By Jeffrey Ullom (auth.)
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Additional info for America’s First Regional Theatre: The Cleveland Play House and Its Search for a Home
1). 20 Enchanted by the new approaches to design on display in his family’s house and uninspired by the conventional productions offered at the Euclid Avenue Opera House, O’Neil realized the need to explore new ideas and theories in theatrical production. Three years after his father debuted his miniature stage, Raymond travelled abroad in the summer of 1914 to visit the theatres of which he had read and heard so much. Fascinated by symbolist works mounted by Max Reinhardt and by the Moscow Art Theatre, O’Neil became a devout believer in the theories and practices of Edward Gordon Craig, especially the utilization of a cyclorama, the creative authority of the master artist, and the replacement of actors with marionettes.
The few descriptions of the earliest years of the Play House fail to place the new theatre within the context of the community; instead, every published history of the Play House suggests that the institution’s ability to endure is sufficient evidence of its receiving support. The omission of analyses in these histories, written by individuals affiliated with the Play House, implies that the theatre was a revelation to the community and that the cultured citizens of Cleveland immediately recognized its artistic value— nothing could be further from the truth.
You have youth and high ideals—a well-nigh invincible combination. 34 It should be noted that Flory, as chairman of the board, asserted his leadership during the process of securing the financing for the new building and its subsequent renovation. He is the one who resolved to reduce the cost of renovations by using bricks and plumbing and other materials from the razed Ammon House, and he is the representative who visited numerous banks in order to find the best possible loan terms for the group.
America’s First Regional Theatre: The Cleveland Play House and Its Search for a Home by Jeffrey Ullom (auth.)