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xi Acknowledgments I could not have written this book without the guidance and inspiration of the following artists, scholars, and historians, whose contribution I acknowledge here. I am very grateful also for the support of my colleagues at the University of Missouri Department of Theatre, including my department chairs, Dr. Weldon Durham, Patrick Atkinson, and Clyde Ruffin. I am particularly grateful for the research leave provided by the University of Missouri Research Board, which gave me time to complete a first draft of my book. I acknowledge, first of all, the kind assistance of Edward Albee, who provided me with several interviews, encouragement, editorial advice, and access to Richard Barr’s unpublished autobiography, “You Have to Hock Your House,” from his own private collection. I am grateful for Mr. Albee’s insights into the support and production of new work, which he has done throughout his career. I add to that a special thank you to Mr. Albee’s assistant , Jakob Holder, for his assistance as well. I thank my agent at Curtis Brown, Ltd., Mitchell Waters, for supporting this book and the initial research I did in the Albee-Barr-Wilder Playwrights Unit. I thank the staff at Southern Illinois University Press, and in particular my editors Robert Schanke, Kristine Priddy, Wayne Larsen, and Julie Bush, for their special guidance, mentorship, and support during the writing of this book. My original research into the world of Richard Barr began at the City University of New York under the guidance of Dr. Judith Milhous, and I thank her for teaching me about the nature of historiography and the writing of theatre history. I thank, too, Dr. Marvin Carlson for his seemingly inexhaustible knowledge of the theatre in general. I thank Dr. David Willinger, who first sponsored my research on the Albee-Barr-Wilder Playwrights Unit as an independent study and who augmented my knowledge of Acknowledgments xii off-off-Broadway theatre with his own experiences as a professional playwright and director at Theatre for the New City. I would also like to specially acknowledge the assistance of Dr. Edwin Wilson, who offered his support of my study by mentoring my externship at Curtis Brown, Ltd. and arranging “A Tribute to Edward Albee,” a theatre conference held at the CUNY Graduate Center in November 1997 where I presented my initial research. I thank brilliant theatre critic, director, and playwright Michael Smith for the idea to move beyond my original work on the Albee-Barr-Wilder Playwrights Unit and shift the focus to Richard Barr himself. I gratefully acknowledge the assistance of Rod Bladell, Christine Karatnytsky , Kevin Winkler, and Robert Taylor of the Billy Rose Theatre Division of the New York Public Library for the Performing Arts for their assistance in the research and use of archival materials regarding the Albee-Barr-Wilder producing partnership and the Playwrights Unit. I acknowledge the assistance of Alan Woods and Nena Couch of the Jerome Lawrence and Robert E. Lee Theatre Research Institute of The Ohio State University for allowing me to use the Michael Kasdan Collection and for granting me permission to use photos from that collection for this work. I also acknowledge and thank Frederic Wilson of the Harvard Theatre Collection at the Houghton Library of Harvard University for his assistance in my use of the Alix Jeffry Photographic Archive and for permission to use photos from that archive for this book. I acknowledge and thank the many playwrights, actors, directors, designers , stage managers, house managers, and other theatre professionals who worked within the Albee-Barr-Wilder producing partnership and who generously provided interviews regarding their experiences for the purpose of this book. These interviewees include Maureen Anderman, Arthur Anderson , Howard Atlee, Clark Bason, Tobias Beckwith, David Bixler, Joseph Cali, Irving Cheskin, Jerome Cline, Edward M. Cohen, Mart Crowley, Alice Drummond, James Duff, Gene Feist, Carol Fischer, Richard Foltz, Frank Gagliano, Judith Granite, John Guare, A. R. Gurney, Mary Hamill, Libby Hellman, Shirley Herz, Bruce Hoover, Stephen Jacobsen, Page Johnson, Michael Kahn, Lee Kalcheim, Milton Katselas, Charles Kindl, Perry Knowlton , Richard Lipsett, Barbara Luchs, Laurence Luckinbill, Linda Magyar Feinfeld, Vivian Matalon, Elizabeth Ireland McCann, Ursule Molinaro, Bob Moss, Tony Musante, Rod and Marcia Merrill Nash, Glyn O’Malley, Edward Parone, Robert Patrick, Emanuel Peluso, Harvey Perr, Barry Plaxen, Kenneth Pressman, James Prideaux, Harvey Sabinson, Gerald Schoenfeld, Russ Thacker, Jean-Claude van Itallie, Peter White, Lanford Wilson, Mark Wright, and Paul Zindel. Acknowledgments xiii In particular, I would like to acknowledge the late playwright...


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