Posts by Doug Reside

As the month of June draws to a close, it's time to leave The Black Crook and move on to a new Musical of the Month. Before I do, though, I want to take a minute to let those who may have been intrigued by the small samples I’ve posted know how they can find more information about The Black Crook and other historical musicals.

 This is the second in a series of posts about the 1866 proto-musical, The Black Crook. See my first post in the series for additional background on the show

Very little is known about the music used in the original production of The Black Crook. Early advertisements feature the scenic effects (TRANSFORMATION SCENE or THE CRYSTAL CASCADE) much more prominently than the music. Spectacular dances (eg. "Pas de Demons" or "Pas de Fleurs") are sometimes listed as well (albeit in a slightly smaller typeface), but rarely are the songs announced at all. Some 1866 programs cite "music 

Most musical theater history books cautiously locate the birth of the American Musical at Niblo's Garden (a theater once located on Prince Street) on September 12, 1866 at the opening of The Black Crook. Of course, among many scholars, this identification is regarded as something of a joke — song had been integrated into plays since the early days of Greek drama, and the songs in The Black Crook, at least in its original version, were mostly diversions from the plot — no more related to the action and characters than commercial breaks are to an episode of Glee. Nonetheless, for all the very good reasons to reject The Black Crook as the 

Growing up in St. Louis, Missouri, my favorite part of the week was visiting the Florissant Valley Public Library and checking out cast recordings. I remember flipping through the bins of LPs, staring down at the big black album with glowing cat eyes, and wondering what in the world that show might be about. It was always a little disappointing when the liner notes were missing or the plot summaries were particularly sparse. In such cases, I would make up a story to fit between the songs (which led to some surprises when I finally saw these shows in their entirety). Sometimes I would go to the shelves to try to find a libretto, but, with the exception of the titles in Stanley 

In William Butler Yeats' poem "Among School Children" the poet famously asks "How can we know the dancer from the dance"?  Many interpret this line as an observation that some creative acts are so intimately connected to the artist who created them that separating the two is almost impossible.  However interesting or beautiful this idea might be, its reality makes the work of dance preservation a difficult one.  Literary or musical art can be transcribed to paper using a widely understood encoding system (e.g. the alphabet) and passed on to future generations.  Documenting and preserving dance is not so easy.

In my last post I discussed the urgent problem of preserving "born digital" collections (that is, creative drafts produced using a computer rather than paper and pencil), and the very real possibility that a large portion of our cultural history will be lost unless we solve it quickly.  Today, though, the sun is shining, the weather is warm, and the days are getting longer, so I turn to the happier subject of the really remarkable things a scholar can learn using born digital data.

The Performing Arts Library has an amazing collection of manuscript and typewritten drafts from some of the greatest writers and musicians in the world.  The processes that led to groundbreaking experimental music compositions like John Cage's Music of Changes or Imaginary Landscape No. 1 are documented in the artist's papers. The Fred Ebb collection allows a researcher to peer into the creative process that led to lyrics like "Life is a Cabaret" and "All That Jazz."  These materials can be fragile—they were often written hurriedly on cheap paper and in poor quality ink—but over the thousands of years since the technology of 

Allow me to introduce myself — my name is Doug Reside, and in February I became the first Digital Curator for the Performing Arts at The New York Public Library. The position of Digital Curator is a fairly new one (not just at NYPL, but in the world in general), and those of us who hold the title do different kinds of things depending on the particular needs of our institutions. I thought it might be useful, then, for me to explain what it means for NYPL to have created this position, and how it will benefit you as a user of our collections.