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Brander Matthews Dramatic Museum collection of documents relating to actors and theatrical managers, 1732-1995

18 linear feet
Abstract Or Scope

A collection of letters, manuscripts, and documents of prominent actors, actresses, and theatrical managers. Many of these are single, unrelated items. The largest body of correspondence is from the American actress, Charlotte Cushman (14 letters). Another figure of major interest is William Charles Macready, partly because of Miss Cushman's relationship to him (she toured with him for several years) and also as there are several of his letters. Sir Henry Irving, Edwin Forrest and James Mowatt are each represented by a few letters. A group of 8 unsigned letters may have been written by the famous singer, actress, and manager, Eliza Vestris. One box contains manuscripts of Samuel Coit, Charlotte Cushman, Clyde Fitch, Wallace Gould, Henry von Heiseler, E.H. Sothern, and Lester Wallack. Six boxes contain Augustin Daly's check stubs and bank books for Daly's Theatre, New York, for 1872-1899. (For additional Augustin Daly business records, see description sheets for Daly's Theatre Collection, X810.128/D15& the Dramatic Library Collection shelf list).

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Brenda Miller Cooper "Giants in the Earth" Collection, 1951

1.75 Linear Feet
Abstract Or Scope
Brenda Miller Cooper was an American operatic soprano who was a regular performer at New York City Opera from 1947 to the early 1960s. The materials in this collection were compiled by Brenda Miller Cooper during the premiere of Douglas Moore's Pulitzer Prize-winning opera, Giants in the Earth, in 1951 at Columbia University, in which she created the role of Beret.
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Leyna Gabriele papers, 1940-2016

19.5 Linear Feet
Abstract Or Scope
Leyna Gabriele (1924-2019) was an American operatic soprano, director, pedagogue, producer, socialite, and restaurateur, known for creating the title role in Douglas Moore's opera The Ballad of Baby Doe. Her association with the restaurant Chez Vito placed her at the heart of New York City's social scene, while her collaborations with the Masterworks Laboratory Theater brought techniques from Method acting to New York City's local opera scene.
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