This report provides draft excerpts from my PhD research on the evolving relationship between US regional theaters and the New York-based cluster of legitimate commercial theaters and producers, collectively known as "Broadway," between 1947 and 2017.
After World War II, Broadway had near total control over the professional production and regional distribution of new plays and musicals. In response to this stranglehold, there were calls to decentralize the American theater. The resident (or regional) theater movement that eventually arrived in response to these calls is generally credited to the massive investments, technical assistance, and public advocacy of the Ford Foundation. Between 1959 and 1980, the Foundation awarded approximately $31.5 million in support of strengthening resident professional theater.
Material from the Ford Foundation (FF) archives collected at the Rockefeller Archive Center (RAC) contributes to a chapter in my dissertation examining how requirements, constraints, and forms of support provided by the FF shaped the first generation of modern resident theaters, including their relationship with Broadway. To that end, two questions are currently motivating my review and analysis of documents collected in the FF collection: (1) Did financial support, technical assistance, and the imprimatur proffered by the FF strengthen or weaken the agency of resident theaters vis-à-vis Broadway? (2) Did the FF's support encourage resident theaters to adopt structures, policies, practices, goals, and beliefs that ultimately confined them to fulfilling a distributary (franchise) or tryout (farm club) function vis-à-vis Broadway, rather than the tributary (independent feeder) role that regional theaters were once imagined to fulfill?