French Theatre in New York: A List of Plays, 1899-1939

French Theatre in New York: A List of Plays, 1899-1939

French Theatre in New York: A List of Plays, 1899-1939

French Theatre in New York: A List of Plays, 1899-1939

Excerpt

This work is intended to be an exhaustive listing of first-run and second-run productions of French plays in French and in English in Manhattan. By first-run productions is meant original Broadway productions; by second-run productions, productions by established stock companies or repertory groups. This is also thought to be a complete listing of French plays given in the Bronx. The author is, however, not entirely certain as to this, since both Manhattan and Bronx editions of newspapers, in English as well as in foreign languages, are generally inconsistent in advertising Bronx productions. Brooklyn was at first included, but that borough produced so many plays that it seemed to require a volume by itself.

French plays in other languages than French and English have been included in the present list, but the author feels little assurance that he has found them all, particularly those given in Yiddish and in Italian. The organizations which sponsored such plays rarely advertised, and, if they did, programs were often changed without notice.

Amateur productions have been omitted wherever it was possible to determine definitely that they were nonprofessional. This includes even plays given by the Cercle Dramatique de l'Alliance Française, which occasionally had a visiting professional star. The production of French plays in New York by amateur groups would form an interesting study in itself; the American Academy of Dramatic Arts alone put on many works which never saw Broadway.

Works of French authors who wrote in English, and which were intended primarily for American audiences, have likewise been omitted. Examples are Mme Fred de Gresac's libretti for The Enchantress, The Wedding Trip, Sweethearts, and Flo-Flo. Another example is Jacques Deval Lorelei, of the 1939 season, which is not a translation; it was written in English.

The greatest difficulty in sifting plays presented itself in connection with musical productions. Since this survey con-

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