Call Number:

AC022

Repository:

Princeton University Library: University Archives

Extent:

• 95 boxes
• 1 folder
• 2 items

Language:

English

Preferred Citation:

Identification of specific item; Date (if known); Theatre Intime Records, Box and Folder Number; Princeton University Archives, Special Collections, Princeton University Library.

Date:

1919-2011 (inclusive)

Creator:

Princeton University. Theatre Intime, Ayers, Lemuel DeLos, Jr, and Davis, James E

Form:

Playbills and Posters

Abstract:

The collection contains records of the Princeton University student-run theatre organization and includes correspondence, clippings, photographs, playbills, posters, scripts, designs, and promotional materials.

Theatre Intime was founded in 1919 by a small group of Princeton undergraduates interested in writing and producing original plays. Quickly growing in popularity, in the fall of 1921 it obtained the use of Murray Theater, which had theretofore served as a chapel, on the Princeton campus. Murray has been Intime's home ever since. Throughout its history, Theatre Intime has remained a student-run organization. With a few notable exceptions, Intime has maintained itself without financial support from the university. Intime produces all manner of performances--dramas, tragedies, comedies, and musicals, as well as monologues, magic shows, and folk sings. Historically, its members have shown an interest in lesser-known or less-often performed works, as well as in student-written plays. Over the years, several plays have enjoyed their American or world premiers with Intime: in the spring of 1921, John Milton's Samson Agonistes was the first such debut. It was followed by such plays as Tolstoy's Tsar Fyodor Ivanovitch (1929), Jules Romains' Give the Earth a Little Longer (Spring 1942), Jean Cocteau's The Typewriter (Fall 1949), John O'Hara's Searching Sun (Spring 1952), and W.H. Auden's Age of Anxiety (Spring 1960). For its first fifty years, the group experienced alternating periods of creativity and growth and times when membership and interest in the group sagged. The period before World War II saw the company's focus shift from encouraging student playwriting to acting and directing professional plays. This new focus was most visible in the years 1929-1933, when James Stewart, Joshua Logan, Myron McCormick, Norris Houghton, Bretaigne Windust, and others were student members. Originally set up as almost a private club for its members, whose audiences were admitted by invitation only, Intime quickly grew to become a more open stage company. Intime's relationship with the Triangle Club was especially reciprocal in this era. During World War II, Intime's activities were suspended. After the war, club veterans returned to reorganize the group. During the years 1947-1954, the group began experimenting with new playwrights and artists: works by Sartre, Cocteau, and Giradoux appeared during these years, soon to be followed by Albee, Ionesco, Pirandello, Beckett, Camus, and Brecht. The years from 1955 to 1966 proved difficult for Intime, as student apathy discouraged and often foiled the troupe's efforts. The greatest turning point in Intime's history occurred during the 1970s. Student enthusiasm about theatre in general increased markedly in these years, reflecting cultural changes of the times, and the beginning of coeducation provided a great deal of new talent. Membership rules were loosened, and an atmosphere of creativity and openness inspired not only experimental and avant-garde performances, but also an expanded season of up to ten plays, compared to the four-or-five-play seasons of the 1950's. Since this time, Intime has enjoyed consistent popularity and organizational good health. Throughout Intime's history, its members often sought to run summer seasons. The early 1930's, late 1940's, 1950's, and the period since 1968 all saw successful summer efforts. Theatre Intime's members were often involved in summer theatre projects. This collection contains materials for summer seasons from 1928-1931 and 1968 onward. However, Intime members also succeeded in staging shows during the summers 1928 to 1931 (with students from Harvard and other universities in Falmouth, Massachusetts), 1948 to 1950, and 1953 to 1960, under the name University Players, in the summer of 1962 as the Princeton Players, and in the 1970s as Summer Intime. For a more detailed account of Theatre Intime's development over the years, please see John P. Kendall '74's English Department senior thesis, I Also Swept the Floor: Theatre Intime from 1920 to 1974. 1919-1920: Le Ballet Intime, Ghosts, Macbeth, Hamlet, Pippa Passes, The Glittering Gate, Fame and the Poet, Swine, A Game of Chess, Samson and Delilah, Interlude, The Isle of Paradise, 1920-1921: Eureka, Conigsby's Conscience, The Glittering Gate, Nell of Gray Gulch, The Queen's Enemies, The Girl Who Was Different, Dr. Smiley Dines Out, Bombarded by Molecules, The Lost Silk Hat, The Young Master's Arrival, The Mousetrap, A Game of Chess, Dark Lady of the Sonnets, If Shakespeare Were Alive Today, Caroline's Christmas, Will o' the Wisp, Spilled Milk, Swan Song, The Shock, The Mystic and the Mouse, XV Idyl, In His Image, Macbeth, Aria de Capo, Ionnie, The Younger Generation, A Working Model, Liluli, The Little Wreck, Repressed Emotions, The Great Idea, Behind the Beyond, The Eternal Serpentine, The Other Caliph, Bones and the Man, The Photographer, Politics 1921-1922: Atlas, Her Face, The Life Machine, Lulu Batt, Vogner, The Thirteenth Floor, Shades of Hamlet, DuBarry, The Orchid, Poetic Justice, The Superman Crashes Through, A Night at the Inn, While the Carriage Waits, The D.T.'s, Samson Agonistes, It's a Wise Child (Euripides Notwithstanding), Will O' the Wisp, My Unknown Friend, After All, Patelin Pays, The Other Foot, The Better Man, Pourquoi Chantent-Ils?, Oedipus Rex, Hidden Treasure, Putting It Across, Man of Destiny, The Shadow in the Dark 1922-1923: The Royal Breed, The Genesis of Timon, The Cold Country, Hemlocke Oake, Heresy, The Monkey's Paw, The Bourgeois Bohemian, The Pearl and the Pistol, Le French Farce, Bound East for Cardiff, The Suicides, The Photographer, A College Education, Flashes of Steel 1923-1924: The Clod, The Pot Boiler, A Night at the Inn, Generalissimo, The Judgement of Pallas, Gaffer, The Shadow in the Dark, The Better Man, A Game of Chess, The Better Angel, Retainers of the Moon, Odd Proposals, The Way Across, Felipe, Spume of the Sea 1924-1925: The Hero of Santa Maria, Nocturne, The Silent Protector, Magic, How He Lied to Her Husband, Simon's Hour, Bursting the Barriers, Fratricide Punished, Romio and Julietta, While the Carriage Waits, Among the Sands, St. Patrick's Day or The Scheming Lieutenant, Nassau Street Follies 1925-1926: Where the Cross Is Made, Wurzel, The Proposal, Two Crooks and a Lady, A Good Woman, Augustus Does His Bit, Candida, The Dover Road 1926-1927: Doctor Faustus, Shore, The Lady in the Chair, Make Believe, Confessional, Saint Joan, Outward Bound, Hamlet 1927-1928: Caesar and Cleopatra, Open Collars, The Wild Duck, The Truth About Blayds, The Devil's Disciple Summer 1928: The Dover Road, Beyond the Horizon, The Torchbearers, The Jest, In the Next Room, The New Way, Is Zat So, The Thirteenth Chair 1928-1929: Much Ado About Nothing, Crocodiles Are Happy, Tsar Fyodor Ivanovitch, The Torchbearers, The Old Timer Summer 1929: The Devil in the Cheese, The Donovan Affair, The Last of Mrs. Cheyney, Outward Bound, The Last Warning, Merton of the Movies, Crime, The Bad Man, The Czarina, The Constant Nymph 1929-1930: The Barker, Time Is a Dream, Androcles and the Lion, The Intruder, Othello, The Right Sort Summer 1930: Murray Hill, The Wooden Kimono, The Watched Pot, Thunder on the Left, The Makropoulos Secret, The Masque of Venice, The Firebrand, Hell Bent for Heaven, The Marquise, A Kiss for Cinderella 1930-1931: The Pigeon, The Lady and the Slave, Our Last Run, Three Artists and a Lady, Man and the Masses, The Play's the Thing Summer 1931: Paris Bound, Interference, Mr. Pim Passes By, Coquette, Her Cardboard Lover, The Trial of Mary Dugan, The Guardsman, Juno and the Paycock, The Silent House, The Italian Straw Hat 1931-1932: Dr. Knock, Never Mind the Scotch, Tribunal, The Hairy Ape, The Phoenix Nest, Nerissa 1932-1933: Under the Undercurrent, Entertaining Ginny Sutherland, The Thing a Man Loves, Joe, Time of Their Lives, Outside Looking In, Froth and Foam 1933-1934: Bird in Hand, Tarneed, The Young and the Miserable, Twitch Twaddle 1934-1935: Three Cornered Moon, The Lawyer, The Pope's End, Holiday 1935-1936: Spread Eagle, Children of Darkness, Pastorale, Bitter Tulips, Job, Talk of the Town, Peer Gynt 1936-1937: The Importance of Being Earnest, Awhile to Work, The Great God Brown, The Father, The Tempest 1937-1938: Time of Their Lives, Volpone, The Undiscovered Country, Falstaff, The Beaux Stratagem 1938-1939: Hamlet, The Play's The Thing, We Rileys, Man of Destiny, Bury the Dead, The School for Scandal 1939-1940: The Front Page, Macbeth, There Was A Young Man, Romeo and Juliet, Raise You Five 1940-1941: Our Boys, Troilus and Cressida, Time of Their Lives, The Lawyer, Raise You Six 1941-1942: Jim Dandy, Three White Leopards, The Importance of Being Earnest, Gabbatha, Give the Earth a Little Longer, Come What April 1945-1946: Break the Ice! 1946-1947: Blithe Spirit, The Critic, The Scheming Lieutenant, Twilight Bar, Make Mine Sherry 1947-1948: High Tor, The Imaginary Invalid, Richard II, One on the House Summer 1948: No Exit, How He Lied to Her Husband, The Beautiful People, Yes Is for a Very Young Man 1948-1949: Yes Is for a Very Young Man, The Cenci, A Christmas Carol, Heartbreak House, The Glass Roadblock, Highway Interlude, Renegades, Boy Meets Girl Summer 1949: The Vegetable, Cathleen Ni Houlihan, Purgatory, The End of the Beginning, The Streets of New York, The Spring Tree Yoke, Sophocles' Oedipus Rex, Engaged, The Respectful Prostitute, Master Pierre Patelin, Arms and the Man, Measure for Measure 1949-1950: The School for Scandal, The Typewriter, King Lear, The Crisis, The Gas Chamber, The Spring Tree Yoke, Captain Brassbound's Conversion Summer 1950: Coriolanus, An Inspector Calls, Too Many Thumbs, The Family Reunion, Major Barbara, Anna Christie, She Stoops to Conquer 1950-1951: The Importance of Being Earnest, The Petrified Forest, Henry IV, Volpone, Children of the World, Up Running River, The Assassins 1951-1952: The Trojan War Will Not Take Place, Past Reason, The Carnival, A Modern Romance, The Searching Sun, Adam's Sons 1952-1953: Antigone, Othello, The White Rooster, Gordium, Craylor Sabbath, Woman at the Inn, The Drunkard/anonymous Summer 1953: The Rose Tattoo, The Devil's Disciple, The Infernal Machine, Hello Out There, The Apollo of Bellac, Red Peppers, An Italian Straw Hat, The Tempest 1953-1954: Arms and the Man, Henry IV, Part I, The Captain and the King, The God Within, Reflexions, One Too Many, Tartuffe Summer 1954: Camino Real, Right You Are, Penny for a Song, Theatre of the Soul, Queens of France, Village Wooing, Ghosts, She Loves Me Not, Alice in Wonderland, Geral Loves Sandra Loves Paxon, Twelfth Night 1954-55: Murder in the Cathedral, The Victors, The Knight of the Burning Pestle, Shark Reflections, La Joconde (Smiling Lady), At the Gates, Love for Love 1955-1956: Liliom, Clash by Night, No Man Is an Island, The Hearing or Trial by Committee, The Travelers, The Braggart Warrior Summer 1956: Saint Joan, Charley's Aunt, Blood Wedding, The Grass Harp, The Father, Ring Round the Moon, The Happy Journey to Trenton and Camden, Bedtime Story, As You Like It 1956-1957: Alcestis, Androcles and the Lion, Measure for Measure, Bound East for Cardiff, Reflexions, The Second Prayer, The Golden Comedy of Belshazzar, White Lies, The Caine Mutiny Summer 1957: A Streetcar Named Desire, Skin of Our Teeth, Heartbreak House, The Enchanted, The Love of Don Perlimplin for Belisa in the Garden, The Wedding, Thieves' Carnival, Shadow of a Gunman, Love's Labour Lost, Lord Byron's Love Letter 1957-1958: Hello Out There, Sweeney Agonistes, The Rainmaker, The Alchemist, The Glass Menagerie, Mother Loves Me: A Freudian Fable, Robert, November Afternoon, His Brother's Company Summer 1958: A View from the Bridge, The Match Maker, Legends of Lovers, The Burnt Flower Bed, Light Up the Sky, Auto-Da-Fe, The Case of the Crushed Petunias, The Unsatisfactory Supper, Misalliance, Purple Dust, The Two Gentlemen of Verona 1958-1959: A Masque of Reason, World Without End, Beyond the Horizon, The Revenger's Tragedy, Ondine, Mr. First, The King's Birthday, The Second Eclipse Summer 1959: Playboy of the Western World, The Play's the Thing, Waiting for Godot, The Philanderer, Romeo and Juliet, The Boyfriend 1959-1960: The Movie Man, Hands Across the Sea, All My Sons, Escurial, Age of Anxiety, The Nose on Your Face, Good Friday, Wormwood and Soda Summer 1960: Epitaph for George Dillion, The Underpants, The Prodigal, Major Barbara, An Enemy of the People, Two Gentlemen of Song, The Lesson, Queens of France, Six Characters in Search of an Author, Kiss Me Kate 1960-1961: Purgatory, Professor Taranne, Recollections, The Jew of Malta, Woyzeck, Twenty-Seven Wagons Full of Cotton, The Purification, La Ronde, Lullaby, With Malice Towards Some, Such an Ostrich 1961-1962: The Fisherman, Passion, Poison, and Petrification, Charley's Aunt, Henry IV, Look Back in Anger, Calvary, A Night of the Trojan War Summer 1962: The Entertainer, Pots of Money, Tonight We Improvise, Arms and the Man, The Widow, Article 330, Uncle Vanya, The Exception and the Rule, The Beggar's Opera 1962-1963: Hello Out There, Bedtime Story, A Streetcar Named Desire, The Devil's Disciple 1963-1964: The Potboiler, The Skin of Our Teeth, Kind, The Zoo Story, The American Dream, Billy Budd 1964-1965: Inherit the Wind, Passion, Poison, and Petrification, Mister Roberts, Escurial, The Dumbwaiter, A Man's a Man 1965-1966: The White Devil, Sophocles' King Oedipus, The Bespoke Overcoat, You Can't Take It With You, The Romanticks 1966-1967: The Gas Heart, The Private Life of the Master Race, Salome, Little Mary Sunshine, The Caretaker, The Taming of the Shrew, Those That I Fight, The Body of an American, The Cat and the Canary, Cat on a Hot Tin Roof, Thurber Carnival 1967-1968: A Thurber Carnival, Under Milkwood, The Balcony, Man and Daemon, Incident at Vichy, The Misanthrope, The Dumbwaiter, Hamlet, Luv, Once Upon a Mattress, Miracle Summer 1968: Night of the Iguana, Amphitryon, The Trial, Arms and the Man 1968-1969: The Dumbwaiter, The Lesson, The Clouds, The Killer, The World of Carl Sandburg, Long Day's Journey Into Night, Slow Dance on the Killing Ground, The Alchemist, An Irish Faustus, Moby Dick Rehearsed, The Madness of Lady Bright Summer 1969: Little Foxes, A Shot in the Dark, Anne of a Thousand Days, Heartbreak House, The Knave of Hearts 1969-1970: The Red Eye of Love, A Man for All Seasons, The Happy Time, Marat, Strike Theatre Summer 1970: The Eccentricities of a Nightingale, The Playboy of the Western World, The Homecoming, Misalliance, Winnie the Pooh 1970-1971: Zoo Story, Swan Song, The Threepenny Opera, The Physicists, Endgame, Beyond the Fringe, Henry IV, Part 1 Summer 1971: The Rainmaker, Twelfth Night, Joe Egg, Uncle Vanya, Androcles and the Lion 1971-1972: Beyond the Fringe, Dracula, Rosencrantz and Guildenstern are Dead, Frogs!, Phaedra, The Two Executioners, The Hostage, Woyzeck, The Philanderer Summer 1972: Billy Liar, Happy Birthday, A Flea in Her Ear, What the Butler Saw, Adventures in Prooland 1972-1973: The Hundred and First, As You Like It, Electra, Ten Little Indians, Squanto, Hay Fever Summer 1973: The Philanthropist, The Birthday Party, The Beaux' Stratagem, Tango, George Washington Crossing the Delaware, The Knave of Hearts 1973-1974: The Lover, Adaptation, Next, Palls, The Successful Life of 3, Measure for Measure, Slow Dance on the Killing Ground, The American Dream, The Sandbox, Citizen Kong, 'Tis Pity She's a Whore Summer 1974: Arms and the Man, Luv, Baby Want a Kiss, Lion in Winter 1974-1975: The Typists, The Effect of Gamma Rays on Man-in-the-Moon Marigolds, The Real Inspector Hound, After Magritte, Lovers, Ubu the Cuckold, The Puppet Show, The Caucasian Chalk Circle, The Glass Menagerie Summer 1975: Oh Dad, Poor Dad, Mama's Hung You in the Closet and I'm Feeling So Sad, Charley's Aunt, Voice of the Turtle, Golden Goose, Unhealthy to Be Unpleasant (U.T.B.U.) 1975-1976: The Golden Fleece, The Public Eye, The Private Ear, All's Well that Ends Well, Lysistrata, We're on the One Road, The Marriage of Bette and Boo Summer 1976: Fallen Angels, The Imaginary Invalid, Two for the Seesaw, Picnic 1976-1977: How He Lied to Her Husband, Old Times, The Tempest, Don Juan, A Sea Fantasy, Tonight at 8:30, The Vise, Birdbath, Ring Round the Moon, Endgame Summer 1977: Cox and Box, Candida, The Creation of the World and Other Business, Alice Through the Looking-Glass, 110 in the Shade, Moonchildren 1977-1978: Anyone Can Whistle, When You Comin' Back, Red Rider?, House of Blue Leaves, An Evening of Anton Chekhov and Tennessee Williams (One Acts), Loot Summer 1978: Tartuffe, Holiday, Match Play, The Mousetrap 1978-1979: Romeo and Juliet, The Typists, 27 Wagons Full of Cotton, Patience, Aeneas in Flames, The Children's Hour, Troilus and Cressida Summer 1979: The Last of the Red Hot Lovers, Towards Zero, The Matchmaker, After the Fall 1979-1980: Welcome to Andromeda, Home Free, The Birthday Party, The Norman Conquests, Hedda Gabler, A Day in the Death of Joe Egg, Antigone, Have Trouble, Will Call Summer 1980: The Devil's Disciple, The Sorcerer, The Mound Builders, Night Watch 1980-1981: No Exit, The Lesson, The Importance of Being Earnest, The Fifth Column, Harvey, Man Is Man, The Impressario, Lovers, Zoo Story, How We Got to Be So Great 1981-1982: The Lovliest Afternoon of the Year, The Dumbwaiter, Camino Real, The Misanthrope, Godspell, Black Comedy, Lysistrata, Stage Directions, Aria da Capo, Scenes from American Life Summer 1982: Scapino, The Belle of Amherst, Happy End, The Freedom of the City 1982-1983: Jack, or The Submission, An Evening of Chekhov, As You Like It, They Are Dying Out, Adaptation, Plants and Waiters, Brussels!, The Rimers of Eldritch, Born Yesterday, A Soldier's Tale, The Odd Couple Summer 1983: Bus Stop, Talking With, March of the Falsettos, The Betrayal 1983-1984: The American Dream, Miss Julie, Silence, The House of Blue Leaves, Curculio the Weevil, Pippin, The Cocktail Party, Nuts, Dead Give-Away Summer 1984: Sly Fox, Angels Fall, Say Goodnight, Gracie, Side by Side by Sondheim 1984-1985: Lone Star, A Nite Out, Performing, The Diviners, The Lion in Winter, Rosencrantz and Guildenstern Are Dead, Who's Afraid of Virginia Woolf?, Sexual Perversity in Chicago, Suddenly Last Summer, Julius Caesar Summer 1985: Beyond Therapy, The Skin of Our Teeth, A Coupla White Chicks Sitting Around Talking, Starting Here, Starting Now 1985-1986: Home Free, The Maids, Shivaree, Blue Window, Twelfth Night, The Vampyre, Agnes of God, Sagittarius, Of Mice and Men 1986-1987: Condemned, The Dutchman, Sound of a Voice, Deathtrap, Happy Birthday, Wanda June, The Real Thing, Crimes of the Heart, Extremities Summer 1987: Noises Off, Don Juan, Arms and the Man, A Midsummer Night's Dream 1987-1988: Private Scenes, Play, Come and Go, What Where, Equus, The Promise, The Prisoner of Second Avenue, The Serpent, Aunt Dan and Lemon, America, Five A.M., She Was Asking for It, The Redemption of Steven Allbright, The Mousetrap 1988-1989: Brilliant Traces, Sister Mary Ignatius Explains It All for You, Benefactors, In the Jungle of the Cities, Hair, Blood Relations, Old Times, Imperfect Affairs, Deckbuilding, Antigone, The Day Room 1989-1990: Luv, No Exit, Uncommon Women, A Lesson from Aloes, Burn This, Orphans, Fool for Love, Divorsosaurus, A Roommate's Story, Dusa, Fish, Stas, and Vi 1990-1991: White Stones, Laundry and Bourbon, Lone Star, Talk Radio, Hurlyburly, Rhinoceros, Amadeus, Waiting for Godot, Biloxi Blues 1991-1992: Here Lies Jeremy Troy, Drinking in America, The Foreigner, Deathtrap, As You Like It, The Gospel of Luke, Bodyhype, The Rehearsal, Find Me, Cyrano de Bergerac, The Cherry Orchard, Helter Shelter, Cain, Bodyhype, The Foreigner 1992-1993: Little Footsteps, "Master Harold"...and the Boys, The Importance of Being Earnest, The House of Blue Leaves, Bodyhype, Noises Off, Another Antigone, Suddenly, Last Summer, Bodyhype, Solitary Confinement, "Master Harold"...and the Boys 1993-1994: Vampire Lesbians of Sodom, The Shadow Box, What the Butler Saw, Quipfire!, Hamlet (an improvised version), Bodyhype, Frankie and Johnny in the Clair de Lune, Buried Child, The Tempest, Steel Magnolias, Quipfire!, Bodyhype, In a Sense, Nighthawks at the Diner, The Doppler Effect, Greater Tuna 1994-1995: Quipfire!, Lips Together, Teeth Apart, Sexual Perversity in Chicago, The Duck Variations, Across the Jordan, Les Liasons Dangereuses, Bodyhype, The Marriage of Bette and Boo, Grotesque Lovesongs, B.A.C. at Ya!, Rosencrantz and Guildenstern Are Dead, Our Country's Good, Dime Store Zen, The Maids, Quipfire!, Bodyhype, Winfrey and the Four Dimensional Vegetarians, David and Julie, Last Train to Alpha Centauri, Rosencrantz and Guildenstern Are Dead, Quipfire! 1995-1996: Quipfire!, Six Degrees of Separation, Gatsby, Burn This, The Bacchae, Dime Store Zen, Bent, Daughters of Survival, True West, Quipfire! , Bodyhype, Wasted, Even Nightengales, Eugenica, Six Degrees of Separation, Quipfire!

In the summer of 1948 a group of seven Princeton student and alumni who were affiliated with Theatre Intime during the academic year started the University Players in Murray Theatre. The University permitted the use of the theatre and dormitory rooms over the summer provided that there would be no costs to the school. The group took the same name as a group started in 1928 at Falmouth, Massachusetts by some earlier Princeton students (as well as undergraduates from Harvard and a number of other colleges). The leaders of this second University Players company included John Capsis '50, Morris Kinnan '50, and Karl Light '47. Most of the male actors were either Princeton undergraduates or recent alumni. Local talent was drawn upon to cast the women's roles. The group, albeit with enlarged staff, continued to produce as a non-profit enterprise over the next two summers.

Due to the Korean War there were no productions during the summers of 1951 and 1952. But 1953 saw a revival of spirit and activity under the leadership of Charles "Chiz" Schultz '54. A professional was hired to direct some of the shows, and the company brought in actors from the ranks of the alumni, such as Philip Minor '50 and A. Monroe Wade '30, who were now Equity card-carrying actors. Some of the men's roles as well as the women's were played by experienced actors from the community. The 1954 season was much the same, again produced by Mr. Schultz.

In 1955 the theatre was again dark, probably reflecting a lack of capable leadership and interest in producing summer theatre.

During the summer seasons from 1956 through its final season in 1960, the University Players continued its tradition of Princeton men as producers, but increasingly adding more professionals to fill both men's and women's roles. Sometimes these included recent Princeton alumni such as Wayne Rogers '54, for example. The roster of non-Princeton professional actors who worked for the organization over the years, however, is at the very least interesting to note. It includes Vinette Carroll, Donald Moffatt, Gerald Hiken, George Segal, Rosemary Murphy, Suzanne Pleshette, Peter Falk, and Maria Tucci – all aspiring, all reflecting the youthful vitality and hope of the University Players. But by now the organization was far less Princeton-oriented than it had been in earlier years.

By 1960, despite good reviews, the group was losing money. The University advised its leadership that they would need to raise substantial funds and community support or move to another location. Plagued by the financial problems, in 1961 the organization was told that it would be unable to use Murray Theatre that summer due to major renovations to that facility. Thus the group was forced to dissolve.

To a great extent, the history of the Triangle Club reflects the social, cultural, economic, and political history of the United States during the twentieth century, as well as its literary and theatrical development. The amount of talent--writers, composers, designers, performers--that came out of the organization is astonishing. A chronological examination of the archive traces an evolution of undergraduate life at Princeton University, from travel by private railway cars, invitations to tea dances and debutante parties, through what some might term our "vanished amenities," to the bus-and-truck tours of the seventies, eighties, and nineties.

Beginnings

The origin of the club is firmly rooted in nineteenth-century theatrical tradition. Its archives begin in 1883 with a production of David Garrick by the Princeton College Dramatic Association; during the next five years the Association presented plays by Goldsmith, Sheridan, Garrick, and W.S. Gilbert. In keeping with the practice of British and American all-male institutions, women's roles were played by men. Entre'act music provided by the Instrumental or Banjo Clubs consisted of popular dance tunes or operatic excerpts, selections which would also have been in New York theatre programs of the time. Student theatricals were performed for the benefit of financially ailing athletic associations, and the sporadic activity of the Dramatic Association can be explained by the fluctuating fortunes of the athletic teams. It is interesting to note that the extensive Triangle tours of later years may be traced to the New Brunswick and Freehold performances of David Garrick.

In 1891 the Dramatic Association joined forces with the University Glee Club to present Po-ca-hon-tas, the first show in the Triangle tradition of musicals written and produced by students. According to a New York review, the reworked John Brougham play featured "new topical songs and local hits" and was well received, both on campus and in Trenton. But cast shenanigans in Trenton caused the faculty to veto a proposed New York performance; over the years, students and administrators would continue to be at odds over theatrical activities. Nevertheless, the Association came to Trenton once again the following year with Katharine, a Shakespearean spoof which marks the first appearance of Booth Tarkington '93 in the Triangle records.

The Triangle Name

The 1893 production was again a reworking of Shakespeare. Tarkington, a senior and president of the Dramatic Association, was prominent as both co-author of the book and as actor in the role of Cassius. The Honorable Julius Caesar was, in fact, so successful that it was repeated the following year, but with several significant changes. The Princeton University Dramatic Association had been replaced by The Triangle Club of Princeton. According to The New York Times, "several specialties will be introduced, such as tumbling, acrobatic feats, and dancing" and "James E. Wilson of Frohman's company came down Thursday and will coach the club regularly four times a week." If Wilson did indeed coach, the club had its first professional director in its very first show under the name "Triangle Club."

Financial problems--another recurrent theme in the history of the organization--caused Club members to curtail expenses in 1895. Neither the February production, Who's Who, nor the May offering, Snowball, were written by students, and both had relatively small casts. The following year the Club turned to a recent graduate, Post Wheeler '91, in hopes that his magic touch as co-author of The Honorable Julius Caesar could be repeated, and indeed, according to the review, their hopes were realized. The Mummy (1895-96) was also the first production in Triangle's new home, the Casino, located at lower campus near the present-day McCarter Theatre site. Yet another innovation was attempted in 1897. A Tiger Lily, the first Triangle show to be based on Princeton student life, was part of a double bill with Lend Me Five Shillings, a British farce. Since neither show was a great success, the Club returned to the tried and true in 1898 with a revival of P Po-ca-hon-tas. The Privateer, presented in 1899, was originally entitled The Captain's Kidd Sister; the name change occurred because Mask and Wig at the University of Pennsylvania had produced a show about Captain Kidd. The "Privateer" March was the first commercially published Triangle song.

The King of Pomeru was notable in several respects. The Triangle Records contain an account of the show by William O. Morse '02, president of the Club from 1901 to 1902. Morse described the first meeting to hear the words and mu sic; while they were not well received, there was no time to write a new show. He added, "It may make rotten reading, but it played well." (Triangle writers ever since have had similar problems). The following year, Morse recalled, "there was a bit of dressing up and some new songs added." The 1901 production marked Triangle's first New York appearance; in 1902 the Club ventured as far as Pittsburgh, but not without difficulty. Two performances in that city were necessary for financial reasons, but there was faculty opposition. Morse remarked, "I had a staunch ally in Professor Howard Crosby Butler '92--himself Portia in The Honorable Julius Caesar and finally "I think my guarantee that there be no drunkenness in Pittsburgh helped to carry the day. " Here is the first inkling that liquor could be a problem on Triangle tours.

Growth

During the first decade of the twentieth century the organization of Triangle became more structured. Printed copies of the script "for the exclusive use of candidates" first appear in the archives with The Man From Where (19 03-1904), and are indicative of the audition procedures necessary to become a member of the Club. After the New York performance of 1901, Franklin B. Morse '95 proposed a meeting to organize Triangle alumni; he suggested that they could promote the Club and help to build its reputation, assist with business arrangements on tour, and generally socialize among themselves. In June of that year thirty-seven alumni met in Princeton. They hoped to present a constitution and by-laws at a fall meeting, and there was also discussion of a written history of the Club and the collection of Triangle materials and memorabilia.

Although A Woodland Wedding included a specialty skirt dance, and "The Pony Ballet" was a part of Tabasco Land, The Mummy Monarch's kickline in 1907 was the first of that tradition to be documented photographically in the Triangle Records. Performances of The Mummy Monarch in 1907 prompted a letter from Eugene Sanger, the stage director, to J.B. Nutt, Club Manager. Sanger complained about the bad attitude of the men and cited as an example the fact that they did not think it necessary to rehearse before the Philadelphia performance. Nutt was also the recipient of a letter from John L. Kirk '81, who took offense at the treatment of alumni by the undergraduates in the matter of ticket distribution. Over the years Triangle would continue to have clashes with directors and alumni. The 1908 production, When Congress Went to Princeton, returned to a local setting, although in an earlier era. By 1910 the tour had extended as far west as Chicago and St. Louis; printed luncheon menus and newspaper clippings provide evidence of the elaborate social functions which were becoming part of the annual trek.

Christmas and White House Tours

With Once in a Hundred Years Triangle moved its tour to the Christmas season, again traveling as far west as St. Louis. The following year, The Pursuit of Priscilla was enthusiastically received in New York. The Washington visit featured a White House reception with President and Mrs. Wilson; the President also attended the matinee performance. The 1915-1916 production, The Evil Eye, had a distinguished pair of neophyte authors: Edmund Wilson '16 wrote the book, and F. Scott Fitzgerald '17 was responsible for the lyrics. Although he was never a member of the cast of a Triangle production, Fitzgerald in fact wrote three shows for the Club between 1914 and 1917. Among the enthusiastic Club supporters of this period were Mr. and Mrs. Cyrus McCormick of Chicago, who hosted numerous social events during the tours.

After a year's hiatus due to the war, Triangle became active again with a revival of The Honorable Julius Caesar. The first post-war tour occurred the following year, when The Isle of Surprise was taken on the road during Christmas break of 1919. This show marked a change in attitude toward Triangle productions. In the program, Club president Erdman Harris '20 described the new production: "And so we hope that a new day has dawned, that 'Jazz' will be forever relegated to a back seat, that Broadway will cease to be the idol of those who create the shows, that their staging shall be done in Princeton by Princeton men, and that the authorities and graduates will approve what is being done to elevate the standard of a society whose value in student life has been seriously questioned." If indeed the value of the organization was being questioned, once again liquor seems to have been part of the problem. Correspondence in the Records indicates that Triangle managers during those years implored alumni in tour cities to write to President Hibben in order to confirm the good behavior of the men. E.S. Hubbell '20 commented to a St. Louis alumnus, "I am very sorry some of the men could not resist the temptation at Mr. Warner's tea but as the show went off all right I suppose there is no harm done. It was the only time on the entire trip that this occurred."

In the spring of 1922 Triangle staged Shaw's The Devil's Disciple. This production was a milepost in the Club's history: the three female roles were played by women.

Professionalization and Emerging Stars

During the early 1920s there were several new developments in Triangle activities. New York performances were now booked in the Metropolitan Opera House, although initially there was some concern whether the Club would be able to fill such a large theatre and whether the men's voices would be strong enough to be heard properly. Late in 1923 there were negotiations concerning a possible radio broadcast, and in the same year Triangle's music publisher, J. Church Co., corresponded with the Victor Talking Machine Co. about a trial recording.

But the major event during this decade was the planning and construction of McCarter Theatre for Triangle Club. The completed theatre opened on February 21, 1930, with the Triangle Club presentation The Golden Dog. McCarter replaced the long-controversial Casino, which burned on January 8, 1924.

Here began the Golden Period for which the Triangle Club became famous in terms of its eventual contribution of outstanding talent to the Broadway theatre and Hollywood. Within a few years the Club would send forth into these profession al realms Erik Barnouw '29; C. Norris Houghton, Joshua Logan, and Myron McCormick, all Class of 1931; James Stewart '32; Jose Ferrer '33; and Nick Foran '34.

With The Tiger Smiles, Triangle writers returned to a Princeton town and gown setting for the first time since When Congress Came to Princeton (1908-1909). The production was well received, but the Club was already beginning to feel the effects of the Great Depression. In October 1930, the Program Manager reported, "Due to the financial depression the business of getting ads is a rather difficult one just now." By the following year economic conditions had begun to affect the tour. South Orange reported poor ticket sales, and the local alumni chairman was concerned with keeping down the cost of stage hands. In Pittsburgh a poor house and lack of entertainment were attributed to the weak stock market. And in April 1932, a Buffalo alumnus painted a bleak picture of the current business situation. When It's the Valet was ready to tour, local alumni groups were either unwilling to sponsor a show or unable to guarantee an adequate sum to cover expenses, let alone show a profit. The Club's Graduate Board sought aid from alumni in underwriting the show, but individual contributions were equally difficult to come by.

Depression Years

During the mid-thirties Triangle continued to tour in spite of the Depression, but there were rumblings of discontent from both the Graduate Board of the Club and the University administration. In a 1934 meeting with President Dodds, the Board was concerned about the financial condition of McCarter Theatre; Triangle profits were insufficient to keep the Theatre operating in the black, a situation which was to become increasingly serious as the decade wore on. President Dodds had also heard alumni criticism about poor acting and an apparent lack of coaching in connection with the latest show. Yet he remained confident that Triangle could play an important role on campus, and Board President John Larkin '13 expressed the hope that the Club could be "the center around which would develop a new school or a department in writing and drama and creative art." Later that same year, Club Manager Stryker Warren '35 received a stern letter from Dean of the College Christian Gauss. Gauss had considered cancelling the Christmas tour, first because of financial considerations, and then because of alumni criticism: "In nearly every case the criticism came as the result of the excessive drinking on the part of a few of your men." Nevertheless the Dean concluded by wishing "you and all the officers and members of the Club a highly successful trip, a very merry Christmas and a happy New Year."

At a 1937 Board meeting there was discussion about the lack of good voices in Triangle. Alumni as well as Board members had noted this situation, and it was suggested that "there must be someone in the Glee Club who could at least be drafted to sing, so that a song could be heard beyond the footlights." Another complaint came from a Louisville alumnus early in 1938: "... I am not crazy about the Triangle Club bringing in certain dirty lines about 'buying a drink' and 'the Knights of the Garter,' etc... Personally I would prefer to see the young men get properly soused and have to be poured on the train than to use the lines objected to."

Another change in tradition came during the 1941-42 academic year, when Triangle produced Ask Me Another, its first show in revue format. Then, at a Board meeting in September 1943, Graduate Treasurer B. Franklin Bunn '07 announced that there would be no Triangle Club activities for the duration of the war. The University assumed control of McCarter Theatre during this period, and the building was leased by the military for the use of the trainees on campus.

Post-war comeback

In November 1945, the Committee on Undergraduate Activities issued a report. According to that Committee, a sub-group of the Graduate Council of Princeton University, "The Triangle Club is perhaps the most controversial of all under graduate extracurricular activities. Despite obvious shortcomings, the Club affords many valuable opportunities to the undergraduate body and plays a very real part in alumni relations. According, it should be reestablished at the first possible moment." The first post-war show, All Rights Reserved, opened in December 1946, and even managed a seven-city tour. The following year Triangle was beset with problems. The Daily Princetonian reported, "... All Rights pretty nearly weren't Reserved. A play by the same name had fizzled on Broadway for a bare month, in 1934, and the petulant playwright threatened to sue. Hasty consultation with a Broadway lawyer revealed that the author could not possibly win the suit and that matter was closed. The club resolved the tricky labor question by employing union stage-hands; and surprised [union official] Petrillo's hirelings in Philadelphia by making them earn their fee playing with the regular orchestra and in Washington by using them for intermission music."

Touching on some of Triangle's post-war problems in March 1950, The Daily Princetonian observed: "It is encouraging to note that the Triangle Club, to all intents and purposes, is making a serious effort to prepare its 1950 show well in advance of opening night, a practice strictly in the realm of wishful thinking in the years since the end of the war.... The Triangle Club, charging the professional prices it does, cannot expect to fill McCarter Theatre for a disorganized, semi-amateurish show. This obligation to Princeton audiences extends, of course, to audiences throughout the country. The Triangle Club has two further obligations. It should make money, badly needed to pull McCarter out of its decrepit state.... The club's second obligation is to Princeton. On the one hand, the annual tour provides a much-needed rallying point for alumni across the country. On the other hand, that same tour, in years past, has done much to further Princeton's ill-deserved reputation as a 'country club.' Unless the latter element can be de-emphasized in favor of the former, the club cannot claim to have justified its existence." The following November a lengthy report was issued by the Special Committee on the Problems of McCarter Theatre, The Triangle Club, and the Future of Dramatic Arts at Princeton University. The portion of the report dealing with Triangle discussed finances, possible presentations of serious drama, cooperation with other undergraduate organizations, the contract concerning McCarter Theatre, relations with Club alumni, and undergraduate organization. During all of this debate on and off campus, Triangle continued to reach a wider audience through greater media exposure. The entire score of Too Hot for Toddy was recorded, and members of the cast appeared on The Kate Smith Show and Ed Sullivan's The Toast of the Town; the following year Club personnel were featured on The Stork Club and Stars in Your Eyes, plus a repeat performance with Ed Sullivan.

Finally, in 1953, a memorandum of agreement was drawn up between Princeton University and the Trustees of the Triangle Club abrogating the McCarter agreement of the 1920s. The Club had simply been unable to cover the operating expenses and pay the taxes of the Theatre. A full-time general manager was hired for McCarter, and the University, which had been underwriting Triangle's losses, agreed to cancel the Club's debts.

The Lyon Era

Spree de Corps marked the debut of Milton Lyon as Triangle director. From 1955 until his death in 1995, Lyon would direct all but a handful of Triangle's original productions.

Student apathy toward extra-curricular activities began to have an impact on Triangle toward the end of the decade. At a meeting in October 1958, the Board noted a very small turn-out for the previous month's auditions. It was decided t hat more on-campus publicity would help, and as part of this effort Triangle Junior was formed, a group of seven Club members who performed favorite Triangle songs at club parties and other functions. Over the following years, this small group would under go periodic name changes, at some point being renamed Triangle Ding! and later Triangle Bit Parts, before changing back to Triangle Junior in 1989. But in the late 1950s there were also problems with the tour because of the gradual elimination of passenger trains; the Board suggested that the Club investigate touring by bus instead.

Early in 1960 there was a proposal to produce a motion picture on the Triangle Club, but a Hollywood writers' strike and possible heavy expenses brought an end to this publicity idea. However, Triangle did embark on its first European t our that summer; the Club performed at French and German bases of the American army.

With Tour de Farce the Triangle tour became a cross-country venture; performances in Pasadena and San Francisco marked the first time the show had been seen live from coast to coast. Because of the great distances involved, part of the tour was made by plane, also a first. The publicity staff of Ahead of the Game used some innovative advertising to promote the reunions show: "Family Night at the Triangle Show" was aimed at wives and children as a means of amusing themselves while the men were at stag dinners.

75th Anniversary?

Funny Side Up was billed as the 75th anniversary show in spite of the fact that number 70 was Tour de Farce, two years earlier. Funny Side Up did not have a smooth start. The writers were slow to produce material, and the trustees even considered the possibility that there would be no show. Student apathy was again cited, with undergraduates more concerned with grades and admission to graduate schools. Fortunately, because of the diamond jubilee, twenty-one songs from earlier shows could legitimately be made a part of the program. The tour of Funny Side Up included several southern stops, and the Birmingham visit became problematic. The Club was booked into a segregated theatre; after some strongly-worded letter s from Board members, it was determined that the performance would either be cancelled or moved to a non-segregated house.

Arguably, the main contribution to the Club's activities--and one that had been discussed as early as 1901--during the sixties was the publication of The Long Kickline: A History of the Princeton Triangle Club, written by Donald Marsden '64 and sponsored by The Board of Trustees. While it contains errors, it is the most detailed chronology of the organization through the production of Sham on Wry in 1966-67.

Women and other changes

A Different Kick was a Triangle milestone. It featured the first female undergraduate to be cast in a Club show, Sue Jean Lee '70, a junior in the Critical Languages Program. The orchestra was moved from the pit to the stage, and a spare, simple set and projection techniques marked a new approach to Triangle staging. In May 1969, the Board recognized the achievements of A Different Kick, but they also realized the challenges the Club was facing. The University's shift to coeducation the next fall would have a profound effect on Triangle. Growing deficits were a particular concern. And the Christmas tour was becoming more and more difficult: passenger trains were nearly nonexistent, bus travel was difficult, and the weather at that wintery time of year made plane schedules unreliable. Clearly, Triangle would have to change to survive.

Call a Spade a Shovel featured six women in a seventeen-member cast. The social and political commentary of the show unleashed an unprecedented storm of alumni protest, especially its anti-Vietnam War tones. Indeed, there was a massive walk-out by the audience at the Grosse Pointe tour performance.

Acting on the May 1970, report of the New Directions Committee of the Board, Triangle revised its production schedule that year. There was no December show and no Christmas tour; instead, a spring show was promised, to be followed by a short tour. In The Daily Princetonian a writer lamented, "... some will miss the excitement and debauchery of the annual tour." In fact, Cracked Ice opened in late April 1971, was repeated for alumni in June, and finally toured the following December as far west as Missouri. To cut expenses, the cast and crew stayed in private homes rather than hotels, and non-union halls were booked.

The 1972 production, Blue Genes, featured a dance number which eventually became the kickline, with the cast on roller skates. The Princeton Triangle Workshop made its debut in November of that year with a presentation of The Fantasticks at the Princeton Inn Theater; the following March the Workshop produced Transitions, described as "five original plays and a multimedia extravaganza," at the Truck Stop in Wilcox Hall.

Triangle continued to change during the mid-seventies. In the spring of 1974, Stephen James '74 submitted to the Board what was apparently the first annual report of a Club president. As recommended in the report, there was a southern t our of A Titter Ran Through the Audience that December. Also in December, the first issues of a Triangle newsletter appeared, reporting current activities and items of historical interest to Club members and alumni.

On December 14, 1979, The Daily Princetonian proudly reported that the Triangle Club was making its television debut with the performance of two numbers from Macadamia Nuts on The All-American College Comedy Show; the Prince was apparently unaware of the Washington, D.C., broadcast more than thirty years earlier, as well as the clubs appearances on Kate Smith and Ed Sullivan's shows. The fall productions of 1978, Happily Ever After, and 1979, String of Pearls, were both written by undergraduates. For the 1981 show Triangle writers returned to the very roots of the Club: Bold Type, a book musical, was based on Booth Tarkington's novel, A Gentleman from Indiana. The 1981 tour again returned to California, but with a revue of Triangle favorites, Fool's Gold, rather than the spring show. The following year Triangle hired Miriam Fond, the first female director in the Club's history.

Triangle finally found a home for its fall productions when The Best Little Whorehouse in Texas opened at the Triangle Broadmead Theatre in November 1984. Revues of the best of Triangle, presented early in the fall, were intended to introduce the freshman class to the organization.

Further details of this tenth decade of Triangle productions are covered in a senior thesis written by Nancy Whitcomb Barnes '91, who was also a performer and officer of the Club. Triangle continued its tradition of punning titles such as Business Unusual (1987), Ain't Mythbehavin' (1988), and Satanic Nurses (1989), a take-off on the title of the much-publicized book by Salman Rushdie.

Centennial

The Club's centennial was celebrated in 1991 with a series of events throughout the year on the campus. There was, of course, the spring show, The Older the Better, as well as a large exhibition which ran through the summer i n Firestone Library and included some 850 items from the Triangle Archive, and in the fall a Triangle reunion weekend of parties, performances, and renewed acquaintances and reminiscences.

How could a centennial celebration be held in 1991 when documents in the Triangle files indicate that the fiftieth anniversary show was Once Over Lightly, produced in 1938-39? In a set of 1939 Board minutes, Fred Fox '39 attempted to explain Triangle's tangled chronology: "In 1926 Samarkand right out of the blue said it was the 38th Triangle production. After that everyone naturally followed suit. All our publicity material said founded in 1893 and that left a 5 year deficit.... Jack [Hurdman '39] and I did our best to find some signs of Princeton drama before 1893 and finally discovered that we could use 1882 as a landmark. That was no good either because we had to have 1888 or nothing. At last we noticed a neat constitution in an old Princetonian of 1888 and we used that. Our records then, start with a fine PUDA (Princeton University Dramatic Association) Constitution. They plod along for five years under that heavy title and finally Booth Tarkington suggests the name Triangle Club for the organization in 1893." But Club name or constitution aside, the first show truly in the Triangle tradition was Po-ca-hon-tas in 1891; hence the choice of 1991 for the centenary.

Mary Ann Jensen

Curator, William Seymour Theatre Collection

Norris Houghton, a theatrical producer and designer, was the founder of the Phoenix, one of the first and most successful of New York's not-for-profit Off Broadway theaters.

James Stewart (Princeton Class of 1932) was an American actor.

Bretaigne Windust (1906-1960) was an American director and actor. Windust graduated from Princeton in 1929 and was co-founder of the University Players.

Consists of the records of Princeton's Theatre Intime, from its beginning in 1919 to the present, including typescripts, production books, photographs, business records, playbills, posters, masks, costume and set designs, and miscellaneous material. The collection also contains a bound manuscript and recordings of interviews conducted for I ALSO SWEPT THE FLOOR (1974), a history of Theatre Intime written by John Kendall as his senior thesis.