Dos John Passos. Most Likely to Succeed. New York: Prentice-Hall, 1954.
Goldstein Malcolm. The Political Stage: American Drama and Theater of the Great Depression. New York: Oxford University Press, 1974.
Kahn Otto H. Of Many Things. New York: Boni and Liveright, 1926.
Knox George A., and Herbert M. Stahl. Dos Passos and "The Revolting Playwrights." Essays and Studies on American Language and Literature no. 15. Upsala, Sweden: Lund, 1964.
Princeton, New Jersey. Princeton University Library. Otto H. Kahn Papers.
THE NEW THEATRE. The New Theatre ( New York, New York) was organized in January 1906 by a group of wealthy financiers and industrialists including Otto H. Kahn, William K. Vanderbilt, and John Jacob Astor. Late in 1906 ground was broken for a lavishly decorated and equipped $3 million 3,000- seat theatre on Central Park West at Sixty-second Street. On November 8, 1909, some forty-five months after its announced formation, the New Theatre gave as its first public performance a production of Antony and Cleopatra starring Julia Marlowe and E. H. Sothern. Under the overall direction of Winthrop Ames, the New Theatre lasted only two seasons before closing in the face of a $400,000 deficit.
During the late 1890s and early 1900s, a Jewish immigrant actor named Heinrich Conried began actively to seek support for the creation of an American national theatre. Conried's National Theatre was to be patterned after the great national theatres of Europe both in physical design of the building and in its use of a resident acting company performing in repertory. His plan also called for a subscription base, financial support from wealthy New York "society" rather than government subsidy, a repertory of both opera and drama, and a dedication to plays of literary and artistic merit rather than commercial appeal. Conried's proposal of a repertory theatre came at a time when most English-language theatres in New York City had abandoned the idea of repertory in favor of the potentially more profitable long run. Twice Conried announced that construction of his National Theatre was imminent and twice his plans fell through. Conried's failure was due to a number of factors not the least of which were his foreign birth, his almost total association with opera and German-language theatre in New York, his reliance on "society" as benefactors, and, as one critic of his plan said, Conried's "reputation of being conceited and arrogant" ( Jennings, "A History of the New Theatre," p. 16). Late in 1905, Otto H. Kahn, a member of the board of directors of Conried's Metropolitan Opera Company, took an interest in Conried's plans for the National Theatre. Kahn quickly realized that the direct association of Conried with such a project would only prove detrimental and he moved to ease Conried out of any leadership position. A corporation