Guide to the Frank Galati (1943-) Papers

Collection Title: Frank Galati (1943-) Papers
Dates: 1948-2006
Bulk Dates: 1965-2005
Identification: 20/68
Creator: Galati, Frank
Extent: 39 Boxes
Language of Materials: English
Abstract: The Frank Galati Papers fill 38 boxes and span the years 1948-2006; the bulk of the papers date between 1965 and 2005. The papers consist mostly of scripts and other notes from the plays he wrote, directed or in which he acted. Biographical files include personal information about Galati and his family. They also include resumes (Box 1, Folder 1), drafts of speeches he made (Box 1, Folder 6) and materials from awards he received and workshops he attended (Box 1, Folder 7).
Acquisition Information: The Frank Galati Papers include materials donated to the University Archives by Frank Galati (Accession No. 05-119, October 28, 2005). Some biographical materials came from the University Archives' Biographical Files.
Processing Information: David Morrison, May 2, 2006.
Separated Materials: Approximately three linear inches of duplicate or extraneous material was discarded.
Conditions Governing Access: Box 4, Folder 10 contains student grade records and may only be used with permission of the University Archivist.
Repository: Northwestern University Archives
Deering Library, Room 110
1970 Campus Dr.
Evanston, IL, 60208-2300
URL: http://www.library.northwestern.edu/archives
Email: archives@northwestern.edu
Phone: 847-491-3354

Biographical/Historical Information

Frank Joseph Galati, Jr. was born on November 29, 1943 in Highland Park, Illinois to Frank Galati, Sr. and Virginia Galati. Bbeginning in 1962, Galati attended Northwestern University as an undergraduate, where he was an active member of the University's dramatic performances. Galati eventually earned a Master's and Ph.D. in Speech from NU; he joined the University's faculty in 1972. In addition to academics, Galati became an ensemble member of Steppenwolf Theatre Ensemble in 1985 and Associate Director of the Goodman Theatre in 1986.

Galati attended Glenbrook High School in Northbrook, Illinois and graduated in 1961. While at Glenbrook, Galati participated in many school productions, including The Mikado.

After graduating from high school, Galati enrolled at Western Illinois University in Macomb, Illinois. In his one year at Western Illinois, Galati performed in plays including Waiting for Godot and Death of a Salesman. For his work, he won the university's “Best Actor” award for the 1961-62 school year. He was also one of 199 students on Western Illinois' honor roll for the 1962 spring quarter, his last quarter at the university (Box 1, Folder 3).

Galati transferred to Northwestern University in the fall of 1962. In his undergraduate years, Galati would win the Special Award from the Interpretation Department and the Drama Club of Evanston's First Playwright Award, and he was president of the School of Speech Student Senate. On stage, he was a principal cast member in the Waa-Mu Show for four years. Besides performing in the show, he also wrote a number of sketches and songs and even had a hand in the set design. He also played roles in almost 20 University Theatre productions, including Candide and Henrik Ibsen's Ghosts. Of his performance as Jean in the 1964 production of Rhinoceros, journalism professor Peter Jacobi said, “Galati is a scene stealer in the Mostel mold…he builds the proper caricature of what is silly in most of us: self-deceptive pomposity, snide superiority, the propensity to front our flaws.”

He also performed nine plays at the Eagles Mere Playhouse during the 1962-63 season under the direction of Northwestern theatre professor Alvina Krause. One of his roles was Falstaff in Shakespeare's Merry Wives of Windsor, a play he would stage for the Chicago Opera Theater in 1978 (Box 27, Folders 9-10). In his role of Falstaff, Krause said Galati “is a master of planting lines…part of the marvel of the performance was that he could repeat each night with the same telling effect, the same sureness of timing, of building, of topping the laughter at exactly the right moment and so keeping it building.”

Galati received his B.S. degree in Speech, with a concentration in Interpretation, in 1965. He began his teaching career as an Assistant Professor of Speech at the University of South Florida in Tampa, Florida. He continued taking some courses at Northwestern and earned his Masters' Degree in Speech in June, 1966. At South Florida, Galati directed 10 major productions for the Department of Speech, along with over 30 “Coffee House” productions, which were mostly small-cast readings of literary works. In his last year at South Florida, 1967, the student body voted Galati the “Teacher of the Year.”

After his stint in Florida, Galati decided to pursue a Ph. D. in Interpretation from Northwestern. While working towards his doctorate, Galati was an instructor of Interpretation at Northwestern. He received his Ph. D. in 1971. Galati's dissertation was titled, “A Study of Mirror Analogues in Vladimir Nabokov's Pale Fire” (Box 3, Folder 6). After completing his doctorate, he became an instructor at Roosevelt University and the Goodman Theatre School. He joined the Northwestern faculty full-time in 1972.

It was around this time that Galati began to make a name for himself in Chicago theatre. In 1972, he was nominated for a Joseph Jefferson Award, Chicago theatre's version of the Tonys, for his performance as a sadistic orderly in the British play The National Health at the Forum Theatre (Box 28, Folders 3-4). That year, he also adapted and directed Nathaniel West's novel Miss Lonelyhearts for the Actors' Cooperative in Chicago. Galati used a form of theatre pioneered by instructor and colleague Robert Breen for his staging of Miss Lonelyhearts. Called “Chamber Theatre,” this technique involves close, intimate settings without ornate sets or costumes, so more emphasis is placed on the actors' performances. Chicago Tribune critic Linda Winer said that “the production owes most of its lingering impact to its director, Frank Galati.”

The next year, Galati won the first of his nine Joseph Jefferson Awards. Boss, a musical satire about the life of Chicago mayor Richard Daley for which he wrote the script and lyrics based on newspaper columnist Mike Royko's book of the same title, won “Best New Play of 1973.” The play was well-loved by critics and showed a talent for musical theatre that Galati had honed as an undergraduate at Northwestern in the Waa-Mu Show (Box 16, Folders 10-11).

In 1974, Galati won a $1,000 award in a playwriting contest for his original work Winnebago. The play, first performed at midnight in the Goodman Theatre lobby, followed a family as it made its way to California's Disneyland in the family car. It featured a giant canary puppet, a grandmother who lived in a rollout drawer and a Big Brother-like patriarch whose disembodied head presided over the rest of the family from a video screen. Even though WTTW, the TV station that sponsored the contest, chose not to air Winnebago, the show enjoyed a successful run on the stage (Box 37, Folders 1-2).

Galati returned to musical theatre, staging The Mother of Us All at the Chicago Opera Theater in 1976. The opera, with music by Virgil Thomson and words by Gertrude Stein, was based on the life of Susan B. Anthony. Over the next four years, Galati would put on a number of works for the Chicago Opera Theater, including Tennessee Williams' Summer and Smoke (Box 33, Folders 10-14).

The Mother of Us All was Galati's first artistic foray into the work of Gertrude Stein, but it would not be his last. In 1987, Galati conceived and directed a play called She Always Said, Pablo, which sought to explore the relationship between Stein and Pablo Picasso through Stein's words and active representations of Picasso's works and music by Virgil Thomson and Igor Stravinsky. The show premiered on March 9th at the Goodman Theatre. Chicago Sun-Times critic Hedy Weiss called it “a dream on wheels, a 90-minute pastel-tinted carousel ride – a ride in which the people and enchanted objects that floated through Pablo Picasso's life and imagination can be viewed in a new way.” Galati won “Best New Work” and “Best Direction” Joseph Jefferson Awards for the play. The work even enjoyed a five-week stint at the John F. Kennedy Center for the Performing Arts in Washington, D.C. in 1990 (Box 32, Folders 7-8 and Box 33, Folders 1-6). Other Galati shows influenced heavily by Gertrude Stein's work include Four Saints in Three Acts (1993), Each One as She May (1995), and A Long Gay Book (2003).

Soon, Galati's talents were in high demand. In 1985, the Steppenwolf Theatre Ensemble, the prestigious creation of actors like Gary Sinise and John Malkovich, made Galati an ensemble member. This was followed in 1986 by being named Associate Director of the Goodman Theatre.

The end of the 1980s was an unprecedented time of public exposure for Galati. At the end of 1988, Galati's adaptation of John Steinbeck's novel The Grapes of Wrath premiered at the Steppenwolf Theatre. Starring Gary Sinise, Terry Kinney and Lois Smith, the play garnered great critical success not only because of the caliber of its performances but because of Galati's inventive treatment of the work and his staging decisions, like placing a trough of water in the front portion of the stage for river scenes. After its successful Chicago run, The Grapes of Wrath had extended engagements in San Diego, London and New York, and spawned overseas productions in cities from Denmark to Australia. The play's success secured the place of Chicago theatre on the international stage. Besides winning Galati two more Joseph Jefferson Awards, for “Best Direction” and “Best New Play,” the play's Broadway run earned Galati two Tony Awards in 1990, for “Best Direction of a Play” and “Best Play.” Galati also won the Outer Critics Circle Award and the Drama Desk Award for his work on The Grapes of Wrath (Box 22, Folder 11, Boxes 23-24, and Box 25, Folders 1-4).

Also, in 1989, Galati's screenplay for the movie The Accidental Tourist, which he co-wrote with director Jake Kasdan, received widespread praise. The film, starring William Hurt, Kathleen Turner and Geena Davis, was based on the Anne Tyler novel of the same name. Galati's work earned him an Oscar nomination for best adapted screenplay, as well as a nomination from the British Academy Awards in the same category. Though he was not selected for either nomination, he did win a Scripter Award from the University of Southern California and was selected to speak at Northwestern's commencement in 1990. Galati also received an honorary doctorate from DePaul University in 1991 and won the Northwestern chapter of Phi Beta Kappa's Distinguished Service Award in that same year. Galati adapted two more Anne Tyler works for the stage: Breathing Lessons (1989) and Earthly Possessions (1991).

Galati has also won Joseph Jefferson Awards for “Best Actor in a Principal Role” (Travesties, 1980) and three more for “Best Direction” (Passion Play, 1988, The Good Person of Setzuan, 1992, and You Can't Take It With You, 1985). He was also nominated for another Tony Award in 1998 for directing the musical Ragtime.

Other plays he directed include Tony Kushner's Homebody/Kabul (2004), William Faulkner's As I Lay Dying (1995, which he also adapted), and Wallace Shawn's Aunt Dan and Lemon (1987) at the Steppenwolf Theatre, Shakespeare's The Winter's Tale (1990) at the Goodman Theatre and Dominick Argento's The Voyage of Edgar Allan Poe (1990) at the Chicago Lyric Opera.

Scope and Content

The Frank Galati Papers fill 38 boxes and span the years 1948-2006; the bulk of the papers date between 1965 and 2005. The papers consist mostly of scripts and other notes from the plays he wrote, directed or in which he acted.

Biographical files include personal information about Galati and his family (Box 1, Folder 2). They also include resumes (Box 1, Folder 1), drafts of speeches he made (Box 1, Folder 6) and materials from awards he received and workshops he attended (Box 1, Folder 7). Items within each file are arranged chronologically.

The education subseries includes materials from Galati's academic career. It contains clippings, correspondence and programs from shows he appeared in and directed at Northwestern (Box 3, Folders 1-3) as well as papers he wrote as a student, including his dissertation (Box 3, Folder 6). Items within each file are arranged chronologically.

The materials in the teaching subseries include course notebooks and other teaching materials from the courses he led at Northwestern University, along with flyers from the productions he directed at South Florida (Box 3, Folder 7). It also includes teaching evaluations (Box 6, Folder 3), commencement programs from Northwestern University and DePaul University (Box 6, Folders 8-9) and materials from the Department of Interpretation at Northwestern University (Box 6, Folder 4). Items within each file are arranged chronologically.

The screenplays subseries contains screenplays written by Galati. The folders marked “other” contain screenplays written by other authors that were in Galati's possession. Most of the screenplays have multiple drafts, including All the King's Men and A Confederacy of Dunces. The files for The Living End contain a rough draft written by Galati in a composition book (Box 10, Folder 2). Items within each file are arranged chronologically.

The scripts subseries contains scripts for plays written by other authors but in Galat's possession. It includes plays like Peacekeeper, by Northwestern graduate Keith Reddin (Box 13, Folder 10), as well as Eleutheria (Box 13, Folder 7, by Samuel Beckett) and A Notebook of Trigorin (Box 13, Folder 9, by Tennessee Williams). Items within each file are arranged chronologically.

The shows subseries makes up the bulk of the collection. It contains clippings, correspondence, scripts, personnel lists, production schedules and set designs from a number of Galati's plays. It also contains performance notes and outlines. The folders on The Accidental Tourist contain mailings from the Academy of Motion Picture Arts and Sciences pertaining to the 1989 Oscars, when Galati was nominated for Best Adapted Screenplay (Box 14, Folder 9). The correspondence in the subseries consists mostly of notes from friends and actors he directed in the plays. The correspondence folder on The Grapes of Wrath contains acknowledgements from actors like Lois Smith, Gary Sinise and John C. Reilly (Box 23, Folder 5). Items within each file are arranged chronologically.

The oversize materials subseries contains rough drafts, handwritten by Galati, of scripts for A Confederacy of Dunces and Random Harvest. It also contains issues of magazines and newspapers with articles about Galati in them and the publisher's copy of Anne Tyler's Breathing Lessons that Galati used to adapt the play. Box 39 contains a scrapbook kept by Frank Galati, Sr., while he was at Darien High School in Darien, Illinois. The scrapbook holds newspaper clippings of athletic and other achievements from when Galati, Sr., was at Darien.

Subjects

Corporate Name

Goodman Theatre (Chicago, Ill.)

Northwestern University (Evanston, Ill.). School of Speech--Faculty

Steppenwolf Theatre Company--History

Personal Name

Galati, Frank

Subjects

Acting teachers--Illinois--Evanston

Acting--Study and teaching (Higher)--Illinois--Evanston

College theater--Illinois--Evanston

Theater--Production and direction--United States


Container List / Contents

  • Biographical
    • Resumes, n.d.Box 1, Folder 1
    • Family, 1948-1987Box 1, Folder 2
    • Correspondence, 1961-1962Box 1, Folder 3
    • Postcards, n.d.Box 1, Folder 4
    • Sketch of Family Home, n.d.Box 1, Folder 5
    • Sketchbooks, n.d.Box 1, Folder 6
    • Notebook (Don't Ask: A Tour), n.d.Box 1, Folder 7
    • Personal Notebooks, n.d.Box 1, Folder 8
    • Daily Planner, 2002-2003Box 1, Folder 9
    • Preliminary Project Manual (Beaver Island, MI, Cottage), 1988Box 1, Folder 10
    • Home Designs (Michigan Ave., Evanston, Illinois House), 1989Box 2, Folder 1
    • Project Manual, Contracts (Michigan Ave., Evanston, IL), 1990-1992Box 2, Folder 2
    • CNA Insurance Providers, 1993-1994Box 2, Folder 3
    • CNA Insurance Providers, 1994-1995Box 2, Folder 4
    • Awards, Workshops, 1973-2001Box 2, Folder 5
    • Speech Drafts, n.d.Box 2, Folder 6
    • General, n.d.Box 2, Folder 7
  • Productions – Northwestern University
    • Clippings, 1961, 1964-1998Box 3, Folder 1
    • Correspondence, 1965, 1986-93Box 3, Folder 2
    • Programs, 1964-1998Box 3, Folder 3
  • Education – Academic Career: Northwestern University
    • B25-Extemporaneous Speaking Notebook, 1964Box 3, Folder 4
    • Papers, "The Tragedy of Jesus, the Comedy of Christ and A Prosodic Analysis of Dylan Thomas' An Author's Purpose", n.d.Box 3, Folder 5
    • Dissertation, "A Study of Mirror Analogues in Vladimir Nabokov's Pale Fire", 1971Box 3, Folder 6
  • Professional: Teaching: University of South Florida, Northwestern University and DePaul University
    • South Florida: Clippings and Flyers, 1965-1967Box 3, Folder 7
    • NU: Courses, The Clown In Art, 1974Box 4, Folder 1
    • NU: Courses, C11-The Interpretation of Drama, 1974-1977Box 4, Folder 2
    • NU: Courses, A01-3, 1975Box 4, Folder 3
    • NU: Courses, C03-Interpretation of the Plays of Samuel Beckett, 1977Box 4, Folder 4
    • NU: Courses, B10-2-Art of Interpretation: Prose Fiction, 1977Box 4, Folder 5
    • NU: Courses, B10-3, n.d.Box 4, Folder 6
    • NU: Courses, C10-Interpretation of Poetry, n.d.Box 4, Folder 7
    • NU: Courses, B15-Literature in Performance, 1979Box 4, Folder 8
    • NU: Courses, D10-Studies in Performance, 1980-1986Box 4, Folder 9
    • NU: Roll Books, Various Courses, n.d.Box 4, Folder 10
    • NU: Courses, GEN_SP 103-Analysis and Performance of Literature and 410-Studies in Performance, 2001Box 4, Folder 11
    • NU: Courses, 410-Studies in Performance: Performance and Aesthetics and 412-The Theater of Tony Kushner, 2003Box 5, Folder 1
    • NU: Courses, 410-Intro to Performance Studies and 210-2-Performance of Narrative, 2004Box 5, Folder 2
    • NU: Courses, Performance 201-2-Performance of Narrative, 2005Box 5, Folder 3
    • NU: Courses, Performance Studies 324-1, 2005Box 5, Folder 4
    • NU: Textbook, Oral Interpretation, 5th Ed. (By Galati and C. Lee), 1977Box 5, Folder 5
    • NU: Handbook, Adapting Narrative for Group Performing, Performance Studies 605 B24-0, 1992Box 5, Folder 6
    • NU: Handbook, Notes to Instructors, GEN_CMN 103-0, 2003Box 5, Folder 7
    • NU: Course Packet, Presentational Aesthetics, Vol. 1, Performance Studies 324-1, 2005Box 6, Folder 1
    • NU: Course Packet, Presentational Aesthetics, Vol. 2, Performance Studies 324-1, 2005Box 6, Folder 2
    • NU: Course/Teacher Evaluations and Activity Reports, 1982-1987Box 6, Folder 3
    • NU: Department of Interpretation Materials, 1974-1976Box 6, Folder 4
    • NU: Committee on Educational Policies and the Jacobi Report, 1974-1976Box 6, Folder 5
    • NU: Colleagues' Articles, Wallace Bacon, 1964-1973Box 6, Folder 6
    • NU: Colleagues' Articles, Robert Breen, 1979Box 6, Folder 7
    • NU: Commencement, 1990Box 6, Folder 8
    • DePaul: Commencement, 1991Box 6, Folder 9
    • NU: Wallace Bacon Funeral, 2001Box 6, Folder 10
  • Professional: General
    • Clippings, 1971-1979Box 7, Folder 1
    • Clippings, 1980-1986Box 7, Folder 2
    • Clippings, 1987-1989Box 7, Folder 3
    • Clippings, 1990-2006Box 7, Folder 4
    • Contracts, 1982-1992Box 7, Folder 5
    • Correspondence, 1973-1998Box 8, Folder 1
    • Programs, 1976-1993Box 8, Folder 2
  • Screenplays
    • "All the King's Men" (1st Draft), 2002Box 8, Folder 3
    • "All the King's Men" (2nd Draft), 2002Box 8, Folder 4
    • "All the King's Men" (2nd Draft), 2002Box 8, Folder 5
    • "All the King's Men" (2nd Draft), 2002Box 8, Folder 6
    • "All the King's Men" (3rd Draft), 2003Box 9, Folder 1
    • "All the King's Men" (3rd Draft), 2003Box 9, Folder 2
    • "The American Clock" (3rd Draft), 1992Box 9, Folder 3
    • "The American Clock", 1993Box 9, Folder 4
    • "The American Clock", 1993Box 9, Folder 5
    • "A Confederacy of Dunces", 1994Box 9, Folder 6
    • "A Confederacy of Dunces", 1994Box 9, Folder 7
    • "The Girls", 1990Box 9, Folder 8
    • "Here to Learn", n.d.Box 10, Folder 1
    • "The Living End" (Rough Draft), n.d.Box 10, Folder 2
    • "The Living End", 1980Box 10, Folder 3
    • "The Living End", 1980Box 10, Folder 4
    • "The Living End", 1980Box 10, Folder 5
    • "Patty and Marge", 1996Box 10, Folder 6
    • "Pigs in Heaven", n.d.Box 10, Folder 7
    • "Pigs in Heaven" (First Corrected Version), n.d.Box 10, Folder 8
    • "Providence", 1992Box 11, Folder 1
    • "The Quiet American" (Revised Draft), 1993Box 11, Folder 2
    • "Summer Gloves", 1994Box 11, Folder 3
    • "Summer Gloves", 1995Box 11, Folder 4
    • "Tracer" (3rd Draft), 1988Box 11, Folder 5
    • "Tracer" (3rd Draft), 1988Box 11, Folder 6
    • "Wabus", n.d.Box 11, Folder 7
    • "Welcome to Heaven", n.d.Box 12, Folder 1
    • Other, "How I Danced with the Prince" (By F. Brusati and J. Fiastri), n.d.Box 12, Folder 2
    • Other, "Nevermore" (By W. Coberg), 2004Box 12, Folder 3
    • Other, "Nightman" (By S. Ivcich), n.d.Box 12, Folder 4
    • Other, "Pat and Margaret" (By V. Wood), 1994Box 12, Folder 5
    • Other, "Plots with a View" (By F. Ponzlov), 2001Box 12, Folder 6
    • Other, "The Quiet American" (By R. Schenkkan and C. Hampton), 2001Box 12, Folder 7
    • Other, "Rehearsing the Dead" (By S. Ivcich), 1997Box 12, Folder 8
    • Other, "The White Hotel" (By D. Potter), 2001Box 13, Folder 1
  • Scripts
    • "Ace" (By R. Oberacker and R. Taylor), 2005Box 13, Folder 2
    • "Barrymore" (By W. Luce), 1995Box 13, Folder 3
    • "Bickersons Project" (By R. Landis and V. Viverito), 1982Box 13, Folder 4
    • "Bickersons Project" (2nd Draft-By R. Landis and V. Viverito), 1982Box 13, Folder 5
    • "Chautauqua" (By P. McKenny), 1980Box 13, Folder 6
    • "Eleutheria" (By S. Beckett), n.d.Box 13, Folder 7
    • "The Limit of .99" (By M. Littig Aviles), 1987Box 13, Folder 8
    • "A Notebook of Trigorin" (By T. Williams), n.d.Box 13, Folder 9
    • "Peacekeeper" (By K. Reddin), 1988Box 13, Folder 10
    • "The Problem is Women; The Problem is Men" (By A. Barcus), 1988Box 14, Folder 1
    • "Stones" (By J. Reeger and J. Shannon), 1988Box 14, Folder 2
    • "Tunnel Fever" (By J. Reynolds), 1979Box 14, Folder 3
    • "The Ugly Duckling" (By L. Rosen and A. Rosen), 1983Box 14, Folder 4
    • "The Wild Party" (By L. Freistadt), 1995Box 14, Folder 5
    • Unnamed Play, n.d.Box 14, Folder 6
  • Shows
    • "The Accidental Tourist": Clippings, 1987-1989Box 14, Folder 7
    • "The Accidental Tourist": Contracts, 1985-1988Box 14, Folder 8
    • "The Accidental Tourist": Correspondence, 1988-1989Box 14, Folder 9
    • "The Adventures of Pinocchio": Contracts, 1991Box 14, Folder 10
    • "The Adventures of Pinocchio": Notes, Outlines, 1992Box 15, Folder 1
    • "The Adventures of Pinocchio": Research, 1991-1992Box 15, Folder 2
    • "After the Quake": Correspondence, 2005Box 15, Folder 3
    • "After the Quake": Notes, Personnel, Schedules, 2005Box 15, Folder 4
    • "After the Quake": Programs, 2005Box 15, Folder 5
    • "After the Quake": Script, 2005Box 15, Folder 6
    • "After the Quake": Script, 2005Box 15, Folder 7
    • "As I Lay Dying": Casting, 1995Box 15, Folder 8
    • "As I Lay Dying": Clippings, 1994-1995Box 15, Folder 9
    • "As I Lay Dying": Correspondence, 1995Box 15, Folder 10
    • "As I Lay Dying": Research, n.d.Box 16, Folder 1
    • "As I Lay Dying": Script, 1994Box 16, Folder 2
    • "As I Lay Dying": Script (2nd Draft), 1995Box 16, Folder 3
    • "Aunt Dan and Lemon": Clippings, 1987Box 16, Folder 4
    • "Aunt Dan and Lemon": Contract, 1987Box 16, Folder 5
    • "Aunt Dan and Lemon": Program, 1987Box 16, Folder 6
    • "Aunt Dan and Lemon": Script, 1986Box 16, Folder 7
    • "Born Yesterday": Clippings, 1987-1988Box 16, Folder 8
    • "Born Yesterday": Contract, 1987Box 16, Folder 9
    • "Boss": Clippings, 1973Box 16, Folder 10
    • "Boss": Program, 1973Box 16, Folder 11
    • "Breathing Lessons": Contracts, 1988-1989Box 16, Folder 12
    • "The Caretaker": Clippings, 1975Box 16, Folder 13
    • "The Caretaker": Program, 1975Box 16, Folder 14
    • "A Christmas Carol": Clippings, 1984Box 16, Folder 15
    • "A Christmas Carol": Contract, 1984Box 16, Folder 16
    • "A Christmas Carol": Script, 1984Box 16, Folder 17
    • "A Christmas Carol": Sketchbook, 1984Box 17, Folder 1
    • "A Confederacy of Dunces": Address to Staff, 1983Box 17, Folder 2
    • "A Confederacy of Dunces": Casting, 1983Box 17, Folder 3
    • "A Confederacy of Dunces": Clippings, 1983-1984Box 17, Folder 4
    • "A Confederacy of Dunces": Contract, 1983Box 17, Folder 5
    • "A Confederacy of Dunces": Correspondence, 1983-1984Box 17, Folder 6
    • "A Confederacy of Dunces": Research, 1980-1981Box 17, Folder 7
    • "A Confederacy of Dunces": Set Design, n.d.Box 17, Folder 8
    • "Cry, the Beloved Country": Advertisements, 1993Box 17, Folder 9
    • "Cry, the Beloved Country": Casting, 1993Box 17, Folder 10
    • "Cry, the Beloved Country": Clippings, 1993Box 17, Folder 11
    • "Cry, the Beloved Country": Contracts, 1992-1993Box 17, Folder 12
    • "Cry, the Beloved Country": Costume Designs, 1993Box 17, Folder 13
    • "Cry, the Beloved Country": Notes, Personnel, Schedules, 1993Box 18, Folder 1
    • "Cry, the Beloved Country": Programs, 1993Box 18, Folder 2
    • "Cry, the Beloved Country": Research, n.d.Box 18, Folder 3
    • "Cry, the Beloved Country": Script, 1993Box 18, Folder 4
    • "The Crying of Lot 49": Script, n.d.Box 18, Folder 5
    • "The Dick Gibson Show": Clippings, 1979-1989Box 18, Folder 6
    • "The Dick Gibson Show": Contracts, 1979-1991Box 18, Folder 7
    • "The Dick Gibson Show": Notes, Outlines, Personnel, n.d.Box 18, Folder 8
    • "The Dick Gibson Show": Program, n.d.Box 18, Folder 9
    • "The Dick Gibson Show": Script, n.d.Box 18, Folder 10
    • "The Dresser": Clippings, 1983Box 18, Folder 11
    • "The Dresser": Notes, Personnel, 1983Box 19, Folder 1
    • "The Dresser": Program, 1983Box 19, Folder 2
    • "The Dresser": Script, n.d.Box 19, Folder 3
    • "Each One as She May": Advertisement, 1995Box 19, Folder 4
    • "Each One as She May": Clippings, 1995Box 19, Folder 5
    • "Each One as She May": Notes, Outlines, Personnel, 1995Box 19, Folder 6
    • "Each One as She May": Program, 1995Box 19, Folder 7
    • "Each One as She May": Research, n.d.Box 19, Folder 8
    • "Each One as She May": Script, 1995Box 19, Folder 9
    • "Earthly Possessions": Clippings, 1991-1993Box 19, Folder 10
    • "Earthly Possessions": Contracts, 1991-1993Box 19, Folder 11
    • "Earthly Possessions": Correspondence, 1991Box 19, Folder 12
    • "Earthly Possessions": Notes, Outlines, Personnel, 1991Box 19, Folder 13
    • "Earthly Possessions": Script, 1991Box 19, Folder 14
    • "Everyman": Clippings, 1995Box 19, Folder 15
    • "Everyman": Contract, 1995Box 19, Folder 16
    • "Everyman": Notes, Outlines, Personnel, Schedules, 1995Box 19, Folder 17
    • "Everyman": Program, 1995Box 19, Folder 18
    • "Everyman": Research, n.d.Box 20, Folder 1
    • "Everyman": Script, 1995Box 20, Folder 2
    • "A Flea in Her Ear": Clippings, 1988Box 20, Folder 3
    • "A Flea in Her Ear": Contracts, 1988-1989Box 20, Folder 4
    • "A Flea in Her Ear": Program, 1988Box 20, Folder 5
    • "A Flea in Her Ear": Script, n.d.Box 20, Folder 6
    • "40 Years On": Clippings, 1974Box 20, Folder 7
    • "40 Years On": Programs, 1974Box 20, Folder 8
    • "Four Saints in Three Acts": Clippings, 1993Box 20, Folder 9
    • "Four Saints in Three Acts": Outlines, Personnel, Schedules, 1993Box 20, Folder 10
    • "Four Saints in Three Acts": Research, n.d.Box 20, Folder 11
    • "Four Saints in Three Acts": Score, n.d.Box 21, Folder 1
    • "A Funny Thing Happened on the Way to the Forum": Clippings, 1989Box 21, Folder 2
    • "A Funny Thing Happened on the Way to the Forum": Personnel, 1989Box 21, Folder 3
    • "God's Favorite": Clippings, 1976Box 21, Folder 4
    • "God's Favorite": Program, 1976Box 21, Folder 5
    • "The Good Doctor": Clippings, 1974-1975Box 21, Folder 6
    • "The Good Doctor": Program, 1974Box 21, Folder 7
    • "The Good Person of Setzuan": Casting, 1991Box 21, Folder 8
    • "The Good Person of Setzuan": Casting, 1991Box 21, Folder 9
    • "The Good Person of Setzuan": Clippings, 1992Box 21, Folder 10
    • "The Good Person of Setzuan": Notes, Personnel, 1992Box 22, Folder 1
    • "The Good Person of Setzuan": Script, 1988Box 22, Folder 2
    • "The Good Person of Setzuan": Script, 1992Box 22, Folder 3
    • "The Good Person of Setzuan": Script, 1992Box 22, Folder 4
    • "The Good Soldier Schweik": Clippings, 1980-1981Box 22, Folder 5
    • "The Good Soldier Schweik": Correspondence, 1981Box 22, Folder 6
    • "The Good Soldier Schweik": Program, 1981Box 22, Folder 7
    • "The Government Inspector": Clippings, 1985-1986Box 22, Folder 8
    • "The Government Inspector": Contracts, 1985-1986Box 22, Folder 9
    • "The Government Inspector": Notes, 1985Box 22, Folder 10
    • "The Grapes of Wrath": Casting, 1988Box 22, Folder 11
    • "The Grapes of Wrath": Clippings, 1988-1989Box 23, Folder 1
    • "The Grapes of Wrath": Clippings, 1989-1993Box 23, Folder 2
    • "The Grapes of Wrath": Contracts, 1986-1990Box 23, Folder 3
    • "The Grapes of Wrath": Contracts, 1990Box 23, Folder 4
    • "The Grapes of Wrath": Correspondence, 1988-1990Box 23, Folder 5
    • "The Grapes of Wrath": Notes, Personnel, Schedules, 1989-1990Box 24, Folder 1
    • "The Grapes of Wrath": Programs, 1988-1993Box 24, Folder 2
    • "The Grapes of Wrath": Research, n.d.Box 24, Folder 3
    • "The Grapes of Wrath": Script (Production Draft), 1988Box 24, Folder 4
    • "The Grapes of Wrath": Script (Final Revised Drafts), 1989-1990Box 24, Folder 5
    • "The Grapes of Wrath": Script (For Television), 1990Box 24, Folder 6
    • "The Grapes of Wrath": Sketchbook, n.d.Box 25, Folder 1
    • "The Grapes of Wrath" (Overseas Productions): Clippings, 1992Box 25, Folder 2
    • "The Grapes of Wrath" (Overseas Productions): Programs, 1992-1993Box 25, Folder 3
    • "The Grapes of Wrath" (Overseas Productions): Script ("Früchte des Zorns"), 1991Box 25, Folder 4
    • "The Guilt of Lillian Sloan": Clippings, 1986Box 25, Folder 5
    • "The Guilt of Lillian Sloan": Correspondence, 1986Box 25, Folder 6
    • "Heart of a Dog": Clippings, 1985-1988Box 25, Folder 7
    • "Heart of a Dog": Contracts, 1985-1988Box 25, Folder 8
    • "Heart of a Dog": Notes, Outlines, 1985Box 25, Folder 9
    • "Heart of a Dog": Programs, 1985-1986Box 25, Folder 10
    • "Heart of a Dog": Research, n.d.Box 25, Folder 11
    • "Heart of a Dog": Script, 1985Box 25, Folder 12
    • "Heaven's My Destination": Script, n.d.Box 25, Folder 13
    • "Homebody/Kabul": Casting, n.d.Box 25, Folder 14
    • "Homebody/Kabul": Clippings, 2003-2004Box 25, Folder 15
    • "Homebody/Kabul": Notes, Personnel, Schedules, 2003Box 26, Folder 1
    • "Homebody/Kabul": Research, n.d.Box 26, Folder 2
    • "Homebody/Kabul": Research, n.d.Box 26, Folder 3
    • "Homebody/Kabul": Script, 2002Box 26, Folder 4
    • "The House of Bernarda Alba": Clippings, 1977Box 26, Folder 5
    • "The House of Bernarda Alba": Program, 1977Box 26, Folder 6
    • "Invitation to a Beheading": Script, 1982Box 26, Folder 7
    • "A Long, Gay Book", Notes: Personnel, 2002-2003Box 26, Folder 8
    • "A Long, Gay Book": Research, n.d.Box 26, Folder 9
    • "A Long, Gay Book": Score (1st Draft), 2003Box 27, Folder 1
    • "A Long, Gay Book": Score, n.d.Box 27, Folder 2
    • "A Long, Gay Book": Script, 2002-2005Box 27, Folder 3
    • "Loot": Clippings, 1974Box 27, Folder 4
    • "Loot": Program, 1974Box 27, Folder 5
    • "The Magnolia Club": Program, 1980Box 27, Folder 6
    • "Malonedies": Script, 1994Box 27, Folder 7
    • "The Marriage Proposal" and "The Brute": Program, n.d.Box 27, Folder 8
    • "Merry Wives of Windsor": Clippings, 1978Box 27, Folder 9
    • "Merry Wives of Windsor": Notes, Set Designs, Schedules, 1978Box 27, Folder 10
    • "Mother Courage and Her Children": Clippings, 1981Box 27, Folder 11
    • "Mother Courage and Her Children": Program, 1981Box 27, Folder 12
    • "The Mother of Us All": Clippings, 1976Box 27, Folder 13
    • "The Mother of Us All": Contracts, 1976Box 27, Folder 14
    • "The Mother of Us All": Correspondence, 1976Box 27, Folder 15
    • "The Mother of Us All": Notes, Personnel, Set Design, 1976Box 28, Folder 1
    • "The Mother of Us All": Program, 1976Box 28, Folder 2
    • "The National Health": Clippings, 1972Box 28, Folder 3
    • "The National Health": Programs, 1972Box 28, Folder 4
    • "Oedipus Complex": Clippings, 2004Box 28, Folder 5
    • "Oedipus Complex": Correspondence, 2003-2004Box 28, Folder 6
    • "Oedipus Complex": Notes, Personnel, Schedules, Set Design, 2004Box 28, Folder 7
    • "Oedipus Complex": Notes, Personnel, Schedules, Set Design, 2004Box 28, Folder 8
    • "Oedipus Complex": Programs, 2004Box 28, Folder 9
    • "Oedipus Complex": Research, 2004Box 29, Folder 1
    • "Oedipus Complex": Research, 2004Box 29, Folder 2
    • "Oedipus Complex": Script, 2003Box 29, Folder 3
    • "Oedipus Complex": Script (2nd Draft), 2004Box 29, Folder 4
    • "Oedipus Complex": Script (3rd Draft), 2004Box 29, Folder 5
    • "Oedipus Complex": Script, n.d.Box 29, Folder 6
    • "One Flew Over the Cuckoo's Nest": Clippings, 1973Box 29, Folder 7
    • "One Flew Over the Cuckoo's Nest": Programs, 1973Box 29, Folder 8
    • "One Warm Saturday": Script, 1983Box 30, Folder 1
    • "Passion Play": Clippings, 1988Box 30, Folder 2
    • "Passion Play": Correspondence, 1988Box 30, Folder 3
    • "Passion Play": Program, 1988Box 30, Folder 4
    • "Passion Play": Script, n.d.Box 30, Folder 5
    • "Pnin": Script, n.d.Box 30, Folder 6
    • "Postcard from Morocco": Clippings, 1987-1991Box 30, Folder 7
    • "Postcard from Morocco": Contracts, 1986-1990Box 30, Folder 8
    • "Postcard from Morocco": Score, n.d.Box 30, Folder 9
    • "The Quiet American": Research, 1991Box 30, Folder 10
    • "The Quiet American": Research, 1991Box 30, Folder 11
    • "The Quiet American": Research, 1991Box 31, Folder 1
    • "The Quiet American": Research, 1991Box 31, Folder 2
    • "Ragtime": Casting, n.d.Box 31, Folder 3
    • "Ragtime": Clippings, 1996-1998Box 31, Folder 4
    • "Ragtime": Notes, Personnel, Schedules, Set Design, 1996-1998Box 31, Folder 5
    • "Ragtime": Program, 1998Box 31, Folder 6
    • "Ragtime": Score, 1998Box 32, Folder 1
    • "Ragtime": Scrapbook, 1996-1998Box 32, Folder 2
    • "Ragtime": Script, 1996Box 32, Folder 3
    • "Ragtime": Script, 1998Box 32, Folder 4
    • "The Royal Family": Personnel, Schedules, Set Design, 2002Box 32, Folder 5
    • "The Royal Family": Program, 2002Box 32, Folder 6
    • "She Always Said, Pablo": Clippings, 1986-1990Box 32, Folder 7
    • "She Always Said, Pablo": Contract, 1990Box 32, Folder 8
    • "She Always Said, Pablo": Correspondence, 1986-1989Box 33, Folder 1
    • "She Always Said, Pablo": Notes, Personnel, Set Design, 1986-1987Box 33, Folder 2
    • "She Always Said, Pablo": Program, 1987Box 33, Folder 3
    • "She Always Said, Pablo": Research, 1987Box 33, Folder 4
    • "She Always Said, Pablo": Script, 1987Box 33, Folder 5
    • "She Always Said, Pablo": Script, n.d.Box 33, Folder 6
    • "She Stoops to Conquer": Program, n.d.Box 33, Folder 7
    • "The Strange Case of Dr. Jekyll and Mr. Hyde": Script, n.d.Box 33, Folder 8
    • "The Street of Crocodiles": Script, n.d.Box 33, Folder 9
    • "Summer and Smoke": Clippings, 1977-1982Box 33, Folder 10
    • "Summer and Smoke": Contract, 1977Box 33, Folder 11
    • "Summer and Smoke": Notes, n.d.Box 33, Folder 12
    • "Summer and Smoke": Program, 1977Box 33, Folder 13
    • "Summer and Smoke": Research, n.d.Box 33, Folder 14
    • "Tosca": Clippings, 1992Box 33, Folder 15
    • "Tosca": Correspondence, 1991-1992Box 33, Folder 16
    • "Tosca": Notes, Outlines, Set Design, Schedules, 1992Box 33, Folder 17
    • "Tosca": Program, 1992Box 34, Folder 1
    • "Tosca": Research, n.d.Box 34, Folder 2
    • "Tosca": Score, n.d.Box 34, Folder 3
    • "Tosca": Script, n.d.Box 34, Folder 4
    • "Travesties": Clippings, 1979-1980Box 34, Folder 5
    • "Travesties": Correspondence, 1979-1980Box 34, Folder 6
    • "Travesties": Program, 1979Box 34, Folder 7
    • "La Traviata": Program, 1993Box 34, Folder 8
    • "La Traviata": Script, n.d.Box 34, Folder 9
    • "La Traviata": Set Design, 1993Box 34, Folder 10
    • "View from the Bridge": Clippings, 2002Box 34, Folder 11
    • "View from the Bridge": Correspondence, 2002Box 34, Folder 12
    • "View from the Bridge": Notes, Set Design, 2002Box 34, Folder 13
    • "View from the Bridge": Program, 2002Box 34, Folder 14
    • "View from the Bridge": Score (Corrected Version), 1999Box 34, Folder 15
    • "View from the Bridge": Score (Corrected Version), 1999Box 35, Folder 1
    • "View from the Bridge": Score (Corrected Version), 1999Box 35, Folder 2
    • "View from the Bridge": Score (Final Version), 2001Box 35, Folder 3
    • "View from the Bridge": Script, 1995Box 35, Folder 4
    • "The Visit": Clippings, 2001Box 35, Folder 5
    • "The Visit": Correspondence, 2001Box 36, Folder 1
    • "The Visit": Notes, Personnel, 2001-2004Box 36, Folder 2
    • "The Visit": Research, 2001Box 36, Folder 3
    • "The Visit": Script, 2001Box 36, Folder 4
    • "The Visit": Script, 2003Box 36, Folder 5
    • "The Voyage of Edgar Allan Poe": Clippings, 1990-1992Box 36, Folder 6
    • "The Voyage of Edgar Allan Poe": Correspondence, 1989-1990Box 36, Folder 7
    • "The Voyage of Edgar Allan Poe": Notes, Set Designs, n.d.Box 36, Folder 8
    • "The Voyage of Edgar Allan Poe": Program, 1990Box 36, Folder 9
    • "The Voyage of Edgar Allan Poe": Score, n.d.Box 36, Folder 10
    • "Winnebago": Clippings, 1974Box 37, Folder 1
    • "Winnebago": Programs, 1974Box 37, Folder 2
    • "The Winter's Tale": Casting, 1989Box 37, Folder 3
    • "The Winter's Tale": Clippings, 1990Box 37, Folder 4
    • "The Winter's Tale": Correspondence, 1990Box 37, Folder 5
    • "The Winter's Tale": Notes, Personnel, Set Design, 1989-1990Box 37, Folder 6
    • "The Winter's Tale": Program, 1990Box 37, Folder 7
    • "The Winter's Tale": Script, 1989Box 37, Folder 8
  • Oversize Materials
    • Frank Galati, Sr., ScrapbookBox 39
    • Oversize Materials