Robert S. Breen papers

Access and use

Location of collection:
George Mason University
2400 Fenwick Library
Special Collections Research Center
Fenwick Library MS2FL
George Mason University
Fairfax, VA 22030
Contact for questions and access:
POC: Mieko Palazzo
Phone: (703) 993-2220
Fax: (703) 993-2669
Restrictions:

Collection is open to research.

Terms of access:

There are no restrictions.

Preferred citation:

Robert S. Breen papers, Collection #C0004, Special Collections and Archives, George Mason University.

Summary

Extent:
67.5 linear feet (139 boxes)
Creator:
Robert S. Breen
Abstract:
The papers are comprised of records generated by Robert Breen and his wife Wilva Breen. The collection documents Robert Breen's work in the theater as an actor, director, and producer. The bulk of the collection relates to Breen's work as Executive Director for the American National Theater and Academy.
Language:
English.
Preferred citation:

Robert S. Breen papers, Collection #C0004, Special Collections and Archives, George Mason University.

Background

Scope and content:

The Robert Breen Theatre Collection is a primary source from which one may research the early beginnings of government support for the performing arts and the people responsible for them. It details the work of Robert Breen, the driving force behind the reformation of ANTA in 1946 and a staunch supporter of its eventual successor, the National Endowment for the Arts. The Robert Breen Theatre Collection aids in the gaining of a better understanding of the early operations of ANTA. Covering the years 1933-1980, it consists of working papers, correspondence, drafts, news clippings, scripts, photographs and other theatrical materials which document Breen's career with ANTA from 1944 to 1952. There are also almost 70 audiotapes with recordings of musical theatre and Breen dictating correspondence. The collection also reflects Breen's personal interests such as television, film, and political causes.

1 - WIESBADEN ORCHESTRA; 3.75 IPS

2

3 - COPY OF TAPE FOR PETER FARROW FOR SEAN O'FEY

4

5

6 - ACT II FROM LEGALIZE TO END

7 - FROM BEGINNING OF SWANEE (RACIN FORMS[?]); 7.5 IPS

8 - DICTATION OF CORRESPONDENCE

9 - SIDE 1: IRENE AND W. W.; SIDE 2: PERSONAL PHONE CALLS

10 - BRAHMS: SYMPHONY 2 IN D MAJOR / HAROLD ARLEN (CONJURE MAN) BLUES VOCAL AND PIANO

11

12 - RB PERSONAL WORK TAPE

13 - STOP MY SHINING DREAM; I'LL WIND THIS WORLD; SEED STARS

14 - WORK TAPE BLUES OPERA 2, HAROLD ARLEN REEL 2, FROM "LOOKING FOR SOMEBODY"; 7.5 IPS

15 - CHORAL NY [RCHGZISZLS] BLOIS DE [ULVILLE] 238, 256; 3.75 IPS

16 - PORGY AND BESS, COMPANY ZURICH SOUND TRACK

17 - SIDE A: AMSTERDAM SOUND TRACK FOR 16MM FILMS; SIDE B: LAST HALF, CONTAINS ONLY 24 SECONDS OF AUDIO

18 - INTERVIEW FOR RADIO LIBERATION, MUNICH HUTCH, MARCH 1956

19 - BLEVINS AND ROBERT BREEN TELEPHONE CONVERSATION ON FILM RIGHTS AND BREEN DIRECTING A FILM WITH IRA GIRSHWIN; MUSIC: IRVING (SWIFTLY) LEZAR; SIDE B: ROBERT BREEN'S DICTATION OF MEMOS

20

21

22

23 - MISTITLED; TAPE ACTUALLY CONTAINS A MIX OF LATIN CHANTS AND HAROLD ARLEN SELECTIONS

24 - VOICE OF AMERICA ARMED FORCES NETWORK; BREEN AND FULLER INTERVIEW, STUTTGART, REGARDING PORGY AND BESS; 7.5 IPS

25A - 1 OF 3

25B - 2 OF 3

25C - 3 OF 3

26A - PART 1 OF 2; PORGY AND BESS TITAINIA PALEST; 1 7/8 IPS

26B - PART 2 OF 2; PORGY AND BESS TITAINIA PALEST; 1 7/8 IPS

27 - SCENE LIST AND OTHER DESCRIPTIONS ON TYPED PAGES IN BOX; TWO LOOSE PIECES OF TAPE IN BOX; RUNTIME: 1 HOUR 38 MINUTES; 3.75 IPS

28 - SIDE A: 1. LIFE FULL OF CONSEQUENCES, 2. HI LO, JACK AND A GAME, 3. A MAN'S GOTTA FIGHT, 4. SOMETHIN YOU GOTTA FIND OUT YOSELF, 5. THAT'S MY OPINION, 6. I WONDER WHAT BECAME OF ME, 7. RACIN FORMS, 8. SOW THE SEED AND REAP THE HARVEST, 9. LIMERICKS SIDE II: 1. ACCENTUATE THE POSITIVE, 2. LUCK COMING DOWN, 3. PAPER MOON, 4. ONE FOR THE ROAD, A SLEEPIN BEE, 5. COME RAIN OR COME SHINE, IVE GOT THE WORLD ON A STRING

29 - PIANO AND MALE VOICE

30

31 - LABEL INDICATES P AND B PERF, TAPE ACT II ONLY. CAB CALLOWAY STILL IN CAST ONLY CLUE TO DATE I.E. GENERAL. FOUND IN FILE CABINET 11-17-1956 BY RB

32 - LABEL READS BEGIN NONE OF FINAL SCENE ACT II

34 - 7.5 IPS

35

36A

36B

37 - 7.5 IPS

38 - REEL IS LABELED: ARLEN - SOBEL WABC, 6 SONGS DUBBED FROM ELLIOTT [ARTS RECORDER] ON BACK: ARLEN SPECIAL 6-26-59 6 NATURAL MAN, RIDIN MOON, CAKEWALK, PEACEFUL, WORK HARD, MANY KINDS LOVE - 3.75 IPS

39

33 - 10" REEL 1/2 TRACK STEREO; 15 IPS

40 - WORK TAPE BLUES OPERA 3 ON FRONT OF BOX. ON BACK OF BOX: SONG LIST: OLD [?] TREAT YOU BAD, SLEEP PEACEFUL, TRUE LOVE, SOW SEED, CROSS THE RIVER, PIANO, I'LL WIND, RACIN FORM, BETTING FUGUE, ACCENTUATE, SUPPOSE HE LOSE, ROCK BOTTOM, EASY STREET, RACE, CHAPAIGN FO' THE LADY, HI - LOW JACK, LUCK JUST SO DOWN, WONDER WHAT BECAME, SOMETHING YOU GOTTA, ONE FOR MY BABY, BLUES IN NIGHT, LEAVIN TIME, COME RAIN OR, THIS MOMENT, [?] TIME [?]

41 - WORK TAPE BLUES OPERA 1 ON FRONT OF BOX

42 - COPY OF TAPE FOR PETER FARROW FOR SEAN O'FEY

43 - NBC DISCUSSION LEON PEARSON (MODERATOR) JEAN DALRYMPLE, DAVID MERRICK, ROBERT BREEN

44

45

46 - GREEN BOX MARKED: "QUINCY JONES" ALSO MARKED: FREE AND EASY CONVERSATION NEWS IRENE (FREE AND EASY)

47 - BACK OF BOX READS: KURT WEILL SEVEN DEEADLY SINS - MUNUET 3X, - HOWDY DO TO YOU - LEADING TO TURNS 1) SOFT SHOE 2X 3) GENTEEL 2X 6) BLUES 2X *ANOTHER TURN WE HAD - AND NOT CONTEMPLATEDUSING, BUT PERHAPS THE MUSIC FIT SOME OTHER TURN.

48 - INSIDE OF BOX IS A TYPEWRITTEN PAGE WITH SOME HANDWRITTEN NOTES

49 - GREENISH PAPER TAPED TO FRONT OF BOX READS: ACT II NOTES SIDE #2 MAY 30, 1959 4-17-59 STANLEY CHASE NOTES. BACK OF BOX READS: BLUES STANLEY CHASE NOTES APRIL 17 - MAY 30, 1959 ACT I SIDE 1, ACT II (SIDE) 2

50 - RED MARKING PENCIL ON ONE SIDE OF REEL: 3

51 - PAPER INSIDE OF BOX READS: 9-17-55 TV NOTES RB SHUFTAN / RB

52 - DECALS ON SIDE 1 OF TAPE READ: (TOP) DICTATION OF R.B. ORIENT TOUR 1955? TO HELLEN - LA SCALLA TICKETS FOR BLEVINS, TO WILVA - COMPLAIN [?] FROM [?] YUGOSLAVIA, TO LEONARD FIELD - MUSICIAN'S REHEARSALS (BOTTOM) DICTATION TO TOM MARTIN - ABOUT PARIS [?], ILYA MERN [?] (VENICE)

53

54 - BACK TO TAPE READS: REV JOHNSON'S DREAM [?] BLUES. OTHER TITLES ARE CROSSED OUT; 7.5 IPS

55 - BLUE TYPEWRITTEN PAPER INSIDE BOX CONTAINS SONG LIST AND COUNTER NUMBERS READS: TAPE II ACT II SCENE 1: PUT EVERY DOLLAR, TRUE LOVE, RIGHT ANSWER, TOP OF THE WORLD, RAIN OR SHINE, LEGALIZE MY NAME, LULLABY, CHINQUAPIN BUSH, WHAT YA SAYIN BIGELOW (RED WAGON) KILLING SEQUENCE, CURSE, SLEEP PEACEFUL, OL BIGELOW TREAT YOU BAD, SOW THE SEED, DIS LIL WHILE. ACT II SCENE II: RACING FORMS, SNAKE EYES, ACCENTUATE, SUPPOSE WE LOSE (EASY STREET) CHAMPAGNE FOR THE LADY, 9RACE ** 570), HIGH LOW JACK AND THE GAME, LUCK JUST GO DOWN, SOMETHING YOU GOTTA FIND OUT YRSLF, WHERE IS THIS ROAD A LEADIN YOU TO, RIDIN ON THE MOON, LEAVING TIME

56 - NOTE INSIDE BOX READS: FALL 1954 RE: BOOKING MID EAST TOUR (STATE DEPARTMENT) ON SIDE I ONLY - 2 CONVOS LATER[?] RB + R. SCHNITZER; 7.5 IPS

57 - NOTE ON TOP OF BOX READS: FREE AND EASY AMSTERDAM APPROX DEC 15, 1959 UNEDITED; 3.75 IPS

58 - NOTE INSIDE BOX READS: MARCH 29, 56 STANLEY MEYER TO RB RE RB DIRECTING Pand B FILM MARCH 31, 1956 RB TO STANLEY MEYER

59

60 - EDITED BACK OF BOX READS: (H. ARLEN) FREE and EASY (BLUES OPERA) DEC 59 SIDES 1 and 2 (SNATCHES) (RECORDED FROM SMALL PROPERTY ROOM - BACKSTAGE CARRE THEATRE - AMSTERDAM DEC 1959 - DURING REHEARSING and ONE "PREVIEW" SIDE #1 - 65 MINUTES, SIDE #2 - 69 MINUTES; 3.75 IPS

61

62

63 - LOW QUALITY RECORDING

64 - STICKER ON REEL READS: SEPTEMBER 24, 1955 CALL FROM MR. BLAKE (STATE) TO RB ? ?, RUSSIA LETTERS TO CITY ? TO SCHNITZER, TO IEP (?) EXCELLENT

65

66

67

44 cassette audiotapes of interviews with and about Robert Breen. Subjects include ANTA, Porgy and Bess, and the Federal Theatre Project. Mike Davis was involved with most of the recordings. Accession 2011-001

30 black and white photographic prints of Robert Breen and his 1952 production of Porgy and Bess, including a photograph of Cab Calloway. Some of the photographs are of Robert Breen from 1986. There are also 14 color slides of Robert Breen and Wilva Breen taken in 1986. Also, included are programs for the 1949 Hamlet production at Kronborg Castle in Elsinore, Denamrk, Hamlet theatre cards, and newsletters and clippings. Accession 2011-002

Biographical / historical:

In the early 1930s, a small group of arts patrons from Philadelphia and New York began to act upon their conviction that Americans should have a national theater organization that would serve the American public better than Broadway, with its high ticket prices and limited touring policy. Under the leadership of Leopold Stokowski, and with the help of several influential supporters, they persuaded Congress to enact a federal charter for a national theater - a rare and significant authorization but for very few organizations such as the Smithsonian Institution, the Red Cross, and the Federal Reserve Bank. Signed by Franklin Roosevelt on July 3, 1935, the charter of The American National Theatre and Academy (ANTA) called for: A people's project, organized and conducted in their interest, free from commercialism, but with the firm intent of being as far as possible self-supporting. A national theatre should bring to the people throughout the country their heritage of the great drama of the past and the best of the present, which has been too frequently unavailable to them under existing conditions. Action on the new charter stalled for nearly a decade, however, with the creation of the WPA Federal Theatre Project, which provided Depression relief to theater artists from 1935 until 1939, and then the onset of World War II. Perhaps more to the point, the ANTA board, comprised of prominent citizens and business leaders from outside the theater community, could not agree on the goals of ANTA.

When the war ended, Robert Breen, a dynamic theater director, actor, and producer fresh out of the Army Air Corps, saw in ANTA the opportunity for his vision of a national theater. He persuaded a fellow veteran, Robert Porterfield, founder of the Barter Theatre in Abingdon, Virginia, to join him in his effort to devise and propose to the ANTA board a plan for a national theater supported by a foundation.

In 1946 the ANTA board voted to accept the Breen-Porterfield Foundation Plan and persuaded Robert Breen to serve as executive secretary of ANTA. To provide the organization with necessary expertise, the board was reconstituted to include prestigious theater professionals such as Brooks Atkinson, Cheryl Crawford, Paul Green, Moss Hart, Helen Hayes, Sam Jaffe, and Raymond Massey.

Robert Breen and a small, dedicated team comprised mostly of volunteers set furiously to work in his own living quarters above the Hudson Theater on 44th Street. At his side was his co-worker and wife Wilva Davis Breen, who had been instrumental in promoting and guiding the ANTA plan to completion. Together, the two of them had established the Chicago unit of the Federal Theatre Project, an experience which convinced Breen that theater in America was in need of more than a temporary relief program.

Thus began a remarkable period in American theater that, with the infusion of ANTA support and energy, saw the revival of the Experimental Theatre in New York, the growth of regional and university theater programs, the encouragement of playwrights and performers, the broadcasting of quality dramatic presentations to millions of Americans on television in its fledgling years, and ground breaking cultural exchanges that warmed a Cold War world. Internationally, ANTA promoted artistic exchanges between the U.S. and Europe and entertainment for American troops serving abroad. It began in 1949 with a U.S. tour of Hamlet throughout Europe, culminating in a performance at Elsinore Castle in Denmark, the actual setting of the play. During the 1950s ANTA sponsored such projects as the American National Ballet Theatre's tour of Europe, and American participation in the Berlin Arts Festival in 1951. Productions showing different sides of life in America were played to European audiences. Among the many were the musicals Oklahoma and Porgy and Bess.

Acquisition information:

Donated by the trustees of the Robert Breen Collection in 1988 and Wilva Breen and Ohio State University in 1989.

Additional donations from Diana Lawrence and Mike Timoney in 2010.

Custodial history:

Part of the Robert Breen collection was donated to Ohio State University.

Processing information:

Processed by Special Collections and Archives Staff. EAD markup completed in February 2009 by Jordan Patty.

Arrangement:

Organized alphabetically according to subject and topic.

Indexed terms

Subjects:
Theater--United States.