Abstract
Deeter’s disdain for the Broadway theatre was critical in the formation of Hedgerow, and over the years he perfected a public presentation to encourage donations, promote specific productions, or increase public awareness. In October 1939, before an audience of the Council of Jewish Women in Philadelphia, he outlined what he viewed as the critical differences between Broadway and Hedgerow, and in the process revealed a great deal about what he valued as a theatre artist. In a section titled “Production Methods,” he contrasted the work in the Rose Valley with the typical New York production.
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Notes
The foundational text for theories of “place” is Una Chaudhuri, Staging Place: The Geopathology of Modern Drama (Ann Arbor: University of Michigan Press, 1995). Christy Stanlake develops a theory of the palatial as a way of illuminating Native American dramaturgy with particular attention to The Cherokee Night in
Christy Stanlake, Native American Drama: A Critical Perspective (Cambridge: Cambridge University Press, 2009).
Lynn Riggs, “Introduction to Green Grow the Lilacs”in The Cherokee Night and Other Plays (Norman: University of Oklahoma Press, 1988), 4.
Witter Bynner (1881–1968) was a talented and controversial American poet who achieved some celebrity in 1918 when he and fellow Harvard alumni, Arthur Davison Ficke, were exposed as the authors of a hoax volume of poetry by the “Spectrists” that satirized the “Imagist” poets. Later Bynner was dismissed from Berkeley for serving drinks to undergraduates. In the 1920s, he became part of the arts colony in Santa Fe and was portrayed by his friend D. H. Lawrence as Owen Rhys in The Plumed Serpent. For a gossipy and delightful account of the Santa Fe-Taos arts colony see John Pen La Farge, Turn Left at the Sleeping Dog (Albuquerque: University of New Mexico Press, 2001).
Thomas Erhard, Lynn Riggs Southwest Playwright (Austin, TX: Steck-Vaughn, 1970), 8.
Lynn Riggs, Big Lake (New York: Samuel French, 1927), 7–8.
Quoted in Phyllis Cole Braunlich, Haunted by Home (Norman: University of Oklahoma Press, 1988), 62.
Jace Weaver, That the People Might Live (New York: Oxford University Press, 1997), 100.
Julie Little Thunder, “Mixed Bloods and Bloodlust in Cherokee Night,” Midwest Quarterly 4, no. 4 (Summer 2002): 355.
Stanlake has an extended discussion of the play’s intricate dramaturgical patterns and its significance in Native American theatre. See also Jaye Darby, “Broadway (Un) Bound: Lynn Riggs’s The Cherokee Night,” Baylor Journal of Theatre and Performance 4, no. 1 (Spring 2007): 7–23.
Susan Glaspell, Inheritors (London: Ernest Benn Ltd, 1924), 115.
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© 2013 Barry B. Witham
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Witham, B.B. (2013). The Cherokee Night: Riggs and the Power of Place. In: A Sustainable Theatre. Palgrave Studies in Theatre and Performance History. Palgrave Macmillan, New York. https://doi.org/10.1057/9781137121851_6
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