Curtain Up: Broadway Behind the Scenes / Wall Labels

Curtain Up: Broadway Behind the Scenes

April 14 - September 1, 2012

Wall Labels

for The Producers gallery of set and costume designs

William Ivey Long (b. 1947)

Ray Willis Prisoner of Love costume for The Producers (2002)

Collection of the Artist

William Ivey Long (b. 1947)

Gold Girl costume for The Producers (2002)

Collection of the Artist

William Ivey Long (b. 1947)

Costume "Bible" for The Producers (2002)

Collection of the Artist

The costume bible is a binder that contains all of the information about every aspect of the costume in the show: including actors' sizes and photographs; research information; shopping information; and fabric swatches. This particular bible, one of several for The Producers, contains all of the information pertaining to the costumes for "the Women of the Producers," including the costumes for the Little Old Lady whose costume is featured in this gallery.

William Ivey Long (b. 1947)

Sketch for Gary Beach as Roger de Bris [the Director] as the Grand Duchess Anastasia costume for The Producers (2002)

graphite, gouache, watercolor, ink and glitter on Bristol board

Collection of the Artist

William Ivey Long (b. 1947)

Sketch for Tracy Terstriep as Young Girls costume for The Producers (2002) graphite, gouache, watercolor, sequins, rhinestones on Bristol board

Collection of the Artist

William Ivey Long (b. 1947)

Ray Willis Little Old Lady costume for The Producers (2002)

Collection of the Artist

Robin Wagner (b. 1933)

Photographs of set designs for The Producers (2002)

Collection of the Artist

These photographs show the scene to scene progression with photographs of the set models.

Robin Wagner (b. 1933)

Photographs of set designs for The Producers (2002)

Collection of the Artist

Robin Wagner (b. 1933)

Finale Scrim drop cloth design 1/4" scale for The Producers (2002)

paint on paperboard

Collection of the Artist

A more developed version of the drop for the Finale is seen in the photograph to the left.

Robin Wagner (b. 1933)

Las Vegas Paris Hotel design for Drop cloth 3/8" scale for The Producers (2002) acrylic on paperboard

Collection of the Artist

Robin Wagner (b 1933)

Broadway drop cloth design 1/8" model for The Producers (2002)

watercolor on paperboard

Collection of the Artist

This painting is the designer's initial concept for the drop cloth design. From this small painting created in 1/8 inch scale, a more finished version of the design is developed. That design is usually larger, in 3/8 inch scale as seen in the painted design for Las Vegas Paris Hotel.

Robin Wagner (b 1933)

Shubert Theater set model for The Producers (2002)

mat board

Collection of the Artist

Robin Wagner (b 1933)

Model Photo of Shubert Theater for The Producers (2002)

Collection of the Artist

Robin Wagner (b 1933)

The Shubert Set maquette for The Producers (2002)

painted wood, mat board, plastic

Collection of the Artist

These final models are built to exactly create the look of the finished scenery. They are used by the designer to refine the set design and also as guides to the director and choreographer as they develop the staging of the show. They go on to be used as a guide for the scene shops as models for final paint and finish of the scenery.

Robin Wagner (b 1933)

Shubert Theater 1/2" design drawing for The Producers (2002)

digital print

Collection of the Artist

This measured drawing is submitted to the scenic shop for the construction of the actual scenery piece.

Robin Wagner (b 1933)

Townhouse set model 1/2" scale for The Producers (2002)

painted wood

Collection of the Artist

Wagner's initial concept for sets and props are developed as 1/4 inch painted paper models. The next versions are slightly larger typically in 1/2" scale. Finally a scale design drawing for the set or prop is developed which includes design details and notes on finishes. These drawings are sent to the prop builder who uses them to create the actual prop pieces.

Robin Wagner (b 1933)

Townhouse set model for The Producers (2002)

painted mat board

Collection of the Artist

Robin Wagner (b 1933)

The Little Old Lady drop cloth design for The Producers (2002)

paper heart cut out on digital print

Collection of the Artist

Robin Wagner (b 1933)

Design Drawing for Springtime Paratroopers, Springtime Cannons for The Producers (2002)

digital print

Collection of the Artist

Robin Wagner (b 1933)

Hitler and Globe model for The Producers (2002)

painted wood

Collection of the Artist

Robin Wagner (b 1933)

Motorcycle model for The Producers (2002)

painted wood and brass

Collection of the Artist

Robin Wagner (b 1933)

Storm Troopers in Formation model for The Producers (2002)

painted bristol board

Collection of the Artist

Robin Wagner (b 1933)

Alpine Drop cloth design 1/4" scale for The Producers (2002)

watercolor on paperboard

Collection of the Artist

This painting is the designer's initial concept for the drop cloth design.

Robin Wagner (b 1933)

Springtime scrim, design 1/4" scale for The Producers (2002)

digital print

Collection of the Artist

Photograph

From Mel Brooks and Tom Meehan, The Producers, The Book, Lyrics, and Story, Behind the Biggest Hit in Broadway History: How We Did It, New York: Hyperion Books, 2001, p. 62

This photograph documents the possibly record-breaking fourteen costume changes actor Ray Wills made during The Producers "Springtime for Hitler!" On display, to your right is the Little Old Lady costume worn by Wills, and further to your right is his Prisoner of Love costume.

for Hairspray gallery of set and costume designs

William Ivey Long (b. 1947)

Costume "Bible" for Hairspray (2002)

Collection of the Artist

This costume bible is one of three created for Hairspray, and features the costume information for Principle Men in the show. The costume designer's "bibles" hold all of the working information for the costume designer and their staff: photographs of the actors; swatches of fabric, accessories, buttons, lace; actors' sizes and measurements; shopping information for every item; and small sketches.

William Ivey Long (b. 1947)

Council Members Scene drawing for Hairspray (2002)

fabric, paint, pencil, paper cutouts, NECCO wafers on paper

Collection of the Artist

William Ivey Long (b. 1947)

High School Kids Scene drawing for Hairspray (2002)

paint, pencil, fabric and paper cutouts mounted on paper

Collection of the Artist

Long creates these very detailed "scene drawings" which depict every actor on stage during one scene each in their respective costumes.

William Ivey Long (b. 1947)

Corny Collins costume for Hairspray (2002)

Collection of the Artist

William Ivey Long (b. 1947)

Velma Von Tussel costume for Hairspray (2002)

Collection of the Artist

William Ivey Long (b. 1947)

Harvey Fierstein Pucci Dress costume for Hairspray (2002)

Collection of the Artist

David Rockwell (b. 1956)

Hairspray Stage Set maquette for Hairspray (2002)

painted wood, foam core, plexiglas, plastic and acetate

Collection of the Rockwell Group

David Rockwell (b. 1956)

Capitol Records, prop for Hairspray (2002)

paint on fiberglass

Collection of the Rockwell Group

David Rockwell (b. 1956)

Studio Panels, Cut Drop, and Door for Hairspray (2002)

digital print and NECCO wafers

Collection of the Rockwell Group

David Rockwell (b. 1956)

Motor Mouth hanger for Hairspray (2002)

digital print

Collection of the Rockwell Group

David Rockwell (b. 1956)

Gym hanger for Hairspray (2002)

digital print

Collection of the Rockwell Group

David Rockwell (b. 1956)

Hair Curtain for Hairspray (2002)

plastic, foam core, plexiglas

Collection of the Rockwell Group

David Rockwell (b. 1956)

Har-De-Har Wagon/Rube Goldberg Model set model for Hairspray (2002)

painted wood, foam core, plexiglas

Collection of the Rockwell Group

David Rockwell (b. 1956)

Billboard Rowhouse set model for Hairspray (2002)

painted wood, foam core, plexiglas

Collection of the Rockwell Group

David Rockwell (b. 1956)

Rowhouse Point Reference set model for Hairspray (2002)

painted wood, foam core, plexiglas

Collection of the Rockwell Group

David Rockwell (b. 1956)

Mr. Pinky's Hefty Hideaway set model for Hairspray (2002)

painted wood, foam core, plexiglas

Collection of the Rockwell Group

David Rockwell (b. 1956)

Tracy's Bed and House Exterior set model for Hairspray (2002)

painted wood, foam core, plexiglas

Collection of the Rockwell Group

David Rockwell (b. 1956)

Vanity Wagon and Props set model for Hairspray (2002)

painted wood, foam core, plexiglas

Collection of the Rockwell Group

David Rockwell (b. 1956)

Motormouth Maybelle's Podium and Record Bin set model for Hairspray (2002) painted wood, foam core, plexiglas

Collection of the Rockwell Group

David Rockwell (b. 1956)

Motormouth Maybelle's Podium and Record Bin design drawing for Hairspray (2002)

digital print

Collection of the Rockwell Group

David Rockwell (b. 1956)

Audition Props design drawing for Hairspray (2002)

digital print

Collection of the Rockwell Group

David Rockwell (b. 1956)

Civil Rights Research Board for Hairspray (2002)

Collection of the Rockwell Group

David Rockwell (b. 1956)

design drawing for Hairspray (2002)

digital print

Collection of the Rockwell Group

David Rockwell (b. 1956)

Hairspray Rocket and Toteboard for Hairspray (2002)

fabric and photographs on paper, Collection of the Rockwell Group

David Rockwell (b. 1956)

Billboard and Rowhouse, design for Hairspray (2002)

digital print

Collection of the Rockwell Group

This design features the rowhouses in Baltimore in the early 1960s, where lead character Tracy Turnblad lived. These images of rowhouses correspond to the small set models on view in this gallery.

David Rockwell (b. 1956)

WZZT Audition hanger for Hairspray (2002)

digital print

Collection of the Rockwell Group

David Rockwell (b. 1956)

School Detention Desks and Blackboard set model for Hairspray (2002)

painted wood, foam core, plexiglas

Collection of the Rockwell Group

for Memphis gallery

David Gallo (b. 1966)

Set Designs for Memphis (2009)

digital designs compiled onto a DVD

Courtesy of David Gallo

Paul Tazewell (b. 1964)

Felicia, Costume design for Memphis (2009)

colored pencil on paper

Collection of the Artist

Paul Tazewell (b. 1964)

Huey, Costume design for Memphis (2009)

colored pencil on paper

Collection of the Artist

Paul Tazewell (b. 1964)

Huey, Costume design for Memphis (2009)

colored pencil on paper

Collection of the Artist

Paul Tazewell (b. 1964)

Gladys Mama, Costume design for Memphis (2009)

colored pencil on paper

Collection of the Artist

Paul Tazewell (b. 1964)

Delray, Costume design for Memphis (2009)

colored pencil on paper

Collection of the Artist

Paul Tazewell (b. 1964)

Teen Girl Collins Costume design for Memphis (2009) colored pencil on paper

Collection of the Artist

Paul Tazewell (b. 1964)

Felicia's Dress, Costume for Memphis (2009)

Collection of the Artist

Paul Tazewell (b. 1964)

Gold Suit, Costume for Memphis (2009)

Collection of the Artist

for Young Frankenstein gallery

Robin Wagner (b 1933)

Sketch for Hangman drop cloth for Young Frankenstein (2007)

charcoal on paper

Collection of the Artist

Robin Wagner (b 1933) D

Ship drop cloth design Young Frankenstein (2007)

acrylic on paper

Collection of the Artist

Robin Wagner (b 1933)

Show drop cloth design, 1/4 " scale, Young Frankenstein (2007)

acrylic on paper

Collection of the Artist

Robin Wagner (b 1933)

Town Square Hanger for Young Frankenstein (2007)

painted mat board/wood

Collection of the Artist

Robin Wagner (b 1933)

Design for Grand Hall hanger Young Frankenstein (2007)

painted mat board

Collection of the Artist

Robin Wagner (b. 1933)

Design for Transylvania Portal for Young Frankenstein (2007)

Collection of the Artist

Robin Wagner (b. 1933)

Scene to scene model photo for Young Frankenstein (2007)

Collection of the Artist

How does a scenic designer design?

"I start with the text," Wagner says. "If it's in a book, it's written. If it's a musical, you hear the music. Then you start talking to the director, who invariably has a visual connection with the work. You read the play umpteen times, until you know practically every line. Then you talk it through or read it through with the director, long before a drawing is made."

These days, Wagner doesn't make drawings anymore. "I start with a simple little quarter-inch scale model, with little white things that I don't feel badly about when I cut them out or change them or throw them out and start over. It's not a big investment of time. And as the ideas begin to evolve, and you get a better and better idea of what the show is about, you keep doing the little models, until you have one you sort of like. And then you go to half-inch scale. All this can sometimes take six months." (Excerpt from Mervyn Rothstein, "A Life in the Theatre: Robin Wagner" in Playbill (February 23, 2007)

Robin Wagner (b. 1933)

Cart (preliminary model) 1/4 " scale model for Young Frankenstein (2007)

painted mat board

Collection of the Artist

Robin Wagner (b. 1933)

Cart (preliminary model) 1/4 " for Young Frankenstein (2007)

mat board

Collection of the Artist

Robin Wagner (b. 1933)

Scene to scene model photo for Young Frankenstein (2007)

Collection of the Artist

Robin Wagner (b. 1933)

Scene to scene model photo for Young Frankenstein (2007)

Collection of the Artist

Robin Wagner (b. 1933)

Scene to scene model photo for Young Frankenstein (2007) Collection of the Artist

Robin Wagner (b. 1933)

Set maquette for Young Frankenstein (2007)

painted wood, mat board, brass

Collection of the Artist

Robin Wagner (b. 1933)

Ship, 1/2 " scale model for Young Frankenstein (2007)

painted mat board, brass

Collection of the Artist

Robin Wagner (b. 1933)

Castle Door, 1/2 " scale model for Young Frankenstein (2007)

painted mat board

Collection of the Artist

Robin Wagner (b. 1933)

Grand Hall Staircase, 1/2 " scale model for Young Frankenstein (2007)

painted mat board

Collection of the Artist

Robin Wagner (b. 1933)

Train, 1/2 " scale model for Young Frankenstein (2007)

painted mat board

Collection of the Artist

Robin Wagner (b. 1933)

Grand Hall Fireplace Backing, Young Frankenstein (2007)

painted mat board

Collection of the Artist

Robin Wagner (b. 1933)

Dungeon, 1/2 " scale model for Young Frankenstein (2007)

painted mat board, brass

Collection of the Artist

Robin Wagner (b. 1933)

Cottage, 1/2 " scale model for Young Frankenstein (2007)

painted wood mat board, wood, brass

Collection of the Artist

Robin Wagner (b. 1933)

Gallows,1/2 " scale model for Young Frankenstein (2007)

painted mat board

Collection of the Artist

Robin Wagner (b. 1933)

Cottage 1/4 " scale white model for Young Frankenstein (2007)

bristol board

Collection of the Artist

Robin Wagner (b. 1933)

Grand Hall Bookcase, 1/2 " scale model for Young Frankenstein (2007)

painted mat board

Collection of the Artist

Robin Wagner (b. 1933)

Cart, 1/2 " scale model for Young Frankenstein (2007)

painted mat board/wood

Collection of the Artist

William Ivey Long (b. 1947)

Transylvania Town Square scene drawing for Young Frankenstein (2007)

pencil, ink, and paint on paper

Collection of the Artist

This scene drawing depicts every actor on stage, in their costume in Act I, Scene I of the show.

William Ivey Long (b. 1947)

Courtyard Outside the Castle scene drawing for Young Frankenstein (2007) pencil, ink and paint on paper

Collection of the Artist

This drawing depicts every actor on stage for Act I, Scene II, of Young Frankenstein.

William Ivey Long (b. 1947)

Costume "Bible " for Young Frankenstein (2007)

Collection of the Artist

This is costume bible records all of the necessary information (actor's sizes and photographs, fabric swatches for each costume, as well as sketches and purchasing information) for the "Women Ensemble Act I, Scenes I and II." These are the same costumes depicted in the two "scene drawings" on display in this gallery.

for FELA! gallery

Marina Draghici

Costume Design for FELA! (2009)

marker on photocopy of original pencil drawing

Collection of the Artist

Marina Draghici

Costume Design for FELA! (2009)

marker on photocopy of original pencil drawing

Collection of the Artist

Marina Draghici

Costume Design for FELA! (2009)

marker on photocopy of original pencil drawing

Collection of the Artist

Marina Draghici

Costume Design for FELA! (2009)

marker on photocopy of original pencil drawing

Collection of the Artist

Marina Draghici

Collar, Costume Design for FELA! (2009)

marker on photocopy of original pencil drawing

Collection of the Artist

Marina Draghici

Shoes, Costume design for FELA! (2009)

Collection of the Artist

Marina Draghici

Fela's Pink Suit Costume for FELA! (2009)

Collection of the Artist

Marina Draghici

Costume for FELA! (2009)

Collection of the Artist

Marina Draghici

Crocodile Mural, Bird Mural, Mask Mural, Sunburst Mural: all are portions of the original FELA! set from its Off Broadway location at 37 Arts (2009)

painted corrugated plastic

Collection of the Producers

This corrugated plastic mural is a portion of the actual set designed for and used in FELA!'s Off Broadway venue: 37 Arts. Set designer Marina Draghici chose this material because it was used in Lagos, Nigeria in the 1970s and was appropriate for suggesting Fela Kuti's nightclub The Shrine. This mural was painted by a group of Romanian street artists. The subject matter of crocodiles and birds was suggested by Draghici who supplied the artist team with ideas culled from research but did not sketch out a specific design. Instead she relied on the street artists to create a design spontaneously in order to capture a sense of energy.

Marina Draghici

Lights, a portion of the original FELA! set from its Off Broadway location at 37 Arts (2009)

painted corrugated plastic

Collection of the Producers

Marina Draghici

Set maquette for FELA! (2009)

board, paper, balsa, wood

Collection of the Artist

This model, created on a 1/4" scale was the set design for the Off-Broadway venue at 37 Arts.

Marina Draghici

Set maquette for FELA! (2009)

board, paper, balsa, wood

Collection of the Artist

This model, created on a 1/4" scale was the set design for the Broadway venue at the Eugene O'Neill Theater on West 49th Street. The maquette is a final model built to exactly create the look of the finished scenery. They are used by the designer to refine the set design and also serve as guides to the director and choreographer as they develop the staging of the show.

Robert Wierzel (b. 1956)

Lighting Plots for FELA! (2009)

digital prints

Collection of the Artist

There are six lighting plots on display in this gallery. These plans are created by the lighting designer to communicate technical information to the production electrician and his or her staff. These drawings are in scale. They indicate specific placement of the lighting equipment and where it should be installed in the theatre. These plans on display are the final version.

Robert Wierzel (b. 1956)

Lighting Magic Sheet for FELA! (2009)

digital print

Collection of the Artist

This diagram is a map of all the lighting ideas used in the musical FELA!. These numbers indicate "channels" that allow the designer to turn on and off the various lights that are located throughout the theatre.

for Avenue Q gallery

Rick Lyon

Princeton Puppet for Avenue Q (2002-03 )

Courtesy of Geoff Rich

The Avenue Q puppets were designed and built by original cast member Rick Lyon. Lyon's company, Lyon Puppets, continues to build and maintain the puppets used in all North American productions of Avenue Q, and several of the international productions. Three distinct types of puppets are used in the show: single-rod puppets; double-rod puppets; and live-hands puppets. Both Princeton and Kate Monster are single rod puppets which consist of a head and a torso with two arms, one movable for gestures (see the wire rod extending from Princeton's left arm) and one decorative. The puppeteer controls the puppet's head and mouth with his or her dominant hand, and holds a rod in the other hand that is attached to the puppet's movable arm. The nonfunctional arm is either "posed" in a permanent gesture or attached to the puppet's torso.

for the Eugene O'Neill Theater Center gallery

Fred Voelpel

Independence by Lee Blessing (1983)

watercolor on paper

Courtesy of the Eugene O'Neill Theater Center

Fred Voelpel

F.O.B. by David Henry Hwang (1979)

watercolor on paper

Courtesy of the Eugene O'Neill Theater Center

This watercolor scenic design for David Henry Hwang's F.O.B (directed by Robert Allan Ackerman) was created during the 1979 National Playwrights Conference.

Bill Clarke

Black Russian by Thomas Gibbons (1996)

watercolor on paper

Courtesy of the Eugene O'Neill Theater Center

This watercolor scenic design of Thomas Gibbons Black Russian (directed by Amy Saltz) by Bill Clarke during the 1996 National Playwrights Conference.

Fred Voelpel

Fences by August Wilson (1983)

Watercolor on paper

Courtesy of the Eugene O'Neill Theater Center

Scenic Rendering of August Wilson's play directed by William Partlan created during the 1983 National Playwrights Conference.

On the far left:

A. Vincent Scarano

August Wilson's Fences in rehearsal at the O'Neill Theater Center (1983)

photograph

Courtesy of Yale Repertory Theatre

Developed as part of the 1983 National Playwrights Conference, August Wilson's Fences went on to win the 1987 Tony Award for Best Play and a Pulitzer Prize. Shown here is Fences in development in the O'Neill's Amphitheater with actors Leonard Jackson, Richard Brooks, Mary Alice, and Bill Cobbs (pictured left to right).

On the left:

Fences Poster

Courtesy of Yale Repertory Theatre

Above:

Rachel Hauck

Model of the O'Neill Amphitheater

Courtesy of the Eugene O'Neill Theater Center

Throughout Gallery:

O'Neill Theater 'mods'

Courtesy of the Eugene O'Neill Theater Center

Models of the O'Neill theater spaces are used by the scenic design team, the director, and the playwright to explore different ways to present the playwright's work to the audience. Displayed throughout this gallery are examples of the O'Neill's signature gray 'mods.' The model of the O'Neill's Amphitheater above shows miniature scale models of these 'mods' used in different formations. The design team is free to try different ways of presenting the work without the budgetary restrictions of costly sets. The Amphitheater model was created by Rachel Hauck with the 'mods' originally designed in 1968 by Peter Larkin and still used today.

William B. Carter

Yale Repertory Theatre's World Premiere of Fences (1985)

photographs

Courtesy of Yale Repertory Theatre

Fences went from development in 1983 at the O'Neill Theater Center to its world Premiere at Yale Repertory Theatre in the 1984/85 season. It was directed by National Playwrights Conference Artistic Director Lloyd Richards. Pictured left to right in the top photograph: Mary Alice, James Earl Jones, Courtney Vance. Pictured left to right in the bottom photograph: The Cast of Yale Repertory Theatre's Fences with director Lloyd Richards and playwright August Wilson.

On the far left:

Adam Fleming/Rachel Hauck

Scenic Renderings of The Dream of the Burning Boy (2010)

Courtesy of the Eugene O'Neill Theater Center

Using computer software, Assistant Scenic Designer Adam Fleming created renderings of spaces for David West Read's The Dream of the Burning Boy. The images were displayed at the public readings of the play to encourage the audience to imagine the work in production.

On the left:

Adam Gwon/Lee Savage

Preliminary Scenic Ground Plan for Roundabout Theatre Company's The Dream of the Burning Boy (2011)

Courtesy of the Eugene O'Neill Theater Center

Photograph of the Scenic Model for Roundabout Theatre Company's The Dream of the Burning Boy (2011)

Courtesy of the Eugene O'Neill Theater Center

After development at the O'Neill Theater Center, full ground plans and scenic models were created for The Dream of the Burning Boy. Shown is the Preliminary Ground Plan as drafted by Adam Gwon for Scenic Designer Lee Savage and the scenic model for the production. Different from the O'Neill, these models and plans are site specific in that they are designed to the specific dimensions and mechanics of the theater in which the performance took place.

Fred Voelpel

Danny and the Deep Blue Sea by John Patrick Shanley (1983)

watercolor on paper

Courtesy of the Eugene O'Neill Theater Center

Voelpel executed this watercolor scenic design of John Patrick Shanely's Danny and the Deep Blue Sea (directed by Amy Saltz) during the 1983 National Playwrights Conference.

Rachel Hauck

Model of a Theoretical Set

Courtesy of the Eugene O'Neill Theater Center

This model of a theoretical set was created by scenic designer Rachel Hauck during the 2006 National Playwrights Conference in response to the script and the O'Neill's "Dream Design" process. The model depicts what the set could look like in a fully realized production but with no specific space limitations imposed.

A. Vincent Scarano

Photograph of The Exchange by Ursula Rani Sarma (2006)

Courtesy of the Eugene O'Neill Theater Center

Shown is Ursula Rani Samrma's The Exchange in rehearsal utilizing the O'Neill's scenic "mods."

Neil Jampolis

The House of Blue Leaves by John Guare (1966)

watercolor on paper

Courtesy of the Eugene O'Neill Theater Center

This watercolor scenic rendering of John Guare's The House of Blue Leaves (directed by Melvin Bernhardt) was created by Jampolis during the 1966 National Playwrights Conference.

Erté

Broadway in Fashion (1978)

Poster

Courtesy of the Eugene O'Neill Theater Center

In 1978 the O'Neill Center, in conjunction with the Council on Fashion Designers of America, presented Broadway in Fashion: A Fashionable-Theatrical Entertainment at the Broadhurst Theatre. This event celebrated fashion in a unique theatrical style. The poster graphic is an Erté commission by O'Neill founder George C. White and became a symbol of the National Music Theater Conference.

All Photographs Courtesy of the Eugene O'Neill Theater Center

Top Row from left to right:

New Drama for Media Project (1977)

John Desmond calls the shots from a semi-permanent control booth at the O'Neill during the 1977 National Playwrights/New Drama for Media. Shown is Roger Christiansen and playwright George Rubino during a rehearsal of 'The Last Tenant.' During the 1970's, Exxon and ABC Television sponsored projects of the National Playwrights Conference to be developed for TV and Film. 'The Last Tenant' was later crafted into a made for television movie.

Roger S. Christiansen

The 'Barn El' is Constructed

In 1968, the Barn El Theater was constructed as an additional rehearsal and performance space. The space was designed to hold television and media equipment for the developing New Drama for Media projects. The theater is now named the Dina Merrill Theater after Hollywood actress, legend, and O'Neill Trustee Dina Merrill.

A. Vincent Scarano

The National Theater Institute in class

The National Theater Institute was created in 1970 as an exceptionally demanding semester of training in directing, playwriting, design, acting, movement and voice for undergraduates. Shown is Artistic Director Fred Voelpel (1970's & 80's) teaching students while enjoying the view of the Long Island Sound.

A. Vincent Scarano

National Theater Institute students learn fencing (1980s)

O'Neill Founder George C. White teaches fencing to students of the National Theater Institute on the grounds of the O'Neill.

A. Vincent Scarano

The National Critics Institute (1983)

The National Critics Institute was founded in 1968 under the leadership of Norman Nadal, Judith Crist, and Ernest Schier to create a better understanding between theater artists and critics and allow critics to further hone their craft. Shown is the 1983 critics' class taping their 1-minute critiques of the National Playwrights Conference plays.

The Cast of Bedford Forest (1966)

The cast prepares for a public performance of 'Bedford Forest' by Joel Olianski during the 2nd Annual National Playwrights Conference. In the early days of the Center, costumes and scenic elements were used in full scale productions for each work developed. This practice was discontinued in 1967.

A. Vincent Scarano

The Nelson and Aida White House is moved to the O'Neill grounds (1988)

Originally called 'Old Ironsides,' the now-named Nelson and Aida White House (After founder George C. White's parents) was moved to the O'Neill Grounds in 1987/88. The reconstruction and renovations were inaugurated by Her Royal Highness The Duchess of York on January 20th, 1988. The building now serves as housing for faculty and visiting artists.

Richard Termine

National Puppetry Conference ( 2004)

The National Puppetry Conference was established in 1990 under the leadership of Jane Henson, Jim & Margo Rose, Richard Termine, George Latshaw, Bart P. Roccoberton Jr., & Bobbie Nidzgorski to create outrageous works of theater that defy imagination and confound expectations, and to teach new generations the art of puppetry. The National Puppetry celebrated its 20th anniversary in the summer of 2010.

A. Vincent Scarano

National Theater Institute Final Project (2010)

The National Theater Institute semester culminates in the public presentation of their 'Final Project.' The Spring 2010 class presented a project entitled 'The St. Petersburg Project: Nevsky Prospect' about their experiences of their two weeks studying abroad in St. Petersburg. The 'Final Project' is the capstone project of each semester and utilizes all of the training they received during their 12 weeks of class.

A. Vincent Scarano

Good Goods in Rehearsal (2011)

The cast rehearses under the Copper Beech trees of the Edith Oliver Theater for Christina Anderson's 'Good Goods,' directed by Mia Rovegno, during the 47th Annual National Playwrights Conference. 'Good Goods' went on to its world premiere at Yale Repertory Theater in February 2012. (L-R) Frank Harts, Cherise Boothe, Aja King, Hubert Point du Jour

2010 Regional Theater Tony Award (June 2010)

The O'Neill Theater Center received the 2010 Regional Theater Tony Award for excellence in the field having previously received a 1979 Special Tony Award for Theatrical Achievement. (L-R) National Puppetry Conference Artistic Director Pam Arciero, National Music Theater Conference Artistic Director Paulette Haupt, National Critics Conference Director Dan Sullivan, Chairman of the Board Tom Viertel, Executive Director Preston Whiteway, National Playwrights Conference Artistic Director Wendy C. Goldberg, Cabaret & Performance Conference Artistic Director Michael Bush, & National Theater Institute Artistic Director Jeff Janisheski.

Playbills

Middle Row from left to right:

National Playwrights Conference 1967

National Playwrights Conference 1975

National Playwrights Conference 1980

National Playwrights Conference 1984

The George White Scandals 1989

National Music Theater Conference 1997

O'Neill Center 2004

O'Neill Center 2011

All Photographs are Courtesy of the Eugene O'Neill Theater Center

Bottom Row from left to right:

Roger S. Christiansen

Barn Theater before Restoration

The Hammond barn was the first building to be renovated into a theater space upon the creation of the Eugene O'Neill Theater Center. Now called the Rufus and Margo Rose Barn Theater, the space serves as both a rehearsal and performance space for all O'Neill's programs.

Danny Devito in The Contrast (1966)

Danny Devito performs a scene from The Contrast during the 1966 Playwrights Conference. It was at the O'Neill that Danny DeVito met and became good friends with a young Michael Douglas

The New York Times

Second Annual National Playwrights Conference ( July 18, 1966)

A panel discussion on 'Writers Rights' during the 2nd National Playwrights Conference under the 'Conference Tree' in the O'Neill's Sunken Garden. Panelists: (L-R) Evelyn Berkey, Executive Secretary of Writers Guild, East; Audrey Wood, Author's Representative; Franklin Weissbery, Theatrical Attorney; David E. Levine, Assistant Executive Secretary of Dramatists Guild. (far right seated) David Black, producer

Meryl Streep (1975)

Actress Meryl Streep performs in Marco Polo by Johnathan Levy, directed by Lynne Meadow, during the 11th annual National Playwrights Conference. Ms. Streep's first professional job out of Yale School of Drama was with the O'Neill.

Roger S. Christiansen

Henry Winkler visits the National Theater Institute (1978 )

The National Theater Institute has had countless industry professionals visit as faculty and for master classes. Henry Winkler worked with the Spring Semester of 1978 on a production entitled 'The O'Neill Cometh,' a review show of the works of Eugene O'Neill. Mr. Winkler directed several segments of the performance. This visit was in the middle of Mr. Winkler's run as "The Fonz" on Happy Days, 1974-1985.

The National Theater of the Deaf (early 1970s)

The Little Theater of the Deaf, a division of The National Theater of the Deaf, hosts a performance on the grounds of the O'Neill. The National Theater of the Deaf began as a program of the O'Neill Center, later becoming independent. The National Theater of the Deaf continues to hold residencies at the Eugene O'Neill Theater Center today.

Photographer unknown

Michael Douglas in Summertree (1983)

Actor (and now Trustee) Michael Douglas performs opposite Philip Sterling in a scene from the staged reading of Ron Cowen's Summertree. Mr. Douglas began as a facilities intern at the O'Neill, but soon found himself on the stage as an actor for the National Playwrights Conference where he launched his career.

A. Vincent Scarano

Avenue Q (2002)

Now a Tony Award winning Broadway musical, and still playing at New World Stages Off-Broadway, Avenue Q was first work-shopped in the Dina Merrill Theater as part of the 2002 National Music Theater Conference. It was the first and only work of the National Music Theater Conference to utilize puppets. (L-R) John Tartaglia, Rick Lyon- with puppets (L-R) Lucy, Princeton, Kate Monster, and Trekkie Monster

A. Vincent Scarano

Lin Manuel Miranda (2005)

Lin Manuel Miranda, creator of the Tony Award winning In the Heights, walks the grounds of the O'Neill Theater Center during his residency during the 2005 National Music Theater Conference

A. Vincent Scarano

Cabaret & Performance Conference (2006)

After first being created by Betsy White and Ellie Ellsworth in 1989, the Cabaret Symposium re-launched as the Cabaret & Performance Conference in 2005 as a dynamic opportunity for performers to work on new projects with the guidance of an accomplished team of professional directors, music directors, and guest artists. Several major works that began at the Cabaret & Performance conference include: Broadway's [title of show] and The Story of My Life. Shown is Cabaret master-teacher Penny Fuller during the 2006 Conference.

Return to Curtain Up: Broadway Behind the Scenes

Search Resource Library for thousands of articles and essays on American art.