Inventory of the Susie Cordon Broadway Collection, 1981 - 2009 Mss.Coll.037

Inventory of the Susie Cordon Broadway Collection, 1981 - 2009
Mss.Coll.037


This finding aid is NCEAD compliant.
Elon University



© 2011 Elon University. All Rights Reserved.

Contact Information:

Belk Library Archives and Special Collections
Elon University
2550 Campus Box
Elon, North Carolina
27244
336-278-6599
Email: belkarchives@elon.edu
URL: http://www.elon.edu/e-web/library/libraryinfo/archiveinfo.xhtml

Descriptive Summary

Repository: Elon University. Belk Library Archives and Special Collections
Creator: Susie Cordon Karl
Title: Susie Cordon Broadway Collection, 1981 - 2009
Language of Material: Material in English
Location: The collection is located in the Carol Grotnes Belk Library Archives and Special Collections at Elon University. Please contact the Archivist and Special Collections Librarian for further details about the location.
Abstract: This collection includes examples of materials used or created by a production stage manager during the production of a Broadway play. The title of the Broadway play represents each series. Most of the series consist of one box and one to four 3-ring notebooks. The boxes contain Ms. Cordon's spiral or cloth bound notebooks of handwritten rehearsal or performance notes and to-do lists. The 3-ring notebooks mostly contain printed documents as well as some handwritten notes associated with each play. The names of the plays (series) in this collection include: Amadeus, Amy's View, Benefactors, Breaking the Code, The Captain's Tiger, The Crucible, Equus, The Judas Kiss, Lettice and Lovage, Monday after the Miracle, Noises Off, Nothing On, Racing Demon, Skylight, Turing Dossier (this is not a play), Who's Afraid of Virginia Woolf?, and The Young Man from Atlanta.
Extent: 16.5 linear feet, 11 boxes, 41 3-ring notebooks

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Administrative Information

Access Restrictions

The Susie Cordon Broadway Collection is open for use by members of the Elon University community and outside researchers and scholars, but some restrictions apply:

* The copyright of all documents in the collection resides with the donor, Susie Cordon.
* The documents in the collection are to be used for educational purposes only and must remain in the Belk Library Archives and Special Collections.
* Nothing in the collection may be reproduced in any way, including digitizing and/or photocopying.
* Elon University faculty in the Department of Performing Arts and other academic departments on campus may remove items in the collection from the Archives and Special Collections, but first must receive permission from the Chair of the Department of Performing Arts.

The Archivist and Special Collections Librarian will inform all users of the conditions of use for the collection, and monitor the use of the materials when appropriate. The user of the collection takes sole responsibility for their actions during and after consulting the collection. Any violation of the conditions of use is the responsibility of the user, including any copyright infringement.


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Copyright Notice

The nature of the Archives and Special Collections of Belk Library means that copyright or other information about restrictions may be difficult or even impossible to determine despite reasonable efforts. The Archives and Special Collections of Belk Library claims only physical ownership of most materials. The materials from our collections are made available for use in research, teaching, and private study, pursuant to the U.S. Copyright Law. The user must assume full responsibility for any use of the materials, including but not limited to, infringement of copyright and publication rights of reproduced materials. Any materials used for academic research of otherwise should be fully credited with the source. The copyright remains with the creator of this collection, Susie Cordon.


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Preferred Citation

[Identification of item], Susie Cordon Broadway Collection, Belk Library Archives and Special Collections, Elon University, Elon, NC, USA.


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Gift or Purchase Note

Gift. Please refer to the Correspondence Legal file for more information.


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Accession Information

#2010.09.1


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Processing Information

Processed by Pam Richter, 2010 and Finding Aid written by Shaunta Alvarez, August, 2011

Encoded by Katie Nash, August, 2011


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Biographical Note

Born Charlotte, NC, only child of Susan Deane VanLandingham and Norman Cordon, both native North Carolinians. Graduate of the University of North Carolina, Chapel Hill, with a BA in Dramatic Arts and an MA in Dramatic Arts with a minor in Radio, Television and Motion Picture. During her undergraduate years she spent two summers acting in "The Lost Colony" at Manteo and a year in summer stock at the Tanglewood Barn Theatre outside Winston-Salem. Before moving to New York she worked in copy at WGHP-TV in High Point (and also was the Noon News weather girl)and was the first woman reporter for WBTV News in Charlotte, both writing news stories and producing the early morning news segment which she delivered on the air. In New York she spent six years working in public relations for a small company dealing with foreign clients. Her introduction to New York theatre was being an angel for several shows and then working as a production assistant for the renowned Phoenix Theatre Company. Her stage management career began in 1973 with a summer stock season on Long Island for the Phoenix and then bringing one of the shows to Off-Broadway. That led to Broadway as the Assistant Stage Manager for Tom Stoppard's "Travesties". Since then she has done many Broadway, Off-Broadway, national tours and regional theatre productions, the latter being four years at the McCarter Thetare in Princeton, NJ as well as the Hartford (CT) Stage Company among others. She has had the delight and privilege of working with directors such as Stephen Wadsworth, Michael Wilson, Richard Eyre, Emily Mann, Marianne Elliott and Thea Sharrock. She was a recipient of the 2010 Del Hughes Award for Life Time Achievement in Stage Management. In 1977 she married musician Bernie Karl and they share a life divided between a houseboat in New York and an 1809 farm house in Connecticut. She maintains her North Carolina connections through cousins in Burlington, Raleigh, Charlotte and Edenton.

Biographical Sources:

Biographical note composed by Susie Cordon Karl, August 2011.


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Scope and Content Note

This collection includes examples of materials used or created by a production stage manager during the production of a Broadway play. The title of the Broadway play represents each series. Most of the series consist of one box and one to four 3-ring notebooks. The boxes contain Ms. Cordon’s spiral or cloth bound notebooks of handwritten rehearsal or performance notes and to-do lists. The 3-ring notebooks mostly contain printed documents as well as some handwritten notes associated with each play. The original order for this collection was maintained, per the creator’s request. The names of the plays (series) in this collection include: Amadeus, Amy’s View, Benefactors, Breaking the Code, The Captain’s Tiger, The Crucible, Equus, The Judas Kiss, Lettice and Lovage, Monday after the Miracle, Noises Off, Nothing On, Racing Demon, Skylight, Turing Dossier (this is not a play), Who’s Afraid of Virginia Woolf?, and The Young Man from Atlanta. A faculty member from the Elon University Department of Performing Arts was consulted to define terms and phrases used by production stage managers that can be found throughout this collection. The list is located at the end of the Scope and Content section.

The Amadeus series consists of one box and four notebooks and covers the years 1999 - 2000. The series includes rehearsal reports, cue lists and stage plots, prompt scripts, performance reports, and a review of the play.

The Amy’s View series consists of one box and two notebooks and includes materials from February - July, 1999. Among the items are a prompt script, various cue lists, and two copies of the playbill.

The Benefactors series consists of one box and one notebook and covers November 1985 – January 1986. It includes a list of cast members, lighting instructions, dress rehearsal notes, and a prompt script.

The Breaking the Code series consists of one box and three notebooks covering the years 1987 – 1988. Items in this series include a scene breakdown, various cues lists, props lists and furniture diagrams, costume plots, carpentry inventory lists, and prompt scripts.

The Captain’s Tiger series consists of two notebooks covering 1998 - 1999. It includes a playbill from 1998, a script, rehearsal reports, performance reports, and articles about the playwright Athol Fugard.

The Crucible series consists of one box and three notebooks covering 2001 - 2002. Materials in the series include a schedule of curtain calls, prompt scripts, performance reports, and act timings for the play.

The Equus series consists of one box and three notebooks covering 2008 – 2009. Among the materials in the series is a photograph of Ms. Cordon, a playbill, and an announcement for the Top Broadway Show Fundraiser award. Other items include a prompt script, various cues lists, scene breakdowns, a list of characters, material safety sheets, and rehearsal reports.

The Judas Kiss series consists of one box and three notebooks from 1998. It includes articles about the playwright David Hare and about the actor Liam Neeson. Other items include a playbill, a performance program, and performance reports.

The Lettice and Lovage series consists of one box and three notebooks from 1992. Materials include prompt scripts, a list of characters, traffic and movement patterns, props lists, lighting instructions, and synopses of each scene. Also included are reviews of the play, assistant stage manager duties, and tour travel arrangements.

The Monday after the Miracle series consists of one box and four notebooks with dates covering 1981 – 1982. Materials in the series include two playbills, several reviews, a program from the 1991 Spoleto Festival, prompt scripts, various props and cues lists, and scene breakdowns.

The Noises Off series consists of one box and two notebooks covering 1983 – 1985. This series includes props instructions, a rehearsal schedule, a character plot, and a prompt script.

The series Nothing On consists of one undated notebook. It includes a prompt script and handwritten notes. Nothing On is a play-within-a play, performed by characters in the larger Broadway play Noises Off.

The Racing Demon series consists of two notebooks covering September – December, 1995. It includes rehearsal reports, cover and assignment lists, performance reports, memos about critics being present for performances, rehearsal and performance schedules, scene breakdowns, and a prompt script.

The Skylight series consists of two notebooks with dates from 1996. Materials include a prompt script, performance reports, playbills, and articles from various publications about the play.

The Turing Dossier series consists of one undated notebook. Turing Dossier is not a play, but includes miscellaneous published and handwritten information about Alan Turing, who is the subject of the play Breaking the Code.

Who’s Afraid of Virginia Woolf? series consists of one box and three notebooks dated 2005 – 2007. Materials in this series include documents titled “The Rainbow Passage,” “The Kansas Dialect,” “The Latin Mass Translation,” and “Glossary: What’s what in the play.” Other items in the series include furniture arrangements, prompt scripts, rehearsal summaries, and national tour performance reports.

The Young Man from Atlanta series consists of two notebooks with dates from 1997. It includes playbills, lighting and entrance cues, timing notes, a prompt script, and performance reports.

Definitions of terms and phrases listed below.



General Notes about the Collection
- Producers and people in charge like to see performance and rehearsal reports
- Ms. Cordon uses a very casual style when documenting her performance and rehearsal reports (talks in her own voice)
- All these notes are AEA (Actors Equity Association) union documents
- Every stage manager can choose to keep their own reports or give them away
- At end of every show, the stage manager puts together a notebook with all documentation from the performance
- Shows generally have 6-8 weeks of rehearsal
- Spiral notebooks contain mostly Ms. Cordon's handwritten notes about the performance, her to-do lists, etc.
Blocking Notes
- Writing down what actors do in short hand
Carp Cues
- Cues for carpenters
Cue List
- List of all the cues within the script; an index of cues
Deck Cue
- What happens on stage
Fly Cues/Fly Plot
- Used by the stage manager for the rail system, i.e. items that fly in and out from overhead
Ground Plan
- How the stage is physically set-up; floor plan
Magic sheets
- Used by lighting designers to show certain information such as pinpointing lighting instruments, where lights are pointed, and which lighting gel to use
Iris Plot
- Spot light cues; "Iris" is a lighting term that means to tighten up a lights beam
Performance Report
- Report written during the performance documenting what happens during the performance
- Stage manager does this for every show
- Top right-hand side of the report shows dates and number of shows that have been performed
- "Preview" means that tickets were sold and an audience can come but it is not the final performance (still a work in progress, can make changes)
- "Frozen" means that no more changes can be made
Performance Rights Society (PRS) Document
- Used so composers can be informed (and paid) when shows uses their music
- Provides a way for the production to track the music they play
Prompt Script
- Usually has cues written into the script
- Stage manager uses when the performance is taking place
- "Calls" of the show; "go cues"
Prop cubes
- Used during rehearsal in place of furniture
Rehearsal Report
- Happens before the performance report
- Documents facts of the rehearsal
- Everyone but the actors see the rehearsal reports
- Very specific times are given in order to determine how much everyone will be paid (union documentation)
Rehearsal Script
- Document that the actors read from when they are rehearsing
- Contains only notes; not many "go cues" on the side margins
Running Notes
- Documents what happens during the performance
- Crew helps with running notes
Scene breakdown
- Directions for the stage manager or crew on how things are placed on stage at any given time
Script
- Polished copy; contains no handwritten notes
Strike
- Remove completely (usually referring to physical items removed from stage in between acts and/or intermission)
Technical Notes
- Found within the performance report
- Documents technical issues that happen during the performance (lighting, carpentry, etc.)
Tech Run
- Crew and stage manager do a test run of all the technical elements (lighting, setting up, moving on and off stage, etc.)
- Some actors can be involved, but not usually
Traffic patterns
- Blocking notations that show where people move on stage


Arrangement

The original order for this collection was maintained, per the creator's request. The collection is arranged alphabetically by the title of each Broadway play, which accounts for each series. Within each play (series) the materials are arranged (for the most part) chronologically. The names of the plays (series) include: Amadeus, Amy's View, Benefactors, Breaking the Code, The Captain's Tiger, The Crucible, Equus, The Judas Kiss, Lettice and Lovage, Monday after the Miracle, Noises Off, Nothing On, Racing Demon, Skylight, Turing Dossier (this is not a play), Who's Afraid of Virginia Woolf?, and The Young Man from Atlanta.


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Online Catalog Headings

These and related materials may be found under the following headings in online catalogs.

Karl, Susie Cordon
Broadway (New York, N.Y.)
Broadway Theatre (Organization : New York, N.Y.)
Stage management
Elon University -- Archival resources

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Related Material

There are no related materials to this collection at this time.

Detailed Description of the Collection

Amadeus. 1999-2000.
1 Box. 4, 3-ring Notebooks.
This title consists of one box and four 3-ring notebooks. Box 1 includes two spiral bound notebooks with Ms. Cordon's handwritten notes and one glossy program of "Amadeus" from 1988. The first spiral notebook contains daily schedules or rehearsal times dated September 9, 1999 - March 26, 2000 and with notes and to-do lists. The second spiral notebook begins with printed scene breakdowns of Acts I and II with some handwritten notes. Following are daily schedules or rehearsals dated March 28-May 14, 2000 with notes.
Notebook 1 contains prompt scripts with dates from September, October and December 1999, with Ms. Cordon's handwritten notes in the margins.
Notebook 2 contains reports numbered 1 to 10 of "Amadeus: The London Diary." These reports dated September 1 - September 24, 1999 are summaries of rehearsals and reports of matters outside the rehearsals. Following is a four- page review of the Amadeus London Rehearsal for the weeks of September 9-11, 13-18, and 20-25, 1999. The last items in the notebook are performance reports dated October 5- November 28, 1999.
Notebook 3 contains a volume of Playbill dated December 15, 1999 for the opening performance at the Music Box. Also included is sheet music titled "Non Piu Andrai," "Salieri's March," and "Mozart's Transformation." The notebook also contains a cue list consisting of five typed pages dated February 2000. Following the cue list is the fly plot for Acts I and II, which are typed with some handwritten notes. Another fly plot for Acts I and II follows but with no handwritten notes and includes spaces for "Lead" and "Notes." Next are typed instructions for manuscript construction. The next items in the notebook are three pages of hand-drawn ground plans. Following the ground plans is an article prefaced by Peter Shaffer that describes the set for the play and lists the characters. The next 11 pages are handwritten notes that have been scribbled out. Following the notes is the four-page slide plot dated March 7, 2000. The next item is the five-page sound cue descriptions dated February 15, 2000. Following the sound cue descriptions is a prompt script with handwritten notes in the margins and dated September 1999.
Notebook 4 contains performance reports dated December 1999 - May 2000.
Amadeus. Undated (circa 1999-2000). Box 1.
Amadeus. September 1999-October 1999. Notebook 1.
Amadeus. September 1999-November 1999. Notebook 2.
Amadeus. September 1999-February 2000. Notebook 3.
Amadeus. December 1999-May 2000. Notebook 4.
Amy's View. 1999.
1 Box. 2, 3-ring Notebooks.
This title consists of one box and two 3-ring notebooks. Box 1 contains one spiral-bound notebook containing Ms. Cordon's handwritten notes and printed calendars for June and July 1999. Most of the notebook consists of rehearsal or performance schedules dated March 15 to July 18 with notes and to-do lists.
Notebook 1 contains a 118 page prompt script for "Amy's View." Following is a bow list dated April 2, 1999. The next item is the running notes, followed by one page listing the header cues and iris cues. Next is the iris plot, with typed and handwritten notes. Following the iris plot is the flying plot, also with typed and handwritten notes. The last item in the notebook is the typed cue list.
Notebook 2 mostly contains performance reports dated April 3 - July 18, 1999. At the end of the notebook are two copies of a volume of Playbill for "Amy's View" from April 1999. There is also a program for a gala honoring Dame Judi Dench.
Amy's View. Undated (circa 1999). Box 1.
Amy's View. February 1999-April 1999. Notebook 1.
Amy's View. April 1999-July 1999. Notebook 2.
Benefactors. 1985-1986.
1 Box. 1, 3-ring Notebook.
This title consists of one box and one 3-ring notebook. The box contains three bound notebooks labeled "Benefactors Log" and numbered consecutively. Each notebook includes performance or rehearsal schedules, notes, and to-do lists. The first notebook is dated November 11, 1985 - March 2, 1986; the second notebook is dated March 4 - June 15, 1986; and the third notebook is dated June 17 - June 24, 1986.
Notebook 1 contains a list of the cast members followed by lighting instructions and a prop list dated November 29, 1985. Following are a tech run for June 13, 1986 and dress rehearsal notes for December 9, 1985. The next items are more lighting instructions and comments from the cast dated December 15 and 19, 1985. Next are notes from a dress rehearsal dated June 15, 1986 and another dated June 4, 1986. Following these notes is a prompt script. The last item in the notebook is a props list dated January 20, 1986.
Benefactors. 1985-1986. Box 1.
Benefactors. November 1985-January 1986. Notebook 1.
Breaking the Code. 1987-1988.
1 Box. 3, 3-ring Notebooks.
This title consists of one box and three 3-ring notebooks. The box contains two spiral-bound and two cloth-bound notebooks, all with Ms. Cordon's handwritten notes. The spiral-bound notebooks, labeled Book I and Book II, are dated August 27-November 22 and November 24-March 26, respectively. They contain rehearsal or performance schedules and other notes. The two cloth-bound notebooks are labeled Log Book I and II and are dated September 8, -December 20, 1987 and December 31, 1987-April 10, 1988, respectively. These log books contain the same type of information as the spiral-bound notebooks, but most entries are labeled as a numbered rehearsal or performance.
The first page of Notebook 1 is a scene breakdown for the play, followed by the wardrobe deck cues and presets. After the deck cues (and in other places in the notebook) are various greeting cards, postcards, telegrams, and notes addressed to Ms. Cordon. After the cards are costume plots, followed by deck cues for the Neil Simon Theatre and prop lists. Following is another page of wardrobe deck cues and presets along with a page of prop deck cues and intermission changes. Next is a page of what appears to be codes for abusive language with an explanation for why and how the codes are to be used. There is a short carpentry inventory list, followed by another set of stage management deck cues for the Neil Simon Theatre, then sound cues. After the sound cues is a props list, another page of prop deck cues, and intermission changes. Next is a page of handwritten notes followed by a prompt script, which is the last item in the notebook.
Notebook 2 continues the prompt script from the previous notebook. Notebook 3 begins with a carpentry inventory, electrics notes, and prop lists. Next are diagrams for furniture placement, followed by door cues and the costume plot. The next item is a list of characters, followed by a prompt script beginning with Act I Scene I and continuing to the end of the notebook through the first page of Act II Scene IX.
Breaking the Code. Undated (circa 1987-1988). Box 1.
Breaking the Code. August 1987-September 1987. Notebook 1.
Breaking the Code. September 1987. Notebook 2.
Breaking the Code. 1987-1988. Notebook 3.
The Captain's Tiger. 1998-1999.
2, 3-ring Notebooks.
This title consists of two 3-ring notebooks. Notebook 1 begins with a volume of Playbill dated December 1998 and a volume of Stagebill dated October 1998. They are followed by four articles about Athol Fugard, the playwright. The next item in the notebook is a prompt script with tabbed notations. Following is the script, with no notes, through the beginning of Scene 16 on page 88.
Notebook 2 picks up the script with page 89 and continues through the end of the script. Following are typed rehearsal reports dated November 23 - December 16, 1998. The notebook concludes with performance reports dated December 17, 1998 - February 8, 1999.
The Captain's Tiger. Undated (circa 1998). Notebook 1.
The Captain's Tiger. 1998-1999. Notebook 2.
The Crucible. 2001-2002.
1 Box. 3, 3-ring Notebooks.
This title consists of one box and three 3-ring notebooks. As with other titles, the box contains one spiral-bound notebook containing Ms. Cordon's handwritten performance or rehearsal notes dated January 7 - June 9.
Notebook 1 contains a prompt script of Acts I through IV. Notebook 2 begins with a pre-show announcement followed by a schedule of curtain calls, a page with Psalm 121 typed, and a letter to Ms. Cordon and the cast from Richard Eyre. The remainder of the notebook is another prompt script. Notebook 3 contains performance reports dated February 16 - June 9, 2002. At the end of the notebook are two pages of handwritten act timings for the play.
The Crucible. Undated (circa 2001-2002). Box 1.
The Crucible. Undated (circa 2001-2002). Notebook 1.
The Crucible. 2001-2002. Notebook 2.
The Crucible. February 2002-June 2002. Notebook 3.
Equus. 2008-2009.
1 Box. 3, 3-ring Notebooks.
This title consists of one box and three 3-ring notebooks. The box contains two spiral-bound notebooks. The first notebook is labeled "Equus" and contains Ms. Cordon's handwritten notes of rehearsal or performance schedules and to-do lists dated August 8 - January 4. The second spiral notebook is labeled "Equus Book II" and "Chasing Manet." It also contains notes of rehearsal or performance schedules and is dated January 6 - May 2. One of this notebook's pockets contains a volume of Playbill for "Chasing Manet" dated March 2009.
Notebook 1 begins with a photograph of Ms. Cordon working in an office/dressing room. The photograph is followed by a volume of Playbill for "Equus" dated September 2008 and an announcement that the company of "Equus" won the award for the Top Broadway Show Fundraiser for 2008. This announcement is followed by a volume of Playbill for the 20th annual "Gypsy of the Year" competition and a press release about this competition. The next item in the notebook is a list of characters and a prompt script for "Equus." Next is the list of bows, followed by diagrams of prop cubes. Next are carp and fly cues. Next are two versions of scene breakdowns. Following the scene breakdowns is a Performing Rights Society (PRS) document. Next is a list of dressing room assignments, followed by a list of smoke use cues. The final items in the notebook are material safety data sheets.
Notebook 2 begins with rehearsal reports numbered 1 - 18 and dated August 8 - 29, 2008. The remainder of the notebook consists of performance reports dated September 5 - December 16, 2008. Notebook 3 continues with performance reports dated December 17, 2008 - February 8, 2009.
Equus. Undated (circa 2008-2009). Box 1.
Equus. 2008. Notebook 1.
Equus. August 2008-December 2008. Notebook 2.
Equus. December 2008-February 2009. Notebook 3.
The Judas Kiss. 1998.
1 Box. 3, 3-ring Notebooks.
This title consists of one box and three 3-ring notebooks. The box contains a legal-size spiral pad with Ms. Cordon's handwritten rehearsal or performance notes dated April 15 - August 2.
Notebook 1 begins with a prompt script followed by a June 30, 1998 New York Times article about Liam Neeson. The article is followed by various correspondences to and from Ms. Cordon. Next is a NYT announcement dated May 29, 1998 of Neeson and the play, followed by another NYT article dated January 30, 1998 discussing David Hare, the playwright, and Neeson. Next is a GQ cover of Neeson. The last item in the notebook is the GQ article/interview with Neeson by Allison Glock.
Notebook 2 contains a volume of Playbill dated May 1998 and a larger program of the first performance at the Playhouse on March 12, 1998. The rest of the notebook contains various correspondences to and from Ms. Cordon.
Notebook 3 begins with typed performance reports dated April 23 - August 2, 1998. Following the reports are various correspondences. Following are handwritten performance reports titled "Almeida Show Report" dated March 12 - April 18, 1998 (in reverse chronological order).
The Judas Kiss. Undated (circa 1998). Box 1.
The Judas Kiss. Undated (circa 1998). Notebook 1.
The Judas Kiss. April 1998. Notebook 2.
The Judas Kiss. April 1998-August 1998. Notebook 3.
Lettice and Lovage. 1992.
1 Box. 3, 3-ring Notebooks.
This title consists of one box and three 3-ring notebooks. The box contains one cloth-bound notebook labeled "Lettice and Lovage National Tour." This notebook begins with a printed sheet of running times stapled into the inside cover. As with other boxed notebooks, it continues with Ms. Cordon's handwritten rehearsal or performance schedule notes dated April 21 - August 18, 1992. This notebook also contains various other handwritten notes and correspondence pieces stapled throughout.
Notebook 1 contains a prompt script for the entire play. The prompt script is followed by two curtain calls lists and one sheet listing the characters and synopses of each scene. Following is what appears to be a tour calendar. Next are two volumes of Playbill, followed by a review of the play copied from the November 19, 1992 issue of the Saint Paul Pioneer Press and a review from the Star Tribune on the same date. Next are six pages of 2nd assistant stage manager duties for the play's national tour. The notebook concludes with traffic patterns, transition moves, and movement patterns.
Notebook 2 consists of travel itineraries and travel/hotel arrangements. Following is a props list and various correspondences to and from Ms. Cordon.
Notebook 3 begins with a second copy of the props list in Notebook 2 as well as lighting instructions. Next is a prompt script beginning with Act I Scene I and continuing to the end of the play. The last items include the instrument schedule followed by one sheet of light and sound instructions.
Lettice and Lovage. 1992. Box 1.
Lettice and Lovage. 1992. Notebook 1.
Lettice and Lovage. 1992. Notebook 2.
Lettice and Lovage. 1992. Notebook 3.
Monday after the Miracle. 1981-1982.
1 Box. 4, 3-ring Notebooks.
This title consists of one box and four 3-ring notebooks. The box contains two notebooks, one cloth-bound dated October 26, 1981 - June 6, 1982, and one spiral-bound dated September 13 - December 18, 1982. Both contain handwritten rehearsal or performance notes. The cloth notebook has various other items among the pages, including a program of performances during the 1992 Spoleto Festival. The spiral notebook has a volume of Stagebill from the Kennedy Center dated October 1982 and a volume of Playbill from the Eugene O'Neill Theatre.
Notebook 1 contains a prompt script. Notebook 2 begins with photographs from various scenes of the play. Next are a number of newspaper, magazine, and radio and TV station reviews. Following is a scene breakdown and a prompt script through the end of Act II.
Notebook 3 contains a prompt script that begins at Act II. Following the script are magic sheets or lighting notations. Next is a list of the curtain calls and a list of perishables. Following these lists are costume and prop changes, quick changes, and a props plot. Notebook 3 ends with another prompt script.
Notebook 4 opens with a prompt script in the middle of Act II and continues through the end of the play. Following are various correspondences to Ms. Cordon, as well as another program from the 1992 Spoleto Festival and a program from the St. Philip's Episcopal Church in Charleston, South Carolina. There is also a scene breakdown for actors and/or props. Next are handwritten notes that appear to be lighting instructions, followed by a performance schedule. Next is a list of cues followed by a props lists, music instructions, prop present lists, and letter props. There is also a ground plan. There is also a review of the play from May, 1982.
Monday after the Miracle. 1981-1982. Box 1.
Monday after the Miracle. November 1981. Notebook 1.
Monday after the Miracle. 1982. Notebook 2.
Monday after the Miracle. 1982. Notebook 3.
Monday after the Miracle. 1982. Notebook 4.
Noises Off. 1983-1985.
1 Box. 2, 3-ring Notebooks.
This title consists of one box and two 3-ring notebooks. The box contains four spiral-bound notebooks labeled "Noises Off Log" containing Ms. Cordon's handwritten performance or rehearsal schedule notes. Each rehearsal or performance is numbered. The notebooks are dated September 19, 1983 - January 14, 1984; January 16 - July 1, 1984; July 2 - October 31, 1984; and November 1, 1984 - January 6, 1985, respectively.
Notebook 1 begins with correspondences to and from Ms. Cordon. Next is a list of props instructions, followed by a number of pages of handwritten notes, most of which have been crossed out. Following these notes is a rehearsal schedule and a character plot, and the remainder of the notebook is a prompt script from the beginning of the play through the middle of Act II.
Notebook 2 begins with a prompt script in the middle of Act II and continues through the end of the play.
Noises Off. 1983-1984. Box 1.
Noises Off. 1983-1985. Notebook 1.
Noises Off. 1983-1985. Notebook 2.
Nothing On. Undated.
1, 3-ring Notebook.
This title consists of one 3-ring notebook and includes a prompt script for the play "Nothing On," which is performed by characters in "Noises Off." The notebook ends with half a page of handwritten notes.
Nothing On. Undated. Notebook 1.
Racing Demon. 1995.
2, 3-ring Notebooks.
This title consists of two 3-ring notebooks. Notebook 1 begins with typed rehearsal reports dated September 26 - October 29, 1995, followed by two pieces of correspondence. Next are cover and assignment lists, followed by a brief history of Fort Eyre. Next and through the end of the notebook are performance reports dated October 31 - December 31, 1995. These performance reports are interspersed with press-related memos, particularly lists of critics for certain performances.
Notebook 2 begins with a playbill dated July 31, 1996 and a blank card. Next is a list of approximate scene running times, followed by memos from David Hare and Richard Eyre (playwright and director, respectively). Next is a stapled packet of reviews followed by magic sheets. There is a sign-up sheet for a Christmas pot-luck dinner (though there are no names), and a rehearsal and performance schedule. Next is a very brief article about Christianity and the Church followed by an announcement to equity members and a list of information about non-original music. There is another brief history of Fort Eyre. Following are two diagrams of a chess board and a sheet describing the chess moves taking place during the play. There is also a playing cards layout followed by scene breakdowns. Next is a prompt script from the beginning of the play through Act II Scene XI. It includes one sheet of music titled "Interlude XLIII."
Racing Demon. September 1995-December 1995. Notebook 1.
Racing Demon. November 1995. Notebook 2.
Skylight. 1996.
2, 3-ring Notebooks.
This title consists of two 3-ring notebooks. Notebook 1 begins with a prompt script followed by a five page cue list. Next is a volume of Playbill from the Royale Theatre dated September 1996. The remainder of the notebook includes articles from various publications about the play, all from 1996.
Notebook 2 begins with rehearsal reports dated August 22 - September 7, 1996. Following are performance reports dated September 9 - December 29, 1996, with various memos throughout.
Skylight. 1996. Notebook 1.
Skylight. September 1996-December 1996. Notebook 2.
Turing Dossier. Undated.
1, 3-ring Notebook.
This title consists of one 3-ring notebook, which contains miscellaneous published articles, handwritten notes, and biographical information about Alan Turing, the subject of the play "Breaking the Code." Turing Dossier is not a play.
Turing Dossier. Undated. Notebook 1.
Who's Afraid of Virginia Woolf?. 2005-2007.
1 Box. 3, 3-ring Notebooks.
This title includes one box and three 3-ring notebooks. Box 1 contains four spiral-bound notebooks which, as in other boxes, consist of Ms. Cordon's handwritten performance or rehearsal notes. These spiral notebooks are not numbered, and the dates include month and date only, not year.
Notebook 1 opens with a prompt script dated March 31, 2005 with pages numbered p. II-171 and continues to p. III-241. Next is a sheet labeled "Notes on the Speakers from the CD" and a page titled "The Rainbow Passage." Following are two copies of a documented titled "The Kansas Dialect." Next is a sheet titled "The Latin Mass Translation" followed by a two-page document titled "Glossary: What's what in the play." Next are four pages from Act II of the script. The next items deal with rehearsal furniture; the first sheet contains typed instructions, while the second sheet is a diagram of furniture arrangements. Following are two pages of the prompt script mentioned previously; this section includes pages p. II-155 and p. II-156. After the prompt script are summaries of the national tour rehearsals for the weeks December 4-9, December 11-16, and December 18-21, 2006. Next and to the end of the notebook are national tour performance reports dated January 4 - May 20, 2007.
Notebook 2 begins with typed rehearsal notes dated January 8 - February 7, 2005. Following are performance reports dated February 10 - September 4, 2005.
Notebook 3 contains a prompt script that begins with page p. I-1 and continues through page p. II-170.
Who's Afraid of Virginia Woolf?. 2005-2007. Box 1.
Who's Afraid of Virginia Woolf?. 2005-2007. Notebook 1.
Who's Afraid of Virginia Woolf?. January 2005-September 2005. Notebook 2.
Who's Afraid of Virginia Woolf?. March 2005. Notebook 3.
The Young Man from Atlanta. 1997.
2, 3-ring Notebooks.
This title consists of two 3-ring notebooks. Notebook 1 opens with some photos and a hand-drawn card. There is a volume of Playbill from the Longacre Theatre dated April 1997 as well as a volume of Stagebill from the Goodman Theatre from 1997. There is also a volume of On Stage from 1996-97. Next is a sheet of lighting cues and a page of sheet music for the song "Billy Boy" and some handwritten timing notes. Next is a list of actor entrance cues, and following is a prompt script. After the prompt script are performance reports dated March 13 - March 29, 1997 that finish out the notebook. Notebook 2 contains performance reports dated March 29 - June 8, 1997.
The Young Man from Atlanta. 1997. Notebook 1.
The Young Man from Atlanta. March 1997-June 1997. Notebook 2.