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Historical Dictionary of Contemporary American Theater: 1930-2010, by James Fisher books.google.com/books?id=m6O5-spILIUC&pg=PA392&dq=iron+clad+agreement+theatre&hl=en&sa=X&ei=xVd9UtXFDa634APMzICwDQ&ved=0CC0Q6AEwAA#v=onepage&q=iron%20clad%20agreement%20theatre&f=false The company`s name was taken from a line by Carnegie that refers to one of the title character`s business practices. The founders were looking for a name that (a) reflected the Iron and Steel Age that would dramatically please the company`s work, (b) did not resemble another small theater group (in fact, the company`s business model, especially in the early years, was more like that of a rock band than a theater group), and (c) reflected agreement on an aesthetic in terms of style, form and content on which they would base their experimentation. Watching Other People Work, by Peter Carnahan: books.google.com/books?id=KteB5X18XTEC&pg=PT285&dq=iron+clad+agreement+theatre&hl=en&sa=X&ei=hVp9UvLqOK684AOBr4GwDQ&ved=0CD8Q6AEwAw#v=onepage&q=iron%20clad%20agreement%20theatre&f=false The venue was the Old Post Office Museum of the Pittsburgh History and Landmarks Commission (later the Pittsburgh Children`s Museum). The performance took place on a platform amid museum exhibits of 19th century clothing and artifacts. A handmade light panel was used to control the relatively few conventional lighting instruments, with stage lighting complemented by oil lamps worn by the actors. The costumes were made through an agreement between the Pittsburgh Laboratory Theatre and a local costume shop. The Pittsburgh Post-Gazette and the Pittsburgh Press published articles on all aspects of the show, and signs that were for the show were posted on People`s Cab Taxis. Company: Katherine Ames Ann Beigel Doug Mertz Larry John Meyer`s Wilson Hutton (for Art/Work and Ourselves Alone; Emergency Study for Doug Mertz in Interchangeable Parts) Creativity with Bill Moyers (TV series): episode “Inventors”, aired January 22, 1983 The Smithsonian Institution (filmed December 1978) Virgins and Dynamos was produced in collaboration with peoples Light and Theatre Company of Philadelphia, which provided actors Susan Wilder and John Holt and was part of an exchange of American-British theater groups, initiated by Julia Royall. The ICA`s partner institution was the Major Road Theatre Company of Yorkshire. Thread/Work – a video production directed by Ron Hankison; produced by Julia Royall (formerly Swoyer) and Tom Pechar.
Funded by the South Carolina Committee on the Humanities and broadcast on SCETV with additional screenings in front of a live audience followed by discussion. Thread/Work focused on a textile factory that closed in Newberry, South Carolina, and how people`s lives in the city were affected. Thread/work videos and source tapes are archived at the South Carolina State Museum, Columbia, SC. A copy can also be found in the Curtis Theatre Collection. (Confirm this.) Originally inspired by a NY Times article by Keith Schneider: www.nytimes.com/1982/02/17/us/south-s-textile-mill-closings-continue-from-74-recession.html The work of The Iron Clad Agreement was filmed by/for the following: Hasta Cuando? Established for the National Conference of Puerto Rican Women under the auspices of We the People 2000. First production: National Convention, Philadelphia, PA. Written by Jerry James; Director: Tom Hearn. Connecticut`s performance. Ourselves Alone – written and starring Wilson Hutton, directed by Tom Hearn.
Music: traditional, with lyrics by Sean O`Casey. Special: American Wind Symphony – During the summers of 1979 and 1980, the company also performed aboard a floating barge (the “Point Counterpoint II”) with this symphony conducted by Robert Boudreau. Rather sharp biography of the Ironmaster, who became a philanthropist. The author does a pretty good job of showing that Carnegie`s earlier stories about his life were often exaggerated or that the keys were omitted. ЧР̧ÑаÑÑ Ð²ÐμÑÑ Ð3/4Ñз Ñв The final performance took place on March 30 in New York for the Amalgamated Textile Workers Union, a large audience that included factory workers, potential sponsors, Alan Eisenberg, then director of Actors Equity, and british embassy officials. [1?] Echoes in Hong Kong (May-June 1984) – Maryknoll priest Jack Clancey invited Tom Hearn and Julia Royall Swoyer to the Center for the Progress of Peoples in Hong Kong, where they facilitated oral history workshops for social workers working with low-income residents as well as factory workers. The former, under the leadership of Sol Alinsky-inspired activist Rita Kwok, used our techniques to present their case for better housing to the government. The residency was funded by the International Theatre Institute (Martha Coigney, Lynn Gross). The company filmed three segments of its From the Golden Age of Invention cycle (Ford`s four wheels and Edison`s incandescent lamp and phonograph) at Columbia University in New York for an episode of the PBS series “Creativity with Bill Moyers.” Père K: Youngstown Playhouse www.theyoungstownplayhouse.com/event/b47e674a59269d8d44e1e91fc0ac0d6d www.theyoungstownplayhouse.com/event/b47e674a59269d8d44e1e91fc0ac0d6d Art/Work – von Chris Blaetz, regie: Tom Hearn, gespielt von Wilson Hutton, Ann Beigel und Larry John Meyers, begleitet von Valerie Barnes.
Musik und Texte von Robert Nesius. Fotoset aus der Sammlung, von Wilson Hutton: www.flickr.com/photos/wilhutton/sets/72157637852370123/ Company: Wilson Hutton Ann Beigel Judith Ferrenbach David Fields (alias Garfield) Under the Stars and Bars: A Personal Narrative of the Confederacy von Mary Boykin Chesnut – bearbeitet und adaptiert von K. . . .