By David A. Crespy, Edward Albee
In Richard Barr: The Playwright’s Producer, writer David A. Crespy investigates the profession of 1 of the theatre’s so much brilliant luminaries, from his paintings at the movie 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 intimately alongside the best way are the producer’s dating with playwright Edward Albee, whose significant performs comparable to A Zoo Story and Who’s petrified of Virginia Woolf Barr used to be the 1st to supply, and his leading edge productions of arguable works through playwrights like Samuel Beckett, Terrence McNally, and Sam Shepard. Crespy attracts on Barr’s personal writings at the theatre, his own papers, and greater than sixty interviews with theatre pros to supply perception right into a guy whose legacy to manufacturers and playwrights resounds within the theatre global. additionally integrated within the quantity are a foreword and an afterword through Edward Albee, a three-time Pulitzer Prize–winning playwright and one in every of Barr’s closest associates.
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Extra info for Richard Barr: The Playwright's Producer
Sample text
By its ten o’clock completion, Barr joined Welles for the ride home—and much of the film followed this strict schedule. As Welles’s executive assistant and associate producer, Barr was impressed by Welles’s utter discipline during the shooting of Citizen Kane, a far cry from what he had experienced with Welles with the Mercury Theatre. Welles as a film director engendered a collaborative freedom that few others permitted, and this allowed him to make extraordinary demands of his production team.
Barr was reluctant, protesting he had a job for the summer, but Welles bellowed into the phone, “If it were not worth your while, I would not be calling you. ” Barr did not have much choice. ” Barr drove back immediately and arrived later that evening at Welles’s duplex on West Fifty-Seventh Street, welcomed by the butler, Charles, a new addition to the Welles household. The meeting included John Houseman, Welles, and Barr but no other member of the Mercury group, which suggested that Barr’s participation in the next move was a significant one.
100 Shortly after this initial meeting, according to the affidavit, Mankiewicz was retained by Mercury Productions to write the script, and “it was determined” that Houseman and Mankiewicz would move to a dude ranch at Victorville. 101 Houseman and Mankiewicz set to work writing the screenplay in Victorville, with Mankiewicz receiving editorial comments from Houseman and then dictating the script to a secretary. But Richard noted in his affidavit: “As portions of the script were finished, the finished portions were sent in relays to Mercury Productions at RKO where they were revised by Welles.