Collecting area: Performing arts

Although theater has been part of community life at UMass Amherst since the early days of the school, the move to formalize study came only during the boom years of the 1960s. Initially connected to the Department of Speech, Theater was set off as a separate department in 1972. Its goal is to expose students to different perspectives and varied aspects of the field though classes in acting, directing, play analysis, dramaturgy, design, theater technology and stage management. The Bachelor of Arts degree offers concentrations in Dramaturgy, Performance, or Design and Production, while the M.F.A. program includes Directing, Dramaturgy, Costume Design, Lighting Design, or Scenic Design. The Department stages productions throughout the year on their two stages, The Rand and The Curtain, enabling students to share their work widely.

The records of the UMass Amherst Theater Department include play files, administrative communications, publications, and other documentation from the beginning of the department to recent years. Along with files for many individual performances, the collection contains information on academic service by faculty members, honors and achievements, correspondence with alumni, departmental operations, news clippings, and publications. There is also a wealth of audio and visual materials (still photographs and video) documenting individual performances.

In 1955, the Literary Society of the University of Massachusetts and Professor H. Leland Varley received a grant of $5,800 from the Educational Television and Radio Center to produce a series of one-hour radio programs centered on a discussion of the impact of eight major American novelists from a European perspective. The subjects included Henry James, Sinclair Lewis, Thomas Wolfe, Ernest Hemingway, John Dos Passos, William Faulkner, and John Steinbeck (who replaced the original choice, John Marquand).

The collection is comprised of administrative documents, transcripts, and sound recordings relating to the Literary Society radio program, ‘As others see us.’ Moderated by a member of the UMass Department of English, each broadcast featured discussions by distinguished literary critics such as W.H. Auden, R.P. Blackmur, Perry Miller, Maxwell Geismar, and Renato Poggioli. Dos Passos, Faulkner, and Steinbeck participated in person. Also included is a related item from an earlier program sponsored by the Literary Society: E.E. Cummings reading Twelve Poems.

Roberta Uno was the founder and long time artistic director of the New WORLD Theater at UMass Amherst, a theater in residence dedicated to the production of works by playwrights of color.

Established by Uno in 1993, the Asian American Women Playwrights Scripts Collection contains manuscripts of plays, but also production histories, reviews, and articles, along with biographies and audio and videotaped interviews with playwrights. Among the individuals represented are Brenda Wong Aoki, Jeannie Barroga, Marina Feleo Gonzales, Jessica Hagedorn, Velina Hasu Houston, Genny Lim, le thi diem thuy, Ling-Ai Li, Victoria Nalani Kneubuhl, Nobuko Miyamoto, Bina Sharif, and Diana Son.

Founded in 1975 by a group of Gilbert and Sullivan devotees, the Valley Light Opera is based in Amherst, Massachusetts. VLO presents one fully staged opera and one less formal production every year, and over the years the company has presented all fourteen of the Gilbert and Sullivan operas at least once.

This collection contains a wonderful visual record of VLO productions with hundreds of photographs capturing dozens of performances. The collection contains, too, records that document the company’s activities from the moment an opera is selected to be performed to last curtain call.

Born in Mainz, Germany on December 24, 1897, the theater historian and stage director Walther R. Volbach began directing operas and plays at the age of 17. After his immigration to the United States in 1936, he worked for several colleges, coming to the University of Massachusetts Amherst for five years as a visiting professor following his retirement in 1965. Noted as a director of operas and plays and for his set design, Volbach was author of three books: The Problems of Opera Production (1953), Adolphe Appia : The Prophet of The Modern Theatre (1968), and Memoirs of Max Reinhardt’s Theaters (1972).

The Volbach collection includes personal and professional correspondence in English and German, mostly from Volbach’s later years, regarding family, publishing, lectures, and employment. The collection also includes photographs of set designs, an image of Volbach teaching a class, publications, and lecture and research notes on theater history.

Eastern Europe’s socialist republics of the Cold War era strove to establish national cultures that reflected communist objectives and withstood Western influences. In order to promote collectivist ideals, state authorities supervised the production of literary works, motion pictures, television programs, sound recordings, and other forms of cultural content. To centralize the manufacturing of music records for its national market of sixteen million citizens, the GDR maintained a state-owned record company. Formally under the supervision of Ministerium für Kultur (Ministry of Culture), VEB Deutsche Schallplatten (German Records, NOE) provided the GDR audience with classical, traditional, and popular music as well as literary and educational recordings.

Mandated to cover a broad spectrum of content, Deutsche Schallplatten established separate divisions to develop artists and repertoire, releasing the vast majority of its works on five major labels:

• Amiga: popular recordings for all age groups
• Eterna: classical and political recordings
• Litera: literary recordings like audio books for adults and children
• Nova: recordings that reflected socialist lifestyles
• Schola: educational recordings for use in schools

Apart from the producers affiliated with these labels, the company’s creative division also included graphic designers who crafted cover art and musicologists who documented the growth of the respective catalogs. Counting managers, administrators, technologists, and the sizeable workforce of its industrial plants, Deutsche Schallplatten after the mid-1970s had around 800 employees. Yet, in the course of German reunification and the privatization of nationally owned enterprises, the enterprise lost its cultural relevancy and failed economically. Ultimately, competing firms acquired the catalogs of Amiga and Eterna, which encompassed the master tapes of and exploitation rights to Deutsche Schallplatten’s commercially most viable recordings.

As the former monopolist underwent its eventual dissolution in the early 1990s, a time when public interest in GDR culture hit an all-time low, most of its material legacy was to be discarded. Aware that a unique cultural heritage was earmarked for destruction, the former music producer Volkmar Andrä intervened to preserve decommissioned recordings and files. With assistance from Sven Kube, an academic historian who has reconstructed Deutsche Schallplatten’s evolution, these materials were transferred to UMass Amherst.

Comprised chiefly of sound recordings and text files, but featuring other media types, this collection offers unique insights into the music life of the German Democratic Republic (GDR) between the early 1960s and the country’s demise in 1990.

Temporarily stored offsite; contact SCUA to request materials from this collection.

The first public radio station in western New England, WFCR Five College Radio has provided a mix of high quality, locally-produced and nationally syndicated programming since May 1961. In 2012, the station reached over 175,000 listeners per week, with a mix of classical and jazz music, news, and entertainment.

The WFCR Collection contains nearly 4,500 reel to reel recordings of locally-produced radio programs, reflecting over fifty years of the cultural and intellectual life of western Massachusetts. Drawing upon the talents of the faculty and students of the Five Colleges (Amherst, Hampshire, Mount Holyoke, and Smith Colleges and UMass Amherst), the collection offers a remarkable breadth of content, ranging from public affairs to community and national news, cultural programming, children’s programming, news and current events, scholarly lectures, classical music, and jazz.

Born in 1948 in Boston, Paul Williams was an avid reader of science fiction and published his first fanzine, Within, in 1962 at the age of 14. A few years later, after completing his first semester at Swarthmore, Williams hitchhiked to New York City. There he wrote and published—typing up the mimeo stencils himself—the first issue of Crawdaddy! With the birth of this publication, Williams is widely recognized as the founder of serious rock and roll journalism. He left Crawdaddy! in 1968 and went on to establish Entwhistle Books with David Hartwell, Chester Anderson, and Joel Hack. Williams continued to write, collecting his early works on rock and roll in two books and contributing articles as a freelancer for Rolling Stone. During the early 1970s, Williams lived on several intentional communities, including the Fort Hill Community in Cambridge, and wrote the surprise best seller Das Energi and its follow-up, Apple Bay during this period. In 1975, his profile of friend Philip K. Dick launched P.K.D. to a national audience, and Williams later served as the literary executor of the Dick estate following the death of his friend in 1982. His extensive writing on Bob Dylan spanned forty years and resulted in a significant body of publications including a multi-volume work on the artist. In 1995, Williams suffered a near fatal bike accident that left him partially disabled. A remarkable initial recovery proved to be short-lived and within a few years after the accident, Williams began exhibiting symptoms of early-onset dementia, a result of the traumatic brain injury he sustained. He died in 2013 leaving behind a tremendous legacy as author, editor, and publisher.

The Paul Williams Papers is comprehensive collection of materials that documents the writings and relationships that shaped the field of rock and roll journalism. Alongside manuscripts of the numerous books and articles Williams wrote are notebooks, correspondence, and media. Early issues of Crawdaddy! and Williams’s writings on science fiction author Philip K. Dick (including audio cassette tapes of the 1974 P.K.D. interview) are featured as well as his working files on Bob Dylan. Correspondence includes Theodore, Sturgeon, Chester Anderson, David Hartwell, Susan Ann Protter, Julian Moody, Raymond Mungo among many others.

Unidentified DJ in the WMUA master control room, ca. 1985

WMUA is UMass’ student/community run non-commercial FM radio station. In continuous operation since 1948, initially as an AM station, it serves the campus and surrounding communities in the Pioneer Valley and can be heard from the Connecticut to the Vermont border. Beginning in 1948, as students were first establishing the station, WMUA has been a constant presence on campus, weathering budget cuts, leadership upheavals and the rise and fall of radio as a dominant medium.

The records of WMUA document the history of a particularly long-lived organization at the
University of Massachusetts Amherst and reflect the changing culture of the campus. In addition to some administrative and financial records, the collection includes a number of promotional materials, newsclippings, photographs and recordings that reflect the history of the organization. Also noteworthy is a history of WMUA written in 1963 to commemorate its 15th anniversary as well as several oral histories with station alum from different eras. There are also press clippings, ephemera, press releases and recordings from the acclaimed Magic Triangle Jazz Series.

Additionally, there are hundreds of analog and digital recordings of shows that span three decades of the station’s history, with the bulk from 1987-2012. A separate, growing, inventory of the recordings is also available which includes descriptions, dates, and formats of the recordings.

A documentary about WMUA in the 1960s was produced by Stuart Goldman, an alumnus of the station, in 2021.

The Irish poet W.B. Yeats was a key figure in the Celtic literary revival of the early twentieth century. Born into an artistic family in Dublin in 1865, Yeats was heavily influenced early in his career by Irish folk literature and Theosophical mysticism, but he was simultaneously rooted in the political issues of the day. An Irish nationalist by inclination, he became a two-term Senator in the Irish Free State and he was a key supporter of the arts and theatre in the new nation. His international reputation was cemented when he received the Nobel Prize for literature in 1923. Yeats died in 1939 at the age of 73.

The Alspach collection consists of hundreds of works by and about W.B. Yeats, collected by Yeats scholar Russell K. Alspach, a member of the UMass English faculty. An extensive assemblage with first editions of most of the key works, the collection also includes critical works on Yeats, works by his literary peers, bibliographies, and items published by the Cuala Press, a private press operated by Yeats’s sister Elizabeth that was a strong influence in the Celtic revival. A few items have been added to the collection since its acquisition in 1971.