Rare Book & Manuscript Library
 

Research Center for Arts and Culture Oral History Collection, 1990-1993

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Interviews



Box 1 Alan Alda Transcript, 1993 February 11,, 95 pages

Copyright held by Alan Alda.



Box 7 Alan Alda Cassette, 1993 February 11,, 1 audiocassettes

Copyright held by Alan Alda.



Box 1 Mary Alice Transcript, 1992 May 14,, 96 pages



Box 7 Mary Alice Cassette, 1992 May 14,, 1 audiocassettes


Box 7 Joseph Andreu Cassette, 1991 July 14,, 1 audiocassettes



Box 1 Carole Aoki Transcript, 1990 May 16,, 88 pages



Box 7 Carole Aoki Cassette, 1990 May 16,, 1 audiocassettes


Box 7 Xenobia Bailey Cassette, 1990 April 17,, 1 audiocassettes


Box 7 Phillip Baldwin Cassette, 1990 May 25,, 1 audiocassettes


Box 7 Gene Bamesberger Cassette, 1990 February 28,, 1 audiocassettes


Box 7 Rick Bartow Cassette, 1990 November 24,, 1 audiocassettes


Box 7 Karen Benjamin Cassette, 1991 November 19,, 1 audiocassettes


Box 7 Jeff Behnke Cassette, 1990 April 6,, 1 audiocassettes



Box 1 Ellen Blakeley Transcript, 1990 April 2,, 80 pages



Box 7 Ellen Blakeley Cassette, 1990 April 2,, 1 audiocassettes



Box 1 Sonja Blomdahl Cassette, 1990 May 24,, 89 pages

PART 1: Childhood in Cape Cod, parents, family, Swedish heritage; First experiences with art; Elementary school, first art teacher, art club; High school; Becoming an artist; Study at Massachusetts College of Arts, introduction to glassblowing, peers; Dale Chihooley; Role models; Trip to Sweden; First job in glass studio, Dan Dailey, finances; Glass blowing: materials, relationship, practice; Goals as artist; Showcasing work, Rhinebeck Crafts Fair (ACE Fair of Springfield); Art organizations, national and local; Professional recognition; Imporance of Pilchuk; Life as artist; Artistic peers. PART 2: Job history, creation of studio, supplementary work; Study in Sweden, hospital job; Factory work, Salamandre glass factory; Moving to Seattle; Building own studio; Retrospective view of career; Dick Weiss; Aspirations; Personal finances; Awards and grants; Physical location of work spaces; Effect of climate on work; Destiny as artist; Relation to public; Gallery work, William Traber Gallery; Teaching, Appalachia center for the Crafts, Haystack, Pilchuk; Feelings on successfulness as artist; Styles in work; Reflections on career, personal life; Effect of marketplace on work; Advice to young artists.


Sonja Blomdahl Cassette, 1990 May 24,, 1 audiocassettes


Box 1 Philip Bosco Transcript, 1992 March 3,, 100 pages



Box 7 Philip Bosco Cassette, 1992 March 3,, 1 audiocassettes


Box 7 Lea Bradovich Cassette, 1991 March 26,, 1 audiocassettes


Box 7 John Briggs Cassette, 1992 March 16,, 1 audiocassettes


Box 7 Deborah Brown Cassette, 1992 August 25,, 1 audiocassettes


Box 7 Maggi Brown Cassette, 1991 July 12,, 1 audiocassettes



Box 1 Luis Cancel Transcript, 1990 October 20,, 74 pages



Box 7 Luis Cancel Cassette, 1990 October 20,, 1 audiocassettes



Box 1 Al Carmines Transcript, 1992 March 31,, 62 pages

Side A: First experiences with acting: roles in religious plays; work with theater as ministry; first work as composer; family and childhood: parents' occupation and religious beliefs; musical talent: meeting Fats Waller, music lessons; religious beliefs: becoming a devote fundamentalist, work in revivals; attending Swarthmore College; siblings: younger brother; early opposition to segregation, parents' thoughts on segregation; mentors in youth; early career aspirations; college education: hunger for learning, English and Philosophy studies, attending Union Theological Seminary at Columbia; recollections of the theater world in the 1960s: work at Judson, Cino, LaMama, work with people: Sam Shepherd, Irene Fornas, Paul Goodman; relationship of church and theater; influence of commercialism on theater work; work as an acting teacher/mentor; relationship to theater organizations; role in Theater for the Deaf: learning ASL; writing script for Theater for the Handicapped 'The Making of America', role as Gertrude Stein; artistic mentors and role models: Larry Kornfeld, Paul Tillich, Samuel Beckett; artistic and religious peers: Tom Driver, Bob Seever, Amos Wilder, Joe Chaikin, Jacques Levy; recognition from younger actors; gatekeepers in career: critics: Clive Barnes, Edith Oliver, Joe Papp; commission from Metropolitan Opera; relationship to money throughout career; effect of marketplace on theater; thoughts on making a career in theater. SIDE B: Receiving grants, importance of grants; influence on other actors' careers: making casting decisions; interaction with public; responding to social issues in artistic work; definition of success in career; next artistic goals: interest in writing an American opera; teaching work; greatest satisfaction and disappointment in career; thoughts on occupation versus career; occupation as minister; advice for young artists.


Al Carmines Cassette, 1992 March 31,, 1 audiocassettes



Box 7 Pat Carroll Cassette, 1992 November 19,, 1 audiocassettes


Box 7 Karen Chait Cassette, 1991 July 22,, 1 audiocassettes



Box 1 Russell Chatham Transcript, 1990 November 15,, 100 pages

SIDE A: Initial experiences with art; childhood: family, parents' occupations; education: art classes; first experiences with oil paints; drawing: drawing sessions; becoming an 'professional artist'; education at a junior college; early struggles with work; first marriage; influence of friends and colleagues; mentors and role models; discouragements in early career; discussion of painting materials: oil paints, printmaking; choosing to devote full-time to painting; relationship to artists' organizations: thoughts on unionization of artists. SIDE B: First professional recognition; artistic peers; thoughts on occupation versus career; work as writer; moving to Montana; patterns/periods in artistic work; barriers/setbacks in career; thoughts on success in the arts; major turning points in career: Tom McGuane; relationship to finances throughout career; costs of supporting yourself as an artist; thoughts on physical location and work space; interactions with public; criteria for success; ideas/themes in work: landscapes; critical review of work; opportunity to paint for the White House: George Bush; major frustrations in career; effect of marketplace on work; changes in materials during career: cadmium paints; advice for young artists.



Box 7 Russell Chatham Cassette, 1990 November 15,, 1 audiocassettes



Box 1 Tom Chavarria Transcript, 1991 March 25,, 57 pages

SIDE A: Early interest in art and artists; family: work with Bureau of Indian Affairs, life on reservations; grandmother: early experiences with pottery; attending College of Santa Fe: interest in arts; first work with pottery; family life; education in art; relationship to other artists; work with materials: painting, drawing, clay; role models: grandmother; reflections on career path; competition in the art world; reflections on English degree; involvement in artistic organizations; administration work; critical reflections on work; gatekeepers in career; major turning points in career; teaching on reservation: Head Start; Tough Cachina series; relationship to money throughout career; effect of marketplace on art world: competition between older and younger artists; awards in career: certificate of recognition for teaching pottery. SIDE B: Interaction with the public; critical review of work; reflections on success in career; themes throughout career; greatest satisfactions and disappointments in career; effect of marketplace on work; advice for young artists; wife's work as photographer; life in Albuquerque versus life on the reservation.



Box 7 Tom Chavarria Cassette, 1991 March 25,, 1 audiocassettes



Box 1 Chuck Close Transcript, 1990 December 4,, 62 pages



Box 7 Chuck Close Cassette, 1990 December 4,, 1 audiocassettes



Box 1 John Cogswell Transcript, 1990 March 22,, 121 pages



Box 7 John Cogswell Cassette, 1990 March 22,, 1 audiocassettes



Box 2 Edward S. Cooke, Junior Transcript, 1990 June 5,, 98 pages



Box 7 Edward S. Cooke, Junior Cassette, 1990 June 5,, 1 audiocassettes


Box 7 Shirley Trusty Corey Cassette, 1991 August 19,, 1 audiocassettes



Box 2 Nancy Corwin Transcript, 1990 April 20,, 77 pages



Box 7 Nancy Corwin Cassette, 1990 April 20,, 1 audiocassettes


Box 7 Julie Schafler Dale Cassette, 1990 April 27,, 1 audiocassettes


Box 7 Jeffery Deitch Cassette, 1991 September 19,, 1 audiocassettes



Box 2 Vishakha Desai Transcript, 1991 May 15,, 51 pages



Box 7 Vishakha Desai Cassette, 1991 May 15,, 1 audiocassettes



Box 2 Jim Dine Transcript, 1991 June 20,, 81 pages



Box 7 Jim Dine Cassette, 1991 June 20,, 1 audiocassettes


Box 7 Jeff Donaldson Cassette, 1991 February 20,, 1 audiocassettes



Box 2 Timothy Douglas Transcript, 1991 November 18,, 120 pages



Box 7 Timothy Douglas Cassette, 1991 November 18,, 1 audiocassettes


Box 7 David Drummond Cassette, 1991 November 17,, 1 audiocassettes


Box 7 Lucy Blake Elahi Cassette, 1991 February 19,, 1 audiocassettes


Box 7 Crispina ffrench Cassette, 1990 February 27,, 1 audiocassettes



Box 2 Zelda Fichandler Transcript, 1992 July 24,, 74 pages



Box 7 Zelda Fichandler Cassette, 1992 July 24,, 1 audiocassettes



Box 2 Pauline Flanagan Transcript, 1992 February 13,, 46 pages

Side A: Initial experiences in acting, growing up in Ireland, early education: elocution class, family: siblings, parents' occupation, decision to become an actress, joining the Gary Olden Players, Annie Doulton Players, MacMaster Company, working with other actors: Harold Pinter, Ken Haig, Barry Foster, playing Queen of Ireland in a pageant on Tara Hill, joining the actors' union, moving to United States: job with Shakespeare Under the Stars, work with Shakespeare, love for theater, difficulty finding work, thoughts on 'career', family life: children, working with children, moving back to Ireland, moving to New Jersey, most fulfilling experiences: 'Ulysses in Nighttime' with Burgess Meredith and Zero Mostel, Sean O'Casey, Antioch Shakespeare, advice for young actors.



Box 7 Pauline Flanagan Cassette, 1992 February 13,, 1 audiocassettes


Box 7 Fernando Fonseca Cassette, 1992 March 15,, 1 audiocassettes



Box 2 Peter Frank Transcript, 1990 November 23-24,, 81 pages



Box 7 Peter Frank Cassette, 1990 November 23-24,, 1 audiocassettes


Box 7 Martin Friedman Cassette, 1991 May 29,, 1 audiocassettes



Box 2 Barbara Gaines Transcript, 1992 May 23,, 86 pages



Box 7 Barbara Gaines Cassette, 1992 May 23,, 1 audiocassettes


Box 7 Lillian Garrett Cassette, 1991 November 7,, 1 audiocassettes



Box 2 Sam Gilliam Transcript, 1991 February 19,, 75 pages



Box 7 Sam Gilliam Cassette, 1991 February 19,, 1 audiocassettes



Box 2 Jeff Glenn Transcript, 1990 February 1,, 91 pages



Box 7 Jeff Glenn Cassette, 1990 February 1,, 1 audiocassettes


Box 7 Winifred Godfrey Cassette, 1991 July 14,, 1 audiocassettes


Box 7 Lisa Gralnick Cassette, 1990 March 28,, 1 audiocassettes


Box 7 Mary Greeley Cassette, 1990 June 13,, 1 audiocassettes


Box 7 Fanni Green Cassette, 1992 May 19,, 1 audiocassettes


Box 7 Elizabeth Hahn Cassette, 1991 March 27,, 1 audiocassettes



Box 2 Sally Haley Transcript, 1990 November 19,, 71 pages



Box 7 Sally Haley Cassette, 1990 November 19,, 1 audiocassettes


Box 7 Peter Halley Transcript, 1990 October 31,, 82 pages

Copyright held by Peter Halley.


Box 7 Peter Halley Cassette, 1990 October 31,, 1 audiocassettes

Copyright held by Peter Halley.


Box 7 Lisa Hammel Cassette, 1990 May 13,, 1 audiocassettes



Box 3 Tim Harding Transcript, 1990 February 27,, 88 pages



Box 7 Tim Harding Cassette, 1990 February 27,, 1 audiocassettes


Box 7 Carl Harms Cassette, 1992 January 22,, 1 audiocassettes



Box 3 Al Held Transcript, 1990 October 17,, 69 pages



Box 7 Al Held Cassette, 1990 October 17,, 1 audiocassettes


Box 7 Lloyd Herman Cassette, 1990 May 25,, 1 audiocassettes



Box 3 Wayne Higby Transcript, 1990 April 28,, 77 pages



Box 7 Wayne Higby Cassette, 1990 April 28,, 1 audiocassettes



Box 3 Judd Hirsch Transcript, 1992 September 25,, 103 pages



Box 7 Judd Hirsch Cassette, 1992 September 25,, 1 audiocassettes



Box 3 Ruyell Ho Transcript, 1991 July 13,, 97 pages



Box 7 Ruyell Ho Cassette, 1991 July 13,, 1 audiocassettes


Box 7 Keiko Hosokawa Cassette, 1990 December 15,, 1 audiocassettes



Box 3 Mary Lee Hu Transcript, 1990 May 24,, 99 pages



Box 7 Mary Lee Hu Cassette, 1990 May 24,, 1 audiocassettes


Box 7 Michael Hurwitz Cassette, 1990 March 18,, 1 audiocassettes



Box 3 Bill Irwin Transcript, 1992 January 7,, 78 pages



Box 7 Bill Irwin Cassette, 1992 January 7,, 1 audiocassettes


Box 7 Ora Jones Cassette, 1992 May 22,, 2 audiocassettes


Box 7 Kit Keung Kan Cassette, 1991 February 15,, 1 audiocassettes


Box 7 June Kelly Cassette, 1990 October 10,, 1 audiocassettes


Box 7 Anne-Lynn Kettles Cassette, 1992 October 24,, 1 audiocassettes



Box 3 Habib Kheradyar Transcript, 1991 June 2,, 76 pages



Box 7 Habib Kheradyar Cassette, 1991 June 2,, 1 audiocassettes


Box 7 Ray King Cassette, 1990 March 18,, 1 audiocassettes


Box 7 Richard Koshalek Cassette, 1990 November 24,, 1 audiocassettes



Box 3 Barbara Krakow Transcript, 1991 July 11,, 71 pages



Box 7 Barbara Krakow Cassette, 1991 July 11,, 1 audiocassettes



Box 3 Miriam Kressyn Transcript, 1992 January 7,, 155 pages



Box 7 Miriam Kressyn Cassette, 1992 January 7,, 2 audiocassettes



Box 4 Marcia Jean Kurtz Transcript, 1992 July 2,, 106 pages



Box 7 Marilyn Laudadio Cassette, 1992 March 3,, 1 audiocassettes



Box 4 Margarita Leon Transcript, 1990 May 21,, 62 pages



Box 7 Margarita Leon Cassette, 1990 May 21,, 1 audiocassettes



Box 4 Roy Lichtenstein Transcript, 1991 November 12,, 77 pages

Copyright held by Roy Lichtenstein.



Box 7 Roy Lichtenstein Cassette, 1991 November 12,, 1 audiocassettes

Copyright held by Roy Lichtenstein.


Box 7 Pauline Lim Cassette, 1991 July 13,, 1 audiocassettes



Box 4 Kari Lonning Transcript, 1990 March 17,, 89 pages



Box 7 Kari Lonning Cassette, 1990 March 17,, 1 audiocassettes


Box 7 Robert Lue Cassette, 1991 July 12,, 1 audiocassettes



Box 4 Thomas Mann Transcript, 1990 April 3,, 70 pages



Box 7 Thomas Mann Cassette, 1990 April 3,, 1 audiocassettes


Box 7 John Marcoux Cassette, 1990 June 9,, 1 audiocassettes



Box 4 Steven Maslach Transcript, 1990 April 3,, 94 pages



Box 7 Steven Maslach Cassette, 1990 April 3,, 1 audiocassettes


Box 7 Anderson Matthews Cassette, 1992 March 20,, 1 audiocassettes



Box 4 Alphonse Mattia Transcript, 1990 June 7,, 108 pages



Box 7 Alphonse Mattia Cassette, 1990 June 7,, 1 audiocassettes


Box 7 Elizabeth McCann Cassette, 1992 November 13,, 1 audiocassettes


Box 7 David Mendoza Cassette, 1990 November 15,, 1 audiocassettes


Box 7 Beth Minear Cassette, 1990 March 1,, 1 audiocassettes



Box 4 Norma Minkowitz Transcript, 1990 March 11,, 94 pages

SIDE A: Family and early childhood, parents' occupations, siblings, upbringing in the Bronx, NYC, attending High School of Music and Art, early interest in arts, early successes in the arts: Society of Illustrators competition, reflections on being an artist, marriage and children, attending Cooper Union, friends in college, artistic role models, influential teacher: Stefano Crusimano, relationship to artistic mediums and materials, first jobs in the arts, freelance illustration work, career goals, participation in artistic organizations: Artist Craftsmen of New York, Society of Connecticut Craftsmen, reflections on arts shows, work in exhibit in the American Craft Museum, beginning of professional recognition as an artist, work as jury in art shows, work in exhibit in Bellas Artes Gallery: curated by Jacklin Orlarson, reflections on unionization of artists, artistic peers: Ilene Richardson, Barbara Natoly-Wick, influence of mother's death on artwork, reflections on occupation and career. SIDE B: Freelance work, work in America House in NY, one-person show at Silvermine Artists Guild, work with commissions, reflections on career goals, reflections on turning point in career: transparent sculpture work, relationship to money, cost of artistic materials, work in slides and photography, artistic awards and honors: National Endowment for the Arts grant, work as teacher and lecturer, reflections on physical space and location on work, interaction with public, reflections on success as an artist, themes in artistic work, reflections on periods in artistic work, reflections on critical review of work, reflections on career, technical difficulties in working with artistic materials, reflections on being a 'crafts person', effect of marketplace on work, reflections on relationship to artistic materials over time, advice for young artists.



Box 7 Norma Minkowitz Cassette, 1990 March 1, 1 audiocassettes



Box 4 Corinne Mitchell Transcript, 1991 February 20,, 98 pages



Box 7 Corinne Mitchell Cassette, 1991 February 20,, 1 audiocassettes


Box 7 Michael Monroe Cassette, 1990 June 21,, 1 audiocassettes


Box 7 Lois Moran Cassette, 1990 April 12,, 1 audiocassettes



Box 4 Carl Morris Transcript, 1990 November 19,, 73 pages



Box 7 Carl Morris Cassette, 1990 November 19,, 1 audiocassettes


Box 7 Dan Namingha Cassette, 1991 March 26,, 1 audiocassettes



Box 4 Joan Nelson Transcript, 1990 October 26,, 54 pages



Box 7 Joan Nelson Cassette, 1990 October 26,, 1 audiocassettes



Box 4 Barbara Noah Transcript, 1990 November 14,, 101 pages



Box 7 Barbara Noah Cassette, 1990 November 14,, 1 audiocassettes



Box 5 Susan Nussbaum Transcript, 1992 May 21,, 49 pages



Box 7 Susan Nussbaum Cassette, 1992 May 21,, 1 audiocassettes



Box 5 Natsuko Ohama Transcript, 1991 November 18,, 70 pages



Box 7 Natsuko Ohama Cassette, 1991 November 18,, 1 audiocassettes


Box 7 Daniel Oreskes Cassette, 1992 May 23,, 1 audiocassettes



Box 5 Anthony Ortega Transcript, 1990 December 23,, 116 pages



Box 7 Anthony Ortega Cassette, 1990 December 23,, 1 audiocassettes


Box 7 Tony Papp Cassette, 1990 April 4,, 1 audiocassettes



Box 5 Lillian Pitt Transcript, 1990 May 23,, 65 pages



Box 7 Lillian Pitt Cassette, 1990 May 23,, 1 audiocassettes



Box 5 Dan Smajo-Ramirez Transcript, 1990 October 20,, 106 pages



Box 7 Dan Smajo-Ramirez Cassette, 1990 October 20,, 1 audiocassettes



Box 5 John Randolph Cassette, 1992 January 9,, 163 pages



Box 7 John Randolph Cassette, 1992 January 9,, 1 audiocassettes



Box 5 Lloyd Richards Transcript, 1992 April 3,, 66 pages

Copyright held by Lloyd Richards.


Box 5 Elias Rivera Transcript, 1991 March 27,, 67 pages



Box 7 Elias Rivera Cassette, 1991 March 27,, 1 audiocassettes



Box 5 Jason Robards Transcript, 1992 February 18,, 78 pages



Box 7 Jason Robards Cassette, 1992 February 18,, 1 audiocassettes


Box 7 Carmen Roman Cassette, 1992 May 24,, 1 audiocassettes


Box 7 Alice Rooney Cassette, 1990 May 25,, 1 audiocassettes


Box 7 Wendy Rosen Cassette, 1990 April 19,, 1 audiocassettes



Box 5 Mercedes Ruehl Transcript, 1992 December 19,, 75 pages



Box 7 Mercedes Ruehl Cassette, 1992 December 19,, 1 audiocassettes


Box 7 George Schmidt Cassette, 1991 August 19,, 1 audiocassettes


Box 7 Donna Schneier Cassette, 1990 July 2,, 1 audiocassettes


Box 7 Phyllis Schuringa Cassette, 1992 May 22,, 1 audiocassettes


Box 7 June Schwarcz Cassette, 1990 February 3,, 1 audiocassettes



Box 5 Joyce Scott Transcript, 1990 April 5,, 78 pages



Box 7 Joyce Scott Cassette, 1990 April 5,, 1 audiocassettes


Box 7 Ruben Sierra Cassette, 1991 November 18,, 1 audiocassettes



Box 5 Mary Kay Simoni Transcript, 1990 February 27,, 65 pages



Box 7 Mary Kay Simoni Cassette, 1990 February 27,, 1 audiocassettes



Box 6 Gail Fredell Smith Transcript, 1990 February 2,, 92 pages



Box 7 Gail Fredell Smith Cassette, 1990 February 2,, 1 audiocassettes



Box 6 Ruth Snyderman Transcript, 1990 April 12,, 70 pages



Box 7 Ruth Snyderman Cassette, 1990 April 12,, 1 audiocassettes


Box 7 John Soliday Cassette, 1992 March 12,, 1 audiocassettes


Box 7 Lynne Sowder Cassette, 1991 May 3,, 1 audiocassettes



Box 6 Eleanor Spiess-Ferris Transcript, 1991 July 13,, 95 pages



Box 7 Eleanor Spiess-Ferris Cassette, 1991 July 13,, 1 audiocassettes



Box 6 Rudolf Staffel Transcript, 1990 March 29,, 65 pages



Box 7 Rudolf Staffel Cassette, 1990 March 29,, 1 audiocassettes


Box 7 Thomas Stender Cassette, 1990 May 10,, 1 audiocassettes


Box 7 Emmett Turner Cassette, 1990 May 22,, 1 audiocassettes



Box 6 Jean Vollum Transcript, 1990 May 29,, 51 pages

SIDE A: First involvement in the arts, Oregon School of Arts and Crafts, family and childhood, first contact with the arts in university, reflections on lack of good arts education in primary and secondary schools, encouragement of children's art education, opinions of parents on art career, discouragement from pursuing an art career, undergraduate education in English literature, self-education in art, preferred artistic medium, experiences with weaving and calligraphy, role models, Yvonne Bianco, marriage, family life, sons' careers, artistic aspirations, reflections on competition in the art world, reflections on the arts and commercialism, work as judge in an art contest, work in arts organizations, Governor's Award for Art, National American Craft Council, work as arts patron, Oregon Symphony, work as spokeswoman for the crafts movement, reflections on arts collecting, artistic judgment as an arts collector, influence of outside opinions on art collecting, outside encouragement for involvement in crafts, relationship to husband, reflections on influence of outside people, reflections on major turning points in career as an artist and patron, relationship to finances, influence of the marketplace on the arts and crafts world, reflections on honors and awards, Hilda Morris, influence on other artists' careers, relationship to public, initiative for arts education, reflections on success, major concerns and interests in life: conservancy [National Board of the Nature Conservancy, Conservation International], art education in schools, classical music, children. SIDE B: reflections on greatest satisfaction and frustration in the arts world, influence of marketplace on art support work, self-description of occupation, advice for young artists.



Box 7 Jean Vollum Cassette, 1990 May 29,, 1 audiocassettes



Box 6 Robin Wagner Transcript, 1992 July 29,, 72 pages

First experiences with theater, study at California School of Fine Arts; childhood, influence of Disney films, family, living in a lighthouse; High school, experiences with art; First work on displays, window displays, opera workshop, Henry Newbert; Work with Actors' Workshop, Herbert Blau, Jules Irving; Role models, Sacramento Music Circus, Peter Mass, Fred Lerner, Joel Grey; Work in off-Broadway productions, Arena Stage; Influence of literature, intellectual theatre; Work with directors, Gary Champion, Michael Bennet, Tom O'Horgan; Thoughts on relationship between set design and play; Relationship with actors; Retrospective on career, Hair; Involvement with theatre organizations; Thoughts on opera; Thoughts on own professional work; Being a part of the establishment; Financial considerations in career; Effect of marketplace on theatre; Thoughts on genuine/commercial theatre; Making a living in theatre; Work in film; Awards and grants, Rockefeller Fund; Thoughts on critical review of work; Thoughts on success; Thoughts on the importance of theatre, political theatre; Future aspirations in career, producing, writing; Future of theatre and audiences, theatre training, schools; Effect of AIDS on theatre; Advice to young actors.



Box 7 Robin Wagner Cassette, 1992 July 29,, 1 audiocassettes


Box 7 Barry Weiss Cassette, 1990 January 30,, 1 audiocassettes


Box 7 Carl Whidden Cassette, 1991 November 16,, 1 audiocassettes

Copyright held by narrator and interviewer.



Box 6 Emmi Whitehorse Transcript, 1991 March 25,, 75 pages



Box 7 Emmi Whitehorse Cassette, 1991 March 25,, 1 audiocassettes


Box 7 Dorrette Williams Cassette, 1992 March 16,, 1 audiocassettes



Box 6 B. D. Wong Transcript, 1992 July 29,, 100 pages

SIDE A: Childhood; Initial experiences with acting, high school theatre; Family, parents' support for career, brothers, School, study ethics, theatre work in high school, peers, involvement in speech and forensics, National Forensics League, influence on career; San Francisco State University, work at Golden Gate Theater; Move to New York; First Broadway work in La Cage aux Folles; Move to L.A.; First interest in TV and film; Acting classes, Donald Hotten, acting technique, thoughts on philosophy of acting; Racial barrier, treatment of Asian-American actors in industry; Play: M Butterfly, Goals for acting career; Involvement in acting organizations, Committee on Racial Equality, Equity Council; Miss Saigon controversy, Asian Pacific Alliance for Creative Equality; Non-traditional casting, influence of media on race. SIDE B: Thoughts on personal career, casting; Role in M. Butterfly, influence of role on career; Film roles after M. Butterfly, The Freshman, Father of the Bridge; Theatre roles, Bondage. Retrospective on career and roles; Crossover between theatre and film; Audition process, casting directors; Aspirations for future, new production company; Choice of roles, conflict of personal and financial considerations for roles, creative challenges; Financial considerations, awards or grants; Interaction with public; Work in Peter Pan; Thoughts on critical review of work, critics; Thoughts on success; Thoughts on most satisfying work in career; Advice to young actors.



Box 7 B. D. Wong Cassette, 1992 July 29,, 1 audiocassettes


Box 7 Debra Yoo Cassette, 1991 July 13,, 1 audiocassettes



Box 6 Lisa Young Transcript, 1991 July 13,, 67 pages

SIDE A: Childhood experiences in the arts, parents, brother's career as sculpture, grade school education, grade school art classes, preferred art materials and forms, becoming an artist, undergraduate education, graduate education, mentors, influential college professor, work habits and mental discipline, training and preparation for career as an artist, future goals, thoughts on the meaning of success, feelings on the unionization for artists, first professional recognition as an artist, Kathy Holbright, David Ross, Museum School, peers in the art world, occupation versus career, work as secretary, job history, reflections on career choices. SIDE B: Reflections on sexism and gender distinctions in undergraduate education, major turning points in career, relationship to work and finances, importance of work space and living space on career, happiness as an artist, criteria for success as an artist, central ideas in artistic work, satisfaction with artistic career, frustrations with work in the studio, reflections on greatest success and greatest disappoint in career, effect of marketplace on work, thoughts on art schools, advice for younger artists.



Box 7 Lisa Young Cassette, 1991 July 13,, 1 audiocassettes


Box 7 Greg Zeorlin Cassette, 1990 April 28,, 1 audiocassettes