland backdrop is behind them on the proscenium. Softcover, 13.5" x 10", disbound, hand-sewn together, 6 un-numbered pages, music score and lyrics. VERY GOOD CONDITION: former owner's contemporary penned name on front cover, one front edge tear to the middle leaf, and some light wear from age and use, otherwise bright, clean and unmarked. A later printing of this title is in Emily Dickinson's personal volume of collected sheet music at Harvard.

In the 1840s minstrel shows were a major craze in the United States. A distinctly American form of popular culture imbued with controversial cultural dynamics. Minstrel performances worked to reinforce the racial ideology of white superiority. Blackface performers relied on crude, stereotypical depictions of Blacks to entertain white audiences. The performers'

ragged costumes, blackened faces, and exaggerated dialectical diction created a negative image and the shows depictions of the plantation as a benign, happy place ignored the brutality of slavery.

William Whitlock (1813-1878) early pioneer of American blackface minstrelsy, blackface performer best known for his role in forming the original minstrel troupe, the Virginia Minstrels.

Eliphalet M. Brown, Jr. (1816-1886) American artist, daguerreotypist, lithographer, and photographer.

1959 U.S. STEEL HOUR - ORIGINAL SCRIPT for a LIVE BROADCAST - SIGNED & INSCRIBED

Original Script for The United States Steel Hour "Taste of Champagne" comedy in three acts, directed by Paul Bogart and starring Monique van Vooren as Simone. The episode aired live on August 26, 1959. (Neither Paul Bogart, or Monique van Vooren, or the writer Robert Van Scoyk, are named in the script, but their involvement in this episode is well-known and well-reported.)

SIGNED and INSCRIBED in silver on the black front board by PAUL BOGART, the director, to MONIQUE van VOOREN, the female lead: "To Monique / Avec affection / Paul".

Copy of Monique van Vooren. There are hand changes, corrections, additions, etc., here and there throughout, all involving Monique van Vooren's character "Simone".

8.5x11 inch sheets bound in a black "Spring Binder". Paginated by Acts - Act One: 49 pages; Act Two: 41 pages; Act Three: 41 pages. Pages printed on one side only.

Condition: The binder is looking weary, fraying at the spine, worn and fraying at the corners and edges, but is holding the inner pages well and tight. There is a piece of cloth tape near the top of the front cover with writing that has almost completely faded away; however on very very close inspection I can see the writing begins with a faint M, so maybe the cloth tape might have said Monique van Vooren. Would make sense. Internally, the pages are age toned, the last few pages have some creases/waviness, and page 37 of ACT III has a good size piece missing from the bottom half of the left edge affecting dialogue - that page is bound in at the rear instead of its proper location.

Original scripts from The United States Steel Hour live broadcasts are quite scarce. Each actor was given a copy so they could memorize their lines. That was basically it.

About THE UNITED STATES STEEL HOUR (from Wikipedia and other Internet sources):

******The United States Steel Hour is an anthology series which brought hour-long dramas to television from 1953 to 1963. It was a live dramatic anthology series. Although episodes were normally dramatic productions, the series occasionally presented a musical program or a comedy.

"A Taste of Champagne" (broadcast August 26, 1959) on The United States Steel Hour was originally broadcast live. The acclaimed anthology series was famously one of the last major television dramas to cling to the traditional live format, airing out of New York City in real-time for its audiences.******

1983 Retrospective of Black Dance in America. A landmark dance festival at the Brooklyn Academy of Music (BAM) celebrating Black Dance, Blackness and the African Diaspora featuring performances reflecting the richly diverse traditions of African American dance.

DANCE BLACK AMERICA Souvenir Program April 21 - 24, 1983

Published by the Brooklyn Academy of Music, Brooklyn, New York, 1983. First edition, first printing. Softcover, illustrated wraps, side staple bound, 8.5" x 10", 47 pages, includes the festival program, articles by festival panelists, bibliography, filmography, and is illustrated with historic b&w photographs. VERY GOOD CONDITION: front cover has a penned date, light wear from age and use, otherwise tight, bright, clean and unmarked. Also included is the 1984 touring program, 16 pages with five articles and b&w photographs reprinted from the original 1983 program, plus a six panel folding BAM mailer advertising the 1984 encore of Dance Black America with a street party event "Sweet Saturday Night".

A dynamic presentation of African American dance celebrating over 300 years of Black dance featuring legendary Black dancers, choreographers, scholars, and dance companies. The performances covered key ethnic, modern and theater dance concert works by trailblazing Black choreographers from Asadata Dafora, Alvin Ailey, Katherine Dunham, and Blondell Cummings. Street and Social dance performances include the Catwalk to Breakdancing, and the Juba through Mama Lu Parks.

The performers include The Alvin Ailey American Dance Theater (featuring Donna Wood and Gary DeLoatch), Garth Fagan's Bucket Dance Theater, Mama Lu Park's Jazz Dancers, The Charles Moore Dance Theater, The Chuck Davis Dance Company, Eleo Pomare, Chuck Green, The Magnificent Force, The Jazzy Jumpers, Al Perryman, Leon Jackson, Halifu Osumare, Dejan's Olympia Brass Band of New Orleans, Rudy Stevenson Band, Ruth Brisbane, BISS Harmonizers, Fab 5 Freddy, Arthur Hall's Afro American Dance Ensemble, Baba Chuck Davis, Rock Steady Crew, and many more.

POPULAR DANCE IN BLACK AMERICA

Dance Research Journal Congress on Research in Dance. Spring 1983. Published by the State University of New York, Purchase, New York, 1983. First edition, first printing. Sally Banes, Editor. Softcover, illustrated wrappers, side staple bound, 10.75" x 8.25", 60 pages, illustrated with b&w throughout. VERY GOOD CONDITION: covers have light toning to the margins and a touch of light wear, overall tight, bright, clean and unmarked. Uncommon.

A literary journal on the history and critical theory of dance. This issue features articles and photographs on popular dance in the Black community. Authors include African American Dance Specialist Katrina Hazzard-Gordon. Articles include "Swinging at the Savoy," "Between Two Eras Norton and Margot in the Afro American Entertainment World," "Afro American Core Culture Social Dance: An Examination of Four Aspects of Meaning," and "Disco: Afro American Vernacular Performance."

African American dance styles dominated American dance by the end of the 20th century. Over the first 200 years recognizable American dance styles progressed slowly through a blending of African and European movement and musical forms. By the end of the 1890s a distinct pattern emerged where dances created in Black communities spread out to the American mainstream such as the Charleston in the 1920s and hiphop freestyle in the 1970s and 1980s.

CIRCUS: A TRAVELING LIFE. Photographs by NORMA I. QUINTANA. Photo book filled with great b&w photographs of daily life in a one-ring circus as it traveled across America. Not the performances, but the people, their life in the troupe, their families, candidly portrayed. Introduction by Mona Simpson

Published by Damiani, Bologna, Italy, 2014. ISBN-10: 8862083653 ISBN-13: 978-8862083652.

SIGNED, LIMITED, NUMBERED, FIRST EDITION. Hand numbered copy 383 of 400 on a special Limitation page (the second to last page).

Hardcover Book in Dustjacket, 11x11 inches, 154 pages. Fully illustrated with Quintana's b&w photographs.

Photographer Norma Quintana spent a decade traveling with a one-ring circus troupe as it made its way across America. Novelist Mona Simpson provides an essay on the vanishing world of the circus.

NEAR FINE book, sharp cornered, tight, bright, clean, clear and unmarked; in a GOOD dustjacket that has a closed tear and crease at the bottom of the front panel but is otherwise bright and doing its job well (the dj is known to be delicate). A lovely, presentable copy.

The Signed, Numbered, Limited First Edition is Hard-to-Find.

About Norma Quintana (from Wikipedia):

******Norma I. Quintana, b.1954, is an American photographer working in the tradition of social documentary, shooting exclusively in black and white and using only available light. Her first monograph presents a decade long pictorial series of a traveling one-ring circus.******

THE SOVEREIGN GOOD. A Novel by HELEN HUNTINGTON (aka HELEN GRANVILLE-BARKER). Published by G. P. Putnam's Sons, New York and London, 1908. First edition.

INSCRIBED by the AUTHOR on the front free-endpaper: "To Mrs. J.T.B. Hillhouse / With the / affectionate regards / of the author."

Hardcover Book, blue cloth covered boards with gilt titles and designs on the front cover and spine, 5x7.5 inches. Pagination: iv, 386 pages, plus 4 pages of Publisher's ads at the rear.

VERY GOOD condition: a bit of wear to the corner tips and spine ends, a previous owner's name/address at the top of the rear free-endpaper, otherwise a solid, tight, clean copy with cover gilt that is bright and lovely. One of the nicest copies of this book I have seen, and it's inscribed by the author!

WHY HELEN HUNTINGTON aka HELEN GRANVILLE-BARKER is THE WICKED WITCH OF ENGLISH THEATRE:

Helen Granville-Barker, b.? d.1950, was a third rate playwright, poet and novelist, mostly remembered for being the second wife and ruination of Harley Granville-Barker who was the great hope of British theatre.

"No history of British theatre would be complete without the acknowledgement of Harley Granville Barker's importance as playwright, director, producer, actor, essayist and theatre visionary in the first decades of the twentieth century. However, after the First World War he abandoned the professional theatre, and the prime culprit for this abandonment was his American second wife, Helen Huntington. A rich dilettante, third rate poet and second rate novelist, Helen, it is claimed, seduced Barker and turned him into a reclusive, snobbish country gentleman. Her visceral hatred of the theatre and all theatre people forced him to withdraw from lifelong friends and colleagues, thus cutting himself off from his true nature and his true talent. To complete all this horror, she even made her new husband add a hyphen to their name to assuage her own crass aristocratic ambitions. And so, Helen - perhaps unconsciously, but always selfishly - all but single handedly destroyed the great hope of the British theatre." - U.K. Times Literary Supplement.

"Graville-Barker's second wife insisted on his almost complete severance from his work and friends in the theatre, and above all from Shaw, whom she detested. It was mutual: Shaw thought that Granville-Barker had buried himself alive on her account." - Oxford English Dictionary of National Biography

A 33 1/3 RPM VINYL LP ALBUM Recording of DE ANZA HIGH SCHOOL'S circa 1963 PERFORMANCE of "ANNIE GET YOUR GUN", RICHMOND, CALIFORNIA. The blank album cover has a printed paper wrapper glued onto it, the lp is recorded on yellow vinyl, 33 1/3 RPM. LP has a label that reads: "DE ANZA HIGH SCHOOL / CREATIVE ARTS DEPARTMENT / presents / ANNIE GET YOUR GUN". The item and cover are undated, however I searched and found when several of the cast members went to De Anza High School and that was in the early 1960s, so circa 1963. The album looks to be in VERY GOOD condition, perhaps a couple superficial scratches. The printed wrappers overlaying the album cover has waviness at the margins where it was glued on, some corner creases, is lightly toned, and has signatures beside a few of the cast member names, but is still clear and fully legible. A really COOL sixties item from DE ANZA HIGH SCHOOL, Richmond, California.

STUTTGARTER BÜHNENKUNST: INSZENIERUNGEN der Königlich Württembergischen Hofoper von Werken Mozarts und von Schillings' Mona Lisa, von EMIL GERHAUSER.

(STUTTGART THEATER STAGE ART: the STAGING of Productions by the ROYAL WÜRTTEMBERG COURT OPERA HOUSE of Works by Mozart and of Schillings' Mona Lisa. By Emil Gerhauser.)

Mit den künstlerischen Entwursen der Bühnenausstattung von BERNHARD PANKOK. (With the Artistic Designs by Bernhard Pankok.)

Edited and Published by Wilhelm Meyer-Ilschen, Stuttgart, Germany, 1917. TEXT IN GERMAN.

FIRST and LIMITED EDITION, this being copy number 99 of only 300 copies. An Elaborate and Finely Produced Book featuring the Production of 5 Operas by Mozart and 1 Opera, Mona Lisa, by Max von Schillings. Each was performed at the Hofoper in Stuttgart.

THICK VELLUM COVERED BOARDS with GILT DESIGNS on the front cover and spine, gilt page edges, floral patterned endpapers, 9x12.25 inches (23x31 cm). Pagination: viii, 418 pages.

Beautifully ILLUSTRATED with 7 PHOTOGRAVURES and 45 COLOR LITHOGRAPHIC PLATES of OPERA SETS and COSTUMES. Each plate and photogravure is protected with a patterned tissue guard. There are also many in-text b&w drawings of set designs and staging directions.

GOOD condition, the covers are bowed, lightly soiled, and there is a 1.5 inch split at the top front spine fold; though bowed, these vellum covers are quite attractive; there are some scratches to the gilt page edges; internally, there is some light foxing to the first and last few pages and just a bit here and there throughout, there is a previous owner's signature and the date of 1955 on a blank prelim, there is a small tape ghost on the front free endpaper, the tissue guards are all present but many are creased from the book shutting improperly on the fragile tissue paper, overall the pages are tight, bright, clean, clear and unmarked, and all the photogravures and plates are gorgeous.

About EMIL GERHÄUSER (from Wikipedia): ******Emil Gerhäuser, b. 1868 d. 1917, was a German opera singer and director. Gerhäuser first began law studies at the University of Munich before receiving vocal training as a tenor. In 1890 he made his debut at the Munich Court Opera .In 1909 Gerhäuser moved to Stuttgart, where he became a director at the Hofoper / Court Opera.******

About BERNHARD PANKOK (from Wikipedia): ******Bernhard Pankok (Münster, b. 1872 d. 1943, was a modern German painter, graphic artist, architect, and THEATRICAL DESIGNER. His works are characterized by the transition between Art Nouveau and the International Style. His furniture and book design, such as the catalog of the German section for the 1900 Exposition Universelle in Paris, have garnered him international recognition. Pankok opened a studio in Munich in 1892 and worked as a freelance artist, graphic designer and illustrator for the magazines Pan and Jugend. He remained in Munich until 1902 and co-founded the Vereinigten Werkstätten für Kunst im Handwerk (United Workshops for Art in Handcraft). In 1902 he moved to Stüttgart, and in 1913 he helped found a local art school, the Stuttgarter Killesberg, and became the its first director. In 1914 he was considered one of the leading artists of the famous Werkbund Exhibition in Cologne. In 1930 he became a foreign member of the MUNICH SECESSION.(In 1933 the National Socialist party began their crusade to bring all forms of artistic expression under their control: a process known as Gleichschaltung . Artists were eventually required to obtain state endorsement for all of their works. Those who were considered degenerate were not allowed to paint, these included members of the Munich Secession. In 1938, the Munich Secession was dissolved as part of the Kulturellen Säuberung / Cultural Cleansing.)******

INTERNATIONAL BUYERS: This book is large and heavy and will require substantial additional shipping charges.

LAUREN FADELEY HAND SIGNED PHOTOGRAPH. The photograph is a computer printed publicity release, celebrating both the first fifty years of the PENNSYLVANIA BALLET (1963 to 2013) and its PRINCIPAL DANCER LAUREN FADELEY. This promotional piece is 8.5x11.5 inches, including the white borders. It is printed on glossy Epson photo paper. HAND SIGNED and INSCRIBED on the image by LAUREN FADELEY: To John / Lauren / Fadeley. Lovely image of this beautiful dancer. VERY GOOD condition, one corner tip is creased, overall bright & lovely. About LAUREN FADELEY (excerpted from the MIAMI CITY BALLET website): ******Lauren Fadeley was born in Orlando, Fla., where she began her dance training at age four. She trained at the Orlando Ballet School and the School of Performing Arts in Florida, along with summer intensives at The Rock School for Dance Education and the School of American Ballet. In 2000 at age 15, after attending School of American Ballet for three consecutive summers, Fadeley moved to New York City to study there full time. Once completing a year at School of Ballet in New York City, Fadeley was invited by Peter Martins to join New York City Ballet (NYCB). From there, she went on to join the corps de ballet of the Pennsylvania Ballet in the fall of 2007. Fadeley was promoted to Soloist for the 2011 season and to Principal Dancer in 2012. During her nine seasons at Pennsylvania Ballet, she originated numerous featured roles. She joined Miami City Ballet as a soloist in 2016 and promoted to principal soloist in 2017.******

This is an ORIGINAL CARBON TYPESCRIPT of LA FEMME DE TA JEUNESSE by French JACQUES DEVAL, noted French Playwright, Screenwriter and Director (Paris 1890 - Paris 1972). The play is in FRENCH. Undated with No Publisher noted, however this carbon typescript is clearly an original carbon copy from circa 1947. Bound in paper wrappers, inner pages on thin carbon paper, 8" x 10.5", 141 pages, printed on one side only, 2-hole punched on the left margin. Bound with 2 brads. Front cover has the following rubber stamps: "Mme FROGER / Copies litteraires et theatrales / 69, r. d'Amsterdam..."; "Dr. Alexandre BANYAI / Affaires et Editions Theatrales / PARIS"; and "George Marton / Beverly Hills, California". The first page has the stamp of "Dr. Alexandre BANYAI / Affaires et Editions Theatrales..." Condition: The wrappers' spine is torn, frayed and chipped away; the covers are still hanging on to the inner pages, they are creased with small closed tears along all the edges; the front cover and the first page have pulled from the brads; internally the pages are toned with age, have some creasing from handling and use, but are still complete, bright, clean and unmarked.