The Register of
Alan Schneider Papers
1937 - 2001

MSS 0103

Mandeville Special Collections Library
Geisel Library
University of California, San Diego

Extent: 35.20 linear feet (72 archives boxes, 12 card file boxes and 37 oversize folders)

Restrictions

The original director's prompt books for the 1957 production of WAITING FOR GODOT and the 1958 production of ENDGAME are restricted due to their fragile condition. Photocopies of these prompt books are filed with production materials and are available to the researcher. Original typescripts by Samuel Beckett located in box 74 are restricted and photocopies are available for research. Requests for permission to view the original copies may be directed to the Manuscripts Librarian, Mandeville Special Collections Library, University of California, San Diego.

Abstract

Papers of Alan Schneider, a prominent director in contemporary American theater. Schneider directed the U.S. premiere of Samuel Beckett's WAITING FOR GODOT and established a close relationship with Beckett, bringing many of his plays to the American stage. Schneider staged the works of several innovative playwrights, including Bertolt Brecht, Edward Albee and Harold Pinter. A teacher as well as director, Schneider was professor of drama and head of the graduate directing department at the University of California, San Diego, at the time of his death in 1984. The Alan Schneider Papers span the years 1937 to 1984 and are organized into ten series: 1) BIOGRAPHICAL MATERIALS, 2) CORRESPONDENCE, 3) PRODUCTION MATERIALS, 4) SUBJECT FILES, 5) TEACHING MATERIALS, 6) WRITINGS, 7) WRITINGS OF OTHERS, 8) PHOTOGRAPHS, and 9) SOUND RECORDINGS and 10) ORIGINALS OF PRESERVATION PHOTOCOPIES. The collection is notable for the abundance of production materials collected by Schneider during his directing career. For many productions, the director's prompt book provides Schneider's conceptual notes, analysis of theme and characters, and notes on direction. Prompt books for premiere productions of Beckett's plays are of special value. The collection contains correspondence between Schneider and actors, writers and directors, including Edward Albee, Robert Anderson, Zelda Fichandler, William Saroyan, and Tennessee Williams. Absent from the collection is original correspondence between Schneider and Samuel Beckett and the collection contains only a small amount of photocopies of correspondence between Schneider and Beckett. Schneider's writings, speeches and interviews are well documented in the collection. The accession processed in 1997 contains the editorial files of Franklin Heller for Schneider's autobiography entitled ENTRANCES. The accession is arranged in four series: 1) CORRESPONDENCE, 2) BIOGRAPHICAL MATERIALS, 3) MISCELLANEOUS MATERIALS, and 4) AUDIOCASSETTES. The accessions processed in 2003 contain early and professional writings by Schneider, post-theatre production notes, journals, scrapbooks, photographs, and audiocassette recordings. The materials are arranged in eight series: 1) BIOGRAPHICAL MATERIALS, 2) CORRESPONDENCE, 3) WRITINGS BY ALAN SCHNEIDER, 4) WRITINGS BY OTHERS, 5) PHOTOGRAPHS, 6) SCRAPBOOKS, 7) AUDIOCASSETTE RECORDINGS, and 8) ORIGINALS OF PRESERVATION PHOTOCOPIES.

Biography

Alan Schneider was born Abram Leopoldovich Schneider on December 12, 1917, in Kharkov, Russia. When the Russian Revolution spread to Kharkov, the Schneiders immigrated to the United States in 1923. His parents, Leo Victor Schneider and Rebecka Malkin Schneider, were both physicians specializing in tuberculosis. They later practiced together at the Maryland State Tuberculosis Sanitorium in Sabillasville, Maryland. Schneider attended high school in Baltimore and began staging productions at summer camp. Schneider entered Johns Hopkins University and studied physics for one year, then transferred to the University of Wisconsin, Madison, to major in political science and literature. He was an award-winning member of the student debate team and president of the college drama group. In 1939 he was awarded a B.A. degree magna cum laude and elected to Phi Beta Kappa. Returning to Baltimore, Schneider worked as a radio announcer and as a speech writer for Postmaster General James A. Farley. He won a fellowship to Cornell University to study drama and received a master's degree in 1941.

During the period 1941-1952, Schneider taught in the Speech and Theater Department of the Catholic University of America. He directed a wide range of contemporary and classical plays, including JIM DANDY in 1941, THE IMPORTANCE OF BEING EARNEST and THE CHERRY ORCHARD. At Catholic University, Walter Kerr was Schneider's colleague. During the war years, Schneider worked at the U.S. Office of War Information, where he produced a film promoting War Bonds sales, and he also served with the Public Health Service and the Treasury Department. In 1944 Schneider performed in a Broadway production, playing a G.I. in Maxwell Anderson's STORM OPERATION.

In these years he established the pattern that would continue throughout his directing career: alternating academic productions with commercial assignments. Schneider joined the Arena Stage in Washington, D.C., during its formative years in the late 1940s. Working with Zelda Fichandler, he directed such works as THE GLASS MENAGERIE (1951), DESIRE UNDER ELMS (1952) and THE COUNTRY GIRL (1953) at Arena Stage. In 1953 he directed THE REMARKABLE MR. PENNYPACKER on Broadway and ANASTASIA the following year.

In 1956 Schneider began a lifelong association with Samuel Beckett, directing the first U.S. production of WAITING FOR GODOT at the Coconut Grove Playhouse in Miami, starring Bert Lahr. The play was heavily criticized and misunderstood at the time, labeled "atheistic and communistic" by critics. Schneider persevered in bringing Beckett's work to the American public. All subsequent American premieres of Beckett's plays were directed by Schneider.

Schneider also established a long association with Edward Albee, directing THE AMERICAN DREAM in 1961 and the award-winning WHO'S AFRAID OF VIRGINIA WOOLF? in 1963. Schneider also staged Albee's A DELICATE BALANCE, THE BALLAD OF THE SAD CAFE, TINY ALICE, and others. Schneider worked closely with Harold Pinter, directing several of his plays, including THE DUMBWAITER, THE COLLECTION, and THE BIRTHDAY PARTY. As a proponent of innovative theater and new talent, Schneider staged a wide range of dramatic works, including those by Robert Anderson, Bertolt Brecht, Michael Weller and Thornton Wilder.

In 1964 Schneider directed FILM, a movie written by Beckett and starring Buster Keaton. Beckett visited the U.S. to supervise the production and worked closely with Schneider to create this award-winning film.

Throughout his career as a director, Schneider was committed to teaching and directing student productions. He served as assistant professor of speech and drama at the Catholic University of America from 1941 to 1952 and as professor of theatre arts at Boston University from 1972 to 1979. Schneider was the director of the Juilliard School Theatre Center from 1975 to 1979. From 1979 until the time of his death he was professor of drama and head of the graduate directing department at the University of California, San Diego.

Schneider received numerous awards during his career as a director. In 1949 he was awarded a Rockefeller Foundation Grant for the study of European theater. Later, he received a Guggenheim Fellowship for the study of open stage and a Ford Foundation Director's Grant for work in regional theater. In 1963 he received the Antoinette Perry (Tony) Award for his direction of WHO'S AFRAID OF VIRGINIA WOOLF?, the Village Voice Off-Broadway (Obie) Award for directing THE DUMBWAITER and THE COLLECTION and the Washington (D.C.) Board of Trade Award "for outstanding contribution to professional community theater in the nation's capital as production director of Arena Stage."

Scope and Content

Accessions Processed in 1991

The Alan Schneider Papers provide extensive documentation of the career of the American theater director who staged the U.S. premiere of WAITING FOR GODOT and gained wide recognition for his productions of innovative dramatic works. The materials in the collection date from 1937 to 1984. The Schneider Papers are organized in ten series: 1) BIOGRAPHICAL MATERIALS, 2) CORRESPONDENCE, 3) PRODUCTION MATERIALS, 4) SUBJECT FILES, 5) TEACHING MATERIALS, 6) WRITINGS, 7) WRITINGS BY OTHERS, 8) PHOTOGRAPHS, 9) SOUND RECORDINGS, and 10) ORIGINALS OF PRESERVATION PHOTOCOPIES.

SERIES 1: BIOGRAPHICAL MATERIALS

BIOGRAPHICAL MATERIALS include newspaper and magazine articles about Schneider published during the years 1957 to 1980. Many articles relate to Schneider's work with Samuel Beckett and are a good source of biographical information about both men. A large number of obituaries published at the time of Schneider's death in 1984 reflect the wide respect he had attained internationally.

SERIES 2: CORRESPONDENCE

The CORRESPONDENCE series includes individual files and collected correspondence. Individual correspondence is arranged alphabetically and collected correspondence is arranged by subject. This series contains correspondence between Schneider and prominent figures in the world of theater. Noteworthy correspondents include: Edward Albee, 1961-1964; Robert Anderson, 1956-1967; Hume Cronyn, 1970-1984; Zelda Fichandler, 1952-1959 (photocopies); John Gielgud, 1966-1971; William Saroyan, 1941 (photocopies); and Tennessee Williams, 1952. Absent from the collection is original correspondence between Schneider and Samuel Beckett. The collection contains a minimal amount of photocopies of correspondence between Schneider and Beckett. The Beckett correspondence file contains copies of the letter of condolence written at the time of Schneider's father's death and the last letter Schneider wrote to Beckett. A small amount of correspondence (photocopied) from Beckett is filed with Grove Press correspondence. Additional correspondence between Schneider and Beckett can be found in the Production Materials for FILM (1964). Note that correspondence relating to specific productions is filed with Production Materials.

Collected Correspondence contains scrapbooks of letters assembled by Schneider. Included are notes and letters from:

Harold Clurman

Edith Evans

Henry Fonda

Eva Gabor

John Gielgud

George Grizzard

Elia Kazan

Joshua Logan

Lawrence Olivier

Geraldine Page

Harold Pinter

Rod Steiger

Peter Ustinov

Tennessee Williams

This sub-series also contains letters of congratulations and thanks collected by Schneider and a file of letters of condolence written at Schneider's death. One such letter, from Harold Pinter, is of special interest.

SERIES 3: PRODUCTION MATERIALS

PRODUCTION MATERIALS contain extensive documentation of the numerous productions directed by Schneider, spanning the years 1938 to 1984. This series is arranged by year and by individual production. These materials were collected by Schneider in the course of his career and include cast sheets, correspondence, contracts, director's prompt books, notes, photos, playbills, programs, sets and scene designs. Of special value are the director's prompt books, which contain notes by Schneider on theme, character, movement, and line readings. Prompt books for premiere productions of Beckett plays provide insight into Schneider's analysis and interpretation of these works. Correspondence between Schneider and authors, producers and others may be found in the production materials of individual plays. Productions which are well-documented include:

1941 -- JIM DANDY

Correspondence with William Saroyan analyzing play

Promptbook heavily annotated

Photographs of set

1949 -- MY HEART'S IN THE HIGHLANDS --

Correspondence from Schneider describing his

hopes and plans

1952 -- PULLMAN CAR HIAWATHA

Director's notes with comments and analysis

1953 -- ALL SUMMER LONG

Correspondence from Robert Anderson regarding problems

with play

1955 -- SKIN OF OUR TEETH

Correspondence including opening night telegrams from

Thornton Wilder and Schneider's wife, Jean

1956 -- WAITING FOR GODOT (American Premiere)

Arbitration file with correspondence and legal

documents pertaining to the Schneider vs.

Myerberg suit

Correspondence:

Between Michael Myerberg and Schneider

From Tom Ewell and Bert Lahr to Schneider

From William Saroyan to Myerberg commenting

on the title and meaning of the play,

why there are no women in the play, and

suggesting Clark Gable for the role of

Estragon.

Telegram from Samuel Beckett

Director's prompt book with interpretive notes on

nearly every page.

1958 -- ENDGAME (American Premiere)

Casting notes annotated by Schneider

Correspondence with Beckett: transcriptions typed and

annotated by Schneider

Director's notes with reviews annotated by Schneider

Photographs: one folder in good condition

1960 -- KRAPP'S LAST TAPE (American Premiere)

Correspondence: humorous letter from Charles Laughton

declining role

Director's prompt book heavily annotated

Published scripts annotated by Schneider

1961 -- AMERICAN DREAM

Director's prompt book containing analytical notes

1961 -- HAPPY DAYS (American Premiere)

Director's prompt book with interpretive notes on theme

and direction

1962 -- WHO'S AFRAID OF VIRGINIA WOOLF? (Premiere)

Director's notes analyzing content of play and

individual characters

Photographs

1962 -- THE COLLECTION

Director's prompt book autographed by Harold Pinter and

annotated by Schneider

Photographs

1963 -- BALLAD OF THE SAD CAFE

Director's prompt book with notes on concept and

direction

1964 -- WHO'S AFRAID OF VIRGINIA WOOLF?

Notes by Schneider to actors

Script changes for British production indicating the

censorship of disallowed dialogue

1964 -- TINY ALICE

Director's prompt book with analytical notes

Notes on concept and theme

1964 -- FILM

Correspondence with Beckett (photocopies)

Shooting scripts annotated by Schneider

1966 -- A DELICATE BALANCE

Director's Notes analyzing themes

1967 -- YOU KNOW I CAN'T HEAR YOU WHEN THE WATER'S RUNNING

Correspondence with Robert Anderson (two folders)

Director's notes, extensive

1967 -- THE BIRTHDAY PARTY

Director's prompt book autographed by Pinter with

notes by Schneider analyzing characters

1968 -- BOX AND QUOTATIONS FROM CHAIRMAN MAO TSE TUNG

Director's prompt book, annotated

1972 -- NOT I (World Premiere)

Director's prompt book with conceptual notes

1976 -- THAT TIME AND FOOTFALLS (American Premiere)

Director's notes on interpretation

1979 -- LOOSE ENDS

Director's prompt book analyzing all characters'

roles and purpose. Detailed, well-organized

SERIES 4: SUBJECT FILES

SUBJECT FILES contain a variety of materials collected by Schneider, including autographed playbills, posters, a scrapbook of reviews, the covers of original director's prompt books and materials about Samuel Beckett. The Beckett Materials include notes by Schneider on his visits with Beckett and a photocopy of the notebook kept by Beckett as director of the 1975 production of WAITING FOR GODOT.

SERIES 5: TEACHING MATERIALS

TEACHING MATERIALS incorporate lecture notes and outlines, student compositions, annotated scripts of student productions, and other materials gathered by Schneider in his role as professor of drama and theater at the Catholic University of America, the Juilliard School and the University of California, San Diego. These materials date from 1941 to 1984 and are arranged chronologically.

SERIES 6: WRITINGS

The WRITINGS series encompasses essays and articles written by Schneider as well as interviews and speeches. The writings date from 1937 to 1984 and are arranged chronologically. The early essays include themes on World War II and experimental theater. Also included are speeches written by Schneider for Postmaster General James Farley. Correspondence and manuscripts for Schneider's autobiography, ENTRANCES, are extensive. The Speeches subseries contains notes and typescripts by Schneider revealing his thoughts on avant-garde theater and the future of the theater in America. Interviews consist of published transcriptions of Schneider's responses to questions about theater and directing.

SERIES 7: WRITINGS OF OTHERS

WRITINGS OF OTHERS involve scripts, short stories and essays written by a variety of authors including Samuel Beckett. Contained here is a good collection of Beckett scripts, including French and English versions of MERCIER ET CAMIER. Four of the Beckett scripts are annotated by the author. Numerous essays about Beckett are found in this series under "Beckett Book."

SERIES 8: PHOTOGRAPHS

The PHOTOGRAPHS series contains photographs of Schneider, Beckett, various actors, and productions not directed by Schneider. Schneider is photographed with Beckett, Albee, Pinter, Miller and others. Many of the actors' photographs are autographed.

SERIES 9: SOUND RECORDINGS

SOUND RECORDINGS incorporate a wide variety of audio tapes collected by Schneider. Included are lectures and oral presentations by Harold Pinter, Lee Strasberg, Arthur Miller and others. Tapes of productions and musical recordings complete this series.

SERIES 10: ORIGINALS OF PRESERVATION PHOTOCOPIES

The ORIGINALS OF PRESERVATION PHOTOCOPIES series contains original items with high acid content which have been photocopied and segregated at the end of the collection.

Accession Processed in 1997

The accession processed in 1997 contains Franklin Heller's editorial files related to Alan Schnieder's autobiography entitled ENTRANCES (New York, 1986). The materials include Heller's correspondence regarding ENTRANCES, materials related to the production of ENTRANCES, cassette tapes of conversations between Franklin Heller and Schneider, tapes of radio broadcasts about Schneider, and some biographical material on Schneider. The materials span the years 1956-1989 with the bulk of the accession dating from the 1980s. The accession is arranged in four series: 1) CORRESPONDENCE, 2) BIOGRAPHICAL MATERIALS, 3) MISCELLANEOUS MATERIALS, and 4) AUDIOCASSETTES.

SERIES 1: CORRESPONDENCE

The bulk of the first series, CORRESPONDENCE, consists of letters between Franklin Heller and people connected to the publication of ENTRANCES between 1975 and 1988. Also included is correspondence between Franklin Heller and Alan Schneider that span the years 1975-1984. Of particular interest is a copy of a letter written by Samuel Beckett to Alan Schneider in 1956 from Paris. This series is arranged alphabetically by correspondent.

SERIES 2: BIOGRAPHICAL MATERIALS

The second series, BIOGRAPHICAL MATERIALS, contains items related to the life and work of Alan Schneider. The series includes articles written by Schneider, biographical information copied from reference books, obituaries, and photographs of Schneider. The materials span the years 1976-1984 and are arranged alphabetically by subject.

SERIES 3: MISCELLANEOUS MATERIALS

The third series, MISCELLANEOUS MATERIALS, contains items related to Alan Schneider's book ENTRANCES. Included in this series are the royalty statements, book reviews, drafts of the foreward written by Edward Albee, and the contract with Viking Press. Of particular interest is Schneider's original proposal for the book. These items span the years 1980-1987 and are arranged alphabetically by subject.

SERIES FOUR: AUDIOCASSETTES

In the fourth series are AUDIOCASSETTES. This series contains audiotapes of telephone conversations between Heller and Franklin in July and August of 1983. The two discuss the purpose of the autobiography both from Schneider's perspective and from that of the editors of Viking Books. Also included is a commentary by Adrianne Rich of the NEW YORK TIMES on ENTRANCES. Rich specifically comments on its readability and what it exposes about American theater. There is also a recording of a memorial to Schneider done by National Public Radio in 1984.

Accessions Processed in 2003

The accessions processed in 2003 contain early and professional writings by Schneider, post-theatre production notes, journals, photographs, scrapbooks, and audiocassette recordings. Materials about Alan Schneider after his death in 1984 include correspondence by Eugenie Schneider regarding plays dedicated to the memory of Alan Schneider, materials regarding the BECKETT PROJECT, Alan Schneider Conference materials (1990), and Schneider's autobiography ENTRANCES (1986).

The accessions are arranged in eight series: 1) BIOGRAPHICAL MATERIALS, 2) CORRESPONDENCE, 3) WRITINGS BY ALAN SCHNEIDER, 4) WRITINGS BY OTHERS, 5) PHOTOGRAPHS, 6) SCRAPBOOKS, 7) AUDIOCASSETTE RECORDINGS, and 8) ORIGINALS OF PRESERVATION PHOTOCOPIES.

SERIES 1: BIOGRAPHICAL MATERIALS

The BIOGRAPHICAL MATERIALS series is arranged in alphabetical order and contains materials relating to the life and professional work by Alan Schneider. The series consists of articles about Schneider and Beckett, biographical statements, clippings about Schneider, high school memorabilia, and teaching contracts with the Catholic University. Additional materials includes the 1990 Alan Schneider Conference papers and the Alan Schneider Distinguished Directors Fund (1995).

SERIES 2: CORRESPONDENCE

The CORRESPONDENCE series is arranged in two subseries: A) Alan Schneider and B) Eugenie Schneider.

A) The correspondence of Alan Schneider includes letters (1951-1981) from Zelda Fichandler of the Arena Stage, as well as Schneider's letters to the Ford Foundation from 1962-1974 which detail activities of his many theatre productions.

B) The correspondence by Eugenie Schneider, spaning the years 1984-2002, includes letters regarding Alan Schneider's letters to and from Samuel Beckett, the BECKETT PROJECT, and plays dedicated to the memory of Alan Schneider.

SERIES 3: WRITINGS BY ALAN SCHNEIDER

The WRITINGS BY ALAN SCHNEIDER is arranged in six subseries: A) Journals, B) Cornell University Term Papers and Notes, C) Essays and Reviews, D) Theatre Post-Production Notes, E) Lectures and Talks, and F) Interviews.

A) The Journals subseries, arranged chronologically, dates from 1956-1982 and contains mainly travel journals of his trips to Europe. Also included are notebooks and handwritten notes on loose notepad paper regarding acting and theatre productions.

B) The Cornell University Term Papers and Notes subseries, arranged chronologically, contains college term papers and notes from 1940-1941.

C) The Essays and Reviews subseries, arranged chronologically, spans the years 1944-1999 and contains professional writings by Schneider which include newspaper and magazine articles, essay drafts, an original typescript of the autobiography ENTRANCES, theatre reviews, "Water logs" for the production YOU KNOW I CAN'T HEAR YOU WHEN THE WATER'S RUNNING, and notes.

D) The Theatre Post-Production Notes subseries, arranged chronologically, contains notes by Schneider, clippings, programs, as well as notes from others.

E) The Lectures and Talks subseries spans the years 1969-1981. Arranged in chronological order, the materials include a list of lectures given by Schneider, notes and brochures. Audiorecordings of selected lectures are located in Series 7B: Audiocassette Recordings.

F) The Interviews subseries, arranged chronologically, contains transcripts of interviews with Alan Schneider. The interviews span the years 1966-1978 and include correspondence, handwritten notes, clippings, and photocopies of published interviews. Audiorecordings of selected interviews are located in Series 7A: Audiocassette Recordings.

SERIES 4: WRITINGS BY OTHERS

The WRITINGS BY OTHERS series, arranged alphabetically by author, includes four Beckett scripts annotated by the author.

SERIES 5: PHOTOGRAPHS

The PHOTOGRAPHS series is organized in three subseries: A) Alan Schneider, B) Alan Schnedier with Others, and C) Theatre Productions.

The photographs include formal and informal portraits of Schneider, largely black-and-white prints and photographs of Schneider with others, including Edward Albee, Samuel Beckett, Zelda Fichandler, and John Gielgud. Also included are images of scenes and casts from threatre productions that are arranged alphabetically by title of production.

SERIES 6: SCRAPBOOKS

The SCRAPBOOKS series contains collections of memorabilia complied by Schneider over the years 1938-1980. Arranged in chronological order, the scrapbooks document threatre productions and contain newspaper clippings, published articles and reviews, black-and-white photographs, notes, programs, correspondence, and loose materials.

SERIES 7: AUDIOCASSETTE RECORDINGS

The AUDIOCASSETTE RECORDINGS series, spaning the years 1955-1984, is arranged in four subseries: A) Interviews with Alan Schneider, B) Lectures and Talks, C) Theatre Productions, and D) Miscellaneous.

A) The Interviews with Alan Schneider subseries is arranged alphabetically by the person or organization giving the interview. Alan Schneider appears in formal and informal interviews, including NBC News with Edward Newman and New York radio talk show "In the Critic Circle." Also included are one-on-one interviews conducted by Marion Hodges, Sheila Hickey and Alix Jeffery. Transcripts from interviews by Marion Hodges are located in Series 3F: Writings by Alan Schneider.

B) The Lectures and Talks subseries, arranged alphabetically by title of talk or institution where the talk was presented, contains audiorecordings of 1973 and 1975 class lecture series and formal and informal addresses by Schneider.

C) The Theatre Productions subseries, also arranged alphabetically by title, includes audiorecordings of the Director's Unit and discussions regarding theatre productions. Also included are two cassette recordings of MY LIFE IN ART.

D) The Miscellaneous subseries contains audiorecordings on subjects not directly related to Alan Schneider and his works.

SERIES 8: ORIGINALS OF PRESERVATION PHOTOCOPIES

The ORIGINALS OF PRESERVATION PHOTOCOPIES series contains original items from the collection which have high levels of acid content. These papers have been photocopied and segregated at the end of the collection.