Class, Gender, and Race at the Center of Dutchman- William Harris Papers

Authored by Katie Ranno

Review of "Dutchman" by William B. Harris at the wellknown Perry Street Theatre in 1977. A one-act play with one location tackles the topics of race, class, and gender head on. Courtesy of Marymount Manhattan College
Review of “Dutchman” by William B. Harris at the wellknown Perry Street Theatre in 1977. A one-act play with one location tackles the topics of race, class, and gender head on.

My Academic Service-Learning (AS-L) project has been focused on gathering more information about the Dutchman review pictured above. The object was written by William B. Harris, a writer of many talents, including that of theatre reviews. He died in the year 2000 (Brown 2001, 2). Marymount College has since received a number of his works, and now it is their mission to keep his writings alive and accessible so that the general public can learn about part of New York’s theatre history through his writings.

This particular production of Dutchman took place at the Perry Street Theatre with performances beginning on February 10, 1977 (Salem 1984, 46). The one-act play was written in 1963 by LeRoi Jones (also known as Imamu Amiri Baraka) tells the story of a white woman named Lula and a black man named Clay who become interested in each other while sitting on a subway (Als 2007, 1). However, preconceived notions cloud their judgments, taking the play in a direction that tackles class, gender, and race head on.

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The Long Voyage Home – The William Harris Papers: An Avenue for Social Justice

Authored by William A. Slone

The Playbill for Tennessee Williams’ The Long Voyage Home by Eugene O’Neill collected by William B. Harris, who reviewed the play

Tennessee Williams’ play, The Long Voyage Home, by Eugene O’Neill was performed by Washington Market Playhouse, Inc. at Morgan’s Old New York Grill, a tavern, which supplied the perfect atmosphere for a play about the sea and sailors (Harris, n.d.). The Long Voyage Home was most likely performed in 1976 on Saturday, January 10th and Sunday, January 11th (MMM, n.d.). William B. Harris was in attendance during those dates and wrote a review of the play. His review is archived in “The William Harris Papers,” a special collection housed in the Marymount Manhattan College Library. The playbill and Harris’ review provide two examples of the Vincentian concept.

William Harris described The Long Voyage Home as one of the “best hours imaginable” in a waterfront bar where he stated that, “The performers themselves become as natural a part of the bar as the drinking patrons” (Harris, n.d.). He described what one would expect to hear in a bar of sailors – tall tales and songs of adventure, alcohol, loves lost, and the ferociousness of the sea. Harris pointed out that, “most significantly the play contained the spirit of all voyagers: men without purpose who are outcasts except from the cheap dives they frequent while in port” (Harris, n.d.). Harris emphasized that “loneliness and monotony are temporary, and the freedom of choice is limited – a male predicament” (Harris, n.d.). With his description of the sailors in the play, Harris conveys a voice for them who are under-and/or misrepresented. The sailors had demanding jobs and they had to be strong to endure their harsh life.

Harris mentions that, “Alexander Sokoloff directed the play quite admirably” but mentioned, “there was some problem with the handling of foreign accents” (Harris, n.d.). His statement is quite interesting! Listed on the playbill under the heading “Characters” several of the actors have an asterisk beside their name. The asterisk identifies them as actors appearing through the courtesy of the Actors’ Equity Association. The Actors’ Equity Association established on July 18, 1919 negotiated rules concerning bonding, which required producers to post sufficient advance funds to guarantee salaries and benefits; minimum salaries; rehearsal pay; restriction on the employment of foreign actors and protections in dealings with theatrical agents (History of Actors’ Equity Association, n.d.). The foreign actors had the support of the Actors’ Equity Association in The Long Voyage Home. This is a second example of the “Vincentian Perspective.” They were provided a voice by the Actors’ Equity Association because they were under-and/or misrepresented among other actors.

William B. Harris was multitalented. Among many talents, he was a writer for SoHo Weekly News, an advocate for new dance artists and an informal adviser to dance producers (New York Times 2000). Morgan’s Old New York Grill, at 134 Reade Street in lower Manhattan was close to home (New York Times 1976). His review which praised The Long Voyage Home and the playbill each provides an important example of social justice.

Bibliography

Harris, William. n.d. “The Long Voyage Home.” William Harris Papers. Marymount Manhattan College. Accessed March 9, 2019.

“History of Actors’ Equity Association.” n.d. Organization. Actors’ Equity Association 1913. https://www.actorsequity.org/aboutequity/history/.

MMC (Marymount Manhattan College). n.d. William Harris Papers: Archives, http://www.mmm.edu/offices/library/archives.php.

The New York Times. 2000. “William Harris Writer, 49,” July 29, 2000. 2000. https://www.nytimes.com/2000/07/29/arts/william-harris-writer-49.html.

The New York Times. 1976. “Going Out Guide,” May 13, 1976. 1976. https://www.nytimes.com/1976/05/13/archives/going-out-guide.html.

Ludlam’s Feuding Families in Corn-William Harris Papers

Ludlam’s Feuding Families in Corn-William Harris Papers

Authored by Renee Pistone

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Clipping of the musical Corn that was performed in 1978 from William Harris Papers

The object here is the program for the musical Corn. The program is archived in the William Harris Papers at Marymount Manhattan College (Brown 2001, 4). This program is the image selected for my AS-L project because Corn’s theme is Vincentian compassion for all marginalized people. This AS-L project gives voice to those in theatre who are misunderstood and often not heard from. Mr. Harris’ expert critique about Corn helped fill the seats. Harris embraced difference and appreciated Ludlam’s genius and the extraordinary performances in Corn. Corn won an Obie award as a critically acclaimed play that propelled Ludlam’s career forward. The information below takes the readers on a tour of one evening with theatre off-Broadway critic William B. Harris. Marymount Manhattan College is known for its dance and theatre programs and it is the perfect location to archive the William Harris Papers.

Mr. Harris went to the theatre at One Sheridan Square Playhouse to tell the world about Corn in 1978. The Chelsea Playhouse Theatre was later named after Ludlam along with the street in front of it. Ludlam influenced people within the gay community and anyone else open to his unique artistic style.

Ludlam gives meaning to the country singer Lola’s struggles to reconnect with her troubled past. The struggles that Lola faced are found in amusing songs and dances (Harris 1978, 1). The main character Lola overcomes exploitation from a greedy Manager to showcase Corn’s social justice themes (Edgecomb 2017, 17). The play features feuding families and images of Americana. Corn’s message is to encourage universal love and peace (Kaufman 2005, 25). In many ways their lives intersect because Ludlam created plays that helped people overcome life’s obstacles. Meanwhile, Harris wrote his reviews to bring attention to Ludlam’s quest. The Vincentian philosophy involves helping others in order to deepen our faith. It is especially important to stand up for people who face persecution due to some aspect of their identities.

Playwright Charles Ludlam wrote Corn to provide the audience with a parody about social justice issues (Ludlam 1992, 3). Ludlam’s plays routinely feature themes related to sexuality and acceptance of others.

References

Brown, Mary. 2001. “William Harris Papers: Archives.” Marymount Manhattan College, http://www.mmm.edu/offices/library/archives.pdf.

Edgecomb, Sean. 2017. Charles Ludlam Lives, Michigan: University of Michigan Press.

Harris, William. 1978. “As Corny as Kansas in August and Better.” The So Ho Weekly News.

Kaufman, David. 2005. Ridiculous: The Ridiculous Life of Charles Ludlam, New York: Applause Books.

Ludlam, Charles. 1992. Ridiculous Theatre: Scourge of Human Folly. New York: Theatre Communications Group.

Dr. Gurcharan Singh’s Legacy of Respect and Collaboration

Authored By Margaret Andracchi

Taken 1996, Dr. Gurcharan Singh lectures to a class of Marymount Manhattan College students interested in International Studies. His turban signifies him as a Sikh.

Joining the faculty of Marymount Manhattan College in 1980, Dr. Gurcharan Singh quickly became an integral part of community and created a legacy that still lives on today. He began teaching as an Assistant Professor of Political Science and International Studies, backed with a MA and PhD from the City University of New York (Marymount Manhattan College 1980). Dr. Singh is credited for founding the International Studies program during his first years there, and is still honored today for this contribution with the Gurcharan Singh Memorial Fund. For 25 years Dr. Singh served the community, until his tragic death in 2007 in a motor vehicle accident.

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Queering Archives: Why it is Important to Include LGBT Items in Archives

Authored by Audrey Shults

Queering Fanfiction Event Poster from Marymount Manhattan College

This artifact is a copy of a poster advertising for an April of 2017 event discussing Queering Fanfiction, or taking media and putting an LGBT spin on it, usually so that two previously heterosexual characters enter a homosexual relationship. The event was hosted by Marymount Manhattan College’s (MMC) Gender and Sexuality Studies Club which, in addition to being a club, is a minor offered by the college. This aligns with MMC’s mission to help students “develop an awareness of social, political, cultural, and ethical issues in the belief that this awareness will lead to concern for, participation in, and improvement of society” (Marymount Manhattan College, n.d.). Because homosexuality has only recently begun to lose its stigma, there are few items from the LGBT community in MMC’s archives, save for the past decade or so. Continue reading

Traditions and Interpretations: Religion and its Position on College Campuses

Authored by Clare Harris

Poster from event at Marymount Manhattan College

October 11: President Jud Shaver and Rabbi Hiat discuss “The Sacrifice of Isaac” (Genesis 22) in Jewish and Christian Tradition [Flyer advertising for student event surrounding religious debate and discussion.] (October 11, 2012).

Diversity and inclusion are topics that matter and surround us everyday. With the rapid change of laws and opinions on what should and should not be allowed, there is a growing need for safe spaces where people, specifically students, can go and speak freely about their convictions. Students on college campuses today are experiencing many different changes in their lives. One type of identity that could change is a student’s religious preferences. Students have diversity in different aspects, religiosity not only differs between students but also takes unique positions in their lives (Cooper, Howard-Hamilton, and Cuyjet 2011, 372). Students may look to new leaders in their lives for other religious opinions in an attempt to mold themselves into someone new.

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MOBILIZING COHERENT COMMUNITY RESPONSES TO CHANGING IMMIGRATION POLICIES: Multimedia from the Center for Migration Studies

Authored by Katrina Ehrnman-Newton

Image shows a view from above of a table with a panel of speakers and a seated audience. Watermarked with Center for Migration Studies logo.

Screenshot of the panel’s proceedings during this day of the conference.

This video is part of a three day proceedings from June 7-9, 2017 by several groups coming together to discuss their actions and emerging strategies to face the increasing hostility and illegal action being taken against immigrants and others under the emerging Trump presidency. The event was hosted by the Center for Migration Studies of New York (CMS), Cabrini Center for Immigrant Legal Assistance of Catholic Charities of Galveston-Houston, the Houston Immigration Legal Services Collaborative, and the South Texas College of Law Houston (Center for Migrations Studies 2017).  Continue reading

Charles L. Mee’s “The Trojan Women: A Love Story”

Authored by Sarah West

Newspaper clipping from The Village Voice of an advertisement for Mee’s “The Trojan Women: A Love Story.”

This advertisement ran in the Village Voice on July 9th, 1996. Charles L. Mee authored the play, and it was directed by Tina Landau. The play was a twist on Euripides’ The Trojan Women, Virgil’s Aenid, Hector Berlioz’s Les Troyens and “modern day” pop-culture (Brantley 1996).  It followed the story of  Aeneas and his men who leave Troy and sail to Italy. They are lost at sea and end up in Carthage. Here he meets and  falls in love with Dido. Where this play differs from its inspiration, Dido does not die in this play. Continue reading

Maureen Anderman Collection: “Sarah” in Edward Albee’s 1975 Production of Seascape

Authored by Florence Nicosia

Maureen Anderman as Sarah in Edward Albee’s 1975 production of Seascape.

 

Pictured is Maureen Anderman in full makeup as an anthropomorphic lizard. The picture is a cultural artifact because of the type of film used and its depiction of Albee’s conception of what an anthropomorphic lizard looked like. The camera was a Kodak Pocket Instamatic that uses 110 film to produce 3” x 5” photos. This type of camera was considered state of the art in the seventies for amateur photography. This picture of Anderman was taken to assist the makeup artist in his/her effort to recreate Anderman’s makeup for each performance. Maureen Anderman is a Tony award nominated actress best known for her appearances on stage. Edward Albee was an American playwright whose plays were often considered commentaries on human relationships. Continue reading

In The Time Of Seascape

Authored by Tori Burrell

Image of a scene from Edward Albee's Seascape

A scene from Edward Albee’s Seascape. This derives from Collection 7, The Anderman Papers, located at Marymount Manhattan College.

 

Remembering lines and breathing life into sometimes fictional characters, is what is expected of those who have embraced the theater enough to be part of it. Having a career in theater is not always easy due to the questionable consistency of work, and the many instances in which one must step outside of their comfort zone and put their best foot forward. Although neither of these instances are ideal, with Broadway audiences capping off at fourteen million people per season in the United States,[1] the show must go on. Continue reading