James Baldwin Collection - Smithsonian Digital Volunteers

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Smithsonian Institution
National Museum of African American History and Culture
James Baldwin Collection
Extracted on Jan-22-2016 08:42:03
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[[image - ticket holder for Air France, showing travel class and logo]]
AIR FRANCE
Première
Transcribed and Reviewed by Digital Volunteers
Approved by Smithsonian Staff
Extracted Jan-22-2016 08:42:03
[[preprinted]]
[[image - Sheraton 'logo; red capital 'S' in red laurel wreath]]
Sheraton Tacoma Hotel
SHERATON HOTELS, INNS & RESORTS, WORLDWIDE
11320 BROADWAY PLAZA
TACOMA, WASHINGTON 98402
206/572-3200
[[/preprinted]]
[[strikethrough]] (Matio [[strikethrough]] [[circled]] MX's question
[[circled]] [[line from here, back across page and down to beginning of
following line, ending in *]]
To [[underlined]] Be [[/underlined]] A [[circled]] Citizen [[circled]] of the
nation? The world? [[underlined]] The race? [[/underlined]]
[[underlined]] A [[/underlined]] to confront
Religion / Race / Power /
[[underlined]] B [[/underlined]] The question of Identity
[[underlined]] C [[/underlined]] Involving = History
[[underlined]] D [[/underlined]] Identity & History being Synonyms:
being The Present /
[[underlined]] E [[/underlined]] Attempting to make the Past / Useful
[[underlined]] A [[/underlined]]
Malcolm's question:
If you Are A citizen
you have your Civil Rights
[[underlined]] B [[/underlined]]
If You Are fighting for your Civil Rights - what are you?
[[underlined]] C [[/underlined]]
To be A citizen - ?
[[pencil note]] 2011.99.11 [[/pencil note]]
gülriz sururi- engin cezzar
[[image - pen and ink drawing of hourglass, with strands in top portion
and stylized line creating two facial profiles in lower portion]]
[[written vertically, bottom to top at right of image]]
MENGÜ ERTEL - 80
[[/written vertically]]
uzun ince bir yol
"düet"
yazan: gülriz sururi - mehmet akan
yöneten: engin cezzar
kenter tiyatrosunda
gülriz sururi- engin cezzar
[[image - pen and ink drawing of hourglass, with strands in top portion
and stylized line creating two face profiles in lower portion]]
[[written vertically, bottom to top at right of image]]
MENGÜ ERTEL - 80
uzun ince bir yol
"düet"
yazan: gülriz sururi - mehmet akan
yöneten: engin cezzar
kenter tiyatrosunda
[[image - kadinca repeated down page]]
aradiiniz tüm
konulari içeren
tek kadin dergisi
kadinca
[[end page]]
[[start page]]
moda ile
sanatin
bulutugu yer:
Vakko
[[image- swirl made of two lines]]
yeni fotograf
"Ulkemizde fotograf"
[[image]]
haci emin efendi sokak no. 7 d.2. tevikiye / istanbul
[[end page]]
[[start page]]
gülriz sururi [[over to the right]] Tiyatrosu
engin cezzar
[[image]]
gülriz sururi - engin cezzar
tiyatro Dergisi
ubat 1980 sayi 15.
Sorumlu Müdür: Engin Cezzar
Bu sayiyi hazirlayan: smet slimy eli
Kapak: Mengü Ertel
tarihçe
Gülriz Sururi - Engin Cezzar Tiyatrosu, 1962 ylnn Eylülünde KÜÇÜK
SAHNE'DE ERSKINE CALDWELL 'in yazd, Filiz Ofluolunun çevirdii
TÜTÜN YOLU ile ilk kez perdesini açti ve 3 yl Küçük Sahnede
(Shakespeare - Ülkü Tamer) OTHELLO (L. Andreiev - C. Tunçtan)
AKLIN OYUNU gibi oyunlarn yan sra, (F. Campaux Orhan Aydnba)
ÇIKOLATA SEVGLM gibi Fransz komedilerine de yer Verdi.
Repertuarnda, Güngör Dilmen'in yazd CANLI MAYMUN LOKANTASI
oyununu sergileyerek günümüzün öncü tiyatrosu olduunu kantlad. 1964
ylnda Küçük Sahnesine siamayan topluluk Haldun Taner'in yazp Yalçn
Tura'nn besteledii KEANLI ALI DESTANI ile epic Türk müzikalini
sergiledi ve KEANLI ALI DESTANI, uluslararas bir baarya ulat. Daha
sonar Refik Erduran'n yazd Arif Erkin'in müziklerini yapt DILEKLER
ARASI ile müzikal yaamn sürdüren topluluk, Nâzm Hikmet'ten Ferhatla
irin, yine Haldun Taner'den ZLL ZARFE, Yaar Kemal'den Teneke,
Güngör Dilmen'den KURBAN'la döneminin baa güreen topluluklarindan
biri olarak, baardan barya kotu. Aydn Engin'den AYKIRI, Refik
Erduran'dan KELEPÇE, ve G. Dilmen'den MDASIN KULAKLARI'n
sayacak olursak tiyatronun yerli yaptlara büyük öncelik tandn görürüz.
Daha sonraki yllarda, PALTO, TTHAT VE TERAKK ve HAR gibi büyük
prodüksiyonlara imzasn att. Seyircisinden aldn seyircisine vermeye çalt.
Kadrosunda hep seçkin oyuncularla paylat rolleri Gülriz Sururi - Engin
Cezzar. Bu toplulukta oynam ünlü sanatçlardan bazlar:
Turgut Boral, Semiha Berksoy, Aliye Rona, Ali Poyrazolu, Erol Keskin,
Metin Serezli, Genco Erkal, Suzan Ustan, Aydemir Akba, Müjadat
Gezen, Güzin Özipek, Tuncel Kurtiz, Hadi Çaman, Ali Sururi, Nurhan
Damcolu, Mehmet Akan, Pekcan Koar, Nur Sabuncu, Erol Günaydn,
Sermet Çaan, Ani Ipekkaya, Suna Keskin, Cahit Irgat, Seden Kzltunç,
Ali Yalaz, Ülkü Tamer, Merih Gökçe, Cüneyt Türel, Zafer Önen, Çetin
pekkaya, Umur Bugay. Güner Naml, Emel Çeviren, Atilâ Pekdemir,
Ahmet Mekin, Bülent Erbaar...
Yllarca Küçük Sahne, Karaca, Elhamra, Renk Tiyatrolarnda salon
sorunu ile savaan topluluk 1969 ylnda ili Ümit Tiyatrosunda 7 oyuncu ile
ortaklk kurdu. Alfonso Pasodan EVET, EVET, EVET, John Herbert'ten
DÜENN DOSTU, Ephraim Kishon'dan NKAH KAIDI, HAR, HNT KU[[end page]]
[[start page]]
MAI, 1975 ylna kadar sergiledikleri oyunlardan bazlar. Topluluk 12 Türk,
2 ngiliz, 7 Amerikan, 7 Fransz, 2 Rus 2 srail, 2 spanyol, 1 Kanada, 1
Danimarka'li yazarn yaptin sergiledi.
Görüyoruz ki 1975'e kadar 13 yllk yaamnda yerli oyunculara büyük
öncelik tanimi olan topluluun bugün bile bu rekoru krlm deil. 1975 ylnn
mays aynda ekonomik koullarn arlna dayanamayan tiyatro ardarda
kapanan özel tiyatrolar kervanna katlmak zorunda kald son oyunlar M.V.
Gazzo'dan MORFIN'di.
[[IMAGE: photograph of 4 actors]] [[caption]]
TÜTÜN YOLU
gülriz sururi
nur sabuncu
pekcan koar
engine cezzar [[/caption]]
HAIR
[[IMAGE: photograph of 10 actors]]
gaziler,
ehitler,
kaçaklar
AZZ NESN
22/23 Ocak 1980 Saat 2.40
_________________________________________
Sanatç, kendi sanatnn cephesinde savarrken ölecek. Sanatç, has
sanatçysa, görevi üstünde ölecek. Sanatç, ama has sanatç, nöbet
tutarken ölcek. Sanatç, sanatnn yiitiyse, kendi sanatnn silahn kullanrken,
kendi sanatnn sava alannda ölecek. Ve sanatç, sal sanatna ihanet
etmise, sayrlanm ya da yalanmsa, bu yüzden sava alandan çekilmi,
savaamyor, görevini yapamyor, silahn kullanamyor, nöbetini tutamyorsa,
bütün bunlar düleyerek, dülerinde bunlar yaarken ölecek; günün 24 saati
sanatyla yaayacak. te böyle sanatç, yaarsa gazi, ölürse ehittir; sanatn
ehidi...
Çatalca'da Vakf'ta yazyorum but yazy. Kitaplm dahaca buraya
tayamadmdan, imdi kitaba bakp size adn söyleyemeyeciim o tiyatro
ehidinin.
Tiyatoronun ihitleri, "meçhul asker"leri vardr. Anlatmaya çalacam kii,
Türk Tiyatrosunun bilinmez askerlerinden biridir. Cerrahpaa'da, yada o
dolaylardaki bir tekke eyhinin oludur. Babasnn da, kendisinin de saygn
bir kiilii var. Babas ölünce "postnin" olacak, yani babasnn eyhlik postuna
oturacak. O dönemde, bundan saygn, bundan deerlisi yok denilecek bir
yer tekke eyhlii. Neylesin ki, bu eyhzâde'nin gönlüne bikez tiyotro yalazü
dümütür. Hem de tiyatroyu tuluat bilmi. Abdürrezzak Efendi'yi de usta
bellemitir. Tekkeden kaçar kaçar, tiyatroya koar. Sar, cüppeyi atar, bi'e,
Uak'a, Kavuklu'ya soyunur. Babas göçüp tekkenin eyhi olunca da,
tekkeyi de, eyhlii de, postu da, tesbihi de, onca yücelii, saygnl da bolayp
kendini tüm tiyatroya adar. Gelgelelim, ne yazk ki, oyuncu yeteni yok
zavallnn. Tuluatn, ortaoyununun üçüncü, dordüncü siradan insan olarak,
tiyatrodan hiç ayrlmadan, ama bigün "komik-i ehr" (x) olmak umuduyla,
kulislerde, sala, sahnelerde, oyuncu kahvehanelerinde, yoksulluk içinde
tüketir yaamn. Tükene tükene biter ama, sanat cephesinin ön hattnda,
savaa savaa ölür. Bir tiyatro ehididir bu insan.. Adn bile ansyamadma
göre, Türk tiyatrosunun "bilinmez er''lerinden biri...
imdi de adn anmadan baka bir tiyatro oyuncusundan sözedeceim. Ünlü,
çok ünlü bir oyuncu idi bir zamanlar. "di" diyorum; çünkü, yirmi yl, belki
de daha öncesinden emekli olduundan bu yana, tiyatroyla balarn
kopard. Öyle ki, artk bir tiyatro seyircisi olduunu bile sanmyorum. Bir
apartman sahibi, belki de iki... Apartman dediysem, apartman dairesi
deil, kat kat, daire daire apartmann sahibi. Apartmandan kiralar,
devletten emekli ayln alr bir hazryiyici... Nice ünlü olursa olsun, nice
yetenei bulunursa bulunsun, böylelerine tiyatrocu diyemem... Asker
kacagi ne demekse, iste bunlar da tipki oyle tiyatro kaçaklaridir.
Türk tiyatrosunda, ehitler de, kaçaklar da pekçoktur. Tiyatro
ehitlerimizden birini daha anlataym: Avni Dilliil...Sesiyle, fiziiyle, kafasyla,
gönlüyle, deneyimleriyle, snrsz tutkularyla, ar kendini beenmiliiyle
(megalomaniiyle), böbürlenmeleriyle, az bulunur, büyük bir tiyatro
yeteneiydi. Ne yazk ki, bu büyük dramcnn, dramclndan daha da büyük
kendi dram vard: Son on-onbe ylnda bellei oyunculuuna ihanet ediyor,
rollerini ezberleyemiyordu. En büyük drama dümü iki usta, dört dörtlük
oyuncu tandm, biri Avni Dilligil, biri
[[end page]]
[[start page]]
de Saim Alpago...Avni Dilligil, her gün daha çok kendisine ihanet eden
belleinin üçsüzlüüyle, ama yine de tiyatro yaparak, tiyatro konuup
tartarak, tiyatro yaayarak, tiyatro solunarak son soluunu da tiyatro için
tiyatroda verdi. Niçin? Çünkü, o daha batan gemilerini yakmt; kendisine
tiyatrodan baka yol, baka kap brakmamt. Ya utku, ya ölüm... Avni de
böyle bir tiyatro ehidiydi.
Türk tiyatrosunun bir numaral insan kimdir, diye sorulsa, sanrm, herkes
ayn yant verecik: Muhsin Erturul. Türk tiyatrosunun kurucusu Muhsin
Erturul'un jübilesi için düzenlenen kitaba yazdm yaznn sonunda, O'nu
tiyatroda, kurucusu olduu tiyatroda savaa çaryordum: Tiyatro yapnz
Muhsin Erturul, haydi tiyatroya!
Benim böyle bir çarda bulunmamn hadbilmezlik saylabileciini biliyordum.
Bunu bile göze almtm. Büyük Muhsin Erturul'un tiyatronun yal bir kaça
gibi tiyatro dnda ölmesinden korkuyordum. Çünkü o sralar küsmü, evine
çekilmi, kendine kapanmt. Biliyorduk, evinde de olsa, yine tiyatro
yayordu, tiyatroyu solunuyordu. Muhsin Erturul'un büyük lüü, kuruculuu,
kutsalla varan kiilii biyana, ama hep arkasn devlete, belediyeye, bir
duruma dayayarak tiyatro yapmtr. Bunun bitek ayrcas vardr, Küçük
Sahne olay... O Küçük Sahne de, bir bankann desteiyle kurulutur ve
Küçük Sahne olayn anlayabilmek için de, Vedat Nedim Tör'ün
anlarndaki Muhsin Erturul bölümünü okumak yeter.
Muhsin Erturul, elbet ben çardm diye deil, ama sonradan, yine
Belediyeye dayanarak tiyatroya dönmü, kimbilir kaçnc kez savaa, kendi
balatm olduu savaa katlmt. Bir sanatç için ölümlerin en güzeliye öldü;
Ege Üniversitesinin deerbilirliiyle, kendi savanda kazand utkularn nsann
yorgun gösüne taktktan iki gün sonra, yürei bu sevincin tatl arln
tayamayarak durdu.
Ulvi Uraz, hapisten çktktan sonra alt yul tiyatro yapamamt. Vurgulamak
gerekir; yapmam deil, yapamamt. Her skntya katland, ama baka bir i de
yapmad. Gece rüyasnda, gündüz hülyasnda tiyatroyu yaad. Sonunda
kendini atverdi sahneye... Hele hele Ulvi Uraz'n tiyatro uruna çektikleri;
Atlas'n yükünden ar, Sizifus'unkinden daha sonsuzdu. Tad arn altnda
ezilerek, ama cepheden kaçmadan sava sürdürürken soluu tükenip
yürei durdu, tiyatro ehidi oldu.
mdiii, gelelim Gülriz Sururi'yle Engin Cezzar'a... Çok alanda çorak
görünen bu Türkiye, sanat yönünden ne berekeli bir topraktr... Gülriz,
Engin ve daha bikaç oyuncumuz var ki, öyleleri salt Türkiye'de deil,
tiyatro sanatnn çok daha eski olduu, ileri, zengin ve büyük ülkelerde bile
kolay kolay yetimez...
Bir ara tiyatrodan koptular. Onlarn kopukluklar dört yl sürdü.
Olanakszlm, yersizilikmi... Oyuncunum has, oyuncunum yiiti için,
inanmyorum bu umarszlklara... Sanatç için (yazarlar da içinde) önlerinde
üç yol var: Ya ehit, ya gazi, ya kaçak... Been, beendiin yola git...
Duyardim, Gülriz'le Engin Bodrum'dalarm, urdalrm, söyle yapmlar, böyle
etmiler... çim szlar hep, tiyatro kaça olacaklar diye... Ne zaman, nerde
karlasam onlarla sorardm:
-N'oluyor? Tiyatrodan ne haber?
Umutlu konuurlard ama, kesin deildi sözleri.
Dört yl aradan sonar tiyatroya dönmüler. Buna, kendileri kadar sevindim.
Tilkinin dönüp dolap gelecei yer, her zaman kürkçü dükkân (tiyatro) dr.
Gülriz'i de, Engin'i de gönülden selamlyorum. Bir daha "kopukluk"
yapmasnlar siyorum. Sahneden hiç kopmamalarni yürekten diliyorum.
Sevgili Gülriz, sevgili Engin! Hogeldiniz dükkânnza! Gazanz mübarek
ola!
(x) "Komik-i ehîr" ünlü komik demektir. Kimi gençler "Kent Komii", "ehir
Komii" anlamna geldiini sanyorlar.
sokak kzi Irma
1961
[[photograph of woman]]
1968
[[end page]]
[[start page]]
yaadk da ne oldu
bo, bo, hepsi sahiden
ne ac bir duygu bu
bilmezdim ben eskiden
1980
gülriz sururi
[[image - photograph of woman]]
lk Türk primadonmas Suzan Lütfullah ve Türkiye'deki ilk operet
kurucularndan tenor Lütfullah Sururi'nin kzdr. Sahneye çok küçuk yata
ehir Tiyatrolar Çocuk Bölümünda "eytan" piyesiyle çkt. 3 yl Çocuk
Tiyatrosunda ba rolleri oynadktan sonra Reat Nuri Güntekin'in "Yaprak
Dökümü" isimli Oyunu ile Dram Tiyatrosunda ilk önemli rolünü oynam
oldu. Bu arada stanbul Konservatuarnda Muhsin Erturul, Galip Arcan,
Behzat Butak gibi hocalardan tiyatro eitimi gördü. Yine bu arada
konservatuarn an ve bale bölümlerinde de eitim gördü.
Babas ve amcalaryla yaz turnelerne çkt, klar ise tekrar, ehir
Tiyatrosunda oynuyordu. Sonra srasyla, Muammer Karaca ve Küçük
Sahne Haldun Dormen Tiyatrolarnda oynad. 1961 de Engin Cezzar ile
evlendi. Ve 1962 de GÜLRZ SURUR - ENGZ CEZZAR TYATROSU'nu
kurdular. 1961 de Sokak Kz rma, 66 da Teneke, 71 de Hint Kuma ile en
iyi kadn oyuncu armaann ald.
Ayrca 1966 da Türk Kadnlar Birlii tarafndan yln sanatçisi secildi. Bunun
yansra çeitli dernekler ve basn kurulular tarafndan bir çok kez yln
sanatçs ünvan verildi.
1978 de yazd Kldan nce Klçtan Keskince isimli kitab an kitab büyük ilgi
toplad.
[[end page]]
[[start page]]
engin cezzar
[[image - photograph of man]]
Sahneye ilk defa Robert Kolej'de çkan Engin Cezzar, Jül Sezar, Bizim
ehir, R.U.R. ve Othello'da ba rolleri oynam, Priestley'in "I have been
here before" oyununu da sahneye koymutur. Bundan sonra Amerika'da
Yale Üniversitesinde Coriolanüs, Kirli Eller, ve Demirba, arl oyunlarnda
ba rolleri oynamtr.
Yale'de geçen iki yldan sonra New York Actors Studio'da Lee
Stranberg'in örencisi olarak iki yl daha kald. Bu arada Erwin Piscator
tiyatrosunda Amerika'da ilk defa oynayan Kafka'nn Mezar Bekçisi
oyununda ba rolü oynad. 59 ylnda yurda dönen E. Cezzar, HAMLET
rolüyle Türk seyircisinin karsna çkm ve bu oyunu 169 kere oynayarak
1867 de Londra'da ayn rolü 200 defa oynayan H. Irving'den sonra
Hamlet'i en uzun süre oynayan oyuncu olmutur. Ertesi yl Eyyüb Üzerine
Oyun'da oynayan E. Cezzar, "Bu Melek Satlk Deil" oyununu sahneye
koymaya hazrlanrken askere gitmi, iki yl yedek öretmenlik yapm, bu
arada 1961 yaznda ilk Rumelihisar Festivalinde yeniden Hamlet'i
oynamtr. 1961-62 tiyatro ylnda ise bir ara Küçük Sahne'de "Bir Yastkta"y
sahneye koymu, 1962 de de ei Gülriz Sururi ile KÜÇÜK SAHNE'de
Gülriz Sururi - Engin Cezzar topluluunu kurmutur. 1966-67 yllarnda
Palto ve Kurban ile en iyi yönetici ödüllerini ald. 1974 ylnda Çekoslovak
hükümetinin çars olarak gittii Bruno'da Keanl Ali Destann sahneye
koydu.
hamlet
HAMLET
Yöneten : Muhsin Erturul
stanbul ehir Tiyatrosunda
1969-1960 sezonu
177 oyun
[[IMAGE: photograph of actor]]
[[IMAGE: photograph of actor with skull (Alas, poor Yorick?)
[[end page]]
[[start page]]
uzun ince bir yol ...
MEHMET AKAN
Tiyatro yaammda özel bir yeri var Gülriz Sururi - Engine Cezzar
Tiyatrosu'nun. Profesyonel oyunculua ilk kez bu tiyatroda baladm. lk
profesyonel koreografi ve reji çalsmam da gene bu tiyatroda yaptm.
Daha önce, 1960 sonras ilerici tiyatro hareketinin balatclarndan biri
olduuna inandm "Genç Oyuncular" adl amator tiyatro topluluunun
üsyesiydim. Genç Oyuncular'dan sonra tiyatro yapmam diyordum kendi
kendime. Gülriz Sururi - Engin Cezzar Tiyatrosu'ndaki "Keanl Ali
Destan", "Midas'n Kulaklar", Direklerarasnda", "Zilli Zarife", "Ferhat ile
irin", "Teneke" olaylarndan duyduum haz beni meslek olarak tiyatroyu
seçmeye itti diye düünüyorum imdi.
Yllar sonra Gülriz ve Engin'le gene birlikte çalyoruz. Bu kez yazar olarak.
Geçen yl yazm balamt aslnda oyunun. Allm bicimde bir oyun yazm
balangc deildi bu. Tartimasöylei arasi bir eydi: Gülriz dört yl aradan
sonra ne oynamalyd? Nasl bir oyun oynamalyd? Derken oyunu Gülriz'le
birlikte yazmaya karar verdik. Ve "Uzun nce Bir Yol"a vardk. Oyunun
birazn biz yazdk birazn oyunun kendi yazd. Ülkemizin ve tiyatro yaamnn
bu büyük bunalm içinde bir keyif oldu benim için bu çalma. Koullar, krk
ylda bir yetiebilecek tiyatro oyuncularn, tiyatrodan baka her bir ey
yapmaya hükümlü klarken, Gülriz Sururi'nin inatla tiyatroya devam
eylemine katldm için keyifliyim. Tiyatronun uzun ince yolunun menzile
varmasi dileiyle...
[[IMAGE: photograph of man with mustache and glasses]]
Mehmet Akan
1939'da Birecik'te dodu.
1958'de Genç Oyuncular'a katld.
1962'de Gülriz Sururi Engin Cezzar Tiyatrosunda profesyonel oldu.
1969'da alt arkadayla birlikte Dostlar Toyatrosunu kurdu.
cenan
akn
[[image of man]]
Cenan Akn 1932'de ebinkarahisar'da dodu. Ailesi 1938'de stanbul'a göç
etti.
1955'te st. Bel. Konservatuvar Yat Ksm'n bitirdi. Armoni öremen'i olarak
orada uzun bir sure çalit. st. Dev. Opera'snn kurulmasyla koro
yönetmeni olarak oraya geçti...
Okullarmz müzik eitiminde kullanlan ark azl, (nerede ise yokluu) onu
müzik eitiminde arklar, marlar yazmaya itti. Ayn nedenle st. Radyosu
Çocuk Koro'sunu, Akbank Çocuk Korosunu yetitirip konserler yapt.
Yurdumuzda yaplan beste yarmalarnda birçok ödüller kazanmtr.
osman
engezer
[[image of man]]
Anadolunun hemen her ilinde, çeitliturnelerle dekor ve kostümleri
görülmü, ayn nedenlerle Fransa, Almanya, nglitere, Rusya, Polonya,
Bulgaristan, Cezayir, Tunus, Msir, Pakistan ve Kbrs'ta da dekor ve
kostümleri izlenmitir. Ankara Deneme Sahnesi, Meydan Sahneleri,
Ankara Sanat Tiyatrosu, Dormen Tiyatrosu, Nisa Serezli - Tolga Aner
Tiyatrosu, Internatonal Turkish Players, Köln Sanat Tiyatrosu, Deve Kuu
Kabere Tiyatrosu, Miyatro, stanbul ehir Tiyatrosu, Devlet Tiyatrosu,
Ankara ve stanbul Devlet Opera ve Balesi Ankara ve stanbul T.V. 'si
dekor ve kostümlerinin görüldügü yerlerdir.
[[end page]]
[[start page]]
uzun ince bir yol...
)
un
Yazan.....................Gülriz Sururi
Mehmet Akan
Yöneten...................Engn Cezzar
Dekor Kostüm..............Osman engezer
Müzik Yönetmeni...........Cenean Akn
[[?]].....................Mehmet Akan
[[?]].....................Gültekin Çizgen
[[?]] Asistan............Candan Sabuncu
[[?]] [[?]]tlar..........Stüdyo Ar Yapm
[[?]] [[?]]dirgeme........Baha Bodurolu
cenan
akn
[[image of man]]
Cenan Akn 1932'de ebinkarahisar'da dodu. Ailesi 1938'de stanbul'a göç
etti.
1955'te st. Bel. Konservatuvar Yat Ksm'n bitirdi. Armoni öremen'i olarak
orada uzun bir sure çalit. st. Dev. Opera'snn kurulmasyla koro
yönetmeni olarak oraya geçti...
Okullarmz müzik eitiminde kullanlan ark azl, (nerede ise yokluu) onu
müzik eitiminde arklar, marlar yazmaya itti. Ayn nedenle st. Radyosu
Çocuk Koro'sunu, Akbank Çocuk Korosunu yetitirip konserler yapt.
Yurdumuzda yaplan beste yarmalarnda birçok ödüller kazanmtr.
osman
engezer
[[image of man]]
Anadolunun hemen her ilinde, çeitliturnelerle dekor ve kostümleri
görülmü, ayn ne[[?]] nglitere, Rus[[?]]Cezayir, Tun[[?]] rs'ta da dek[[?]]
[[?]]tir. Ankara [[?]] Sahneleri, A[[?]] Dormen Tiya[[?]] [[?]]ga Aner
Turkish Play[[?]] [[?]]su, Devle Ku[[?]] [[?]]yatro, stanb[[?]] [[?]]let Opera
ve [[?]]T.V. 'si deko[[?]] [[?]]dügü yerlerd[[?]]
* Gülriz Sururi
* Engin Cezzar
[[end page]]
[[start page]]
(DÜET)
uzikli oyun
2 bölüm
Yazan.....................Gülriz Sururi
Mehmet Akan
Yöneten...................Engn Cezzar
Dekor Kostüm..............Osman engezer
Müzik Yönetmeni...........Cenean Akn
Koreografi.....................Mehmet Akan
Slaytlar.....................Gültekin Çizgen
Yönetmen Asistan............Candan Sabuncu
Müzik Kaytlar..........Stüdyo Ar Yapm
Kaydt ve ndirgeme........Baha Bodurolu
Abdi pekçi'yi saygyla anyoruz...
tiyatro
sanatçlarnn
düündürdükleri...
ABD PEKÇ
23 Austos 1978
[[solid line across page]]
[[image: to right of page, photo of bust of man with opened neck shirt,
graying dark hair with dark mustache, heavy black eyebrows and open
mouthed smile. Caption on photo 'Fotoraf: gütekin çizgen']]
Çok deil, daha birkaç yil öncesine
karar kendilerini avurtlarmz patlatrcasna
alkladmz, önlerinde sayg
ve takdirle eildiimiz tiyatro sanatçlarmz
birdenbire unutup onar sessiz
bir ölüme terkettiimizin farknda myz?
Evet., hepsi birer birer, sessiz sedasz sedasz
ölüp gidiyor. Bu, biyolojik bir ölüm olsa hepimiz için daha onurlu o lacak.
Ne yazuk ki biz onlar ölümlerin en kötüsüne mahkum ediyoruz. Yaarken
öldüklerini, daha dorusu öldürüklerini görüyorlar.
Bir bölümü direndiler böyle bir sona... Dublaj yaparak, ögretmenlik
ederek, hatta reklam filmlerine çkmay göze alarak kurduklar tiyatrolar
ayakta tutmaya, bu yüzden girdikleri borçlar ödemeye uratlar. Çou
dayanamad. Kalanlar da son nefeslerini veriyor belki de...
Ve kimse ban çevirip bakmyor. Ne olduklarn, ne yaptklarn sormak
hiçbirimizin aklna gelmiyor.
in bir ackl yan da u: Böyle bir sona en kolay, en çabuk mahkum
edilenlen sanat sanat için yapma ilkesine öncelik verip sanat araç olarak
kullanmay reddedenler. Onu ne ticaret ne de siyaset meta haline
getirmek istemeyenler...
Kimi suçlayacaz?
Devleti mi, belediyeleri mi?
Hayr. Devletin, belediyelirin mali des[[end page]]
[[start page]]
teinden yararlanma durumunda bulunan tiyatrolarn haline bakmak, bu
soruya olumsuz yant vermeye sanrz yeter.
Suçlu biziz hepimiziz.
*
Tiyatrosunu kapatp sahneye veda etme zorunda kalan sanatçlarmzdan
Altan Erbulak neden bu karar aldn soranlara uac nükte ile yant
veriyormu:
Artk Türkiye'de tiyatroyu kursa kursa Tofa SAS, Büyükdere Boronkay ya
da Eczacba kurabilir."
Sporu, kendileri için etkili bir reklam arac sayp sanat ile hiç ilgilenmeyen
büyük kurulularn yan sra bir de ünlü zenginlerin tutumlarna bakn...
Kapitalist toplumlarda varlkl aileler yüzyllardr, sanat ve sanatçy korumay
bir gelenek haline getirmilerdir. Çada Türk toplumunda korunan sanatç
gazino sanatçsdr. Özeldavetlere onlar çarlr. Ve bir özeltiyatroyu bir
mevsim yaatacak para, onlara bir gecede cömertçe datlabilir. Bir gecelik
sazdan, sözden duyulan zevk, bir tiyatroyu yaatmaktan alnacak hazza
yelenir.
*
Bu yazy, tiyatro santn, tiyatro sanatçsn savunmak için deil,
toplumumuzun ne hale geldiini belirtmek için yazdk. Aslnda tiyatro
sanatçlarmz için yazdk. Aslnda tiyatro sanatçlarmz için söylenecek söz
onlardan özür dileyip "Biz, size lâyk deilmiiz" demekten ibarettir. Ama
olay Türk toplumunun sanatçsn yaatamayan bir toplum haline geldiini
göstermek bakmndan çok ac fakat çok anlaml bir örnektir. Ve sanatçsn
yaamyor demektir.
10.yl
BURHAN ARPAD
On yl insan ömrü için ksa bir süredir. nsan topluluklarmn tarihinde bir an
bile deildir. Fakat tiyatro topluluklar için küçümsenmiyecek bir zaman
ölçüsüdür. Hele o topluluun balangç döneminde. Hele o topluluk, son on
ylda kalabalklatkça bütün düzeni altüst olmu, ulam, yol ve sokaklar,
elektrii, suyu içinden çklmaz durumlara dümü bir stanbul'da ilk kez perde
açmsa. Hele o topluluk, otuzun üstünde sahnede yar bo, hatta en ön
sralar bile güç dolduran salonlara perdelerin açld günümüz stanbul'un
da direnmise!
Gülriz Sururi - Engiz Cezzar topluluu ilk on ypratc bir savala geride
brakt. Fakat sadece on yl arkada brakmakla kalmadlar, topluluu izlemi
olanlarn kolay kolay unutamyaca sanat baarlar da saladlar.
1962 Ekim aynda sunduklar Erskine Caldwell: Tütün Yolu (Küçük
Sahne)' nden bu yana, deien kadrolarna, hiç eksilmiyen gelir - gider
eitsizliine ragmen, oynadklar oyunlar, bir çeit "Sahne antolojisi" gibi
gözümün önünde.
Gülriz Sururi, Sokak Kz rma'da: "Yaadk da ne oldu? Bo hepsi bo,
sahiden"i okuyor u anda. Engin Cezzar o unutulmaz Kesanl Ali
kompozisyonuyla: "Hey, Ali, koç Ali, babamz Ali, Analar dourmaz böyle
bir insan." Sonra Ferhad ile irin'de Gülriz Sururi'nin Mehmene Banu'su:
Nazm Hikmet'in o güzelim sahne türkçesini dile getiren, derinlemesine
yorumlyan oyunculuuyla silinmez izlenimler braken Gülriz - Mehmene
Banu. Sonra Engin Cezzar'n "Palto"da o ezik ve yitik Gogol kiisi. Sonra
Kurban'da Engin Cezzar - Gülriz Sururi ikilisi, soluk kesen tempolu usta
oyunculuklaryla. Bütün bu apayr oyunlarn baarlarndan sonar Hint
Kuma'nda Gülriz Sururi, deme sahne sanatçsnn üstesinden gelemiyecei
saysz kompozisyonlaryla yine karmda: Karadenizli hizmetçi kadndan,
oynak Rum kzna, Ermeniye, erkekkz özentisine ve alkolik yal kadncaza
kadar yarm düzineyi akn kompzisyonlaryla. Gülriz'in bu büyük baars için
sadece tiyatro oyunculuu ustal yetmez, yarm yüz yl öncelerin
stanbul'unda hayranlkla seyrettiim talyan Fratellini, Cavallini'ler tek bana
bir skeçi oynyabilen sahnevaryete ustalar) teknik büyücülüü de
gerektirir.
Gülriz Sururi - Engin Cezzar topluluu'nun baarlarla dolu "Sahne
antolojisinin yazyla anlatmas güç bir nedeni
[[end page]]
[[start page]]
[[photograph of two men]]
DÜENN DOSTU
var. u son on ylda stanbul'da artan tiyatro topluluklarna ragmen says
gittikçe azalan gerçek "Tiyatrocu"lardan olmalar. Bu "Tiyatrocu" deyimini
bilerek kullanyorum. Perde aralnda bo salonu üzüntüyle izliyen, alklar
yükselince dünyalar onun olmucasna sevinen, üzüntü ve sevinçleriyle
hep tiyatryu tayan "Tiyatrocular", son on yln stanbul'unda bulmak pek de
kolay deil.
Ekim 1962'de oynadklar Tütün Yolu için yazdm tenkid yazsnn bal "Baar
Yolu"ydu. Son paragraf olduu gibi aktaryorum:
"Engin Cezzar - Gülriz Sururi, böyle bir oyunu ve birbirleriyle uyumal bir
topluluu baaryla sundular. Sanrm, 1962-1963 mevsimini büyük baaryla
açan ilk özel topluluk olmak ansn da ele geçirdiler. Baar yolu açld.
Bundan ötesi yine kendi ellerinde."
lk on yln sahne antolojisi onlardan yana. Bundan ötesi yine kendi
ellerinde.
[[photograph of two actors]]
küçük sahnede OTHELLO
oyun sahneleri
--Uzun ince bir yol
--Keanli Ali destan
--Aye opereti
--Kantocu ve paazade
--Lükres Borjia
--Antonius ile Kleopatra
--Horozlar pansiyonu
--Sokak kz rma
--Hamlet
--Bir absürd oyun provas
--Teneke
--Potburi
--Uzun ince bir yol
[[end page]]
[[start page]]
Müzik parçalar
--Keanli Ali destan.....Sinekli da arks
Söz Haldun Taner
Müzik: Yalçn Tura
--Aye opereti...... Ömrüm Aye
Söz: Muhlis Sabahattin
Müzik: Muhlis Sabahattin
--Beyaz gerdan kantosu......Geleneksel
--Kasabiko.........
Söz: Gülriz Sururi
--Sokak kzi rma..........
Müzik: Marguerite Monnot
Çeviren: Melih Cevdet
--Politiac.........
Söz: Haldun Taner
Müzik: Yalçn Tura
--Biz sfrdan balak........
Söz: Haldun Taner
Müzik: Yalçn Tura
--Biz dünyaya lazmz.......
Söz: Haldun Taner
Müzik: Arif Erkin
--"Ana" (Boa didinmek fayda vermez).....
Söz: Gorki - Brecht
Müzik: Sarper Özhan
--Üç kuruluk opera.......
Söz: B. Brecht
Müzik: Kurt Weil
Bir ark isterim...........
Söz: Mehmet Akan
Müzik: Cenan Akn
[[underlined]] POREKSYONDAK AFLER [[/underlined]]
MENGÜ ERTEL: Asiye nasl kurtulur
Pusuda
Karagöz'ün berberlii
syanclar
Carrar anann silahlar
Arturo ui
Canl maymun lokantas
Ayak bacak fabrikas
Aslan asker vayk
Übü
Çicu
Salncakta iki kii
Tavtati Kütüpati
Körolu
Elektra
Alt kii yazarni aryor
Yap utas Solnes
stanbul efendisi
Othello
Hamlet
Bir kavuk devrildi
Keanl Ali
Uzun ince bir yol
BALABAN:
Kerem gibi
Ferhat ile irin
SAVA DNÇER: Lükre Borjia
Horozlar pansiyonu
ALTAN ERBULAK: Sokak kzi rma
[[end page]]
[[start page]]
[[line]]
[two photographs of actors]]
Yiit OKUR
Ferit EDGÜ
Yilmaz ÇETNER
Mehmet BARLAS
Zeliha-Edip DEMRC
Ülkü TAMER
Mengü ERTEL
Yakn ilginize sonsuz teekkürler
[[end page]]
[[start page]]
AKBANK
Sanat galerileri
Çeitli sanat yaynlar
Türkiyemiz dergisi
Ankara oda orkestras
Yaratci gücü tevik yarmalar
Halk el sanatlar yarmalar
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Çocuk korosu
Çocuk sinemas
Kukla ve Karagöz oyunlar
Radyo programlar
kültür ve sanat hizmetlerinde de öncü banka
AKBANK
Modann
çizgilerine kalc sade ve
çarpc bir biçimde
sahip olmak
istiyor musunuz?
[[IMAGE: logo]] Galeri Edip
Beyolu - stiklâl Caddesi No: 86 Tel: 49 63 38
ili - Kent Sinemas Bitiii Tel: 46 77 89
[[start page]]
MUTFAKGAZ
O*O
dev tesisleriyle ve
geni bayilik tekilâtyle
bütün türkiyede
MUTFAKGAZ
MUTFAKGAZ
bütan gazn önderi
kurulu 1960
qool
"LE SÜREKL GENÇ..."
[[IMAGE: drawing of woman]]
[[signature]] A. Inveps [[/signature]]
POP
KADIN,
SPOR
ERKEK,
IK
KADIN,
PARFÜMER
VE
BUJTER
Halaskârgazi Cad. 341 ili - stanbul Tel: 48 29 24
[[end page]]
[[start page]]
HALK
SIGORTA
TÜRK ANONM IRKET
sigorta endüstrisinde aama
Telefon: 66 43 70 - 66 43 71 - 66 43 74
Halk Sigorta Merkez Han Zincirlikuyu - STANBUL
TSE GARANTLDR
deliflex
cazip pastel renkleri ile
klasik ve modern
dekorasyon anlayna
en uygun yer döemesi
deliflex
açlan her
kapnn ardnda
Genel dadm
[[logo]] DLW [[/logo]]
[[right margin]] Suele [[/right margin]]
YEN ADRESMZ
Büyükdere Cad. 107
Ben - Gün Han Kat 6
Mecidiyeköy - STANBUL
Tel : 67 59 06 - 67 59 05
[[end page]]
[[start page]]
Hürriyet
GÜNLÜK MÜSTAKL SYASî GAZETE
TÜRKYE DE VE AVRUPA DA
LDER GAZETE
[[pencil annotation]] 2011.99.12 [[/pencil annotation]]
aznda ferahlk,
tazelik, effaf, yeil,
ho kokulu
grin®'le
grin®
silikadentli di macunu
[[image of mouth with flower talking about toothpaste]]
TEKOFSET
Bu Dergi TEKOFSET Matbaaclk Sanayii
tesislerinde GÜLRZ SURUR - ENGN
CEZZAR topluluunun sanat çalmalarna bir katkda bulunmak amacyla baslmtr.
^[[Have you read ? ? ]][[pencil annotation at top of page above printed
material]]
Looking for the Bicentennial Man
A Commentary by
James Baldwin
On the State
Of the Nation,
200 Years After
[[pencil annotation]] LA Times ? 76 ? [[/pencil annotation]]
[[image: of masked man on white horse (Lone Ranger?)]]
[[image credit]] Frances Oelbaum [[/credit]]
[[caption]] "I gather that the principal gift the Bicentennial candidate can
offer the American people is freedom from
the poor." [[/caption]]
(This personal statement, written at the invitation of the Los Angeles
Times, was sent from St. Paul, in the south of France, where James
Baldwin now lives. His books include "The Fire next Time," and, most
recently, "If Beale Street Could Talk.")
By James Baldwin
Los Angeles Times
ONE GROWS up early on my street, and so I started looking for you
around the time that I - and later my brothers - began selling shopping
bags, shining shoes, scavenging for wood and coal, scavenging, period.
I was about seven, certainly no more than that, and, as my brothers
approached this august and independent age, they joined me in the
streets.
My father, before me, also looked for you, for a long while. He gave up,
finally, and died in an asylum: Perhaps I use the word, "asylum" with
some bitterness. My father was a big, strong, handsome, healthy black
man, who liked to use his muscles, who was accustomed to hard labor.
He went mad, and died in bedlam because, being black, he was always
"the last to be hired and the first to be fired."
He - we - therefore, spent much of our lives on welfare, and my father's
pride could not endure it. He resented, and eventually came to hate, the
people who had placed him in this condition and who did not even have
the grace or courage to admit it.
My father wasn't stupid and, God knows, he wasn't lazy. But his
condition, against which I watched him struggle with all the energy that
he had, was blamed on his laziness. And his wife, who knew better, and
his children (who didn't) were assured, merely by the presence of the
welfare worker, of his unworthiness. No wonder he died in an American
asylum - and at the expense, needless to say, of the so victimized
American taxpayer. (My father was also an American taxpayer, and he
paid at an astronomical rate.)
I GATHER, from the speeches I read and hear, and I see, in the sullen
bewilderment in the faces of all the American streets, that the principal
gift the bicentennial candidate can
offer the American people is freedom from the poor - a stunning gift
indeed for so original a people, a people whose originality resides
entirely and precisely in the poverty that drove them to these shores. It
is like offering the American people, on their birthday, freedom from the
past and freedom from any responsibility for the present: For the poor
are always with us, and they can also be against us.
The Bicentennial candidate is to offer for our birthday freedom from the
discontented, freedom from the criminals who roam our streets; he is to
offer, out of such a dangerous history, at so dangerous a time, nothing
less than freedom from danger. America's birthday present, on its 200th
birthday, is to be the final banishment of the beast in the American
playground.
The niceties of rhetoric, the pretense of democracy, and the explosive
global situation prevent the candidate from identifying this beast too
precisely, but real Americans know that the American taxpayer is being
ruined by the worthless and undeserving poor. You can vote with your
feet in this country (so someone said to my father, somewhere between
the Reconstruction and the First World War): "If you don't like it in this
state, move." And so my father did, Dear Candidate, possibly looking fo
your. All the way from the Southern cottonfields, to the ghettoes,
factories, prisons and riots of the North. Real American know that the
American taxpayer is being ruined by the Indian-Chicano-MexicanPuerto Rican-black.
These dominate the welfare rolls, and the prison populations, and roam,
and make unlivable, the streets of the American cities.
I am saddened indeed to be forced to recognize that my father's anguish
- to say nothing of my brothers' - has cost, and costs, the Republic so
dearly. I should have thought it cheaper, on the whole, for the American
taxpayer to have found a way of allowing my father - and my brothers to walk on earth, rather than scraping together all those pennies to send
a man to walk on the moon. Man cannot live by nuclear warheads alone;
so I would have thought. I would have thought that the ceaseless
proliferation, the buying and selling and stockpiling of weapons was a far
more futile and expensive endeavor than the rehabilitation of our cities.
Cities, after all, are meant to be lived in, and weapons are meant to kill.
***
I MAY be somewhat bewildered by the passion with which so many
labor for death against life. I could have hoped that pride in America's
birthday might have invested the citizens of the great Republic with such
pride in their children that they would resolve, at last, and, God knows,
not a moment too soon, to educate these children, and build schools
and create teachers for that purpose.
The coalition of special interests that rules the American cities, and the
collusion between these interests and the boards of education is
responsible for the disaster in the schools. Or, in other words, schools
are located in "neighborhoods" and neighborhoods are created - or,
more precisely, in human terms, destroyed - by those who own the land
and who are determined to preserve, out of a cowardice called
nostalgia, the status quo.
Perhaps it is not too much to ask of the ex-governor of New York, he of
the merry wink and the casual billions, exactly why the reclamation of
the land, in Harlem, began with the destruction of the black nationalist
bookstore, on 125th street and Seventh avenue. And, catty-corner from
it, on 125th street and Seventh avenue, the destruction of the Hotel
Theresa. These two institutions were, in Harlem, what in Africa is called
the "palaver tree," the place where we discussed and attempted to
reclaim our lives. For my father, of course, the "palaver tree" would have
been another place, the Lafayette Theatre, long before it was destroyed.
For my younger brothers and sisters, and my nieces and my nephews, it
was the balcony from which Fidel Castro spoke: spoke, Dear Candidate,
to them, to them, from the balcony of a Harlem hotel. The listening
crowd knew nothing of Cuba, and couldn't have cared less about
communism. But they knew that someone was speaking to them.
***
IT WOULD seem to me that the American social disaster is a
tremendous burden on the American taxpayer. It is an investment on
which his only return is chaos.
Of course, the candidate will answer, his unhappy priorities are dictated
by the responsibility of protecting the "free world."
If the candidate really believes this, and not merely wondering on what
unhappy market he can dump our Coca-Cola, I challenge him to take a
look at what he thinks he is protecting. I dare the candidate to take to
the "chitterling" or the "fried chicken" or the Muslim or the Baptist or the
Holy Roller circuit: to walk, not ride, through the black streets of
Washington, D.C., and Watts and Detroit and Chicago and San
Francisco and Boston and Philadelphia and Pittsburgh and Baltimore,
and yes, Atlanta, and Cleveland, and Gary, and Jackson, and New York.
I dare him to teach to, speak to, not merely bow before, any class in any
school in any ghetto.
I challenge the candidate to justify the methadone program. I challenge
him to visit the prisons of this country, from hamlet to hamlet and coast
to coast, even daring to go so far as to question Senator Eastland's
plantation: and not to wait, as in the case of the late, and much
lamented J. Edgar, until he is safely dead.
I challenge the candidate to love the country that he claims to love to the
entire extent of love: to face it, this present chaos, and help the country
to face itself, and, for the sake of all our children, to change it.
[[front of an envelope]]
[[preprinted]] James Baldwin [[/preprinted]]
[[post mark]]
Paranizi her yere yalniz PTT ulatirir
[[text in circle]] BEYOLU [[line]] 25.8.66 [[line]] 4 [[/text in circle]]
[[text in stamp-shaped franking]]
TRKIYE CUMHURIYETI
0520
[[image - star and left-facing sickle moon, on striped background]]
KURUS [[boxed text]] POSTALARI [[/boxed text]]
[[/post mark]]
MISS PAULA BALDWIN
137 WEST 71st Street
New York City - New York
[[underlined]] USA [[/underlined]]
[[blue & yellow sticker: [[on blue field]] UÇAK ILE
PAR AVION - AIR MAIL
[[image - stylized white bird]]
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Gömleklik Elbiseik POPLIN Akfil
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Leeming, Robert College - Bebek
ISTANBUL
TURKEY
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[[preprinted]] BY AIR MAIL PAR AVION [[/preprinted]]
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BLACKBIRD
4d J NORRIS WOOD
HARRISON AND SONS LTD [[/stamp]]
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silhouette of a woman]] WORLD CUP 1966 6d William Kempster
Harrison and sons Ltd [[/stamp]]
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silhouette of a woman]] WORLD CUP 1966 6d William Kempster
Harrison and sons Ltd [[/stamp]]
Miss Paula Baldwin,
137 West 71st Street,
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HALEY
13 Rue Du Dr. M. Provencal
06 Haut De Cagnes, A. M.
FRANCE
[[stamped]] Chateau M[[faded]] Hippodrome * Sports Nauti[[faded]]
[[/stamped]]
[[obscured postmark]]
Mr. James Baldwin
36 Tedworth Square
London, SW3, ENGLAND
Monsieur Francois Mitterrand
President de la Republique
prie ^[[Monsieur David Baldwin]]
de lui faire l'honneur d'assister a'la reception de Monsieur James
Baldwin promu au grade de Commandeur
de la Legion d'Honneur, le Jeudi 19 Juin 1986, a 17 heures
au Palais de l'Elysee.
-Genue de ville
RECOMMANDATIONS
1 - Les invités voudrom bien répondre par écrit au Protocole, Palais de
l'Elysée, 55 rue du Fg Saint-Honoré 75008 Paris.
2 - Ils sont priés de bien vouloir arriver entre 16h 30 et 16h 45 au plus
tard, et de se munir d'une pièce d'identité à presenter à l'entré avec le
carton d'invitation.
[[stamp]] POSTES REPUBLIQUE FRANCAISE DAP. DELACROIX
CANDON [[/stamp]]
[[postmark]] [[?]] Paris 08 [[?]] [[/postmark]]
[[stamp]] REPUBLIQUE FRANCAISE POSTES 1986 TYPO GRAPHIE a
5,00 RAYMOND GID ANDREOTOO [[/stamp]]
PAR AVION
President de la Republique
[[postmark]] PRESIDENCE REPUBLIQUE PARIS * 5-6 1986
[[/postmark]]
Monsieur David BALDWIN
209 West - 97th Street - Appt. 4D-NY
NEW YORK 10025
USA
^[[for [[underline]]Paula-Maria[[/underline]], on her birthday.]]
Some days
worry
Some days
glad
Some days
more than drive you
mad.
Some days
some days
more than shine :
see what's coming
on down the line!
Some days
you say,
oh, not me, never!
Some days
you say
Bless God forever.
Some days
you say
Curse God, and die :
then the day comes
when you wrestle
with that lie.
2
Some days
tussle
some days
groan.
Some days
don't even leave
a bone.
Some days
you hassle
all alone.
I don't know,
sister,
what I'm saying :
nor do no man
if he don't be praying.
I know that love
is the only answer
and the tight-rope lover
is the only dancer.
When the lover comes off the rope,
Today,
The net which holds him
is how we pray.
When the tight-rope lover
hits the air
our love is supposed
to meet him there.
3
Some days
leave
some days
grieve
Some days
you almost don't
believe.
Some days
like you
some days
don!t
Some days
believe you
( and you won't )
Some days
worry
some days
mad
some days
more than make you
glad
Some days,
some days
more than shine,
making it, baby,
on down the line !
^[[love,
Jimmy
July 28, 6:50 A.M.
St. Paul]]
^[[1961]]
Dear Paula:
Here is the photograph I think I mentioned, of your brother's entry into
Turkish society. The two bright-eyed people are Engin, and a famous
Turkish actress. The two others are your brother, and Engin's sister.
You mustn't, on any account, loan this photo to [[underline]] Jet.
[[/underline]]
I may be leaving here quite soon now, Kenyatta's daughter is in town,
and I'm to see her. There's famine in Kenya, and perhaps now is the
time to get there.
Love to Alan, Gilian, etc. Write.
Love,
^[[James]]
Engin's army duties have taken him into the wilds of Turkey, so I've a
new address:
^[[James Baldwin]]
c/o Cevat Capan,
Cevdet Pasa Cad.
Yavla apt. 100/3
Bebek, Istanbul,
Turkey
^[[Would you be good enough to ask the American Express if they have
any mail for us & what they are doing with it, if they do. The money was
never forwarded, nor was anything else. I've written them two letters, &
they haven't answered at all. The number of the money order, if this
should come up, is CT-311. I'd just like to know what's happening - they
are really impossible.]]
Paula:
Working. Have moved into a quite marvelous house, & I intend to bring
Mama back with me. I think she'll like it. - But I'll probably need the
family's help to get her on the plane. Don't mention it to Mama yet.
Enclosed: Engin's wife, & me. The Turkish press felt compelled to
announce to the world that Mr. Baldwin was a year older. (But they didn't
tell my age.) They photographed Engin's wife just because they like her.
They never mention [[underline x3]]her [[/underline]] birthdays.
Let me hear from you.
Love,
Jamie
Dear Paula-Maria:
Thank you for your letter. No, I am not going back to Paris on
Tuesday - as you say, I just came from there. I certainly won't be going
back there for awhile.
On Tuesday evening, at six o'clock, I expect to be going to Michigan.
I have a very good friend there who needs me, and I will probably get a
job teaching there. I must go to be interviewed, so that they can decide
whether or not they want me.
I will not be staying in Michigan this time, am only going for a visit, to
put some things in order, and discover what I am going to do.
So don't worry. Everything will be alright.
Love, ^[[J.]]
James
Miss Paula Maria Baldwin
Jan. 17, 1977
Dear Mama:
My friend, Max, took these, and developed them, and hopes that you will
like them.
He hopes more than that, actually-: as the song says, motherless
children have a hard time - And there are so many ways to be
motherless.
Enough.
In the middle of my hardest book. But, you will say, I always say that.
Well. It's always true. And have another book in my head, kicking my
behind, kicking this one out. Pray for me.
See you soon- around May.
- love,
Jamie
Dear Mama:
I have just written a long letter to Paula, because I thought I should, I'd
been thinking about her a lot - so I'm sort of tired, and this won't be
much more than a note. But, obviously, you'll have to read Paula's letter
to her, which I've mailed separately. Actually, I'm writing you mainly to
say how glad I am that you got away for awhile; and to ask you, for all
our sakes, not to work too hard; and to talk to you a little about Paula's
letter, so you'll have some idea of how to interpret it to her. I don't want
her to be sad, but neither do I want her to get over-excited and start
making impossible plans about the future with that fabulous imagination
of hers. I just want her to know that I'm coming back, and I'm going to
do my best for her. I want her to know that.
But I have to tell you things I can't tell her - for example,
[[underline]]when[[/underline]] I'm coming back. Knopf now plans to
publish the book in May, which is later than originally scheduled. (The
schedule may be changed again, it's been changed about three times
already). Now: I may come back when the book is published, but I
doubt it. For one thing, I doubt that I'll have enough money. I don't get
any money until six months after the book comes out. If it comes out in
May, then I'll be crossing the ocean in October. Figure Fall of next year,
I think that's pretty certain.
But: I do not at the moment see any possibility of my coming home to
stay - I think that [[strikethrough]]xxxxxx[[/strikethrough]] remains in the
fairly distant future. It's difficult to explain, but I've a feeling that my life
and my work will keep me travelling around in Europe for some time to
come - I'll probably just [[end page]]
My very dear David :
Letter long over-due, but I hope that what follows will explain why.
I'll not be returning to Istanbul now because my time and my money
have both run out; and also, now, except for the fact that I want to see
you, I've no really pressing reason to return. I'm scheduled to do a
benefit for The Harlem Six in NY on August 24th and they've already
sold out the hall; in addition, Ahmet has wired telling me that I'm to be
best man at his wedding, which takes place on the 14th. I'll be arriving in
NY a day or two before that.
This is what happened : you remember that I was ill for awhile in
Istanbul and I realized in Amsterdam that I wasn't well, but I didn't want
to talk about it. I went to my doctor in Paris, who prescribed this and
that, pills and needles - which calmed all my symptoms but didn't
change them. At the same time, trying to meet the schedule we'd
outlined, I started out for Tangier - in fear and trembling, I must say, for
[[underline]]that's[[/underline]] certainly no place to be ill - and got as far
as Cannes. In Cannes I learned that the American government had
forbidden Americans to go to Morocco. Well. I thought of defying the
travel ban, but decided it would be wiser not to - I must say, in view of
Stokeley's performance around the world these days, I'm very glad I
made that decision. But the whole world seemed closed to me. I couldn't
go to Greece, obviously, as I'd thought I might; at great expense, I'd
already cancelled the Russian trip - thank God; I didn't really want to
return to Istanbul before you got there, I had
[[underline]]had[[/underline]] Istanbul; and I knew I wasn't ready for NY.
For these reasons, no doubt, and many more, my chills and nausea and
diarhea returned, and I went to the doctor who had taken care of me
down here a couple of years ago. I must tell you that I was very
frightened, for no two doctors seemed to agree as to what was wrong
with me and no doctor had been able to help me. The doctor down here
took blood tests, which revealed absolutely nothing - I didn't have
syphilis, didn't have the clap - and gave me more needles which had the
effect of making my behind sore but had no other effect whatever. Well.
I thought : cancer, and death within forty-eight hours. I'm joking now, but
it wasn't funny then. Finally, I was sent to a specialist. I said, I don't think
it's an infection at all. I think something is growing inside me. And he
examined me and he agreed; put me in the hospital the very same day;
and operated that night. The next day he showed me what they'd taken
out of me - a hideous cyst, as hard as a bullet and about as big as my
thumb.[[end page]]
Veined with my blood, living in me for years. And, eventually, yes, it
would have killed me. Lord. Now, I'm stitched and sore, but the cyst was
[[underline]] not [[/underline]] (for all we know) malignant and so I'll
probably be around for awhile.
So much for that. Quite a journey. In the meantime, of course, I was
running out of money and the medical expenses wiped me out. At this
very flaming moment, I've fifty dollars in French francs in my pocket, and
one blank check. Your brother. Lucky, lucky you. On the other hand, I've
been very careful about my credit, so my credit's good; called Robby
Lantz to tell him to send me my ticket home; called Gloria to tell her to
send me some money. So. Can't leave before Thursday or Friday
because (a) I must see the doctor and have the stitches taken out, and
(b) a representative of ABC television is here, and is very anxious to
have me do a black-white soap opera - day time - for them (baby, are
the natives restless!) and we're to have dinner Thursday night to discuss
the pilot show. I almost certainly won't do it, and I've already indicated
the nature of some of the impossibilities involved, but I was very struck,
while talking with this man, by something you've always said to me: they
really don't have anyone else to turn to. Harold Robbins is here, and he
threw a tremendous party, beginning at the Carlton Hotel and ending up
in Antibes, for my 43rd birthday. I wrote, in the restaurant's golden book:
love warms,
takes many forms,
is always strange.
Trust the change.
Which brings me to the most important thing that has happened to
me in this really very strange time. You know me too well for to have to
go into it, and so I won't. His name is Alain, and he comes from North
Africa. Naturally. You'll be meeting him in London. One day I was sitting
on my terrace, lost and frightened, writing a business letter to Gloria telling her about the loss of my Paris apartment - and I thought of Lucien
and, for the very first time, all alone, under that sun, I cried and cried
and cried. And that - somehow - after four years - was the end. Now I
know that we will never see each other anymore. You take the high road
and I'll take the low road. But, without that moment, those tears, and no
matter what happens now, I would have been murdered by a growth far
more deadly than my cyst. I didn't know, until that moment ended, how
long a time I've spent in pain and fear, how little I thought of myself
because my lover thought so little of me. My whole life came rushing
up, heaver than the sea. Well. Well. Well. I'm arranging to rent a flat in
London, beginning in October, and will be writing the play there, and am
buying a car (at my age!) and Alain will be chauffeur and man Friday. I'll
tell you one thing, he's certainly no one to play with, and perhaps we
recognized each other because we both work so hard - no father, and
he's the only support of his mother and grand-mother and niece. So.
Here we go.
As for you, I expect you to stay out of America until we return with
[[underline]] Shine On Me [[/underline]]. The title of our play. I will be in
America until the 10th October, after which you can always join me in
London. Will keep you posted.
By the time you get this, I will be en route for Paris. I expect to be in
NY on the 12th or 13th, so write me there, but [[underline]] please write
me [[/underline]]. I'll be writing to David and Pam, but, in the meantime,
give them my love. You can tell them as much or as little as you like
concerning the contents of this letter. As for money, I'll be wheeling and
dealing and I'll be re-negotiating contracts and so we'll be all right. If,
being a Baldwin, you feel in the least upset about not laboring in the
mines, console yourself with the reflection that you can always give me or someone! - your first Oscar to pawn. I want you to get it, one fine day.
Let's make history, baby, what the fuck else is there to do?
Take care. I love you very much.
Your brother,
^[[Jamie
Am writing Engin.]]
[[Handwritten upside-down]] 1967 [[/handwritten upside-down]]
[picture of a shield] An Bord des Lufthansa-Senator-Dienstes
is begin again. I still intend to get this movie made. I may be entirely
wrong; but if so, I will have to pay the price for being wrong; and I know
that you know that I will do everything in my power to keep anyone in my
family from paying for my mistakes, my obsessions, my necessities.
Neither you nor Gloria, nor I, for that matter, will like the fact that I am
now on a plane for Germany on a
political mission. I am still in battle with the State Dep't. and Berlin has
turned out to be the crucial battle-ground. So I must be there.
So much for that. - The real point of this note is that I love you, we were
very close to A kind of estrangement, and I could not bear being
estranged from you. Also, I think I have finally understood the burden of
your message, the reason for your anger, and the depth of your
concern, and the pain I must often have caused you. - You must
understand that a gifted man - my dear David - is burdened with his gift,
does not understand it, and has great trouble facing not only the gift, but
the really unnameable, and mystic, unprecedented demands the gift
imposes. In the German language - which probably says a great deal
about Germany -
The word [[underline]] gift [[/underline]] means [[underline]] poison.
[[/underline]]
Anyway, I have finally heard you. I will goof again, fuck up again, I will
never change; but I have not yet, and never will stop working, have not
yet, and will never abdicate, have had to learn, and try to learn how to
handle, terrible things in a very short time- I am only on the edge, after
all, of 41 have a little mercy, trust me
trust my pain, and trust my love!
I will be back in Instanbul on the 1st of August. Gloria has my address.
[[double underline]] Please [[/double underline]] drop me a line.
James
[[line]]
August 29
My dear brother :
For no particular reason - unconnected: [[insertion]] but [[/insertion]] I
know, or am re-discovering, that everything is connected : two poems,
and a photograph.
Am beginning on the [[underlined]] Beale Street [[/underlined]] scenario,
and my novel. Hoping to have broken the back of the novel before
arriving in NY. Tired, baby, [[underlined]] tired [[/underlined]], but
surfacing again.
Have a [[underlined]] real [[/underlined]] offer, from a French producer,
for [[underlined]] Another Country [[/underlined]], and he arrives
tomorrow. Cross fingers. But the problem remains the same, and I must
be the only writer in the world who has it, at least to the same degree :
there is no one else to write the screen-play. I can do a screen-play,
frankly, between you and me, with one hand tied behind me, one of the
reasons, perhaps, that I've done so few. But that's at least a year's work
: and I can't afford to lose my novel. I ain't trying to duck nothing : but
pray for me.
I still have [[underlined]] The Life and Times Of The Great Sir Shine
[[/underlined]] furiously sulking in my note-books, turning the womb,
scaring me to death : and he say, loud, that he standing on the corner of
the street and he [[underlined]] know [[/underlined]] I got to cross.
Ah. And the Ray Charles record you sent me is playing,and, following
Yvonne's advice, I've done nothing at all today - how hard that is! - and
I'm a little drunk, alone in the office, but cheerfully drunk, trying to look at
something. I'm trying to learn to live.
I suppose, truly, that something is happening to me, and I'm moving into
frightening waters, terrifying depths, and yet, fucked up as I will always
be, I'm not afraid. But hold on to me, and don't let nothing happen to
you.
2
Foll[[insertion]] o [[/insertion]]ing advice to do nothing, I wrote two
poems.
Poems may be much to say : I've never published any poetry. Poetry is
probably my way of experimenting. Anyway, here is Poem number 1 : it
could be set to music, and called [[underlined]] Jimmy's Blues
[[/underlined]].
Imagination
creates the situation.
And, then, the situation
creates imagination.
It may, of course,
be the other way around :
Columbus was discovered
by what he found.
And here is the mid-night hour :
Death is easy.
One is not compelled to understand
that moment,
which, anyway, occurs
over and over and over.
Lord,
sitting here, now,
with my boy with a tooth-ache,
in the bed, yonder,
asleep, I hope,
and me, awake,
so far away,
cursing the tooth-ache,
3
cursing myself,
cursing the fence
of pain.
Pain is not easy :
reduces one to tooth-aches
which may or may not
be real
but which are real
enough
to make one sleep,
or wake,
or decide
that death is easy.
It is dreadful to be
so violently dispersed.
To dare hope for nothing,
And yet dare to hope :
To know that hoping
and not hoping
are both criminal endeavors,
and, yet, to play one's cards.
If
I could tell you
anything about myself :
if I knew something
useful - :
if I could ride,
master,
the storm of the unknown
me,
May 15 '83
[[line]]
Pentecost Sunday
[[line]]
Brother:
for
'evidence of things not seen
[[line]]
-nearly over! - would you object to this dedication:
for David Baldwin
the father and the son
maybe you better ask Mama.
I know what I mean to say by it. let me know what you think. I mean it
as a way of stretching out my hands to our father [Father] and saying.
Thank you!
Sending it out in a few days. You will get a copy. It is the most
devastatingly difficult
2
[[line]]
thing I've ever tried to do. And I don't know what I think of it. I tried to
follow where it led me - to 'go there'.
Well. Have begun the screen-play of [[underline]] Just Above My Head.
[[/underline]] I don't know why. It wouldn't let me go.
Have released an Open letter to answer the A.P. interview. In the mail.
You will have a copy. Getting funky up in the good old U.S.A. But we'll
come through. I'm not worried about us: in spite of everything. We know
this moment had to come. And it is too late to care about our unhappy
countrymen. Since they seem not to care about themselves.
Far more than I can say, right now. Intend to
May 15 73
Pentecost Sunday
[[line]]
Brother:
For
[[underline]] evidence of things not seen [[/underline]]
- nearly over! - Would you object to this dedication?
for David Baldwin
The father and the Son
Maybe you better ask Mama.
I know what I mean to say by it. Let me know what you think. I mean it
as a way of stretching out my hands to our father [Father] and saying
Thank you.
Sending it out in a few days. You will get a copy. It is the most
devastatingly difficult
2
thing I've ever tried to do. And I don't know what I think of it. I tried to
follow where it led me - to go there!
Well. Have begun the screen-play of [[underlined]] Just Above My Head.
[[/underlined]] I don't know why. It wouldn't let me go.
Have released an Open Letter to answer the A.P. interview. In the mail.
You will have a copy. Getting funky up in the good old U.S.A. But we'll
come through. I'm not worried about us: in spite of everything. We knew
this moment had to come. And it is too late to care about our unhappy
countrymen since they seem not to care about themselves.
Far more than I can say right now. Intend to
3
[[line]]
work ^[[insert]] on [[/insert]] [[underline]] Just Above [[/underline]] , and
begin organizing Re/Member [[underline]] This House. [[/underline]]
Have money in tune, from [[underline]] G's Room [[/underline]] The
Directoe, and part of the crew are due here on June 26[[number 2 drawn
over number 1]] which will take care of the mortgage on This house and
the ten thousand still done on Mama's house. If you and Mama do not
come here. I will come home for my birthday. And, then, I'll be over there
for a while. Will be leaning on you, brother,a little bit. It's going to be a
[[strike]] g [[/strike]] rough gig, but it must be done! and, in many ways,
you know me far better than I know myself.
I'm staring at sixty, Isn't that something! Help me from here on out, to
[[underline]] keep the faith. [[/underline]]
love, Jamie
[[preprinted letterhead]]
ALEX HALEY
_______________________________
13 RUE DU DR. M. PROVENCAL
06 HAUT DE CAGNES, A.M., FRANCE
[[/letterhead]]
January 18, 1968
Hi, baby . . the day's mail contained from George Sims a clipping from
Pittsburg Courier, or [[underline]] New [[/underline]] Courier, which
apprisdes, now, what's going to be proferred as Lou [[strikethrough]]
[[illegible]] [[/strikethrough]] Lomax's "hook."
Dig. "Special research--" . . the lead, key words. [[underline]]
That[[/underline]]'s going to be the ground he takes to write on.
Dig -- on down through the piece, the subtly-nuanced "Malcolm X was
not what he's necessarily popularly imaged." You know?
Then, in the conclusion, dig the pejorative-imaged verb "bulging" . .
"demi-god," and then, finally, the more direct "He was a growing
menace--"
Likely, Lou himself wrote the release. It's really a most able piece of
subtle-damning, clinically.
Just as one reason, out there proximate as he is to Ron Karenga's and
others' groups, whose bitter, pent-up members like to wear around their
yellow sweat-jerseys imprinted with a likeness profile, beneath which is
"Saint Malcolm" -- you know? I really wouldn't particularly care to be Lou
Lomax. He either is very brave, or very foolish.
..
Mailed you last night a letter re proposed interview itinerary, 27th-28th.
Look forward to it! ^[[One of the greater interviews Playboy's ever had is
our polemical.]]
The best, to all!
^[[alec]]
8S.PP.110S
Alex Haley
13 Rue Du Dr. M. Provencal
06 Haut de Cagnes, A.M, France
January 17, 1968
Dear Jimmy:
Damn typewriter's little golf-ball doesn't strike the characters quite hard
enough against the paper; gives appearance of a weak ribbon. So you'll
just have to bear with it, and peer closely.
As I said, am dropping you a note, now, for both of our planning
purposes, for interviewing. (Even so, I feel sensitive about using up even
a day of that time [underlined] for you; that's time [underlined] 's a
bitch—really, it's all we've got. Only compensations that I can think of
existing are two: next to time, we have nothing more valuable than
whatever, if positive, is our widespread public image; and the particular
Playboy audience, especially with the timing, probably cannot be
matched [underlined] for doing good for yourself and your book, "Tell Me
How Long The Train's Been Gone," which then will just be coming out[..]
for here are over four million maximum book-reading and -buying
readers; and I'll make damn sure that both the introduction and the
interview subtly hypo the book-interest, you know? And then, reason
two, with this same special, damn big audience, you with your material,
and secondarily me, working with your material, can articulate
eloquently The Cause, and the Reasons, and whatever appear to be the
avenues for "Solution"—anyway, for Hope. All of which, God knows, The
Man sorely needs to know. Especially about that time of the summer,
when things damn surely will have happened to have more exclaiming
such as the cliche "What do they want [underlined]?"
Anyway, here's what I've figured out, Jimmy. I'm going to arrive in
London sometimes during the day the Friday the 26th. [Added:] We'll
call, and Friday p.m. will pop in for conviviality a little while, then will turn
in at hotel. We've agreed that we can knock off the bulk in a full working
day, then clean up needed details in maybe three-four hours the next
day. If it's okay with you, I hope we can work all Saturday, then mop-up
Sunday.
Thing is, I'll be squeezed from the other end. After London, I'm going to
hop over to Glasgow for a day (incredibly, I've located [underlined] there:
vital information clarifying forebear "Chicken George") (who was sent
abroad to fight cocks in the 1850's); and thence a day in Dublin. There
I'm going to visit the Chief Herald of Ireland—have him put his seal of
approval on my depth Irish research—those particular forebears. Point
here is that the U.S. descendants, [underlined] if they raise any dust, I
want to have available the capper that not only have I done the
research, and had the aid of a hired professional Irish genealogist, but I
have personally checked it out with the Irish Chief Herald, genealogically
the ultimate office! Dig, baby? I know you do. (Then I've got to make
tracks for the U.S.)
Enjoyed your visit here. The rapport, it's beautiful! Tell you what re the
above time-proposals for the interview: if I don't hear from you, then I will
assume it meets with your okay. Okay?
If you have a minute, drop me a note, anyway. [Signed] Love to all!
All best:
[Signed] Alex
In flight with TWA
13, Rue Du Dr. M. Provencal
06 Haut De Cagnes, AM, France
December 12, 1967
P/N 4602 (10-61)
PRINTED IN U.S.A.
David:
Need you to do me a favor, please. Saturday, flying to Nice, in the ruch
of trying to make my plane, somewhere, somewhere in the London
airport, I mislaid my type recorder. I have the very hopeful feeling that it
would have been turned in to Lost and Found. So today I sent a cable to
"Lost And Found Dept. London Airport" describing the machine -- and
American make, a portable Craig 212 (you will remember it) -- and
asking if they would hold it, saying that it would be picked up within a
week.
What I need you, please, to do for me is telephone there, locate the lost
and found department, and inquire if the machine is there -- and cable
me if it is. And if it is, I guess I've little choice but to ask you to take the
further trouble to pick it up for me, using this letter as identification, and
package and airmail it here. You know, of course, that I'll reimburse you
all expenses whatever. Can't reimburse all the trouble it would involve,
save to say, as you know, I'll do the same for you when, as and if
opportunity presents.
Real problem is that much of my material for the book is on tapes
recorded at various times and places. Happily, I have the tapes. If
[[underline]] they [[/underline]] were lost, I'd be up in the ceiling! If the
machine is lost, then that I can replace . . as I will if you advise me that
the lost and found haven't had it turned in to them.
I guess the quickest way for me to know is if you will cable me either
way, if they say they don't have it, or if they do. I tried today to telephone
them, without luck. French operator said I had to have the specific
number, and of course I don't. Apparently, they don't have the
informational service as is in the U.S. -- especially when it's another
country.
So much for now. Working slowly into the book's main push. Love to
everybody!
[[?]] James [[?]]
U.S.A. ------- EUROPE ------- AFRICA ------- ASIA
[[TWA border along envelope]]
From:
Alex Haley
13, Rue Du Dr. M. Provencal
06 Haut De Cagnes, AM, France
[[to]] Mr. David Baldwin
36 Tedworth Square
London, England
[[two postmarks]]
REGULAR
AIR MAIL
POSTAGE TO COUNTRY
OF DESTINATION REQUIRED
VIA AIR MAIL
First fold here * Plier D'abord ici.
Next fold here * Plier ensuite ici.
TRANS WORLD AIRLINES
U.S.A. * EUROPE * AFRICA * ASIA
TWA
[[postmark]] London A 14 Dec 1967 6A [[/postmark]]
POST YOUR
CHRISTMAS CARDS
BY THE
20TH DECEMBER
For correspondence only - No enclosures please Approved for [[?]] Mail
[[postmark]] 06-SI PAUL - ALPES. MARITIMES
6 H 45
2-12
1987
[[/postmark]]
[[cross symbol]]
970173Z STPAU F
335 2151
250216AA PARIS F
SZCZC ATA979 MTA387 ROF186 317780
PARISOFF DE L ELYSEE 61/56 01 1955
OFF
MONSIEUR DAVID BALDWIN ET
MONSIEUR BERNARD HASSELL
ROUTE DE LA COLLE
06570 SAINTPAUL
J APPRENDS AVEC TREISTESSE LA DISPARTION DE JAMES
BALDWIN LA FRANCE PERD UN AI ET LE MONDE UN GRAND
ECRIVAINE SA VIE SON OEUVRE N ONT CESSE DE TEMOINGNER
POUR LA COMMUNAUTE NOIRE AMERICAINE DONT IL SUT DIRE
LES SOUFFRANCES ET LES ASPIRATIONS JE VOUS ADRESSE
AINSI QU A SES PROCHES MES CONDOLEANCES
PERSONNELLES
FRANCOIS MITTERRAND
COL 06570
NNNN
[[cross symbol]]
970173Z STPAU F
250216AA PARIS F
[[printed on page W.E.B Du Bois Department of African American Studies
University of Massachusetts at Amherst
325 New Africa House
Amherst, MA 01003
(413) 545-2751]]
July 20, 1994
Dearest, dearest David,
Will I ever see you again? Are our lives so separately enmeshed that we
have no opportunity to proceed from the place where Jimmy left us? Or
have we proceeded, is this --are we--the rubble? He will be seventy in a
few days. I see him there where you are (I can do that since I have not
been there since he left.). The lines in his forehead are deeper, a bit
more leathery particularly between his eyes; the leanness of disease
has not left my memory, you see. His hair is almost of an iron whiteness,
receded more on top, thinner, but to compensate, he's finally listened to
me and let it grow longer in the back right at the bottom of his hairline.
And his hands, his beautiful hands, are often stiff with arthritis, but he's
wearing that gold ring with the cracked carnelian all loose on the middle
finger of his right hand again, and he's not in pain, but fully in pace with
the measure of his days and the propulsion of his genius. I see him at
seventy, I do. I do. Will I see you before one of us is seventy, too?
Things are all right. Sometimes they are all wrong, but I think I'm doing
what I'm supposed to, what matters now. It's about getting my work
done, and trying to arrive at the circumstances where I can get my work
done. Financially I think things are worse than they ever have been. I
have no flexibility at all, but you probably know what I mean. You should
do that book of Teddy's photographs, with your own text as a kind of
memoir of who Jimmy was then when he was running with and working
with Teddy. I haven't read David Leeming's book yet. Don't know what to
say to him because of it. I just can't treat Jimmy as a retrospective
subject. I just plain can't. I bought David's book and that's the best I can
do right now. The reason I love photography is that it can make a person
live again in somebody's memory. Sometimes I have my big view
camera out, and I think, if I could just photograph Jimmy, if I could just
part the dust and dimensions of these seven years since last I saw him,
just a crack, just enough to let the lens through...I wouldn't ask for more,
just a glimpse of him, a new memory at seventy. It takes only one onehundredth of a second on that old camera if the light is right.
This is all run together, like thoughts and tears and the missing of him
and you with all the rest of what my life is. I love you both still and
always.
^[[Cyndie]]
[[printed on page - The University of Massachusetts is an Affirmative
Action/Equal Opportunity Institution]]
[[seal]] University of Massachusetts 1863 [[/seal]]
UNIVERSITY OF MASSACHUSETTS
AT AMHERST
Cynthia Packard
W.E.B. Du Bois Department
of Afro-American Studies
325 New Africa House
Amherst, MA 01003 U. S. A.
2-79638
[[stamped]] VIA AIR MAIL [[/stamped]]
[[postmark]] AMHERST JUL 22' 94 MASS. P6 Meter 6139674 U.S.
POSTAGE 0.50 [[/postmark]]
Mr. David Baldwin
Route de la Colle
Saint Paul de Vence 06570
[[underlined]] France [[/underlined]]
[[preprinted]] RICHARD AVEDON INCORPORATED, 407 EAST 75TH
ST. NEW YORK, NY.Y. 10021. 879-6325 [[/preprinted]]
October 15, 1993
Dear Gloria Baldwin Smart,
I am writing to you on behalf of Richard Avedon who took this picture
of James Baldwin in New York in October of 1946.
I was hoping you would be able to tell me who is in the picture with
James Baldwin + the address of your home at this time.
I need this information to use as caption information in the Whitney
catalog to accompany the exhibit there in March.
[[preprinted]] RICHARD AVEDON INCORPORATED 407 EAST 75TH
ST., NEW YORK, N.Y. 10021 879-6325 [[/preprinted]]
I was unable to find your phone number. If you could please call me I
would be most thankful. Phone here is 879-6325.
Thank you very much.
Alexandra Truitt
GUEST
FOURTH ASSEMBLY
Mr. James Baldwin
USA
OIKOUMENE
WORLD COUNCIL OF CHURCHES
FYRIS HALL
ANTA
Theatre
PLAYBILL
the magazine for theatregoers
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[[end page]]
[[start page]]
[[photograph of man driving car and woman dancing]]
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[[start page]]
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only on fabrics which meet its rigid shrinkage requirements under its
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Make sure you see it on the label. If you don't, stomp off. Or see the
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[[end page]]
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[[end advertisement]]
PLAYBILL
VOL.1 APRIL 1964 No. 4
Gilman Kraft
[[italics]] Chairman of the Board [[/italics]]
Thomas A. Steinfeld
[[italics]] President [[/italics]]
Alexander H. Carver, Jr.
[[italics]] Vice-President [[/italics]]
Abe Landau
[[italics]] Vice-President [[/italics]]
Walter Wager
[[italics]] Editor [[/italics]]
Leo Lerman
[[italics]] Consulting Editor [[/italics]]
PLAYBILL is published monthly in New York, Philadelphia, Washington,
D.C., Boston, Los Angeles and San Francisco. New York edition is
published by Playbill Incorporated, 1180 Avenue of the Americas, New
York, N.Y. 10036. Printed in the U.S.A. Title Playbill (R).
[[bold]] CONTENTS [[/bold]]
[[bold]] 5 THEATRE ROUND-UP [[/bold]]
Reported by Playbill correspondents
[[bold]] 11 THE PRINCE OF DENMARK -- FOUR VIEWS [[/bold]]
By Richard Burton, Sir John Gielgud, Maurice Evans, and Christopher
Plummer
[[bold]] 19 THE PLAY [[/bold]]
[[bold]] 31 THEATRE QUIZ [[bold]]
[[bold]] 39 PETER SELLERS' LONDON [[/bold]]
By Sandy Lesberg
[[bold]] 41 ENGLAND: THE LAND OF SHAKESPEARE? [[/bold]]
By Malcolm Mggeridge
[[bold]] 47 WINING AND DINING DIARY [[/bold]]
By Sylvia Leonard
[[bold]] 49 unLIKELY CASTING [[/bold]]
Drawn by Hirshfeld
[[bold]] 50 THE BARD IN AMERICA 1730-1964 [[/bold]]
By Louis Marder
[[bold]] ON A PERSONAL BIAS [[/bold]]
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[[end page]]
[[start page]]
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[[end page]]
[[start page]]
[[bold]] theatre round-up [[/bold]]
[[bold]] New York [[/bold]] celebrates this 400th anniversary of the Bard's
birth by welcoming the star-studded new production of [[italics]] Hamlet
[[/italics]], directed by Sir John Gielgud and offering Richard Burton as
the doomed Dane. In addition to such talented veterans as Alfred Drake,
Hume Cronyn, Eileen Herlie and Barnard Hughes, it features a
remarkable young ophelia in Miss Linda March. Shakespeare addicts
will also have a chance to view two splendid productions of [[italics]]
King Lear [[/italics]] (with Paul Scofield in the title role) and [[italics]]
Comedy of Errors [[/italics]] in May w hen the Royal Shakespeare
Theatre Company arrives at Lincoln Center's virginal New York State
Theatre.
Four nights after Burton blooms on Alexander Cohen's ersatz
Elsinore, Paul Newman and Joanne Woodwards open in a new comedy
titled [[italics]] Baby Want A Kiss [[/italics]]. Written by James Costigan
and produced by the Actors Studio Theatre, it is a saga of two
Hollywood luminaries who visit a recluse writer. On stage as the scribe
will be none other than Mr. Costigan.
The National Repertory Theatre, currently on a cross-country tour,
brings two of its 1963-64 productions to Broadway this month. Under the
auspices of ANTA, a four-week limited engagement opens on Sunday,
April 5th, at the Belasco Theatre. The two plays to be offered are Onton
Chekhov's [[italics]] The Seagull [[/italics]], adapted and directed by Eva
LeGallienne, which opens April 5th, and Arthur Miller's [[italics]] The
Crucible [[/italics]], directed by Jack Sydow, opening the next evening,
Monday, April 6th. Thereafter the two plays will alternate.
New York will see two more big musicals this spring, both on theatrical
subjects and both set in the 1930s. The first, arriving April 20th, it
[[italics]] Cafe Crown [[/italics]], starring Sam Levene and Theodore
Bikel. It deals with a family-managed Yiddish-speaking theatrical troupe
on Lower Second Avenue. Local artists and intellectuals congregate in
the restaurant of the title -- Levene as a prosperous restaurant busboy
with the instincts of an art patron, Bikel as the patriarchal leader of the
theatrical troupe. The musical derives from Hy Kraft's 1942 comedy of
the same name, and is the second this season written by a playwright
as an adaption of his own earlier work. (N. Richard Nash transformed
his [[italics]] Rainmaker [[/italics]] into the current musical [[italics]] 110 in
the Shade.)
The Second theatrically-oriented musical en route (opening May 26) is
[[italics]] Fade Out - Fade In [[/italics]], starring dynamic Carol Burnett.
Miss Burnett and Scenic Tina Louise play young New York
BELOW LEFT: [[italics]] Paul Scofield in [[/italics]] King Lear
BELOW RIGHT: [[italics]] Stanley Holloway and Sheila Sullivan
rehearsing for [[/italics]] Cool Off!
[[end page]]
The Incomparable Imperial is now on Proud Display at these Imperial
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[[first column]]
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[[/first column]]
[[second column]]
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[[third column]]
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[[/third column]]
[[fourth column]]
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[[end page]]
[[start page]]
[[image of car ad]]
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[[image - sketch of theater seats with a few audience members]]
Send for the first volume in a new series on the Repertory Theater of
Lincoln Center
THEATRE VOLUME 1
Here, in a handsomely designed, beautifully illustrated new book, is the
behind-the-scenes story of the inaugural season of a new kind of theatre
in America, the Repertory Theater of Lincoln Center---what it is, how it
came into being, what it can mean to the theatre in general in the United
States.
THEATRE: VOLUME 1 contains original articles by some of the bestknown names in the modern theatre:
ALFRED HARBAGE on the repertory theatre of Shakespeare's day;
HAROLD CLURMAN on Arthur Miller and his plays;
ARTHUR and BARBARA GELB on O'Neill and Marco Millions;
S. N. BEHRMAN in a provocative dialogue with John Simon;
BARRY HYAMS presents ROBERT WHITEHEAD, JO MIELZINER,
JOSE QUINTERO, DAVID HAYS, ELIA KAZAN, and others, each of
whom discusses his own part in the creation of the Repertory Theater;
SANDRA HOCHMAN introduces the twenty-five actors of the Repertory
Theater.
THEATRE: VOLUME I begins a unique project in theater publication.
Illustrated with photographs.
$3.50
Ask for it at your bookstore or use the coupon.
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Please send me __________ copies of THEATRE: VOLUME I @ $3.50
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[[end page]]
[[start page]]
On this 400th anniversary of the birth of William Shakespeare,
PLAYBILL has asked four great actors for their experiences and views
in connection with Hamlet-the Bard's most produced and debated play.
The intriguing replies of Richard Burton, Sir John Gielgud, Maurice
Evans and Christopher Plummer follow.
[[drawing of a crown]]
The Prince of Denmark
four views
[[photograph of Richard Burton]]
Richard Burton
If one man believes that Hamlet is the
tragedy of a man who cannot make up
his mind and plays it that way-then
that is, for three and a half hours, what
Hamlet is. If another believes him to
be a frustrated soldier, envious of "the
delicate and tender Prince...with
diving ambition puffed", than that is
what he is. If another chooses to mince
delicately on high heels, scornful and
scorning, to his deadly appointment with Laertes' rapier then that is what
Hamlet is. These actors have but to
have enough power of personality to
command your attention and their
Hamlets are for a couple of hours what
these actors choose to be, or cannot
help being.
Someone once told me that that the first
Hamlet you see is the one that dominates the rest of your life. I've asked
this of other people and apparently it
is not true. In my case however it is.
The first Hamlet I ever saw was in 1944
at Oxford. The actor was Gielgud. I
was lucky. I saw-and see in my memory-the golden renaissance Prince, witty, scholarly, loving, high-poetic;
infinitely, smilingly, and heart-breakingly melancholy. His was indeed so near perfect a performance that he
nearly killed my ambition. Who could
match him? I thought. Who could
[[second column]]
match him? It was Sir John himself
who later on when I became friends
with him persuaded me, by inference
more than by direct statement, that
every man is his own Hamlet, that
Hamlet (assuming that there is the
initial talent) is so massive that there is room for all.
Who in two or three hundred words,
or for that matter, two or three thousand books can throw light on Hamlet? Thousands of volumes, philosophical, psychological, idolatrous, re11
ligious, political and hate-filled have been written about this most
inconsistent and disjointed creation of Shakespeare. He is so illusive
that he can be (and has been) played as a homosexual, as a man of
action (someone once told me that Olivier's performance of Hamlet was
the best performance of Hotspur he has ever seen), as demoniacal, as
one suffering from satyriasis as a poet, as an intellectual, as a brilliant
but tragic comedian an so on through endless permutations of these and
many other labels. He has even, as we all know, been played by
women. My own theory, if you can call it one, is that no actor has ever
been right or perfect as Hamlet, and that everybody has been right and
perfect. Let me quickly qualify this by adding that any weakness or
strengths of the individual actor will be exaggerated under the blinding
light of this most search [new column] ing of parts. You'll see the man
reveal himself for what he is when the great Prince gets at him--exciting,
vulgar, envious, perversely witty, obscene, poetic, exotic, brave,
cowardly, cynical, romantic, empty, mystical, posturing, lovable,
charming, self-pitying--a combination of some or all of these things and
more, or that most dreaded revelation of all--prosaic, inadequate and
dull.
I have played Hamlet many times and in many ways. I played him first
with no thought of his inconsistencies but with sheer delight in the verbal
magic of each individual scene. I later played him with some attempt to
connect up all the apparent incongruities. (I found this exhausting and
fell back easily into self pity.) I played him again, as Hugh Griffith put it,
as a Welsh preacher, bewildered but determinedly sonorous in the
labyrinthine [new column] ways of Elsinore. I tried him once as a crafty
(but poetically gifted) politician, anxious that never again would anyone
pop in between the election and my hopes. I am, at the time of writing,
playing Hamlet again and there is no knowing in this production [new
column] (and no Hamlet has been given greater freedom or more help
from a director) how this Hamlet will turn out. But whatever the verdict, I
hope that whatever happens, I will not qualify for the last three words of
the previous paragraph.
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Sir John Gielgud
To play the part of Hamlet is the ambition of every young actor. My first
Hamlet in 1929 at the Old Vic was probably somewhat hysterical. The
angry young man of the twenties was somewhat more decadent 9and
rather more affected it now seems to me) than his counterpart in the
fifties and sixties, but the rebellion against convention, the violence and
bitterness has surely always been the same in every generation. The
part demands declamation, macabre humour, passionate violence,
philosophical reflection. There are scenes of love and tenderness,
outbursts of bitterness and despair. It is a temptation for the actor to
develop the possibilities of each scene for its individual histrionic effect,
instead of presenting a complete basic character in which the part may
progress in a simple convincing line. Hamlet must seem to experience
before the audience everything that happens to him in the course of the
play, and the actor must find in himself his own sincerest personal
reactions to every episode. The scenes themselves are so strikingly
dramatic that they may betray the actor into sheer effectiveness (in a
theatrical sense), more easily attained than the truth that will reveal the
man himself. It was only as I grew older and more experienced that I
became aware of these pitfalls.
In spite of all its complicated problems of psychology, I believe Hamlet is
what we actors call a "straight" part. [[new column]] The man who
essays it must obviously be equipped with certain essential qualities grace of person and princely bearing, youth, energy, humor, and
sensitivity. He must have a pleasing voice of great range, and a
meticulous ear for verse and prose. He must be neither slow or
ponderous. He must have wit and gentleness, but also power, edge, and
a sense of the macabre. He must fascinate by his quick changes of
mood. The soliloquies and cadenzas must be spoken in a special way to
distinguish them from the conversational
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[[start page]]
scenes, but without losing either humanity, rhythm, pace, or urgency.
Hamlet must impress us with his lone-
liness and agonies of soul without
seeming portentous or self-pitying.
In no other part that I have played
have I found it so difficult to know
whether I became Hamlet or Hamlet
became me, for the association of an
actor with such a character is an extraordinarily subtle transformation, an
almost indefinable mixture of imagination and impersonation.
I played Hamlet as I imagined him,
using many of my own ideas and
helped by the directors and actors I
had the good fortune to work with in
the various revivals in which I appeared. Hamlet, it seems to me, must
[[second column]]
be re-discovered, re-created, every ten
or fifteen years. The changes in the
world must affect the directors and actors
who seek to create him, as well as
the reactions of the audiences.
The problems of Hamlet can never
be completely solved for the actor. It
is a part of unexampled difficulty and,
though it provides such a variety of
range that no good actor can really fail
in it entirely (for he is bound to succeed in certain scenes), the demands
of the character are so tremendous that
one feels no actor should be asked to
play it more than once or twice a week.
For in such a part the player must really live and die before our eyes. [[image - square]]
[[line across column]]
This statement is excerpted from Sir John's new book,
Stage Directions, just published by Random House.
Maurice Evans
I recall striding around the countryside outside London preparing for my
first attempt at Hamlet at the Old Vic. Book in hand, and declaiming at
the top of my voice, I rounded the corner of a quiet lane to find myself
confronted with a pathetic crocodile of patients from a local mental
institution out for their daily constitutional. I counted myself lucky that
hearing my ravings the warders did not ask me to file in with the rest.
How does an actor come to grips with this compelling role? How can he
tell exactly what Shakespeare meant? Often the choice of a particular
word, if it is thought of in spoken terms gives a clue to Shakespeare's
intention at the moment it is uttered. For instance, when the Ghost
reveals Claudius's guilt, Hamlet exclaims, "O my prophetic soul! My
uncle?" In our modern theatres this line can, if the actor so desires, be
delivered as an aside, but in the roofless Globe of Shakespeare's day,
seating well over a thousand people, and with not a micro[[image - two actors in costume]]
Maurice Evans with Katherine Locke
[[second column]]
phone on hand, the word "uncle" must have been pitched high and loud
to be heard all over the theatre. Admit this to be Shakespeare's intention
and you immediately have the key to the feverish intensity of the
remainder of the scene and in fact, to the proper play-
15
ing of the whole "revenge" motif throughout the play.
It is ironic that Shakespeare's solicitude for his actor-companions
should have been repaid by actors of succeeding generations in such
doubtful coin. I have been unable to trace the origin of the appellation of
"The Gloomy Dane" as descriptive of Hamlet, but it is safe to surmise
that some actor of mournful aspect was responsible for this forbidding
label. All of us who play the part inevitably bring something of our own
personalities into the portrayal and each of us has his own pet theory
about Hamlet's character. The Gloomy Dane makes way for [[next
column]] the Princely Dane (Sir Johnston Forbes-Robertson), the
Intellectual Dane (Sir John Gielgud), for (in my own case) the Soldierly
Dane. Whatever approach the actor elects to adopt he should be
constantly aware of his solemn responsibility, because there is no
question that the impression made by the most recent performance of
Hamlet can have a lasting effect on all who see it. Would I play Hamlet
again? Have the years dimmed my enthusiasm for this play, this role?
Of course not. It is a magnificent challenge that few actors could resist. I
am certainly not one who could [[image - square]]
Christoper Plummer
Hamlet is curiosity. His mind is possessed by it. It perplexes, fascinates
and even threatens his very existence- and at the last is driving him still
to examine minutely that final experience ... death.
He is also an intellectual, a philosopher, an aesthete and only as mad as
any genius is considered mad. He has the serenity of a Galahad, the
poetry of a Dante and the passion of a Christ.
[[image - photograph of two actors in costume]] [[caption for
photograph]] Christopher Plummer as the doomed Dane with Frances
Hyland as Ophelia. [[/caption for photograph]]
[[next column]]
He is a bit of a monster with a touch of the divine, a sprinkling of the
athlete and an abundance of the scholar.
Very much a victim of destiny, Hamlet is both frustrated and cruel and
his flashes of fiery and sardonic wit illustrate that he is probably one of
the originators of "sick" humor.
I disagree with the theory that he is a man of indecision. The truth is that
he has made up his mind many times over and it is only through his selfanalytical precision and towering imagination that he finds himself living
the deed long before he commits himself to its performance. This
questioning of his own motives and the forces surrounding him gives
rise to self-revelations of such complexity they cloud the issue and
prevent his natural instincts for great simplicity and truth from achieving
their ends.
Hamlet could live in any age and his problems would remain valid. I
would never go so far as to say Hamlet is Everyman--he is very much
an extraordinary man. Nevertheless, somewhere deep inside all of us
there is a part of Hamlet.
[[end of page]]
[[start of page]]
I have played the part twice now, most recently on film. I am still just as
puzzled. No actor can ever play it thoroughly and satisfactorily once,
twice or even in a lifetime because so much of the general public over
the last 400 years has brought to the play its own personal and
particular preconception. I doubt there has ever been a definitive
performance.
I've found the concentration required to achieve the correct inner
intensity of the man exhausting and depressing, so much so in fact that
on many occasions it has spilled over into my own life. Naturally, the
moments I enjoy most are those that come most easily to me - the
extrovert side of the man - in other words whenever - as Hamlet - I can
come out of my shell and feel released.
The great challenge in the soliloquies is to make them as intimate as a
whisper, fresh as a new thought, as natural as life and yet never to lose
the beauty and flow of their poetry. When I first played the part I found
these were my weakest moments. I hope to play Hamlet once more
before I'm too old - on the stage again - so that I can experiment in this
respect with the marriage of these two mediums. It is so easy to make
Hamlet self-pitying: I was a bit guilty of this my first time through. Not so,
I hope, the second! As he doesn't possess a scrap of self-pity, this must
be avoided at all costs.
Even though we may or may not be "great" Hamlets, if we have the
chance we must take it, "grapple it to the heart with hoops of steel" ... try
to "tear its passion to tatters", for whatever happens we'll all emerge
better actors for it.
Hamlet will always be there - very much alive and very, very human.
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PREMIERE PERFRMANCE APRIL 23, 1964
ANTA THEATRE
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THE ACTORS STUDIO THEATRE
production of
BLUES FOR MISTER CHARLIE
A New Play by
JAMES BALDWIN
Design and Lighting by
FEDER
Directed by
BURGESS MEREDITH
Dedicated to the memory of Medgar Evers, and his widow and his
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____________________________
FIRE NOTICE: The exit indicated by a red light and sign nearest to the
seat you occupy is the shortest route to the street. In the event of fire or
other emergency please do not run - WALK TO THAT EXIT.
Thoughtless persons annoy patrons and endanger the safety of others
by lighting matches or smoking in prohibited areas during the
performances and intermissions. This violates a City ordinance and
renders the offender subject to a FINE OF $500.00; IMPRISONMENT
OF SIX (6) MONTHS; OR BOTH.
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________________________
CAST
(In order of appearance)
Disc Jockey........FRANKIE (DOWNBEAT) BROWN
Lyle Britten........RIP TORN
Richard Henry........AL FREEMAN, JR.
Rev. Meridian Henry........PERCY RODRIGUEZ
Tom........WAYNE GRICE
__________________________
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In White America
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Utilizing excerpts from actual documents, six actors recreate the history
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22
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Arthur....................CLYDE WILLIAMS
Ken.......................OTIS YOUNG
Mother Henry..............ROSETTA LE NOIRE
Juanita...................DIANA SANDS
Pete......................LINCOLN KILPATRICK
Lorenzo...................DAVID BALDWIN
Parnell...................PAT HINGLE
Jo Britten................ANN WEDGEWORTH
Papa D....................JOHN McCURRY
Hazel.....................PAT RANDALL
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Susan......................PATRICIA QUINN
Ralph......................RALPH WHITE
Ellis......................JOE DON BAKER
Lillian....................ANN HENNESSEY
Rev. Phelps................BILL MOOR
Judge......................RALPH WHITE
Court Stenographer.........PAT CORLEY
The State..................DICK BRADFORD
Counsel for the Bereaved...OTIS YOUNG
Townspeople................BILLIE ALLEN, PAT CORLEY, GRACHAN
MONCUR III, BILL MOOR, PEARL REYNOLDS
Trombonist.................GRACHAN MONCUR III
Drummer....................FRANKIE (DOWNBEAT) BROWN
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25
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There will be Two Intermissions
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The action of the play takes place in a small Southern town.
The time is both in the present and the past.
UNDERSTUDIES
Understudies never substitute for listed players unless a specific
announcement for the appearance is made at the time of the
performance.
For Lyle--Ralph Waite; Jo--Patricia Quinn; Parnell--Dick Bradford;
Ralph--Pat Corley, Bill Moor; Rev. Phelps--Joe Don Baker, Bill Moor;
Ellis--Pat Corley, Bill Moor; Richard-- Otis Young; Juanita--Billie Allen;
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Bereaved--Wayne Grice; Court Stenographer, Judge--Bill Moor.
[[underline]]
THE ACTORS STUDIO THEATRE, the producing arm of The Actors
Studio, is the inevitable outgrowth of the work of the Studio since its
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and directors. With members of The Actors Studio responsible for all its
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the development and the stimulation of individual talent, a trained
ensemble of actors would be created and would serve as the necessary
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Baby Want a Kiss by James Costigan, the James Baldwin play, Blues
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[[start page]]
Open
a bottle of
Memoire Cherie
and lose
your head to
love
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Elizabeth Arden
[[line]]
THE ACTORS STUDIO, INC.
Board of Directors
[[line]]
Lee Strasberg Cheryl Crawford Geraldine Page
Rip Torn
John Stuart Dudley
[[line]]
Secretary to the Corp., Morton Leavy
THE ACTORS STUDIO THEATRE
Administration
[[line]]
Artistic Director................LEE STRASBERG
Executive Producer...............CHERYL CRAWFORD
General Administrator............ROGER L. STEVENS
Production Board
[[line]]
Anne Bancroft Frank Corsaro
Paul Newman
Geraldine Page Arthur Penn Fred Stewart Rip Torn
Michael Wager, Executive Administrator
[[line]]
General Manager, Arthur Waxman
Gen. Press Representative, Samuel Lurie
Legal Counsel, Weissberger & Frosch
[[line]]
The organization of The Actors Studio Theatre has been made possible
by a grant from The Ford Foundation and a matching grant secured and
administered by Roger L. Stevens.
[[line]]
Taking bows since 1872
I.W. HARPER
THE GOLD MEDAL KENTUCKY BOURBON
...it's always a pleasure!
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86 & 100 PROOF KENTUCKY WHISKYS (c) I.W. HARPER DIST. CO.,
LOUISVILLE, KY.
[[51?]]
Who's Who in the Cast
[[first column]]
THE COMPANY
BILLIE ALLEN (Townsperson), performed earlier this season in Funny
House of a Negro. She is also in the film, No Man Walks Alone. JOE
DON BAKER (Ellis) made his Broadway début in Marathon '33. He has
also performed in summer stock and on television in Washington D.C.
DAVID BALDWIN (Lorenzo), James Baldwin's youngest brother, studied
acting along with Luther James and Lloyd Richards for four years. This
is his stage début. DICK BRADFORD (Rev. Phillips, The State) had
roles in Marathon '33, Mother Courage and toured in A Short Happy
Life. FRANKIE (DOWNBEAT) BROWN (Disc Jockey) has performed in
nightclubs such as Basin Street East, Smalls, Count Basie Club, and in
concerts at Carnegie and Philharmonic Halls. He has recorded two
albums, The Swinging Frankie Brown and Top Brass Album. PAT
CORLEY (Court Stenographer, Townsperson) has been seen offBroadway in The Breaking Wall, Look Back in Anger and The Warrior's
Husband. A trained singer, he has also appeared in musical comedies.
AL FREEMAN, JR. (Richard Henry) made his acting début in The Long
Dream and had a leading role in Tiger Tiger Burning Bright last season.
Recently he was a member of the improvisational revue, The Living
Premise and relinquished an important role in Trumpets of the Lord for
this play. He has made three motion pictures, The Rebel Breed,
Torpedo Run, and Sniper's Ridge. He is well known to viewers of
network television. WAYNE GRICE (Tom) was
[[/first column]]
[[second column]]
seen in Moon on a Rainbow Shawl. He toured in Romanoff and Juliet,
played the lead in Walk in Darkness and is in the hit film, The World of
Henry Orient. ANN HENNESSEY (Lillian) appeared on Broadway in
Anastasia and off-Broadway in A Month in the Country and in the recent
Crime and Crime. PAT HINGLE (Parnell) has been one of our most
prominent actors since he made his Broadway début in End as a Man.
He has since acted with distinction in Cat on a Hot Tin Roof, Girls of
Summer, Dark at the Top of the Stairs, the title character in J.B., The
Deadly Game, and last season scored in Strange Interlude. At the
American Shakespeare Festival he figured importantly in Troilus and
Cressida and played the title role in Macbeth. LINCOLN KILPATRICK
(Pete), who made his Broadway début in A Raisin in the Sun, appeared
recently in One Flew Over the Cuckoo's Nest. He played leading roles in
Deep Are the Roots, Take a Giant Step and The Blacks. Among his
television credits are Naked City, Armstrong Circle Theatre and The
Nurses. ROSETTA LE NOIRE (Mother Henry) starred earlier this
season in Tambourines to Glory and Cabin in the Sky. Among her many
Broadway credits are Sophie, Destry Rides Again, the City Center's
South Pacific, Finian's Rainbow and Lost in the Stars, and offBroadway's Clandestine on the Morning Line, Double Entry and Take a
Giant Step. JOHN McCurry (Papa D) was in The Death of Bessie Smith,
The Connection, Finian's Rainbow, The Last Mile, of Mice and Men and
Carmen Jones in New York. He toured the
[[/second column]]
32
[[end page]]
[[start page]]
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33
[[left page]]
[[START PAGE]]
[[first column]]
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[[/first column]]
[[second column]]
world for four years with Porgy and Bess. Most recently he was in Marco
Millions, with the Repertory Theatre of Lincoln Center. GRACHAN
MONCUR III (Trombonist), who makes his acting début here, is a wellknown jazz musician who has played with Ray Charles' Band for two
years and has performed and written a number of jazz dates with Jackie
McLean. BILL MOOR (Townsperson) is making his Broadway début. He
has had roles in The Collection and The Days and Nights of BeeBee
Fenstermaker, and is in the forthcoming motion picture, Fail Safe.
PATRICIA QUINN (Susan) has been seen in New York in The Golden
Six and made her Broadway début in Marathon '33. PAT RANDALL
(Hazel) was seen in the Actors Studio Theatre production of Marathon
'33. She appeared in many roles with the Fishcreek Wisconsin Theatre
Company. PEARL REYNOLDS (Townsperson) has danced in the
companies of Geoffrey Holder, Donald McKayle,Pearl Primus, and
Syvilla Fort. She was seen on Broadway in House of Flowers, Mr.
Johnson, Jamaica and Shinbone Alley. PERCY RODRIGUEZ (Rev.
Meridian Henry) made his Broadway debut in Toys in the Attic. A
Canadian, he appeared in Irma La Douce in Montreal and in Androcles
and the Lion at the Shaw Festival last year in Niagara. Mr Rodriguez
won the best actor award at the Canadian Festival in the title role of
Emperor Jones and appeared on television here in The Naked City, The
Nurses and Route 66. DIANA SANDS (Juanita) is one of the theatre's
most versatile and talented young actresses. Her Broadway debut in A
Raisin in the Sun won her an Outer Circle Award and led to leading
roles in Tiger Tiger Burning Bright, Brecht on Brecht, and The Living
Premise. Miss Sands repeated her role in the film of Raisin in the Sun
and also is starred in the motion pictures, An Affair of the Skin and
[[/second column]]
[[END PAGE]]
[[START PAGE]]
[[first column]]
Ensign Pulver. She has appeared on television in East Side/West Side,
The Nurses, and The Breaking Point. RIP TORN (Lyle Britten), has
appeared on Broadway as Brick, in Cat on a Hot Tin Roof, Tom Jr., and
later Chance Wayne in Sweet Bird of Youth, Carlo Rienzi in Daughter of
Silence and as Ned in Strange Interlude. He received the Theatre World
Award for his performance in Chaparral which he co-produced offBroadway. Mr. Torn is particularly remembered for his many television
portrayals including this year’s The Lieutenant and Eleventh Hour.
RALPH WAITE (Ralph, Judge) made his New York debut in The
Balcony. His first Broadway appearance was with The Actors Studio
Theatre’s Marathon ‘33. ANN WEDGEWORTH (Jo Britten) played Julie
in Make a Million, and was in the successful off-Broadway revival of The
Crucible , in The Days and Nights of BeeBee Fenstermaker and in
Chaparral. She has made tours in Period of Adjustment, Come Blow
Your Horn, The Tender Trap and Goodbye Again. Miss Wedgeworth is
in the forthcoming films, Come Thursday and Andy. CLYDE WILLIAMS
(Arthur), singer, musician, as well as actor, made his Broadway debut in
Tambourines to Glory earlier this season. OTIS YOUNG (Ken, Counsel
for the Bereaved) is making is acting debut. He was stage manager for
the Broadway productions of In the Counting House and Tambourines to
Glory.
JAMES BALDWIN
The Author
Mr. Baldwin has become, by popular demand, a spokesman for an
entire generation of Negroes and whites. His novels are Giovanni’s
Room, Go Tell it on the Mountain and Another Country, and he has
published three books of essays: Nobody Knows My Name, Notes of a
Native Son and The Fire Next Time. Mr. Baldwin is the
[[/first column]]
[[second column]]
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[[END PAGE]]
[[first column]]
winner of a number of literary fellowships and awards including a
Eugene F. Saxton Memorial Trust Award, a Rosenwald Fellowship, a
Guggenheim Fellowship, a Partisan Review Fellowship and a Ford
Foundation Grant. His stories and essays have appeared in many
magazines here and abroad. This is Mr. Baldwin’s first play to be
produced in New York. Another play of his, The Amen Corner, is
currently a success on the West Coast.
BURGESS MEREDITH
The Director
Mr. Meredith is one of our most distinguished actors and directors.
Among the highlights of his acting career are those memorable
performances in Winterset, High Tor, Candida, Playboy of the Western
World, the revival of Liliom and The Remarkable Mr. Pennypacker. In
addition to more than twenty-five major films which he either directed or
appeared in, two directorial high-points of Mr. Meredith’s career were his
extraordinary staging both here and abroad of James Joyce’s Ulysses in
Nighttown and his introduction of the “word” revue, a conception entirely
his own, with A Thurber Carnival, which found favor with critics and
audiences alike.
FEDER
Design and Lighting
Mr. Feder’s achievements in the theatre, lighting such brilliant
productions as My Fair Lady, Camelot, and countless others, are only
overwhelmed by his architectural lighting accomplishments which
include the lighting of Kennedy International Airport, Rockefeller Plaza,
the U.N. Building, and similar important projects throughout the nation.
Most recently, he designed the lighting for the Pan-Am Building and
Huntington Hartford’s new Gallery of Modern Art.
BLUES FOR MISTER CHARLIE PREMIERE,
April 23, 1964
[[/end first column]]
[[second column]]
MUSIC CREDITS
Don Gardner and Dee Dee Ford singing “What a Thrill” and “I Need
You” by Ford and Elliott, “Now It’s Too Late” by McCoy, “TCB” by Titus
Turner and “I’m Coming Home to Stay,” by Ford and Taylor used by
permission of Mr. Gardner and Miss Ford, Pete Publishing Col, Inc. and
Fast Music Co., Inc. “Riff Raff” and “Carisma: especially composed for
this production by Grachan Moncur III and used by permission of the
composer.
"A Little More Faith" as arranged and sung by the Rev. Gary Davis, used
by permission of Prestige Music Co., Inc.; "Walking the Dog" by Rufus
Thomas used by permission of the composer; "Little Sally Walker" and
"Field Calls," both as recorded on Folkways Records #FE 4417, used by
permission of Folkways Records; "Without Love" by Danny Small used
by permission of Suffolk Music, Inc.; "Cotton Eye Joe," "Boll Weevil
Holler" adapted and arranged by Vera Hall, "Hen Duck" by Lonnie and
Ed Young, "Chevrolet" by Lonnie and Ed Young, "Johnny Cuckoo" by
Bessie Jones, "Sweet Sixteen" by Ray Charles, and "Father Jesus
Loves You" adapted by Estil C. Ball all as recorded by Atlantic Records,
used by permission of Atlantic Records; "Early in the Morning" as sung
by the prisoners of the Mississippi State Penitentiary, used by
permission of Tradition Records.
CREDITS
Thorens Turntable and Octophon Tone Arms courtesy of Elpa Marketing
Industries. Guitar by Goya Guitars, Inc. Phonograph cartridge courtesy
Audio Dynamics Corp. Coca Cola by The Coca Cola Co. Keds by U.S.
Rubber. Lighting equipment by Century Lighting. Sound equipment by
Masque Sounds. Draperies by I. Weiss & Sons. Men's suits by House of
Worsted-Tex. Men's shirts by Sero of New Haven. Bourbon whiskey
courtesy of James B. Beam Distilling Co. Stenograph short hand
machine courtesy of Stenograph Machines, Inc. Rheingold Beer used.
Assistants to the Director ... IRA CIRKER, TALLEY BEATTY
Musical Co-ordinator ... ROBERT CORDIER
Special Consultant ... JEROME SMITH
STAFF
Executive Assistant ... Richard R. Chandler
Production Secretary ... Nan Lanier
Secy. to The Actors Studio, Inc .. Gillian Crowe
Company Manager ... Eugene Wolsk
Press Representative ... Judith S. Davidson
Press Assistant ... Stanley F. Kaminsky
Ass't Manager ... Ronald Bruguiere
Production Stage Manager ... John Strasberg
Stage Manager ... Martin Gold
Assistant Stage Managers ... Otis Young, Wayne Grice
Ass't to Mr. Baldwin ... Robert Cordier
Assistant to Mr. Beatty ... Herman Howell
Master Carpenter ... John Maher, Jr.
Master Electrician ... Sander Hacker
Assistant Electrician ... Harold Larkin
Master of Properties ... Joseph McCarthy
Sound ... Ferris Goodson
Production Wardrobe Supervisor .. Louis Hayden
Wardrobe Master ... Henry Arango
Advertising Representative ... Fred Golden
Merchandising ... On The Spot Productions
STAFF FOR ANTA THEATRE
Managing Director ... Louis A. Lotito
Manager ... William Orton
Treasurer ... Robert A. Carr
Asst. Treasurer ... Herschel Waxman
Asst. Treasurer ... Malvina Williams
Carpenter ... Edward Hauch
Electrician ... Joseph Maher
Property Man ... Martin Fontana, Jr.
House Physician ... Dr. Benjamin A. Gilbert
All products used in this theatre for the promotion of sanitation are
manufactured by the Creco Co., Inc.
[[end page]]
[[start page]]
110 in the Shade
[[image of actors in play]]
The original cast album
captures all the magic for you
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MEMBERS OF THE ACTORS STUDIO THEATRE
[[begin four columns]]
Elaine Aiken | Peggy Feury | Robert Loggia | Paul E. Richards
Sally Alex | Betty Field | Phyllis Love | Mark Richman
Jean Alexander | Robert Fields | Salem Ludwig | Eli Rill
Jared Allen | Jane Fonda | Eleanor Lynn | Doris Roberts
Lee Allen | Anthony Franciosa | Kevin McCarthy | Beatrice Roth
Tamzen Allen | Nancy Franklin | Darren McGavin | Alfred Ryder
Joseph Anthony | Rita Gam | Peggy McKay | Fred Sadoff
Lou Antonio | Jack Garfein | Allyn Ann McLerie | Gene Saks
Robert Armstrong | Sean Garrison | Kathleen Maguire | Pat Sales
Beatrice Arthur | George Gaynes | Liska March | Diana Sands
Tom Avera | Ben Gazzara | Linda Marsh | Thelma Schnee
Carroll Baker | Michael Gazzo | Nan Martin | Alan Schneider
Joe Don Baker | Stefan Gierasch | Scott Marlowe | Henry Scott
Martin Balsam | Lou Gilbert | Nancy Marchand | Joshua Shelley
John Balzac | Lee Grant | Peter Masterson | Madeleine Sherwood
Anne Bancroft | William Greaves | Walter Matthau | Frank Silvera
Aza Bard | Mary Grey | Nona Medici | Delos V. Smith, Jr.
Katharine Bard | Will Hare | Mary Mercier | Lois Smith
Barbara Baxley | John Harkins | Burgess Meredith | Patricia Smith
Vincent Beck | Barbara Harris | Kenn Mileston | William Smithers
Nancy Berg | Julie Harris | Tomas Milian | Harvey Solin
Harbert Berghof | Marcia Haufrecht | Allan Miller | Brett Somers
Richard Beymer | June Havoc | Sally Moffat | Katharine Squire
Edward Binns | Frances Heflin | Bill Moor | Kim Stanley
Rudy Bond | Anne Hegira | Rosemary Nathan | Maureen Stapleton
Patti Bosworth | Robert Heller | Vivian Nathan | Rod Steiger
Ray Boyle | Ann Hennessey | Patricia Neal | Jan Sterling
Lane Bradbury | Jan Henry | Lois Nettleton | Sandra Stevens
Dick Bradford | Gerald Hiken | Paul Newman | David J. Stewart
Joceyln Brando | Steven Hill | Alex Nicol | Fred Stewart
Hilda Brawner | Pat Hingle | Leslie Nielsen | John Stix
Geraldine Brooks | Jane Hoffman | Eulalie Noble | Arthur Storch
Roscoe Lee Browne | Ellen Holly | James Noble | John Strasberg
Chad Burton | Celeste Holm | Eavan O'Connor | Paula Strasberg
Hope Cameron | Claire Hooton | Gerald O'Loughlin | Susan Strasberg
Carolee Campbell | Geoffrey Horne | James Olson | Michael Strong
Joan Chandler | Jennifer Howard | Alba Oms | Shepperd Strudwick
Lonny Chapman | Michael Howard | Patrick O'Neal | Joseph Sullivan
Dane Clark | Robin Howard | Margret O'Neill | Inga Swenson
Miriam Colon | Gloria Hoye | Geraldine Page | Franchot Tone
Carlton Colyer | Kim Hunter | Betsy Palmer | Rip Torn
Michael Conrad | Davil Hurst | Estelle Parsons | Nadyne Turney
Joan Copeland | Earle Hyman | Lucille Patton | Jo Van Fleet
Frank Corsaro | Anne Jackson | Albert Paulson | Andreas Voutsinas
Anthony Costello | Clifton James | Leo Penn | Michael Wager
Norma Crane | Conrad Janis | George Peppard | Ralph Waite
John Crawford | Salome Jens | Anthony Perkins | Eli Wallach
Rebecca Darke | James Karen | Nehemiah Persoff | Frances Waller
Clifford David | Bernard Kates | Lenka Peterson | Ray Walston
Tamara Daykarhanova | Sandra Kaufman | Avra Petrides | Janet Ward
Libbie Dean | Don Keefer | Margaret Phillips | Lesley Warren
Olive Deering | Maya Kenin | Ben Piazza | David Wayne
Gabriel Dell | Philip Kenneally | Sidney Poitier | Dennis Weaver
Bruce Dern | Clinton Kimbrough | Hunt Powers | Tom Wheatley
Bradford Dillman | Adelaide Klein | David Pressman | Christine White
Dolores Dorn | Shirley Knight | William Prince | James Whitmore
Kay Doubleday | Martin Landau | Joan Potter | Collin Wilcox
Keir Dulleia | Bryarly Lee | Patricia Quinn | Ann Williams
Mildred Dunnock | John Lehne | Logan Ramsay | Gene Wilder
Richard Durham | Ron Leibman | Pat Randall | Iggie Wolfington
Robert Emmett | Loretta Leversee | William Redfield | Shelley Winters
Annette Erlanger | Viveca Lindfors | Robert Reed | Joanne Woodward
Tim Everett | Joanne Linville | Elliot Reid | Melanie York
Don Fellows | Lily Lodge
38
[[end left page]]
[[start right page]]
[[headline]] Peter Sellers' London [[/headline]]
by Sandy Lesberg
[[image: cartoon drawing of a man and a double decker bus]]
From the broadest view of this city T.S. Eliot once called "unreal" - the
roof of Mr. Hilton's unlikely though impressive contribution to the
landscape - to the tiny bearded colony of sidewalk artists defiantly
displaying their wares directly across the street from the serene and
august Royal Academy - all items between pertaining to London belong
to Peter Sellers.
Born near that Hampstead Heath, he has coincided his amazing rise to
international prominence with an ever increasing hunger to draw the
world to him rather than to set sail into the myriad directions of his fame.
Tell him of a feast in Rome that consumed the taste buds and
obliterated for all time the pangs of hunger and he will carry you off to
Tiberio's on Queen Street, Mayfair, where the decor, impressive of early
Rome, does not jar too heavily with the youthful spirit of its affluent
patrons
I tried to turn him to Paris, a mere hour away by plane, and instead he
led me to an unimpressive looking shopfront which was transformed
upon opening the door into a French bistro non pareil in any place other
than perhaps a stage set. Au Jardin des Gourmets. And to impress me
even more, or perhaps to preclude my suggesting an even longer trip,
he lured me on the next night to Kensington where I was regaled with
the, always to me, improbable delights of authentic Chinese cooking.
This, an establishment call Fu Tong.
I asked him about Sunday and leisure? He led me to a hidden part of
Westminster Abbey, the Little Cloister, where the gentle tones of the
fountain
[[end first column]]
[[start second column]]
playing in the center seemed to persuade away the raucousness of the
surrounding traffic noises.
"If there's such a thing as repose and peace, then I should think that this
is it," he said.
"What about pubs? Certainly in your London, there must be a favorite
pub, I challenged hopefully" The answer was as forceful as it was
unexpected. "There is no reason for pubs," he said. "They smell of stale
beet. You can't see in or out of the windows and all in all, they're a very
peculiar English institution which survived despite itself."
And then, apparently to soften his blow to the Commonwealth solidarity,
[[Italicized, in smaller print]]
Mr. Lesberg, broadcaster, writer and travel authority, is well acquainted
with many celebrated persons in the performing arts here and abroad.
[[/italics]]
39
[[start first column]]
he admitted that the King's Head and Eight Bells on Cheyne Walk in
Chelsea, was after all not so bad. His qualification, however, was that he
goes there only in the spring when he can sit and sip his beet quietly
outside on the pavement in the open air. Invariably we got back on the
subject of food. It seemed to me that the one area I had not been
exposed to was "typical English food." On the site of what used to be a
Hungarian restaurant, there now stands The Hunting Lodge, and the
menu placed bfeore me included Yarmouth bloaters, steak and kidney
pie, jugged hare, grilled kidneys and a delightful melange called bacon,
egg and anchovie tart.
Talking to him on the set of [[italics]] A Shot in the Dark [[/italics]], his
latest movie, he insisted that I see what certainly must be one of the
most well-known tourist spots in the world, Trafalgar Square. Here,
Henry Iving augustly surveys his perpetual domain, which can best be
described as a wonderful potage of politics mixed with starlings.
Before leaving, there was just time for me to see his latest art acquistion,
a modern abstract painting by Walter Nessler. Sellers frequents the
Hampstead New End Gallery where Nessler exhibits.
Finally, we were at the airport, and I said to him, "Peter, with all you've
shown me and all you've told me, I
[[image: two photographs]]
40
feel as though I've just got part of the picture. Do you think that you
would feel so strongly about London if you had been born somewhere
else?"
"Of course," he replied without hesitation.
"The answer," he said, "is that when the weather here is the most
ghastly, and the fog the deepest, and the wind the most biting, and the
inside of the house not much warmer than the outside, and glowing
letters arrive from newly emmigrated relatives in America and Italy and
Africa, and when the table fare at night is somewhat meager, and even
when the whole world seems about ready to go to pot, this is when the
Londoner's eyes will be the brightest and his grip the surest and his
smile the heartiest. He may not come out and say so, but out of his
centuries of tradition, the one thing he is always sure of is that he is free,
and knowing this, he has no reason ever to be anything but a complete
optimist - always. And if you think for a moment, a threat to his freedom
is about the only thing that ever got him riled up over the last few
centuries. That's about the best reason I know to be a Londoner."
As he finished talking, I noticed that the clouds were a little deeper, and
that the day was beginning to darken considerably. I looked around at
the people near us and sure enough, the Bobby was beginning to smile,
the BOAC stewardess was almost gushing as she invited me aboard,
and with the onrush of the poorer weather, it seemed to me that even
Peter Sellers had straightened his shoulders a little bit and was being
revitalized before my very eyes. I hurriedly clapsed his hand and rushed
for the boarding ramp, content with the thought that soon the severest
storm of the year would be upon us and all London would be resounding
with optimistic laughter
[[end left page]]
[[start right page]]
England:
[[image: painting of William Shakespeare]]
the land of Shakespeare?
by Malcolm Muggeridge
Shortly after the outbreak of the 1914-18 war, the then Regius Professor
of English Literature at Cambridge University, Sir Arthur Quiller-Couch,
in an access of patriotism valiantly proclaimed: "Shakespeare shall
never be theirs!" He was referring, of course, to the Germans, who had
produced some of the longest, most turgid and excruciatingly boring
works even in the field of Shakespearean criticism. Whether the
Professor expected an enemy landing-party to take off the folios, the
famous bust, and perhaps kidnap him, we shall never know. Like other
occupants of his distinguished Chair, he has been totally forgotten.
In any case, his boast was made good. Shakespeare remained, and
remains, outs, despite numerous take-over bids from different parts of
the world. We English may have lost our Empire, but we still have our
Bard.
This is the more remarkable in that everything possible is done to make
him distasteful to us. He is taught in our schools in a manner which, if
applied to "The Memoirs of a Woman
of Pleasure" would make Fanny Hill unpopular among the senior boys.
Children are induced to toil through his plays with a view to preparing
themselves to spot contexts and engage in other examinational
imbecilities.
Then actors! The moment they get into doublet and host, and feel
themselves within sight of playing Hamlet, their voices take on a kind of
neighing, groaning tone, as standardized in tis way as an Anglican
clergyman's "dearly beloved brethren." Some of our contemporary
maestros are decidedly illustrative of Shakespeare's own views on
actors and acting:
Speak the speech, I pray you, as I pronounce it to you trippingly on the
tongue; but if you mouth it, as
[[image: line bisecting column with a photo of the author beneath with
text along side photo as follows]]
Malcolm Muggeridge, who has ascended from the editorship of Punch to
the role of international iconoclast, is known on both sides of the Atlantic
as Britian's most amusing critic.
41
[[start left page]]
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many of your players do, I had as lief the town-crier spoke my lines. Nor
do not saw the air too much with your hand, thus; but use all gently...O,
it offends me to the soul to hear a robustious, periwigpated fellow tear a
passion to tatters, to very rags...
Again, the creator of Falstaff and Shallow has, with indecent assiduity,
been taken tot he bosom of those (as the Book of Common Prayer
felicitously puts it) set in authority over us. Politicians quote him, Bishops
bring him unctuously into their sermons; his words ring out unsuitably in
boardrooms, and echo through the stricken Groves of Academe. Poor
Shakespeare! Polonius has been taken as the true style of his satirical
creator.
Next to showing the founder of the Christian religion round the Vatican, I
should most like to be appointed Shakespeare's conducting-officer on
the occasion of his return to earth to attend his own quatercenenary
celebrations. What would he not make of the municipal ceremonies, with
Worshipful Mayors in their chains of office and robes, and Lady
Mayoresses similarly accoutred beside them? What of the State
banquets, cigar-smoke wreathing upwards and brandy seeping
downwards - "Your Royal Highness, Your Grace, Your Excellencies, My
Lords, Ladies and Gentleman, I give you the toast of our famed national
poet and patriot, the greatest Englishman of them all, William
Shakespeare!"? Amidst the hiccoughed "hear! hears!", the diners lurch
to their feet, tiaras flashing, orders and decorations gleaming. Only my
charge remains seated, his face wearing an air of abstraction.
Something about the speaker has reminded him, perhaps, of one of his
own favourite creations:
I do remember him in Clement's Inn like a man made after supper of
[[end second column]]
[[end first page]]
[[start second page]]
a cheese-paring; when a' was naked, he was, for all the world, like a
forked radish, with a head fantasically carved upon it with a knife; a' was
so forlorn that his dimensions to any thick sight were invisible; a' was the
very genius of famine, yet lecherous as a monkey, and the whores
called him mandrake.
Imagine, too, accompanying Shakespeare on a visit to Stratford-onAvon. Ah! that would be something. Ann Hathaway's Cottage! That
termagant! one hears him expostulating, to the scandal of guides and
visitors alike. Why, she never had a cottage, or a bed either, until I
bequeathed her my second-best one. Altogether, the presence of the
Bard himself in this, the most sacred and most bogus of the shrines
maintained in his honour, could not but be highly diverting.
Then, whenever the round of ceremonies palled, there would be the
libraries. Heaven knows how many billions and billions of words, mostly
nonsensical, have been written on the subject of Shakespeare and his
plays, including the not inconsiderable number dedicated to the
proposition that he was Bacon. How could he fail to find inexhaustible
entertainment in turning over the pages of these bizarre volumes.
It used to be the fashion half a century ago, whenever two or more were
gathered together to the greater glory of Eng. Lit., to dilate upon the
course of Shakespeare's life, from the youthful enchantment of the
comedies, through the maturity of the histories, to the dark night of the
soul in the tragedies, moving thence into a serene and peaceful last
phase culminating in The Tempest. Even as a child it seemed to me that
the character of Caliban scarely betokened serenity, but for many a year
the theory held, its chief begetter and propagator being an es[[end first column]]
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[[start left page]]
[[first column]]
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timable Dublin clergyman, the Rev. Edward Dowden.
It was the irrepressible Frank Harris who finally overthrew Dowden. With
his famous dyed moustachios bristling, he went into the fray, insisting
that the creator of the character of Shakespeare's Cleopatra knew more
about fornication than could possibly have been picked up in the course
of his very occasional encounters with Ann Hathaway. Harris, it was
clear, identified himself with Shakespeare, and, unlike the Rev. Edward,
saw him as being as prone as he was to (in Othello's bitter phrase) "cry
ho! and mount."
As for the Sonnets, has any composition in human history called forth
such an outpouring of fantasy, folly, special pleading and extravagant
invention as they have, down to, and including, our own time. Dr. A.L.
Rowse's recent offering can hold its own with the choicest past efforts. It
was à propos a discussion of the Sonnets at the Café Royal that Harris
made his famous remark: "If Shakespeare had asked me I should
perforce have yielded." Harris' charms, such as they were, were
emphatically heterosexual. Max Beerbohm, who was present, could not
forbear making a drawing of this inveterate womaniser feeling bound,
out of love for English letters, to yield to the Bard's perverse
importunings. There are those who have seen the drawing, but I fear it
has now been destroyed. A pity.
There can be little doubt that Shakespeare brings out all that is worst in
us English. The odious rhetoric of Henry V has provided a model for
many a subsequent political big-mouth; Hamlet's spurious selfcommunings have given rise to much in a like vein on the part of
pedagogues, preachers and miscellaneous pundits. It is not for nothing
that these two plays have long
[[/second column]]
[[/left page]]
[[right page]]
[[first column]]
been our favourites (though not, I may say, mine) on stage, screen, and
now television. Bombast and moralising are our national vices, and
Shakespeare, who judged as nicely as any Sam Goldwyn what the
traffic would bear, provides for both abundantly.
I was fortunate enough when young to see many, if not most, of
Shakespeare's plays at the Old Vic. There were special weekday
matinees for elementary schoolchildren, the cost of admission being
threepence. We went by tram at a reduced rate on an interminable
swaying journey from Croydon, where I lived, to Blackfriars. Sybil
Thorndyke was in the company, and I saw her play all the main
Shakespearean roles. There have, as I now think, been greater
actresses, but for me, because of those early wondrous performances,
she has still a glamour and a glory possessed by no other.
At the end of the 1939-45 war I went to the Old Vic again, after an
interval of many years to see As You Like It. It was a junior company;
kids. I expect they are all famous stars now, but I never found out their
names. The theatre had not been repaired from the Blitz; only patched
up. One could distinctly see the sky and stars through the roof in one or
two places. Some parts of the auditorium, as I recall, were out of action,
and the stage bore evident signs of improvisation. I arrived late for some
reason and saw my family in their seats before they saw me. The
children gathered round their mother were quite rapt, as I had been in
that same place in my time. The battered theatre, the youthful actors
and actresses and the lines they were speaking, my own rapt children,
all combined to give me a feeling of overwhelming pride and delight that
I should have had the immeasurable good fortune to speak
Shakespeare's language and be his countryman.
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A BIT OF BALI - 127 W. 43 - Native dishes of Bali, Java & India.
Fabulous RIJSTTAFEL (25 dishes) as served in "Bali" of Paris, London
& Amsterdam. Open daily for L. D. & S. - Sun. D. Free Parking D.
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AFRICAN ROOM - 156 W. 44 (at Bway). Jungle décor. D&S African
Spec. Exciting Afro-Carib revue 9-4 A.M. Catering, Sweet Sixteen Safari
Parties. Dinner Patrons invited back after theatre at no min. chg. JU 67575.
ALBERT FRENCH RESTAURANT - 42 E. 11th St. Complete dinner incl.
all the sirloin steak, fried shrip or ham steak you can eat for a fantastic
$2.95! Incl. Sidewalk Cafe & Free Guided Village bus tour. Bar. L. D. OR
3-3890.
CAFE LUCCA - 110 W. 44th St. Pre-theatre-luncheon. Dinners of all
Italian Specialties, served by candlelight in Fountain Room. L. 11:30
A.M. - $1.60 up. D. 3:00 P.M. $2.40 up. Cl. Sun. Amer Exp., Carte
Blanche, JU 2-9400.
THE CATTLEMAN - Elegant "adult Western" steak house at 47th St. &
Lex. Ave. Bill Farrell at the piano. 6-oz. cocktails. Daily till 2 A.M. YU 64988. SHOW YOUR TICKET STUBS (before or after theatre) FOR A
SURPRISE!
CHANDLER'S - 49 E. 49. PL 1-1960. Famous for prime steaks, roast
beef, autographed lobster. Caesar or tossed salad included with more
than 30 entrees. L.-D.-Supper. Open 11:30 A.M.-1:00 A.M. Diners' Club.
Amer. Exp.
CHINA BOWL - 152 W. 44th St. (B'way & 6th Ave.) Authentic
Cantonese Cuisine in the heart of Times Sq. Luncheon Dinner & After
Theatre. Featuring combination plates & Family Dinners. Cocktails. JU
2-3358.
DAVY JONES SEAFOOD HOUSE - 103 W. 49th (just off 6th). Serving
the ultimate in fine seafood L. fr $1.65, a la carte entrees fr $1.95. Aftertheatre snacks. Delightful decor. Cocktail Lounge. Free park. fr 5:30
P.M. JU 6-2936.
FUSCO'S-STAR-GAZING NITELY. Rain or shine the "Broadway stars"
appear at Fusco's for pre-theatre dinner. Join them! Near all theatres at
54 W. 45th St. D, S, music. Open til 4 AM. OX 7-2788. Having a
nightcap tonite?
GRANADOS - 125 MacDougal St. COME LATE - Dinner & Supper
served until 2 A.M. Original Spanish dishes in delicious variety. Colorful
atmosphere. Quiet Flamenco guitar nitely. Open daily. OR 3-5576.
KING OF THE SEA - 879 3rd Ave. (53rd St.) America's foremost
seafood house featuring Imperial, Stone, Dungeness & King Crabs.
Open daily 11:30 A.M.-11:30 P.M. EL 5-9309. Free Parking. L. D. A.C.
LA BOURGOGNE - 123 W. 44th St. CHEESE SOUFLEES. A real
French bistro; caters to before and after theatre clientele. L. 12-4, $1.95
up. Mon. thru Sat. Dinner 4 P.M. to 1 A.M., $2.95 up. Closed Sunday.
JU 2-4230.
LE RELAIS - 129 W. 48th St. CI 5-5448-9. In the heart of the theatre
district. French Provincial Cuisine. Luncheon, Cocktail Lounge, Dinner.
Specializing in after theatre snacks, Friday and Saturday.
LE VERT-GALANT - 60 W. 48th St. French cuisine. L $2.35 up. Hot hors
d'oevres served with cocktails. Complete D $2.95 up til 11 P.M. Aftertheatre dinner. Maurice - Chef & Owner. [[Cl.?]] Sun. All Credit cards. JU
2-7989.
LES PYRENEES - 251 W. 51st St. Superb French Restaurant, favorite
with Theatregoers, Provincial decor. After-Theatre Dinner 'til midnight,
Cocktail Lounge. Recom. by Holiday. Sun. from 4. Luncheon, Dinner. CI
6-0044.
LIVING ROOM - 915 2nd Ave. (49). EL 5-2262. Intimate night spot.
Elegant love seats. Weekday. Min. $4.50 - Fri. & Sat. $5.50. Food, Bev,
Ent. 9-4. Late Show at 2. Cocktails at 5. Kathy Keegan - Bob Manning Sherry Britton.
MICHAEL'S PUB
3 E. 48th St. PL 8-2272.
Reservation Suggested.
PHILIPPINE HUT - 305 E. 45 St. Authentic & rare native dishes of the
Philippines. Tropical drinks. Spec: stuffed shrimp, stuffed boned
chicken. L Mon-Fri 11-3. D 3-11. Fri, Sat til 2. Cocktail hour 4-6. OR 92644.
SUN LUCK CHINESE RESTAURANTS of New York
IMPERIAL - 935 Lexington Ave. LE 5-4070
GOURMET - 157 West 49 Street. JU 2-8182
WEST - 143 West 49 Street. PL 7-1170
EAST - 75 East 55 Street. PL 3-4930
TOM'S SHANGRI-LA - 237 Madison Ave nr 37 St. MU 3-0996. A new
restaurant serving Mandarin & Cantonese cooking. Open daily - Lunch Cocktails - Dinner. Three private rooms for meetings and parties. Ample
park. after 6 PM.
TOP OF THE SIX'S - 666 5th Ave. (Bet. 52nd & 53rd Sts.). Excellent
food with a continental touch graciously served amid French Provincial
elegance. The View? Just breathtaking! L.C.D. after-theatre sup. Open
Sun. PL 7-6662.
[[end page]]
[[start page]]
Wining and Dining Diary
Beaujolais at 28 W. 56 Street is the confirming human dream of two
handsome young men, Eugène and Roger, formerly with L'Aiglon and
Le Veau d'Or, whose joint hard work and long thought have brought it
into being. It is less than six months old, cares about what it serves,
what is serves is first rate and its prices are a joy. I wandered in last
week for lunch. I had Hors d'Oeuvres Parisienne (50¢ extra), fresh and
individual shredded carrot, crisp, delicately herbed; crunchy lettuce that
actually had a recognizable flavor; tiny mushrooms, succulent, firmfleshed, well sauced and seasoned; moules rémoulades (for a rare
change in this form, fresh plump and savory); celeri rémoulades, juicy
and pungent, with a good chewy bite; beautifully-shaped, fine al dente
beans called sagsa in vinaigrette sauce with onion; tête de veau in
slivers dressed in a piquant vinaigrette sauce I found delicious beyond
words; lastly, my bête "rouge," pickled-beets impossible to believe, even
these I found good!
My next course was the calves liver ($3 on the table d'hôte) - an
extraordinarily large portion (this is typical of the Beaujolais) with bacon,
cut string beans and mashed potatoes, all delectable, the liver properly
cut, not too thick, not too thin, sweet and juicy and, though well crusted,
still tender and rare, as fresh as I would get from my own kitchen.
Altogether memorable. I drank the house red wine - a Beaujolais, of
course - extraordinarily good, with a certain musty strength I found
delightful. (The wine list is remarkably well priced and reliable.) My
desert was the Crême Caramel - creamy, fresh, of good consistency
and color. The service was courteous, deft, unobtrusive yet attentive
and cooperative; the decor - largely red and black - (left over from a
Chinese nightclub) surprisingly attractive and pleasant.
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47
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Another night we had the Quenelle de Turbot Duglère (65¢ extra as an
hors d'oeuvres or $5.25 as the main course) - the excellent sauce well
browned and bubbling, the quenelle itself substantial rather than airy,
robustly flavored, not bland; le Rognon de Veau Flambé Bercy ($5.25) prepared by your table with the brandy and pepper grinder standing by,
the sauce redolent of shallots, wine and brandy, the flavors actually
coming through, the kidneys sweet, fresh, juicy, superb except for the
rice which was rather too soft; the Carbonnade de Boeuf Provençale ($4.75) most unusual, served in two massive slices of first rate beef
really like two Swiss steaks, dressed in a tomato sauce with green olives
that are crisp, not overcooked, garnished with noodles. My husband
loved it but I - tasting what I'd filched from his plate - found it a bit too
emphatically provençale, preferring among the innumerable methods for
preparing a carbonade (always based on burning off the meat) the
sweeter, beery winey Flemish type. I had the Entrecôte aux Echalottes,
($6.00) - for this only raves, a splendid slice of steak under a subtly
wined blanket of minced translucent mother of pearl shallots lending the
steak a flavor such as dreams are made on, truly a memorable affair
remarkably priced. For dessert we all had le Surprise Beaujolais - a
lovely thing I won't give away, only recommend. I will tell you, however,
that it is a sort of Bavarian cream, is garnished with a triangular bit of
semi-sweet French biscuit (Vignal's-Lyon) that lends it the perfect accent
and that my husband says it is one of the few distinctive desserts in
town. He found it "light, fresh and tantalizing."
Prices are table d'hote. With a $6 top it is open 12 to 3, 6 to 10, except
Sunday, seats 55 and you would be wise to call ahead. Pray this one
stays as it is! - SYLVIA LEONARD
48
[[end page]]
[[start page]]
unlikely casting 2
[[image - drawing of Zero Mostel as Peter Pan]]
[[image - photograph of Zero Mostel]]
Zero Mostel as Peter Pan: If a girl can play a boy's part, I believe a boy
can play a boy's part. Any day! Note the delicacy of movement in this
superb performer. He soars heavenward without the aid of any
mechanical appurtenances. Note, too, the absence of make-up, the
unpretentious and yet graceful contour of the masque, the abundance of
his own hair. Never was there such a Peter Pan. Thank God! - ZERO
MOSTEL
49
The Bard in America
[[image - caption: The Cushman sisters, Charlotte and Susan, in Romeo
and Juliet]]
1730-1964 by Louis Marder
From the amateur Romeo and Juliet production announced in the New
York Gazette on March 23, 1730 to the three productions of Hamlet that
will be seen in New York City in 1964, there is a span of 234 years, but
as dramatic history goes, the time is not long at all. A panoramic view
can be encompassed in about ten lines. Lewis Hallam's company to
Williamsburg, Virginia in 1752. One of Hallam's associates brought
Thomas A. Cooper to American in 1796. He influenced Edwin Booth
who, before he died in 1893, influenced John Drew who died in 1927.
Still within living memory are Drew's nephew, John Barrymore, who
continued the tradition to his death in 1942, and his elder contemporary
Walter Hampden who died but nine years ago.
For more than forty years the Hallam family acted along the Eastern
seaboard after their American debut in The Merchant of Venice at
Williamsburg on September 15, 1752. The 100th anniversary of that
event was celebrated by a performance of the same play at Castle
Garden in New York in 1852. The Hallams built a theatre on Nassau
Street in 1753, but in other places the moral objections to plays
frequently forced them to exhibit their Shakespeare programs as "moral
lectures."
Although John Howard Payne, composer of "Home Sweet Home"
achieved fame as the first American-born Hamlet in 1827, it was the
British actors who brought distinction to the U.S. stage in the early
1800's. Some, like the Thomas Cooper already mentioned, became
citizens. Others such [[italicized note separate from main text - Louis
Marder, a recognized authority on The Bard, is Editor of the
Shakespeare Newsletter published at Kent tate University in Ohio where
he teaches.]] [[end page]] [[start page]] as George F. Cooke came for
money. When it was announced that President James Madison was
coming to a Cooke performance in Baltimore, Cooke refused to act
saying that he who had performed before George III would never act
before "your Yankee president."
To Edwin Forrest (1806-72) goes the distinction of becoming the first
great American Shakespearean actor. His fine voice, imposing figure,
and outstanding Shakespearean roles invited comparison with Charles
Macready, greatest of the English actors. So intense was their rivalry
that when both were scheduled to open in New York on the same night
of May 7, 1849, a riot occurred which was fatal to thirty-one of the
20,000 persons who had been aroused by their patriotism to
demonstrate outside the Astor Place Opera House that their American
Forrest was better than the English Macready. Forrest's Macbeth at the
Broadway Theatre in 1853 ran for twenty nights, the U.S. record for a
Shakespeare play up to that time.
With Edwin Booth, son of the noted tragedian Junius Brutus Booth, and
brother of the deranged John Wilkes and J.B. Booth, Jr., the 19th
century American Shakespearean tradition reached its zenith. The New
York Herald wrote that "the audience was fairly carried by storm" when
the three famous brothers appeared on the stage on November 24,
1864, in a performance of Julius Caesar for the benefit of erecting the
Shakespeare statue which now stands in Central Park. The next night
was even greater, for then Edwin opened as Hamlet in a production
which ran for 100 performances, a record unbroken until John
Barrymore's performance in 1923. The Tribune on November 27 said
Booth's portrait of a "reflective, sensitive, gentle . . . tormented" prince
was "one of the noblest pieces of dramatic art" ever seen.
Though Forrest and Booth affected the elaborate and realistic setting of
the English Kemble-Kean tradition, it was Augustin Daly whose
spectacles and actors made his theatre the most famous in American in
the last quarter of the century. With the beautiful, ruddy-haired Ada
Rehan as Katharina, John Drew as Petruchio, and sets modelled after
the great paintings of Paul Veronese, the 1885-86 production of The
Taming of the Shrew ran 121 performances, an all time record up to
[[image - caption: Edwin Forrest as Macbeth]]
that time. His Midsummer Night's Dream, despite critical attacks from
the reviewers, was so spectacular that it ran for eighty-eight
performances.
The 19th century was an age, too, in which Charlotte Cushman, the first
great American actress, could rise to fame as Romeo to her sister
Susan's Juliet, and Susan herself could become famous for her role as
Hamlet. It was an age of great actors and managers, but the text of
Shakespeare suffered to make room for spectacles and favorites.
[[start page]]
TOP LEFT: [[italics]] Edwin Booth as [[/italics]] Hamlet. TOP RIGHT:
[[italics]] Maurice Evans and Judith Anderson in [[/italics]] Macbeth.
ABOVE: [[italics]] Paul Robinson, Uta Hagen and Jose Ferrer in
[[/italics]] Othello.
In 1900, Richard Mansfield could still break a record with 53
performances of [[italics]] Henry V [[/italics]] in which he entered on a
white horse. But times were changing. The problem play was coming to
the fore, ideas about Elizabethan staging were developing, symbolism
and constructivism were making themselves felt, and the devotion to the
text was becoming stronger. By 1938 when Margaret Webster offered
both the uncut and cut versions of [[italics]] Hamlet [[/italics]] to New
York audiences, the cut version had to be dropped because the four and
a half hour version of the play was so much more popular.
The sets of Robert Edmond Jones probably contributed to the
success of John Barrymore's 1923 [[italics]] Hamlet, [[/italics]], which
was sustained for 101 performances to break the Booth record. That
same year saw Jane Cowl shatter the [[italics]] Romeo and Juliet
[[/italics]] ran for 129 performances, the John Gielgud [[italics]] Hamlet
[[/italics]] (in New York) for 132, and the Maurice Evans [[italics]] Richard
II [[/italics]] for 133. In 1942, Maurice Evans and Judith Anderson
achieved 131 performances in [[italics]] Macbeth [[/italics]] and in 194344 Paul Robeson broke the all time record for any Shakespearean play
with 276 performances of [[italics]] Othello [[/italics]]. Later, however,
Olivia de Haviland's [[italics]] Romeo and Juliet [[/italics]] (1951) lost
$170,000 in forty-eight performances, Anthony Eustrel's [[italics]] Much
Ado About Nothing [[/italics]] (1952) lost $40,000 in four performances;
and Orson Welles' [[italics]] King Lear [[/italics]] (1957) lost about
$60,000 in twenty-seven performances.
Today, the fame of Shakespeare is still expanding by virtue of
numerous Spring and Summer Shakespeare festivals throughout the
United States. The most ambitious of these is the American
Shakespeare Festival and Academy which has offered twenty-five
productions with varying success since 1955. As for the future, it still
appears that if the well publicized 400th Anniversary does not succeed
in breaking the modern jinx of Shakespeare's financial failure on
Broadway, it may remain largely up to the Shakespeare festivals and the
occasional tour of noted British companies to keep this great tradition
alive in the United States.
52
[[end page]]
[[start page]]
[[bold]] [[italics]] On a personal bias by Bernice Peck [[/italics]] [[/bold]]
The coiffure influence of Britain's Beatles lingers on. Paradoxically, it
seems to be working its way [[italics]] up, [[/italics]] right into high
fashion. Suzy Parker, for instance, that unchallenged beauty of
fashioned magazine pages (her trademark the tossing mane) is being
seen around in a very different kind of personal hairdo.
To me it looks like a scaled-down, neatened Beatle, with very flat silky
bangs slashed all the way around to behind her ears. A real chop-job.
The back hair, what's left of it, just hangs childishly straight and long.
As a flattering hairdo, it is a big nothing. But in it, Miss Parker looks
younger than Lolita and, inevitably, twice as beautiful. Friendly warning
to emulators over thirty: watch it, ladies.
[[bold]] [[italics]] a sudden rush of beauty... [[/italics]] [[/bold]]
What [[italics]] is [[/italics]] the pretty lady doing all upside down like that?
Nothing but getting prettier in a hurry by reversing the nasty law of
gravity. Classically, the position of head down and feet up is a real
beauty angle, wonderfully productive in many ways.
It revs the body's tired motor, lessens fatigue, relaxes tensions, nudges
indolent circulation. Nicest of all, it sends a sudden rush of beauty to the
face and neck, which can look simply spangled with freshness in five
minutes - even les if you're late for the theatre.
The simplest approach is to lie flat on the floor on your back with a
couple of pillows under your hips. Lie close enough to a chair to prop
your feet on its seat. That is absolutely all. Enjoy.
Of course, if you'd rather be fancy, stores like Hammacher Schlemmer
carry real slant boards (about $35) that prop you into position. And I've
heard about, but haven't tried, that newer contrivance called the Yoga
Wheel. This, for all I know, might deliver an even superior tip-up (at
$250). But one way or another, how about tilting for beauty's sake?
[[sketch of woman]]
a
little
Sauce on
Spring
[[bold]] [[italics]] the pink of fragility.. [[/italics]] [[/bold]]
When it comes to making a woman look delightfully, delicately pretty,
there is no lighter surer hand than that of Miss Elizabeth Arden. This is
her specialty. And the fashions, all so soft and feminine, play right into
her hand.
See how you like yourself in her new Fragile Look. (For utter flattery I
class it with white organdie.) You'll have fun finding out from the Fragile
makeup packet that, for all of $5,
[[bold]] [[italics]] Sketches by K. Place [[/italics]] [[/bold]]
53
[[advertisement]]
EVERY
LADY
IN THE DARK
[[photograph of someone using flashlight]]
[[image of flashlight]]
...will love the light touch, new lipstick-size purselight that is high fashion
and a perfect complement to her favorite accessories. The light touch
clips in purse, ready to brighten so many occasions: theatre in the dark,
a keyhole at night, the mysterious depths of an over-sized handbag.
Chic gold-tone case with Florentine finish accented with bejeweled
circlet. $5.95
Send check or money order to: Playbill, Inc., Dept. 805, 1180 Avenue of
the Americas, New York 36, N.Y.
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[[advertisement]]
DANCE CALENDAR
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WED Continuous from 7:30 P.M.
EXHIBITION TIME THU MAT. 1:30 TO 6 * EVE fr. 7:30
11:15 P.M.
DANCE CONTEST
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FRI Continuous from 7:30 P.M.
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furnishes the absolutely pinkest lipstick, rouge, nail lacquer - plus four
eye shadows to be used in tandem. Ivory or pink goes on just below the
brow. Beige or green is for the lid. The general effect is a Dresden sort
of fairness that can make a woman feel very blonde.
While you're at it, see the Elizabeth Arden eyelashes especially for the
Fragile Look. They're in a new, lighter brown that can make your glance
soft as feathers - helpful if you plan to ask your husband for a favor, like
a new Bentley or that dear little emerald.
[[drawing of woman]]
just that little lift...
Last winter that tender comment "You look tired" had me considering the
plastic surgery circuit. Then I decided, no, hold out a while longer (you
know how it is). Meantime, I cast around for a new delayer, a change of
diet for the dear old face.
What I settled on was a cream formulated by a plastic surgeon - not only
for his patients but for postponers just like me. It is helping. Yes indeed.
This is no report of a Miracle. But as a reasonably cynical mirror inspec[[end page]]
[[start page]]
tor I am happy to submit, eight weeks later, that the good doctor's
Formula M7 cream is more than just a feeble ray of hope. It is an actual
beam. So I shall press on.
The application method is mildly more bother than with most creams.
There must be no residue of either soap film or of cleansing cream.
Also, the formula isn't just slathered on - it's to be worked into the skin
for a good two minutes. (In this day of instant-everything we do get lazy,
don't we?)
The price of Formula M7 is really handsome, $27.50 for about a month's
worth, in a little old plain jar, no frills, no frivols. Who cares? It is
definitely doing something - just that teeny weeny lift up that can keep a
girl going.
a parfait of a lipstick...
In case you think you've seen everything, here is news for you. DuBarry
has a lipstick invention, Glissando, that combines color on color. (In the
selfsame lipstick, I mean.) It looks like a tiny shaft of brilliant marble
swirled through with still other brilliances. Or, if this conveys the idea
better, like a luscious little parfait.
The end result, though, is what matters. Glissando glides on color with a
quite special luminous intensity that, due to its formulation, never looks
flat on the lips. In any of its nine combinations you get a dimensional
sense of under-and-overtones, as if you'd used one lipstick over
another. Awfully hard to describe, but very easy to appreciate, once you
wear it.
what's up in front...
For spring and summer plunges, one jeweler is loving the idea of filling
the cleavage with a single large, very precious gem swung from a fine
chain, "It doesn't hide a thing and looks so modest"...Charles of the Ritz
has a com[[advertisement]]
Where do
good minks go
after they leave
Park Avenue?
To the Ritz Thrift Shop...because
Ritz runs a home for temporarily
orphaned furs. (They come from the
very best families.) Fabulous coats,
jackets, stoles. They're called secondhand used, but you'd never know it
to look at them. Why not adopt a
Ritz mink, or sable, beaver or broadtail. Hundreds to fondle. One for you.
Ritz Thrift Shop
107 West 57th St., N.Y.C.
[[/advertisement]]
[[first column]]
plete make-up plan for prettier exposures. It starts with a virtually
waterproof veil of foundation to the plunging depths, finished off with a
pink powder rouge to fetch a pretty, and justified, blush to the upper
curves where a beauty mark is added. (A little racy, but undeniably
attractive.)
a dry story...
A prune isn't necessarily an old plum, merely a dried one. And with skin
so perishable in the winter, you'd think more of us would prevent it rather
than wait until spring for repairs. Even at this stage, though, a body
cased in tight, parched skin can scarcely do better by itself than in baths
silkened with Polyderm Bath Oil. This uncommon smoother is a recent
development at Prince Matchabelli, owns the same polyunsaturate
restorative abilities as the famous Polyderm Cream. (If you already use
this on your face and neck you should need no further recommendation
to slide into a tub delivering the same goodies in an allover way.)
Use three capfuls, and don't forget to submerge to shoulder level for a
minute before climbing out. There, now, isn't that better? And for the first
few days you might even apply a P.S. application as a body-rub. It can
make everything supple and moist just that much faster.
a very special spectacle...
About as special as spectacles can get, the stylish little oblong frames
you see sketched. They don't jab their way ruinously into a smooth
hairdo. The side bars (a mere mite over three inches long) are
shortened to stop, and then cling, at the temples. Very neat.
They're not only fine for popping on and off at the theatre and during
shopping, but sheer bliss for the long drag at the hairdresser (where I go
wild with impatience if I can't read).
56
[[/first column]]
[[second column]]
[[image: drawing of a woman reading a magazine]]
The midget bars stay clear of sticky haircoloring concoctions and, later
on, of the big rigid rollers or clips that block the entry of regulation side
pieces.
Lugene, at 38 E 57, NYC, 22, does these tiny frames in all sorts of
shapes and shades, from about $15 - of course, as with any frames,
they fit them to the face.
hello, ear...
There is now a make-up specifically for ears. Oh yes there is, Pussycat,
and you're not laughing any more than I did on hearing this news.
Nothing could sound more ridiculously specialized. But once I had it on,
I liked it. Not only that, it stopped seeming silly.
After all, the ear is certainly a part of the face. The average well-painted
face has about eleven Things put upon it. So why (prithee) should its
ears have to hang around all naked? Especially if they show.
The name of the new enticement is, logically, I suppose, Dear Ear. And
when you smooth a morsel of it on the lobe, carry it up the outer edge,
the ear starts looking all opalescent and pinkish and appreciated, a
pearly shell indeed. So there you are, with an extra pretty feature. Two,
but actual count.
Maradel expects to have Dear Ear on counters some time in May.
Meantime, I'm using my advance sample, still giggling a little, but still
liking the way it looks
[[end page]]
[[start page]]
[[image: advertisement]]
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[[image: drawing of chair]]
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at the Pavilion of American Interiors at the World's Fair
There's a whole wonderful world of carefree new fabrics, wall coverings,
carpeting and cushioning waiting for you to see at our World's Fair
exhibit. Among them:
[[first column]]
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...a brand-new fabric-backed vinyl in a variety of richly textured patterns,
all in a wide choice of colors.
ROYAL VINYL CARPETING...a revolutionary new floor covering for
indoor-outdoor use. Available in clear colors and rich, tweedy-textured
combinations.
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richness but longer wear to all carpeting.
[[/second column]]
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When a cigarette means a lot...
get Lots More [[underline]] pleasure [[/underlined]] from L&M
the rich-flavor cigarette with a modern all-white filter.
It's the rich-flavor leaf that makes L&M the cigarette for people who like
a rich-flavored smoke. L&M's filter is a modern filter - all white - pure
white - both inside and outside. You get lots more [[underlined]] pleasure
[[/underlined]] from L&M.
More balance in the blend, more flavor in the smoke, more taste through
the filter.
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pack or box
[[theater program]]
Building and Painting.......Russell Gilbert, Tom Harris, Gilbert Benson,
Ethel Mack, Jeanette Bowser, Gerri Baker, Thomas Unthank, Charles
Henry Hughes
Stage Manager.......Isaac Cummings
Lighting.......Ethel Mack, Lois Mitchell, Edward Harvey, James W.
Butcher's class in stage lighting
Costumes.......Anne M. Cooke
Sound.......Barbara Johnson, James Brown
Props.......Horace Wade
Make-up.......James W. Butcher
House.......Anne Jenkins
[[/theater program]]
[[end page]]
[[start page]]
[[theater program]]
THE HOWARD PLAYERS
present
The First Performance of
JAMES BALDWIN'S
THE AMEN CORNER
directed by
OWEN DODSON
**
setting by
LEON WEST
lighting by
THOMAS UNTHANK
**
May 11-14, 1955 - 8:30 P.M.
SPAULDING HALL - HOWARD UNIVERSITY CAMPUS
[[/theater program]]
[[theater program]]
THE AMEN CORNER
CAST
SISTER MOORE, ELDER OF THE CHURCH.......Shirlee Patterson
SISTER BOXER, ELDER.......Hazel Swann
BROTHER BOXER, HER HUSBAND AND AN ELDER.......Eddie
Marcus Jr.
SISTER MARGARET ALEXANDER, THE PASTOR.......Mildred Ellis
DAVID, HER SON.......Arthur Aveilhe
MRS. IDA JACKSON.......Samella B. Everett
BANKS, FRIEND OF DAVID.......Don Reeder
ODESSA, PASTOR'S OLDER SISTER AND AN ELDER.......Lucille
Sayles
LUKE, THE PASTOR'S HUSBAND.......Joseph Walker
MAN.......James Martin
CONGREGATION.......Jean Anderson, Isabella Adona, Ruby Banner,
Earlene Costner, Carol Eckburg, Roger Hunt, Charmaine Keyes, Bette
King, Madeline King, Eleanor Rhodes
[[end page]]
[[start page]
...The action occurs in a Harlem tenement,
from Sunday morning to Sunday morning. The
time is midsummer, the present.
Setting: A store-front church, a kitchen, a bedroom, a passageway, an areaway.
About the author: Mr. Baldwin is the son of a Harlem clergyman. In 1945
he received a Eugene Saxton Fellowship, in 1948 he was granted one
by the Rosenwald Foundation and he has recently been awarded a
Guggenheim Fellowship. He has contributed to Commentary, The
Reporter, Partisan Review, American Mercury, The New Leader, and a
number of other publications. He received national acclaim for his novel,
Go Tell It on the Mountain.
What Mr. Baldwin had to say about his novel is also applicable to his
play, THE AMEN CORNER: "It is a fairly deliberate attempt to break out
of what I always think of as the 'cage' of negro writing. I wanted my
people to be people first, Negroes almost incidentally. That is, I hoped
by refusing to take a special, embattled tone, to involve the reader in
their lives, and this to such an extent that he would know more about
himself, and therefore more about Negroes, than he had known before.
^[[2011.99.43]]
[[Letterhead]]
HOWARD UNIVERSITY
From
OFFICE OF PUBLIC RELATIONS
HOWARD UNIVERSITY
WASHINGTON 1, D.C.
OTTO McCLARRIN, Director
Home Telephone: RAndolph 6-1765
DUpont 7-6100
Extensions 541, 542, 572, 573
NEWS
****
[[/Letterhead]]
Release No. 55/76
FOR RELEASE: 5-6-55
Ernest E. Goodman, Writer
Home Telephone:
HObart 2-3672
HOWARD PLAYERS TO BE SEEN IN PREMIERE PERFORMANCE
OF BALDWIN'S "THE AMEN CORNER"
[[line]]
New Work By Young Negro Playwright To Run May 11-14 At Howard's
Spaulding Hall
[[line]]
WASHINGTON, D.C. ---- The Howard (University) Players will be seen
in the premiere performance of James Baldwin's "The Amen Corner"
Wednesday, May 11th, through Saturday, May 14th, at the Little Theatre
in Spaulding Hall on the Howard campus. Curtain time for each
performance is 8:30 p.m.
Owen Dodson, associate professor of drama, will direct the three act
drama. Scenery has been designed by Leon West, and lighting by
Thomas Unthank. Heading the cast of 16 are Mildred Ellis, Arthur
Aveillhe, Joseph Walker, Hazel Swann, Eddie Marcus, and Shirlee
Patterson.
According to Professor Dodson, the play is the story of a female storefront church preacher who plans to set up a chain of such churches
throughout the country. Sister Margaret, who has parishes in Harlem
and Philadelphia, is about to expand the chain when her estranged
husband returns after 10 years. A former jazz musician, the husband is
critically ill as a result of his vices during the separation. Sister
Margaret's son, who is also a musician, has taken to drink and other
vices, and gives indications of following in his father's footsteps. On
observing the behavior of the two men the parishioners question the
right of Sister Margaret to lead them. Their revolt against her leads to an
exciting climax.
(MORE)
[[scribbles]]
waiting to be filled with the meaning which life would give them for
[[double underlined]] me [[/double underlined]]. He had left me a legacy,
my father - as it was said in the Bible, not bread but a stone.
8.34
8.34
_____
16.68
100.00
55.00 - O.
10.00 A.
_____
35.00
[[check]]
JAMES BALDWIN
No. 121
[[stamped]] 2-424 S.S.B. & T.C. Sep 25 1962 2-424 T-5 [[/stamped]]
Sept. 23 1962
1-2/210
Pay to the
order of Southern Non Violent Coordinating Committee $ 150.00/100
One hundred & fifty dollars & no cents ---- Dollars
THE CHASE MANHATTAN BANK
214 Broadway, New York, N.Y.
[[signature]] James Baldwin [[/signature]]
[[punch holed]] + 9.27.62 CMB [[/punch holed]]
[[check]]
LUBELL & LUBELL AS ATTORNEYS
FOR JAMES BALLDWIN
No. [[129]]
^[[July 25]] 19^[[62]] 1-30/210 1
PAY TO THE ORDER OF
^[[SCLC Hall of Fame Dinner Committee]] $^[[35 00/100]]
^[[Thirty-five 00/100------]]DOLLARS
MANUFACTURERS HANOVER
TRUST COMPANY
149 BROADWAY, NEW YORK, N.Y.
[[signature]] [[?]] W. Lubell [[/signature]] Attorney
[[stamped]] A [[/stamped]]
Date
Reference
11/16/62 9670
ENGAGEMENT
5
4
3
2
1
LUBELL & LUBELL - ATTORNEYS
FOR JAMES BALDWIN - "PATTERSON
LISTON FIGHT" - NUGGET MAGAZINE
SECOND PAYMENT 11/15
LESS COM
AMOUNT
400.00
-40.00
Date
Reference
NOV 19 62
30
DESCRIPTION
5
4
3
2
1
LUBELL & LUBELL FOR SVCES OF JAMES BALDWIN ADVANCE TO
JAS BALDWIN AGNST PATTERSON-LISTON FIGHT FOR NUGGET
MAGAZINE
AMOUNT
500.00
[[image of the Fatih Mosque at night]]
Hello, sweetheart.
Got some rest, gained some weight, ready to start again. Play nearly
ready. Home soon. Will let you know. Am taking a boat - tell Mama.
Mary, Charlie, Lucien, all send their love. Kiss everybody for me.
I love you.
Jamie
Air mail [[?]]
2017 LaFontaine Ave.
The Bronx, New York
U.S.A.
[[photograph of aerial view of Paris]]
Mama:
On a plane, now, with Beauford & Alain, to Istanbul, where I will rest &
[[illegible?]]. Don't worry, all's OK.
Your loving son,
Jimmy
[[underline]]Par Avion[[/underline]]
Mme. Baldwin
137 W. 71st Street
New York, N.Y.
[[underline]]U.S.A.[[/underline]]
Student Nonviolent Coordinating Committee
6 Raymond Street, N. W. Atlanta 14, Georgia
April 28, 1964
688-0331
James Baldwin
470 West End Avenue
New York, New York
Dear Mr. Baldwin:
The Council of Federated Organizations (COFO) - composed of the
national civil rights groups working in Mississippi - is sponsoring a
hearing on civil rights in Mississippi on June 9, in Washington. We are
writing to inquire if you will join a "jury" to hear testimony from Negro
Mississippians about violations of civil rights in the state and from others
who will offer testimony about the necessicity and rightness of
Presidential protection this summer.
As you know, COFO is planning a "Freedom Summer", a massive
program that will involve some 1,000 workers entering the state in late
June. They will encourage Negroes to register to vote, man Community
Centers, teach in "Freedom Schools" and work on a Freedom
Registration project designed to demonstrate that thousands of Negroes
in the state do not have the right to vote.
We have learned through bitter experience in the past three years that
the judicial, legislative and executive bodies in Mississippi form a wall of
absolute resistance to granting civil rights to Negroes. It is our conviction
that only a massive effort by the country backed by the full power of the
president can offer some hope for even minimal change in Mississippi.
National civil rights leaders have been asked to join with COFO workers
to seek an audience with President Johnson on June 10. The evidence
presented at the June 9 hearing will be made available to him, and we
will request that he use the full power of his office to insure a peaceful
summer for Negro and white Mississippians.
The President must be made to understand that this responsibility rests
with him, and him alone, and that neither he nor the American people
can afford to jeapordize the lives of the people who will be working in
Mississippi this summer by failing to take the necessary precautions
before the summer begins.
Your presence on the jury would aid our common cause, and lend
weight to our insistence that justice and order must prevail in
Mississippi, this summer and always.
I have been appointed Coordinator of the July 9 hearing, and hope to
hear from you within the week.
Sincerely,
[[Handwritten]] Horace Julian Bond [[/handwritten]]
Horace Julian Bond
SNCC
"One Man, One Vote"
[[front cover of journal]]
[[preprinted]] Week at a Glance Jr. [[/preprinted]]
James Baldwin says: "This testimony from a black sister marks the
beginning of a new era in the minds and hearts and lives of all black
men and women...
"I KNOW WHY THE CAGED BIRD SINGS liberates the reader into life
simply because Maya Angelou confronts her own life with such a
moving wonder, such a luminous dignity. I have no words for this
achievement, but I know that not since my childhood, when people in
books were more real than the people one saw every day, have I found
myself so moved... Her portrait is a Biblical study of life in the midst of
death."
[[photograph of Maya Angelou]]
"[[bold]]A book with a terrible agonizing beauty[[/bold]]... Maya Angelou's
story of her life from childhood to the terrible wonderful brink of
womanhood is full of laughter and tears, love and hate, failures and
triumphs, and above all, understanding." -- JOHN O. KILLENS
"[[bold]]Regularly throws out rich, dazzling images which delight and
surprise [[/bold]] with their simplicity. But Miss Angelou's book is more
than a tour de force of language or the story of childhood suffering: it
quietly and gracefully portrays and pays tribute to the courage, dignity
and endurance of the small, rural community in which she spent most of
her early years in the 1930's...Some of the incidents she depicts are
wonderfully funny. But a summary of the incidents cannot do this book
justice; one has to read it to appreciate its sensitivity and life." -ROBERT A. GROSS, Newsweek
"[[bold]]Simultaneously touching and comic.[[/bold]]" --The New York
Times
"[[bold]]A work of art which eludes description [[/bold]] because the black
aesthetic -- another way of saying 'the black experience' -- has too long
been neglected to be formalized by weary clichés... Anyone who doesn't
read Maya Angelou doesn't want to know where it was, much less
where it's at." -- JULIAN MAYFIELD
"[[bold]]It is a heroic and beautiful book.[[/bold]]"
--Cleveland Plain Dealer
[[bird drawing]]
I Know Why
the Caged
Bird Sings
by Maya Angelou
$5.95, now at your bookstore
RANDOM HOUSE [[Random House logo]]
Photo: Henry Monroe
(partial newspaper page) 46 L
(Masthead of)The New York Times
Published every day by the New York Times Company
__________________________
ALDOPH S. OCHS, Publisher 1896-1935
ARTHUR HAYS SULZBERGER, Publisher 1935-1961
ORVIL E.DRYFOOS, Publisher 1961-1963
[[Circular emblem with an eagle with wings spread in center, with the
legend: "ALL THE NEWS THATS FIT TO PRINT" surrounding it, and
"ESTABLISHED 1851" under the eagle's feet at the bottom.]]
'The Mail Must go Through'[editorial title]
The spreading disruption caused by the illegal strike of letter carriers in
the metropolitan area makes it imperative that no more time be lost in
restoring normal mail service.
A final opportunity for effective union action to re-establish respect for
lawful process and thus avoid the necessity for Federal coercion--by use
of troops to move the mail--will come at a meeting in Washington today
involving officers of all principal local of the National Association of
Letter Carriers.
The clear obligation of the union's national officers, under law and court
order, is to do everything in their power to get the strikers back to work
and to keep locals in other cities from joining the walkout. It would help
in the endeavor if the Nixon Administration and the chairmen of the
postal committees of House and Senate sent messages to the session,
underscoring their resolve to provide fair wage increases for postal
employees as part of the postal reform legislation moving toward
passage on Capitol Hill.
Congress cannot move on the wage issue under the blackjack of an
outlaw strike, but there is every sound reason to defuse strike sentiment
by an explicit assurance that the Administration and Congress do intend
to provide equity for postal employees. No element of appeasement
would be involved in such a course, especially as there has never been
any doubt that whatever legislation finally emerges will provide
retroactive pay increases for postal workers.
The national union and the heads of its affiliated locals will be serving
both their own interests and the cause of labor by taking an
uncompromising stand for lawful process at today's meeting. Meanwhile,
the Administration has been well advised to move with initial
circumspection as a test of the union's own will and capacity to exercise
self-discipline.
But there can be no further tolerance of the strike if it drags on beyond
today. The mail must move, even if it requires the use of troops to move
it. The Federal Government cannot stand impotent in the face of illegal
acts committed by Federal civil service workers or anyone else bent on
paralyzing the essential functions of Government.
'Two Senators - Four Masters?' [editorial title]
Senators Vance Hartke, Democrat, and George Murphy, Republican,
may be as free as they say they are of any interest other than the
welfare of their respective states of Indiana and California. But in both
cases more limited connections, yielding profitable returns, suggest
serious conflicts of interest.
The involvement of Senator Hartke with the fortunes of a large mail
order house is particularly disturbing in the light of his Senatorial record.
Like ex-Senator Brewster of Maryland, now under indictment for bribetaking, Mr. Hartke received substantial campaign contributions from
Spiegel, Inc., by way of a "citizens committee" in Washington. After the
fund was set up in the 1964 campaign, the Senator requested
assignment to the Post Office Committee, where he was worked
tirelessly ever since to keep down the postal rate on third class mail and
has otherwise obliged big mailers like Spiegel.
Senator Murphy's possible conflict is of a lesser order only because
there is no record of his having used his Senate seat to assist his
commercial benefactor. The arrangement is blatant, all the same.
Technicolor, Inc., gives him freedom to travel around the country on its
credit card, and pays half the rent on his Washington apartment.
Senator Murphy disclaims any interest in the firm's contract for
Government photographic work, but by his own admission he spends
only one one-hundredth of his time on Technicolor business. At the rate
he is paid, his advice must be extraordinarily valuable - or Patrick J.
Frawley, president of Technicolor and promoter of right-wing causes,
finds it worth-while to keep a very conservative man happy in his Senate
seat.
The California Senator points out that he has been absolved of
impropriety "once and for all" by no less than the chairman of the Senate
Select Committee on Standards and Conduct, Senator Stennis of
Mississippi. We doubt the finality of that absolution. A Senate that
judges the purity of potential Supreme Court Justices - Senator Hartke
voted against confirmation of Judge Haynsworth - owes the country a
much higher standard than these two cases suggest.
'Urban Masochism' [editorial title]
Once again, amid everything else, the city has been forced to endure a
work-day St. Patrick's parade which could just as well have been held
on a weekend. Traffic was stalled. Business was disrupted. Thousands
marched and thousands cheered, but millions suffered.
Now the city has promulgated another work-day traffic disruption, this
time ironically in the name of Earth Day on April 22 when the emphasis
across the nation will be on improving the human environment. The
celebration here will include closing mid-town Fifth Avenue vehicular
traffic from noon to [[?]] P.M. and closing 14th Street, Seventh Avenue to
Second Avenue, from noon to midnight.
While Fifth Avenue and 14th Street might both be better off without
vehicular traffic at any time, the results of this demonstration can only be
more massive traffic tieups, more smoke and noise than usual. Why not
celebrate Earth Day in Central Park? Or, if traffic is to be a target, why
not forbid all but emergency and commercial vehicles from entering
Manhattan altogether on Earth Day, having provided fringe-area parking
space and public transportation for commuters?
Certainly we support Earth Day, and enthusiastically endorse its
purpose. But, blocking off arterial streets and disrupting traffic is only a
kind of [[?]] on Columbus Day, Veterans Day, [[?]] Day, and, yes, on
Earth Day, too.
'At Last, Abortion Reform' [editorial title]
After years of delay in Albany, when reform measure could not even
get out [[?]] for floor debate and a vote, the Senate approved the most
sweeping reform yet [[?]] any state. Its prospects for approval in the [[?]]
are encouragingly good.
Abortion reform is long overdue. The state law, enacted in the 19th
century, permits only when a licensed physician has "a [[?]] belief that
such is necessary to preserve the [[?]] the prospective mother. It is a
cruelly restr[[?]] that has doomed countless thousands of [[?]] continued
unwanted pregnancies, even [[?]] might have resulted from incest or
rape or might pose a threat to physical or emotion[[?]].
The reform approved by the State Senate [[?]] the language restricting
abortions to cases [[?]] the life of the prospective mother can be [[?]]
endangered if the pregnancy is allowed to [[?]] It would permit abortions
when a woman [[?]] physician agree that one is desirable.
This may seem like too sweeping a reform [[?]] restrictive a statue. It is
however, probably [[?]] kind of change that will ultimately withstand
challenges that have already been mounted [[?]] states against existing
abortion laws.
While fully recognizing the depth and [[?]] feeling of those who believe
that about [[?]] immoral act, we have come to the conclusion [[?]] is not a
matter for the state to decide but [[?]] woman, in consultation with her
physician [[?]] have the right to determine whether to [[?]] pregnancy or
not, jut as she should have [[?]] decide whether to begin one or not. We
the [[?]] the Assembly and Governor Rockefeller to [[?]] are in
establishing this as the public policy.
'The Goldberg Candidacy' [editorial title]
Arthur J. Goldberg's announcement y[[?]] direct reversal of his position
now a candidate for the gubernatorial [[?]] brings into the race New York
State's most [[?]] Democrat. Having served as United States
ambassador to the United Nations, as Associate Justice [[?]] Supreme
Court and as Secretary of Labor Goldberg is unquestionably a man of
except[[?]] and great distinction.
However, he will be plagued by the [[?]] has allowed himself to be
surrounded by wheelhorses, the entrenched organizations whom the
reform and liberal elements have been desperately trying to oust. Fu[[?]]
will not be precisely easy to explain away [[?]] uncompromising
announcement of noncan[[?]] the most sophisticated voters could be
[[?]] know that nothing, absolutely nothing is immune to change.
In yesterday's announcement, Mr. Goldberg [[?]] that he is now ready
to make the guberna[[?]] "if a majority of the delegates" at the [[?]]
convention want him as their candidate [[?]] considers the issues
extraordinarily important [[?]] election year. He has seemed, almost from
[[?]] to seek a draft, to want the Democratic nomination handed to him
on a silver platter. It has [[?]] obviously; nor should it have been.
To become his party's gubernatorial nominee Goldberg will not only
have to clear [[?]] he has set for himself and win the sup[[?]] majority of
the delegates at the state convention [[?]] also defeat other candidates
who are determined [[?]] make the subsequent race in the primary. S[[?]]
in may drop out. Some now out may come in [[?]] the potentially strong
candidates who have entered the race is former United States [[?]]
Robert M. Morgenthau, now Deputy Mayor. [[?]] the handicap of having
been his party's nominee [[?]] 1962 and losing, but he has gained
experience [[?]] stature of his own since then.
The state's primary laws need revision to [[?]] a distinctly minority
candidate in a crowded [[?]] emerging as the victor - as happened in the
Democratic primary contest for Mayor of New York [[?]] year. There is,
however, value in a race with [[?]] number of good candidates in the
field. Mr. Goldberg [[?]] certainly a good candidate, and his
announcement [[?]] contributes to this end.
'Finland Inches to the Right' [editorial title]
Finland has been enjoying relative prosperity [[?]]ly as well as freedom
from any crude Soviet [[?]] interfere in its affairs. The combination p[[?]]
guaranteed that the parties in Premier Ma[[?]] visto's coalition would do
well and there w[[?]] little change in the parliamentary elections.
These expectations were fulfilled though [[?]]tion parties did not do as
well as they h[[?]] while the opposition Conservative and Smaller parties
did better than anticipated. But the [[?]] to the right does not suggest any
major alt[[?]] governmental composition or policy.
For foreigners, the chief change of interest [[?]] decline of the
Communist party - a member [[?]] ruling coalition - which polled only 19
percent [[?]] vote, the lowest percentage in may years. [[?]] was badly
split by the Soviet invasion of Czechoslovakia and regained electoral
unity only sho[[?]] the elections. The results suggest that some voters,
formerly pro-Communist, may have [[?]]bered Prague when they cast
their ballots.
[[pencil annotation]] 2011.99.53 [[/pencil annotation]]
327--Blumberg's Lease of Apartment (Revised)
JULIUS BLUMBERG, INC., LAW BLANK PUBLISHERS
71 BROADWAY AND 1 RECTOR ST., NEW YORK
This Agreement, made the 8th day of July 1954
Between Ester Rodriguez as Landlord, and
James Baldwin as Tenant;
WITNESSETH, that the Landlord hereby LEASES to the Tenant,
Apartment No. 6 on the 3rd. floor front of the premises known as No. 63
W. 97th St. in the City of N.Y., for the term of 6 months unless sooner
terminated as hereinafter provided, to commence July 9, 1954 and to
end Jan 8, 1955, to be occupied as a strictly private dwelling apartment
by said Tenant and the Tenant's immediate family only and not
otherwise. And the said Tenant hereby covenants and agrees to pay
unto the said Landlord, the TOTAL RENT OF
$[[strikethrough]]900.00[[/strikethrough]] 450.00 in equal monthly ^[[of]]
payments of $75.00 each, in advance, on the first day of each and every
month during said term.
The Tenant shall pay the said rent at the time and in the manner above
provided without demand therefor.
This lease is given and accepted upon the express understanding that in
the event of the breach of any condition or covenant herein, or if the
Landlord or the Landlord's Agents or assigns shall hereafter deem the
tenancy an undesirable one, the Landlord or the Landlord's Agents or
assigns may terminate the lease by giving to the Tenant five days
written notice of an intention to terminate the same, and the term of this
lease shall in that event run to, and expire upon the date therein
mentioned, and any rent paid by the Tenant, in advance, for a period
extending beyond the said date of termination, shall and may be
retained by the Landlord in liquidation of damages and not by the way or
forfeiture, but nothing herein contained shall be deemed a waiver by the
Landlord of any claim for damages for injury to the property prior to the
said date of termination.
THE SAID PREMISES ARE ALSO LEASED UPON THE FURTHER
COVENANTS AND CONDITIONS :
1. The Tenant shall take good care of the apartment and fixtures therein
and shall at the Tenant's own cost and expense make, when needed, all
repairs, replacements and decorations therein and thereto, whenever
damage or injury to the same shall have resulted from misuse, or
neglect by the Tenant, Tenant's family, employees, or visitors. The
Tenant shall not drill into, drive nails, install new locks or change
apartment entrance lock or deface in any manner any part of the
building, or permit the same to be done, and at the end or other
expiration of the term, shall deliver up the demised premises in good
order and condition. The Tenant shall indemnify and save harmless the
Landlord for and against any liability or any injury to person or property
resulting from any negligence or improper conduct on the part of the
Tenant, the Tenant's family, employees or visitors. The Landlord is
exempt from any and all liability for any damage or injury to persons or
property caused by or resulting from steam, electricity, gas, water, rain,
ice or snow, or any leak or flow from or into any part of said building, or
from any damage or injury resulting or arising from any other cause or
happening whatsoever unless said damage or injury be caused by or be
due to the negligence of the Landlord.
2. That any and all shelves, locks, plumbing fixtures, or any other
improvements that the Tenant may place or cause to be placed in the
said apartment shall immediately become a part of the house and the
property of the Landlord.
3. That the Tenant shall not expose any sign, advertisement, illumination
or projection in or out of the windows or exterior, or from the said
building or upon it in any place, except such as shall be approved and
permitted in writing by the Landlord or the Landlord's authorized agent
and the said Tenant shall use only such shades in front windows of said
apartment a are put up or approved by the Landlord or Landlord's
authorized agent, nor shall the said Tenant keep or maintain in or about
said premises, or permit any other person to keep or maintain therein,
any dogs or other domestic or wild animals without the written consent
of the Landlord.
4. That the Tenant, and the Tenant's heirs, executors or administrators
shall not assign this agreement, or underlet the premises, or any part
thereof, or make any alterations in the apartments or premises without
the Landlord's or Landlord's authorized agent's consent in writing, or to
permit or suffer upon the same, any act or thing deemed extra
hazardous on account of fire; and shall comply with all the rules and
regulations of the Board of Health and City Ordinances applicable to
said premises; and that the Tenant will not use or permit the said
premises or any part thereof to be used for any purpose other than
above mentioned.
5. That the Tenant shall, in case of fire, give immediate notice thereof to
Landlord who shall thereupon cause the damage to be repaired as soon
as reasonably convenient; but if the building or demised premises be so
damaged by fire or otherwise as to require rebuilding, the term shall, at
the option of Landlord cease, and in case it so ceases, the rent shall be
paid only up to the time of the fire, unless such damage be caused by
the negligence or improper conduct of the Tenant, or Tenant's family or
servants.
6. That the Tenant shall conform to al rules and regulations printed
hereon or hereafter adopted for the protection of the building or the
safety and comfort of all the tenants; said rules and regulations are
hereby made a part of this lease.
7. That in case of default of rent or of any of the covenants or if the
premises become vacant, the Landlord or Landlord's agents may reenter the premises with or without the means of summary proceedings
or any other method prescribed by law, with or without notice of any
intention to dos so and resume possession without being liable to the
Tenant for any damage therefor and relet the premises in the name of
the Landlord or as agent of the Tenant and may grant any concession or
reduction it deems advisable to relet said premises without in any
manner affecting the obligation of the Tenant to pay the rent herein
covenanted to be paid, and the Landlord may without notice repair,
decorate or alter the demised premises in such manner as to the
Landlord may seem necessary or advisable, and out of any rent so
collected or received the Landlord shall first pay to itself the expense
and cost of retaking, repossessing, repairing, decorating and / or altering
the said demised premises, and the expense of removing all persons
and property therefrom and pay to itself any balance remaining on
account of the liability of the Tenant to the Landlord for the sum equal to
the rent reserved herein and unpaid by the Tenant for the remainder of
the herein demised term. Should any rent so collected by the Landlord
after the payments aforesaid be insufficient to fully pay to the Landlord
the sum equal to the rent stipulated for herein, the balance shall be paid
by the Tenant on the rent days as above specified; that is, upon each
such rent days, the Tenant shall ay to the Landlord the amount of the
deficiency then existing; and the Tenant hereby agrees to remain liable
for any such deficiency and the right of the Landlord to recover from the
Tenant the amount thereof or a sum equal to the amount of rent herein
reserved, if there shall be no reletting, shall survive the issuance of any
warrant of dispossess or other termination of this lease. That suit or
suits for the recovery of such deficiency or damages for a sum equal to
any installment or installments of rent fixed hereunder, may be brought
by the Landlord from time to time at the Landlord's election and nothing
herein contained shall be deemed to require the Landlord to await the
date whereon this indenture, or the term hereof would have expired by
limitation, had there been no such default by the Tenant or no such
termination. The Landlord reserves the right to rent the premises for a
longer period of time than fixed in the original lease without releasing the
original Tenant from any liability. The Tenant who has once vacated,
may not reenter without the consent of the Landlord; and no act or thing
done by the Landlord or the Landlord's agents during the term hereby
granted, shall be deemed an acceptance of a surrender of said
premises and no agreement to accept a surrender of said premises shall
be valid, unless the same be made in writing and personally subscribed
by the Landlord. The Tenant waives all rights to redeem under Section
1437 of the Civil Practice Act; and it is expressly agreed by and between
the parties herein that in the event of a dispute arising between the
parties hereto, whether concerning this lease or otherwise, which said
dispute shall result in action at law between the parties herein, or a legal
proceeding by one party against the other, and whether the form of the
claim advanced is either in the nature of a complaint or a counterclaim in
an action or proceeding between the parties, the Tenant agrees to and
hereby does waive any rights he may have to a trial by jury, and agrees
that the matter in dispute be settled and decided by the Court alone. The
Tenant hereby agrees that in the event the Landlord commences any
action or Summary Proceedings for the non-payment of rent or
additional rent under the terms of this lease no set-off or counterclaim
whatsoever of any nature will be interposed by or on behalf of the
Tenant in any such action or Summary Proceedings.
8. That during one (1) months prior to the expiration of the term herein
granted, applicants shall be admitted whether or not the Tenant is
personally present (between the hours of 10 a.m. and 5 p.m. daily) to
view the premises until rented; and the Landlord or the Landlord's
agents shall also be permitted at any time during the term to visit and
examine them at any reasonable hour of the day, and workmen may
enter at any time when authorized by the Landlord or the Landlord's
agents to make or facilitate repairs in any part of the building; and if the
said Tenant shall not be personally present to open or permit an entry
into said premises, at any time, when for any reason an entry therein
shall be in the judgment of the Landlord or Landlord's agent necessary
or permissible hereunder, for the protection of the building or property
therein, or to view the premises until rented or to make such repairs, the
Landlord or the Landlord's agents may forcibly enter the same without
rendering the Landlord liable to any claim or cause of action for
damages by reason thereof, and without in any manner affecting the
obligations and covenants of this lease; it is however, expressly
understood that the right and authority hereby reserved does not
impose, nor does the Landlord assume, by reason hereof, any
responsibility or liability whatsoever for the care or supervision of said
premises, or any of the pipes, fixtures, appliances or appurtenances
therein contained or therewith in any manner connected.
9. That the store-rooms are provided by the Landlord to accommodate
Tenants in the storage of trunks, bicycles, or other articles subject to the
rules and regulations of the building, with the express understanding
that the rooms are furnished gratuitously by the Landlord and the Tenant
using the same for any purpose does so at the Tenant's own risk, and
upon the express stipulation and agreement that the Landlord shall not
be liable for any loss of property therein, or for any damage or injury
whatever.
10. That the Landlord will furnish without additional charge, hot and cold
water; heat during winter months only. In case Landlord shall deem it
necessary or proper at any time, from accident or for improving the
condition or operation of the heating apparatus, plumbing, boilers,
machinery, or anything appertaining thereto, to omit the operation of
said heating apparatus or other service, until all repairs or improvements
shall have been made and completed, the Landlord shall be at liberty to
do the same without in any manner or respect affecting or modifying the
obligations or covenants of said Tenant herein contained, or rendering
the Landlord liable for any damages or offset by reason thereof. Neither
electricity, Gas or Telephone services is included in the aforesaid rental,
but shall be paid for separately by the Tenant.
11. That this lease shall be extended and renewed by and against the
parties hereto for the further term of one year from the expiration of the
term granted hereby, at the same rate of rental without any reduction,
deduction or concession whatsoever, whether the same is pro-rated
monthly or otherwise and upon all the above terms, conditions and
covenants, unless either party on or before the first day of ____ next
preceding of any term granted hereby, shall give notice to the other of
an intention to surrender or have possession of the premises, as the
case may be. Notice must be given by sending the same by U.S.
Registered Mail. This clause shall continue operative with respect to any
renewals or extensions hereof.
[[pencil annotation]] 2.11.99.54 [[/pencil annotation]]
12. This lease shall be subject and subordinate at all times to the lieu of
existing mortgages and of mortgages which hereafter may be made a
lieu on the premises. Although no instrument or act on the part of the
Tenant shall be necessary to effectuate such subordination, the Tenant
will, nevertheless execute and deliver such further instruments
subordinating this lease to the lieu of any such mortgages as may be
desired by the mortgagee. The Tenant hereby appoints the Landlord his
attorney in fact, irrevocably, to execute and deliver any such instruments
for the Tenant.
13. That said Tenant has this day deposited with the said Landlord the
sum of $75.00 as security for the faithful performances of and
compliance with all the terms, covenants and conditions in the within
lease contained. It being expressly understood and agreed that if the
said Tenant fails to comply with each of the terms, covenants and
conditions of the within lease or surrender said premises without the
written consent of said Landlord, or be disposed therefrom prior to the
expiration of this lease, then, and in that event, the said sum herein
deposited aforesaid, shall belong to the said Landlord, as a part
payment of the disbursements, costs and expenses that the said
Landlord may undergo for the purposes of regaining possession of the
said premises and preparing same for renting and the same shall not be
considered as payment for any rent due, or to become due by reason of
these presents, or in any manner release the said Tenant from such
rents herein reserved, or from any of the Tenant's obligations. If,
however, all the terms, covenants and conditions be fully compiled with
by said Tenant, the said security shall be returned to Tenant after
expiration of the term.
14. That this lease shall be binding upon the parties hereto, and upon
their respective successors, heirs, executors and administrators.
15. The failure of the Landlord to insist upon a strict performance of any
of the covenants herein shall not be deemed a waiver of such
covenants. No representations or promises have been made except
those herein contained. No modification of any provision hereof and no
cancellation or surrender hereof shall be valid unless in writing, and
signed by the parties.
16. That should the Landlord be unable to give Tenant possession of
said premises on the date as agreed herein, the Landlord shall not be
held liable or responsible to the said Tenant for any loss, delay or
inconvenience, if same should be caused by strikes, lockouts, fire, Civil
or military authority or by insurrection, or by delay on the part of another
tenant in vacating the premises, or by the act of God, or by any cause
beyond its control.
17. The Tenant agrees that he will not require, permit, suffer or allow the
cleaning of any window or windows in the demised premises from the
outside (within the meaning of Section 202 of the New York Labor Law)
unless the equipment and safety devices required by law, ordinance,
regulation or rule, including, without limitation, Section 202 of the New
York Labor Law, are provided and used, and unless the rules and any
supplemental rules of the Industrial Board of the State of New York are
fully complied with; and the Tenant hereby agrees to indemnify and hold
harmless the Landlord, Owner, Agent, Manager and / or Superintendent
for all damage, loss or injury suffered or legal or other expenses
incurred by said Landlord, Owner, Agent, Manager and / or
Superintendent, as a result of the Tenant's requiring, permitting,
suffering or allowing any window or windows in the demised premises to
be cleaned from the outside in violation of the requirements of the
aforesaid laws, ordinances, regulations, and / or rules.
18. Anything herein to the contrary notwithstanding, the premises herein
mentioned are demised for the whole term with the whole amount of the
rent herein reserved due and payable at the time of the making of this
lease, and the payment of rent in installments as above provided is for
the convenience of the Tenant only and in default of any installment of
rent, then the whole of the rent reserved for the whole of the period then
remaining unpaid, shall, at the Landlord's option, at once become due
and payable without any notice or demand.
19. This lease and the obligation of Tenant to pay rent hereunder and
perform all of the other covenants and agreements hereunder on part of
Tenant to be performed shall in nowise be affected, impaired or excused
because Landlord is unable to supply or is delayed in supplying any
service expressly or impliedly to be supplied or is unable to make, or is
delayed in making any repairs, additions, alterations or decorations is
unable to supply or is delayed in supplying any equipment or fixtures if
Landlord is prevented or delayed from so doing by reason of
governmental preemption in connection with the National Emergency
declared by the President f the United States or in connection with any
rule, order or regulation of any department or subdivision thereof of any
governmental agency or by reason of the condition of supply and
demand which have been or are affected by the war. The Tenant agrees
that the Landlord returns the security deposited with him at the
termination of this lease only after the Landlord inspects the Apt. and
finds it to be in good order. The last month's rent must be paid.
[[left margin]] A.S. J.B. [[/left margin]]
The Tenant agrees to pay the Landlord for any destruction, mutilation of
furniture, furnishings and fixtures and authorizes the Landlord to XXX
deduct from the security whatever amounts are necessary for the
payment of said repairs. The Landlord has the right to inspect the Apt.
monthly and if it is not kept clean the Landlord has the right to have the
Apt. cleaned at the Tenant's expense.
[[right margin]] A.S. J.B. [[/right margin]]
IT IS EXPRESSLY AGREED that if the leased premises, or any part
thereof, are taken by virtue of eminent domain, this lease shall expire on
the date when the same shall be so taken, and the rent shall be
apportioned as of said date. No part of any award, however, shall
belong to the Tenant.
IT IS FURTHER AGREED that the character of the occupancy of said
demised premises as above expressed, is an especial consideration
and inducement for the granting of this lease by said Landlord to said
Tenant, and in the event of a violation by said Tenant of the restriction
against assignment or sub-letting, or if the Tenant shall cease to occupy
the premises or permit the same to be occupied by parties other than
the Tenant, the Tenant's immediate family and employees, or violate
any other restriction or condition herein imposed, this lease may, at the
option of said Landlord or the Landlord's agents or assigns, be
terminated in the manner hereinbefore recited.
In Witness Thereof the Landlord and the Tenant have hereunto set their
hands the day and year above written. Signed and delivered in the
presence of:
[[signature]] Adam Sanchez for Esther Rodriguez [[/signature]]
Landlord
[[signature]] Roy J. Hopkins [[/signature]]
Witness
[[signature]] James Baldwin [[/signature]]
Tenant
[[blank]]
Tenant
RULES AND REGULATIONS
1. The front stoop, entries, passages, elevators, halls and stairways
shall not be obstructed by Tenants, or be used by them for any purpose,
except for ingress or egress to their respective apartments, and the
sidewalks shall not be in any manner obstructed.
2. All garbage shall be sent down at such times as decided upon by the
management.
3. The water closets and other water apparatus shall not be used for any
purpose other than those for which they were constructed, and no
sweepings, rubbish, rugs, ashes, or other substances shall be thrown
therein. Any damage resulting to them from misuse shall be borne by
the Tenant causing or permitting the same.
4. Servants, except nurses accompanying children, and all baby
carriages, bicycles and other vehicles shall have ingress and egress
through the basement only, and shall not make entrance or exit by main
entrance.
5. Children shall not play in the basement, yards, public halls, stairways
or elevators, on roof or about the main entrance.
6. No plants, rugs, bedding, or anything of any nature whatsoever shall
be placed in the windows or out of same, and in no case will it be
permitted to shake rugs, blankets, clothing, etc. out of any windows.
7. No tenant shall make or permit any disturbing noises in the building
by himself, his family, friends or servants; nor do or permit anything by
such person that will interfere with the rights, comforts or convenience of
other Tenants. No musical instrument or radio shall be played or
operated in the demised premises between the hours of 10:00 P.M. and
the following 8:00 A.M.
TO
Lease of Apartment
Apartment_________
Floor __________
From _____________, 19____
To________________, 19____
Rent, $___________
Total Rent
B., c/o Leeming, Robert College Bebele,
Istanbul, Turkey
[[front cover of notebook]]
[[preprinted]] 1951 [[/preprinted]]
[[preprinted]] TABACS - JOURNAUX - PAPETERIE [[/preprinted]]
[[preprinted]] F. Deramerux [[/preprinted]]
[[preprinted]] Pl. Chauderon 24 Telephone 24 90 90 [[/preprinted]]
[[preprinted]] Lausanne [[/preprinted]]
[[image - Hotel Utah interior with people, furniture, and chandelier]]
HOTEL UTAH - SALT LAKE CITY
The main lobby of this world famous hotel is one of the most elegant
found anywhere. Italian marble floors, stately pillars and an exquisite
crystal chandelier add to the luxury of the surroundings.
[[postmark]] U.S. POSTAL SERVICE UT 840 PM 6 DEC [[/postmark]]
Air Mail
[[stamp]] We hold these Truths... Th. Jefferson United States 10 Cents.
[[/stamp]]
POST CARD
Dec 5
David
You were right.
Love
Jimmy [[?]]
M. David Baldwin
9-13 West 110th
Street,
New York, N.Y.
721097
^2011.99.6
[[image of ruins]]
Porticato Antistante al Macellum
En route. Surrounded by my countrymen, who have certainly not
improved. Please wire $50.00 S.S. Cristoforo Colombo right away and I
will give it to Jon when I get off the boat. Pray that I won't say anything
nasty to the next M.F. who looks as though he wondered how I got out
of the w...
Venezia - Cà D' Oro
[[preprinted, upper left corner]] The Ca' d'Oro Ca' d'Oro Ca' d'Oro
[[/preprinted]]
Apr. 7
Hello, baby:
Took a ride with Miss Painter in the little boat in the picture, which is
called a gondola down the Grand Canal in Venice. Very nice, sun very
hot, Venice is full of pigeons and lions with wings.
Love,
Jamie
[[postmark, upper right corner]]
46 W. 131st Street,
New York, N.Y.
U.S.A.
[[line]]
CLASS OF SERVICE
This is a fast message unless Its deferred character is indicated by the
proper symbol.
WESTERN UNION
TELEGRAM
W.P. MARSHALL, PRESIDENT
SYMBOLS
DL = Day Letter
NL = Night Letter
LT = International Letter Telegram
1201 (4-60)
The filing time shown in the date line on domestic telegrams is LOCAL
TIME at point of origin. Time of receipt is LOCAL TIME at point of
destination
FZA043
CDW117 =T449 12 PD INTL FR CD PARIS VIA FRENCH 21 SHRE =
MR BEEDIS BALDWIN =
46 WEST 131ST NY =
ARRIVE IDLEWILD AIRFRANCE 3PM THURSDAY =
JIMMY.=
[[stamped]] 1962 MAR 21 PM 2 57 [[/stamped]]
THE COMPANY WILL APPRECIATE SUGGESTIONS FROM ITS
PATRONS CONCERNING ITS SERVICE
Smithsonian Institution
National Museum of African American History and Culture
The mission of the Smithsonian is the increase and diffusion of knowledge - shaping the future by preserving our
heritage, discovering new knowledge, and sharing our resources with the world. Founded in 1846, the
Smithsonian is the world's largest museum and research complex, consisting of 19 museums and galleries, the
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James Baldwin Collection - Smithsonian Digital Volunteers

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