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Jerome Robbins' notes on Mother Courage and her children. Nov. 26-Dec. 27, 1962

Author: Jerome Robbins
Publisher: 1962.
Series: Jerome Robbins Collection
Edition/Format:   Audiobook on CD : CD audio : English
Database:WorldCat
Summary:
In a series of dated notes dictated to his secretary Edith Weissman, Jerome Robbins discusses his experiences directing and producing the show, Mother Courage and her children (1963), and to a lesser extent, his work on the shows Fanny Brice, also known as Funny Girl (1964), and Oh Dad, poor Dad, Mama's hung you in the closet and I'm feeling so sad (1963).
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Details

Named Person: Anne Bancroft; Geraldine Page; Jerome Robbins; Bertolt Brecht; Arthur L Kopit
Material Type: Audio book, etc.
Document Type: Sound Recording
All Authors / Contributors: Jerome Robbins
OCLC Number: 77877881
Notes: Recorded Nov. 26 through Dec. 27, 1962.
Description: 2 sound discs (ca. 102 min.) : digital ; 4 3/4 in.
Series Title: Jerome Robbins Collection

Abstract:

In a series of dated notes dictated to his secretary Edith Weissman, Jerome Robbins discusses his experiences directing and producing the show, Mother Courage and her children (1963), and to a lesser extent, his work on the shows Fanny Brice, also known as Funny Girl (1964), and Oh Dad, poor Dad, Mama's hung you in the closet and I'm feeling so sad (1963).

Disc 1 (ca. 66 min.) Nov 26, 1962. Robbins discusses his decision to direct Mother Courage; his work on the show Fanny Brice and initial interviews with Anne Bancroft; withdrawing from Fanny Brice; meeting with Bancroft about Mother Courage; meeting with Geraldine Page in New York and Los Angeles about Mother Courage and her interest in the project; his decision to cast Page as Mother Courage and Bancroft's disappointment; Page's backing out of the project; offering the role to Bancroft; the possible influence of his co-producer Cheryl Crawford and the Actor's Studio in Page's decision; his dissatisfaction with Paul Dessau's score for Mother Courage; possibility of bringing a lawsuit against Page; his feelings toward Actor's Studio regarding Page's decision; his feelings about show business and producers as "sharks"; his decision to proceed with Mother Courage [pause].

Nov. 27 (ca. 33 min. into recording). [Contains extraneous bass noise.] Robbins discusses the financial negotiations with Bancroft's agent; Dessau's music; his interpretation of the play; readings for the play; working on the score with translator, Eric Bentley [pause].

Nov. 29 (ca. 40 min. into recording). Robbins discusses his various meetings with Crawford and others for Mother Courage; the higher cost of producing the show as a result of the musician's union declaring the show a musical; publicity for the show; more on his feelings about the Actor's Studio; how to direct actors so that Brecht's concepts emerge.

Nov. 30. Robbins discusses attending a fundraising dinner as guest of Richard Rodgers; readings for Mother Courage and a meeting with Bancroft; working on the music with Bentley and problems with his lyrics and with the score; his production of Oh Dad, now on the road; regrets about not being more forceful concerning Page.

Dec 1. Robbins discusses meeting with Crawford, more on the various contracts for the show, his dislike of the score; hiring a stage manager; readings with actors Zohra Lempert and Gene Wilder; conclusions regarding his experiences with the show; more on the musicians' union; a performance of Orson Welles' show, Moby Dick which he attended [ends abruptly].

Disc 2 (ca. 36 min.) Dec. 3. [Contains extraneous bass noise.] Robbins discusses working on Mother Courage with various actors, including Barbara Harris in the role of Yvette; the struggles and trials of producing a show; uncertainty regarding casting and the use of Bancroft; his feelings of depression working on Broadway; the business of Broadway in relation to the themes of Mother Courage; how Brecht's art is watered down by the machinations of business [pause].

Dec. 5 (ca. 9 min into recording). Robbins discusses conducting more readings for Mother Courage; his rehearsal with Hermione Gingold in Oh Dad; costuming Bancroft as Mother Courage; his plan to write a book on his experiences and to include among his topics the musicians' and stagehands' union [long pause ca. 2 min.].

Dec 7 (ca. 17 min. into recording). Robbins discusses the problems with Bentley's translation of Mother Courage; more on readings with actors and the difficulty of judging actors' abilities during a 30-minute audition.

Dec 8. Robbins discusses meetings and rehearsals for Mother Courage and Oh Dad.

Dec 27. Robbins discusses casting Lampert as Kattrin in Mother Courage, Sean Kenny's decision not to do scenery and choice of Ming Cho Lee as set designer; looking for a stage manager; getting script finished; his decision to stop making detailed notes on his experiences; the continuation of the "business within a business" of Mother Courage. Robbins then dictates letters to Richard Rodgers, Peter Larkin, David Hays, Will Armstrong and Peter Harvey regarding his various casting and personnel choices for Mother Courage [pause ca. 34 min. into recording; recording begins again and then tape ends abruptly].

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Linked Data


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schema:name"Bancroft, Anne, 1931-2005"
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schema:datePublished"1962"
schema:description"Dec 8. Robbins discusses meetings and rehearsals for Mother Courage and Oh Dad."
schema:description"Dec 7 (ca. 17 min. into recording). Robbins discusses the problems with Bentley's translation of Mother Courage; more on readings with actors and the difficulty of judging actors' abilities during a 30-minute audition."
schema:description"Dec 1. Robbins discusses meeting with Crawford, more on the various contracts for the show, his dislike of the score; hiring a stage manager; readings with actors Zohra Lempert and Gene Wilder; conclusions regarding his experiences with the show; more on the musicians' union; a performance of Orson Welles' show, Moby Dick which he attended [ends abruptly]."
schema:description"Dec 27. Robbins discusses casting Lampert as Kattrin in Mother Courage, Sean Kenny's decision not to do scenery and choice of Ming Cho Lee as set designer; looking for a stage manager; getting script finished; his decision to stop making detailed notes on his experiences; the continuation of the "business within a business" of Mother Courage. Robbins then dictates letters to Richard Rodgers, Peter Larkin, David Hays, Will Armstrong and Peter Harvey regarding his various casting and personnel choices for Mother Courage [pause ca. 34 min. into recording; recording begins again and then tape ends abruptly]."
schema:description"Nov. 27 (ca. 33 min. into recording). [Contains extraneous bass noise.] Robbins discusses the financial negotiations with Bancroft's agent; Dessau's music; his interpretation of the play; readings for the play; working on the score with translator, Eric Bentley [pause]."
schema:description"Nov. 30. Robbins discusses attending a fundraising dinner as guest of Richard Rodgers; readings for Mother Courage and a meeting with Bancroft; working on the music with Bentley and problems with his lyrics and with the score; his production of Oh Dad, now on the road; regrets about not being more forceful concerning Page."
schema:description"Nov. 29 (ca. 40 min. into recording). Robbins discusses his various meetings with Crawford and others for Mother Courage; the higher cost of producing the show as a result of the musician's union declaring the show a musical; publicity for the show; more on his feelings about the Actor's Studio; how to direct actors so that Brecht's concepts emerge."
schema:description"Disc 1 (ca. 66 min.) Nov 26, 1962. Robbins discusses his decision to direct Mother Courage; his work on the show Fanny Brice and initial interviews with Anne Bancroft; withdrawing from Fanny Brice; meeting with Bancroft about Mother Courage; meeting with Geraldine Page in New York and Los Angeles about Mother Courage and her interest in the project; his decision to cast Page as Mother Courage and Bancroft's disappointment; Page's backing out of the project; offering the role to Bancroft; the possible influence of his co-producer Cheryl Crawford and the Actor's Studio in Page's decision; his dissatisfaction with Paul Dessau's score for Mother Courage; possibility of bringing a lawsuit against Page; his feelings toward Actor's Studio regarding Page's decision; his feelings about show business and producers as "sharks"; his decision to proceed with Mother Courage [pause]."
schema:description"Dec. 5 (ca. 9 min into recording). Robbins discusses conducting more readings for Mother Courage; his rehearsal with Hermione Gingold in Oh Dad; costuming Bancroft as Mother Courage; his plan to write a book on his experiences and to include among his topics the musicians' and stagehands' union [long pause ca. 2 min.]."
schema:description"In a series of dated notes dictated to his secretary Edith Weissman, Jerome Robbins discusses his experiences directing and producing the show, Mother Courage and her children (1963), and to a lesser extent, his work on the shows Fanny Brice, also known as Funny Girl (1964), and Oh Dad, poor Dad, Mama's hung you in the closet and I'm feeling so sad (1963)."
schema:description"Disc 2 (ca. 36 min.) Dec. 3. [Contains extraneous bass noise.] Robbins discusses working on Mother Courage with various actors, including Barbara Harris in the role of Yvette; the struggles and trials of producing a show; uncertainty regarding casting and the use of Bancroft; his feelings of depression working on Broadway; the business of Broadway in relation to the themes of Mother Courage; how Brecht's art is watered down by the machinations of business [pause]."
schema:exampleOfWork<http://worldcat.org/entity/work/id/63389202>
schema:inLanguage"en"
schema:name"Jerome Robbins' notes on Mother Courage and her children."

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