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In Richard Barr: The Playwright’s Producer, author David A. Crespy investigates the career of one of the theatre’s most vivid luminaries, from his work on the film and radio productions of Orson Welles to his triumphant—and final—production of Stephen Sondheim’s Sweeney Todd: The Demon Barber of Fleet Street. Explored in detail along the way are the producer’s relationship with playwright Edward Albee, whose major plays such as A Zoo Story and Who’s Afraid of Virginia Woolf Barr was the first to produce, and his innovative productions of controversial works by playwrights like Samuel Beckett, Terrence McNally, and Sam Shepard. Crespy draws on Barr’s own writings on the theatre, his personal papers, and more than sixty interviews with theatre professionals to offer insight into a man whose legacy to producers and playwrights resounds in the theatre world. Also included in the volume are a foreword and an afterword by Edward Albee, a three-time Pulitzer Prize–winning playwright and one of Barr’s closest associates.
- Sales Rank: #3359717 in eBooks
- Published on: 2013-03-28
- Released on: 2013-03-28
- Format: Kindle eBook
About the Author
David A. Crespy is professor of playwriting and dramatic literature at the University of Missouri at Columbia. He is the author of Off-Off Broadway Explosion.
Most helpful customer reviews
4 of 5 people found the following review helpful.
Richard Barr the book for theater goers
By Carolb Fischer
This will be a prejudiced review since Richard's my brother but I admire the research done by Crespy and I found it to be fascinating for theater lovers.
As the sister of Richard Barr I'm admitting to a biased review,nevertheless this is a hurrah by David Crespy,the author.He shows how the modern theater was changed by a theatrical group from the former formality of the stage to a lively modern agent that went in all directions.My brother was an outstanding member of this group according to the author.As for the biographical parts,they ring true.
4 of 6 people found the following review helpful.
You Have To Hock Your House...
By J. Faulk
...is the title of the unpublished autobiography of Richard Barr (1917-Jan. 1989)--and indeed Richard did hock it a time or two to help finance Broadway productions in his latter career. Even in his earlier, Off Broadway years, the modest sums required to produce kept him scurrying--thus his partnering with Clinton Wilder, Edward Albee, and later Charles Woodward.
David Crespy quotes only phrases from the autobio, but obviously it was an invaluable resource. Plus, Barr's archived papers are extensive. Plus, the 33 pages of Notes ending Crespy's book indicate the thoroughness of his research.
Crespy's bio concentrates on the professional career of Barr, certainly not devoid of emotional conflicts. But Richard's gay personal life is pretty much passed over.
RICHARD'S LIFE
Richard graduated from Princeton (where he acted) in 1938, and soon got into a nitty gritty job with Orson Welles and the Mercury Theatre. In 1941-1945 he served in the U.S. Air Force. After the war he developed his directing skills in stock, on Broadway, and at New York City Center, then advanced to producing.
In the 1950s the Off Broadway movement attracted Barr. He applied the respectful idea that the playwright should have primacy, and the producer and director should adhere to the writer's intentions. Success came when Theatre 1960 (Barr with two coproducers) presented Albee's Zoo Story and Beckett's Krapp's Last Tape.
Eventually Albarwild was formed as a producing entity, giving Albee unusual clout as both writer and producer. The newly formed Playwrights Unit was quite active in presenting the works of fledgling dramatists.
In 1962 came the big score on Broadway: Who's Afraid of Virginia Woolf. The coming years somewhat alienated Barr and Albee, as Richard habitually indulged in Sardi's lunches with multiple drinks and exhibited some afternoon dysfunction. One dispute was Barr's choice to produce The Boys in the Band (1968), which Albee opposed as a stereotyped effort. Two other major credits for Barr are Albee's A Delicate Balance (1966) and Stephen Sondheim's Sweeney Todd (1979).
COLD CHAPTER 10
Crespy's concluding Chapter 10 is Brightening Broadway's Lights: Barr's Legacy to the American Theatre. Notable is Barr's long tenure as president of the League of American Theatres and Producers (1967 to his death). Curiously, these 26 pages veer off into various facets of Broadway business and practice, and Richard Barr and his AIDS-related death seem lost in the shuffle. On the last two pages a producer referring to the deceased does the ungracious, avoided heretofore in the biography: she thrice calls him "Dick" ! Also, Edward Albee's Foreword and Afterword are brief--maybe he phoned them in.
In addition to the Notes, there is a Bibliography (including Interviews) and Index.
14 pages of b/w photos.
2 of 3 people found the following review helpful.
ALMOST REQUIRED READING
By Larry Fineberg
Professor Crespy has used an unpublished autobiography by one of Broadway's great producers as the basis for his book. He is a great enthusiast, and it's cetainly important to have a record of what Broadway was like when it still flourished, allowing Barr himself to contribute some of the amazing plays and one superior musical he helped nurture. But Crespy is not linguistically at home with the exuberance of Barr's personality, or his vivid enthusiasms, and so this necessary work often seems like a small plane trying to reach an altitude just beyond its reach. The journey is worth taking, but Barr's own words might have been more vivid, dangerous, and enthralling. This volume seems cloaked in caution, but as it's likely to be the only record we'll have of an extraordinary career, if you are interested in the period and the playwrights you'll want to read it. Just know that no seat belt will be required for this gentle version of what was a brave and dangerous journey by a unique personality
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