Triangle Club Records, 1883-2007: Finding Aid

Permanent URL: http://arks.princeton.edu/ark:/88435/pc289j056

Triangle Club Records, 1883-2007: Finding Aid

AC122

Image from the Triangle Club Records, 1883-1996

Seeley G. Mudd Manuscript Library
65 Olden Street
Princeton, New Jersey 08540 USA
Phone: 609-258-6345
Fax: 609-258-3385
mudd@princeton.edu
http://www.princeton.edu/~mudd

Published in 1997

Summary Information

Creator:: Princeton University. Triangle Club.
Title and dates:: Triangle Club Records, 1883-1996
Abstract:: The Triangle Club Records consists of records of the Club and its predecessor, the Princeton College Drama Association, for productions performed by these organizations from 1883 to the present. Materials include correspondence, playbills, scripts, scores, newspaper clippings, posters, scrapbooks, and photographs as well as audio-visual recordings.
Size:: 65 linear feet (72 archival boxes, 4 records center boxes, 25 8x10 photo boxes, 43 11x16 photo boxes, 15 20x24 photo boxes, 23 custom boxes, 1 LP box, and 2 a/v boxes)
Call number:: AC122
Location:: Princeton University Library. Department of Rare Books and Special Collections.
Seeley G. Mudd Manuscript Library.
Princeton University Archives.
Princeton, New Jersey 08540 USA
Language(s) of material:: English.
Storage note:: This collection is stored onsite at the Mudd Manuscript Library.

History of Triangle Club

To a great extent, the history of the Triangle Club reflects the social, cultural, economic, and political history of the United States during the twentieth century, as well as its literary and theatrical development. The amount of talent--writers, composers, designers, performers--that came out of the organization is astonishing. A chronological examination of the archive traces an evolution of undergraduate life at Princeton University, from travel by private railway cars, invitations to tea dances and debutante parties, through what some might term our “vanished amenities,” to the bus-and-truck tours of the seventies, eighties, and nineties.

Beginnings

The origin of the club is firmly rooted in nineteenth-century theatrical tradition. Its archives begin in 1883 with a production of David Garrick by the Princeton College Dramatic Association; during the next five years the Association presented plays by Goldsmith, Sheridan, Garrick, and W.S. Gilbert. In keeping with the practice of British and American all-male institutions, women's roles were played by men. Entre'act music provided by the Instrumental or Banjo Clubs consisted of popular dance tunes or operatic excerpts, selections which would also have been in New York theatre programs of the time. Student theatricals were performed for the benefit of financially ailing athletic associations, and the sporadic activity of the Dramatic Association can be explained by the fluctuating fortunes of the athletic teams. It is interesting to note that the extensive Triangle tours of later years may be traced to the New Brunswick and Freehold performances of David Garrick.

In 1891 the Dramatic Association joined forces with the University Glee Club to present Po-ca-hon-tas, the first show in the Triangle tradition of musicals written and produced by students. According to a New York review, the reworked John Brougham play featured “new topical songs and local hits” and was well received, both on campus and in Trenton. But cast shenanigans in Trenton caused the faculty to veto a proposed New York performance; over the years, students and administrators would continue to be at odds over theatrical activities. Nevertheless, the Association came to Trenton once again the following year with Katharine, a Shakespearean spoof which marks the first appearance of Booth Tarkington '93 in the Triangle records.

The Triangle Name

The 1893 production was again a reworking of Shakespeare. Tarkington, a senior and president of the Dramatic Association, was prominent as both co-author of the book and as actor in the role of Cassius. The Honorable Julius Caesar was, in fact, so successful that it was repeated the following year, but with several significant changes. The Princeton University Dramatic Association had been replaced by The Triangle Club of Princeton. According to The New York Times, “several specialties will be introduced, such as tumbling, acrobatic feats, and dancing” and “James E. Wilson of Frohman's company came down Thursday and will coach the club regularly four times a week.” If Wilson did indeed coach, the club had its first professional director in its very first show under the name “Triangle Club.”

Financial problems--another recurrent theme in the history of the organization--caused Club members to curtail expenses in 1895. Neither the February production, Who's Who, nor the May offering, Snowball, were written by students, and both had relatively small casts. The following year the Club turned to a recent graduate, Post Wheeler '91, in hopes that his magic touch as co-author of The Honorable Julius Caesar could be repeated, and indeed, according to the review, their hopes were realized. The Mummy (1895-96) was also the first production in Triangle's new home, the Casino, located at lower campus near the present-day McCarter Theatre site. Yet another innovation was attempted in 1897. A Tiger Lily, the first Triangle show to be based on Princeton student life, was part of a double bill with Lend Me Five Shillings, a British farce. Since neither show was a great success, the Club returned to the tried and true in 1898 with a revival of P o-ca-hon-tas. The Privateer, presented in 1899, was originally entitled The Captain's Kidd Sister; the name change occurred because Mask and Wig at the University of Pennsylvania had produced a show about Captain Kidd. The “Privateer” March was the first commercially published Triangle song.

The King of Pomeru was notable in several respects. The Triangle Records contain an account of the show by William O. Morse '02, president of the Club from 1901 to 1902. Morse described the first meeting to hear the words and mu sic; while they were not well received, there was no time to write a new show. He added, “It may make rotten reading, but it played well.” (Triangle writers ever since have had similar problems). The following year, Morse recalled, “there was a bit of dressing up and some new songs added.” The 1901 production marked Triangle's first New York appearance; in 1902 the Club ventured as far as Pittsburgh, but not without difficulty. Two performances in that city were necessary for financial reasons, but there was faculty opposition. Morse remarked, “I had a staunch ally in Professor Howard Crosby Butler '92--himself Portia in The Honorable Julius Caesar and finally “I think my guarantee that there be no drunkenness in Pittsburgh helped to carry the day. “ Here is the first inkling that liquor could be a problem on Triangle tours.

Growth

During the first decade of the twentieth century the organization of Triangle became more structured. Printed copies of the script “for the exclusive use of candidates” first appear in the archives with The Man From Where (19 03-1904), and are indicative of the audition procedures necessary to become a member of the Club. After the New York performance of 1901, Franklin B. Morse '95 proposed a meeting to organize Triangle alumni; he suggested that they could promote the Club and help to build its reputation, assist with business arrangements on tour, and generally socialize among themselves. In June of that year thirty-seven alumni met in Princeton. They hoped to present a constitution and by-laws at a fall meeting, and there was also discussion of a written history of the Club and the collection of Triangle materials and memorabilia.

Although A Woodland Wedding included a specialty skirt dance, and “The Pony Ballet” was a part of Tabasco Land,The Mummy Monarch's kickline in 1907 was the first of that tradition to be documented photographically in the Triangle Records. Performances of The Mummy Monarch in 1907 prompted a letter from Eugene Sanger, the stage director, to J.B. Nutt, Club Manager. Sanger complained about the bad attitude of the men and cited as an example the fact that they did not think it necessary to rehearse before the Philadelphia performance. Nutt was also the recipient of a letter from John L. Kirk '81, who took offense at the treatment of alumni by the undergraduates in the matter of ticket distribution. Over the years Triangle would continue to have clashes with directors and alumni. The 1908 production, When Congress Went to Princeton, returned to a local setting, although in an earlier era. By 1910 the tour had extended as far west as Chicago and St. Louis; printed luncheon menus and newspaper clippings provide evidence of the elaborate social functions which were becoming part of the annual trek.

Christmas and White House Tours

With Once in a Hundred Years Triangle moved its tour to the Christmas season, again traveling as far west as St. Louis. The following year, The Pursuit of Priscilla was enthusiastically received in New York. The Washington visit featured a White House reception with President and Mrs. Wilson; the President also attended the matinee performance. The 1915-1916 production, The Evil Eye, had a distinguished pair of neophyte authors: Edmund Wilson '16 wrote the book, and F. Scott Fitzgerald '17 was responsible for the lyrics. Although he was never a member of the cast of a Triangle production, Fitzgerald in fact wrote three shows for the Club between 1914 and 1917. Among the enthusiastic Club supporters of this period were Mr. and Mrs. Cyrus McCormick of Chicago, who hosted numerous social events during the tours.

After a year's hiatus due to the war, Triangle became active again with a revival of The Honorable Julius Caesar. The first post-war tour occurred the following year, when The Isle of Surprise was taken on the road during Christmas break of 1919. This show marked a change in attitude toward Triangle productions. In the program, Club president Erdman Harris '20 described the new production: “And so we hope that a new day has dawned, that 'Jazz' will be forever relegated to a back seat, that Broadway will cease to be the idol of those who create the shows, that their staging shall be done in Princeton by Princeton men, and that the authorities and graduates will approve what is being done to elevate the standard of a society whose value in student life has been seriously questioned.” If indeed the value of the organization was being questioned, once again liquor seems to have been part of the problem. Correspondence in the Records indicates that Triangle managers during those years implored alumni in tour cities to write to President Hibben in order to confirm the good behavior of the men. E.S. Hubbell '20 commented to a St. Louis alumnus, “I am very sorry some of the men could not resist the temptation at Mr. Warner's tea but as the show went off all right I suppose there is no harm done. It was the only time on the entire trip that this occurred.”

In the spring of 1922 Triangle staged Shaw's The Devil's Disciple. This production was a milepost in the Club's history: the three female roles were played by women.

Professionalization and Emerging Stars

During the early 1920s there were several new developments in Triangle activities. New York performances were now booked in the Metropolitan Opera House, although initially there was some concern whether the Club would be able to fill such a large theatre and whether the men's voices would be strong enough to be heard properly. Late in 1923 there were negotiations concerning a possible radio broadcast, and in the same year Triangle's music publisher, J. Church Co., corresponded with the Victor Talking Machine Co. about a trial recording.

But the major event during this decade was the planning and construction of McCarter Theatre for Triangle Club. The completed theatre opened on February 21, 1930, with the Triangle Club presentation The Golden Dog. McCarter replaced the long-controversial Casino, which burned on January 8, 1924.

Here began the Golden Period for which the Triangle Club became famous in terms of its eventual contribution of outstanding talent to the Broadway theatre and Hollywood. Within a few years the Club would send forth into these profession al realms Erik Barnouw '29; C. Norris Houghton, Joshua Logan, and Myron McCormick, all Class of 1931; James Stewart '32; Jose Ferrer '33; and Nick Foran '34.

With The Tiger Smiles, Triangle writers returned to a Princeton town and gown setting for the first time since When Congress Came to Princeton (1908-1909). The production was well received, but the Club was already beginning to feel the effects of the Great Depression. In October 1930, the Program Manager reported, “Due to the financial depression the business of getting ads is a rather difficult one just now.” By the following year economic conditions had begun to affect the tour. South Orange reported poor ticket sales, and the local alumni chairman was concerned with keeping down the cost of stage hands. In Pittsburgh a poor house and lack of entertainment were attributed to the weak stock market. And in April 1932, a Buffalo alumnus painted a bleak picture of the current business situation. When It's the Valet was ready to tour, local alumni groups were either unwilling to sponsor a show or unable to guarantee an adequate sum to cover expenses, let alone show a profit. The Club's Graduate Board sought aid from alumni in underwriting the show, but individual contributions were equally difficult to come by.

Depression Years

During the mid-thirties Triangle continued to tour in spite of the Depression, but there were rumblings of discontent from both the Graduate Board of the Club and the University administration. In a 1934 meeting with President Dodds, the Board was concerned about the financial condition of McCarter Theatre; Triangle profits were insufficient to keep the Theatre operating in the black, a situation which was to become increasingly serious as the decade wore on. President Dodds had also heard alumni criticism about poor acting and an apparent lack of coaching in connection with the latest show. Yet he remained confident that Triangle could play an important role on campus, and Board President John Larkin '13 expressed the hope that the Club could be “the center around which would develop a new school or a department in writing and drama and creative art.” Later that same year, Club Manager Stryker Warren '35 received a stern letter from Dean of the College Christian Gauss. Gauss had considered cancelling the Christmas tour, first because of financial considerations, and then because of alumni criticism: “In nearly every case the criticism came as the result of the excessive drinking on the part of a few of your men.” Nevertheless the Dean concluded by wishing “you and all the officers and members of the Club a highly successful trip, a very merry Christmas and a happy New Year.”

At a 1937 Board meeting there was discussion about the lack of good voices in Triangle. Alumni as well as Board members had noted this situation, and it was suggested that “there must be someone in the Glee Club who could at least be drafted to sing, so that a song could be heard beyond the footlights.” Another complaint came from a Louisville alumnus early in 1938: “… I am not crazy about the Triangle Club bringing in certain dirty lines about 'buying a drink' and 'the Knights of the Garter,' etc… Personally I would prefer to see the young men get properly soused and have to be poured on the train than to use the lines objected to.”

Another change in tradition came during the 1941-42 academic year, when Triangle produced Ask Me Another, its first show in revue format. Then, at a Board meeting in September 1943, Graduate Treasurer B. Franklin Bunn '07 announced that there would be no Triangle Club activities for the duration of the war. The University assumed control of McCarter Theatre during this period, and the building was leased by the military for the use of the trainees on campus.

Post-war comeback

In November 1945, the Committee on Undergraduate Activities issued a report. According to that Committee, a sub-group of the Graduate Council of Princeton University, “The Triangle Club is perhaps the most controversial of all under graduate extracurricular activities. Despite obvious shortcomings, the Club affords many valuable opportunities to the undergraduate body and plays a very real part in alumni relations. According, it should be reestablished at the first possible moment.” The first post-war show, All Rights Reserved, opened in December 1946, and even managed a seven-city tour. The following year Triangle was beset with problems. The Daily Princetonian reported, “… All Rights pretty nearly weren't Reserved. A play by the same name had fizzled on Broadway for a bare month, in 1934, and the petulant playwright threatened to sue. Hasty consultation with a Broadway lawyer revealed that the author could not possibly win the suit and that matter was closed. The club resolved the tricky labor question by employing union stage-hands; and surprised [union official] Petrillo's hirelings in Philadelphia by making them earn their fee playing with the regular orchestra and in Washington by using them for intermission music.”

Touching on some of Triangle's post-war problems in March 1950, The Daily Princetonian observed: “It is encouraging to note that the Triangle Club, to all intents and purposes, is making a serious effort to prepare its 1950 show well in advance of opening night, a practice strictly in the realm of wishful thinking in the years since the end of the war…. The Triangle Club, charging the professional prices it does, cannot expect to fill McCarter Theatre for a disorganized, semi-amateurish show. This obligation to Princeton audiences extends, of course, to audiences throughout the country. The Triangle Club has two further obligations. It should make money, badly needed to pull McCarter out of its decrepit state…. The club's second obligation is to Princeton. On the one hand, the annual tour provides a much-needed rallying point for alumni across the country. On the other hand, that same tour, in years past, has done much to further Princeton's ill-deserved reputation as a 'country club.' Unless the latter element can be de-emphasized in favor of the former, the club cannot claim to have justified its existence.” The following November a lengthy report was issued by the Special Committee on the Problems of McCarter Theatre, The Triangle Club, and the Future of Dramatic Arts at Princeton University. The portion of the report dealing with Triangle discussed finances, possible presentations of serious drama, cooperation with other undergraduate organizations, the contract concerning McCarter Theatre, relations with Club alumni, and undergraduate organization. During all of this debate on and off campus, Triangle continued to reach a wider audience through greater media exposure. The entire score of Too Hot for Toddy was recorded, and members of the cast appeared on The Kate Smith Show and Ed Sullivan's The Toast of the Town; the following year Club personnel were featured on The Stork Club and Stars in Your Eyes, plus a repeat performance with Ed Sullivan.

Finally, in 1953, a memorandum of agreement was drawn up between Princeton University and the Trustees of the Triangle Club abrogating the McCarter agreement of the 1920s. The Club had simply been unable to cover the operating expenses and pay the taxes of the Theatre. A full-time general manager was hired for McCarter, and the University, which had been underwriting Triangle's losses, agreed to cancel the Club's debts.

The Lyon Era

Spree de Corps marked the debut of Milton Lyon as Triangle director. From 1955 until his death in 1995, Lyon would direct all but a handful of Triangle's original productions.

Student apathy toward extra-curricular activities began to have an impact on Triangle toward the end of the decade. At a meeting in October 1958, the Board noted a very small turn-out for the previous month's auditions. It was decided t hat more on-campus publicity would help, and as part of this effort Triangle Junior was formed, a group of seven Club members who performed favorite Triangle songs at club parties and other functions. Over the following years, this small group would under go periodic name changes, at some point being renamed Triangle Ding! and later Triangle Bit Parts, before changing back to Triangle Junior in 1989. But in the late 1950s there were also problems with the tour because of the gradual elimination of passenger trains; the Board suggested that the Club investigate touring by bus instead.

Early in 1960 there was a proposal to produce a motion picture on the Triangle Club, but a Hollywood writers' strike and possible heavy expenses brought an end to this publicity idea. However, Triangle did embark on its first European t our that summer; the Club performed at French and German bases of the American army.

With Tour de Farce the Triangle tour became a cross-country venture; performances in Pasadena and San Francisco marked the first time the show had been seen live from coast to coast. Because of the great distances involved, part of the tour was made by plane, also a first. The publicity staff of Ahead of the Game used some innovative advertising to promote the reunions show: “Family Night at the Triangle Show” was aimed at wives and children as a means of amusing themselves while the men were at stag dinners.

75th Anniversary?

Funny Side Up was billed as the 75th anniversary show in spite of the fact that number 70 was Tour de Farce, two years earlier. Funny Side Up did not have a smooth start. The writers were slow to produce material, and the trustees even considered the possibility that there would be no show. Student apathy was again cited, with undergraduates more concerned with grades and admission to graduate schools. Fortunately, because of the diamond jubilee, twenty-one songs from earlier shows could legitimately be made a part of the program. The tour of Funny Side Up included several southern stops, and the Birmingham visit became problematic. The Club was booked into a segregated theatre; after some strongly-worded letter s from Board members, it was determined that the performance would either be cancelled or moved to a non-segregated house.

Arguably, the main contribution to the Club's activities--and one that had been discussed as early as 1901--during the sixties was the publication of The Long Kickline: A History of the Princeton Triangle Club, written by Donald Marsden '64 and sponsored by The Board of Trustees. While it contains errors, it is the most detailed chronology of the organization through the production of Sham on Wry in 1966-67.

Women and other changes

A Different Kick was a Triangle milestone. It featured the first female undergraduate to be cast in a Club show, Sue Jean Lee '70, a junior in the Critical Languages Program. The orchestra was moved from the pit to the stage, and a spare, simple set and projection techniques marked a new approach to Triangle staging. In May 1969, the Board recognized the achievements of A Different Kick, but they also realized the challenges the Club was facing. The University's shift to coeducation the next fall would have a profound effect on Triangle. Growing deficits were a particular concern. And the Christmas tour was becoming more and more difficult: passenger trains were nearly nonexistent, bus travel was difficult, and the weather at that wintery time of year made plane schedules unreliable. Clearly, Triangle would have to change to survive.

Call a Spade a Shovel featured six women in a seventeen-member cast. The social and political commentary of the show unleashed an unprecedented storm of alumni protest, especially its anti-Vietnam War tones. Indeed, there was a massive walk-out by the audience at the Grosse Pointe tour performance.

Acting on the May 1970, report of the New Directions Committee of the Board, Triangle revised its production schedule that year. There was no December show and no Christmas tour; instead, a spring show was promised, to be followed by a short tour. In The Daily Princetonian a writer lamented, “… some will miss the excitement and debauchery of the annual tour.” In fact, Cracked Ice opened in late April 1971, was repeated for alumni in June, and finally toured the following December as far west as Missouri. To cut expenses, the cast and crew stayed in private homes rather than hotels, and non-union halls were booked.

The 1972 production, Blue Genes, featured a dance number which eventually became the kickline, with the cast on roller skates. The Princeton Triangle Workshop made its debut in November of that year with a presentation of The Fantasticks at the Princeton Inn Theater; the following March the Workshop produced Transitions, described as “five original plays and a multimedia extravaganza,” at the Truck Stop in Wilcox Hall.

Triangle continued to change during the mid-seventies. In the spring of 1974, Stephen James '74 submitted to the Board what was apparently the first annual report of a Club president. As recommended in the report, there was a southern t our of A Titter Ran Through the Audience that December. Also in December, the first issues of a Triangle newsletter appeared, reporting current activities and items of historical interest to Club members and alumni.

On December 14, 1979, The Daily Princetonian proudly reported that the Triangle Club was making its television debut with the performance of two numbers from Macadamia Nuts on The All-American College Comedy Show; the Prince was apparently unaware of the Washington, D.C., broadcast more than thirty years earlier, as well as the clubs appearances on Kate Smith and Ed Sullivan's shows. The fall productions of 1978, Happily Ever After, and 1979, String of Pearls, were both written by undergraduates. For the 1981 show Triangle writers returned to the very roots of the Club: Bold Type, a book musical, was based on Booth Tarkington's novel, A Gentleman from Indiana. The 1981 tour again returned to California, but with a revue of Triangle favorites, Fool's Gold, rather than the spring show. The following year Triangle hired Miriam Fond, the first female director in the Club's history.

Triangle finally found a home for its fall productions when The Best Little Whorehouse in Texas opened at the Triangle Broadmead Theatre in November 1984. Revues of the best of Triangle, presented early in the fall, were intended to introduce the freshman class to the organization.

Further details of this tenth decade of Triangle productions are covered in a senior thesis written by Nancy Whitcomb Barnes '91, who was also a performer and officer of the Club. Triangle continued its tradition of punning titles such as Business Unusual (1987), Ain't Mythbehavin' (1988), and Satanic Nurses (1989), a take-off on the title of the much-publicized book by Salman Rushdie.

Centennial

The Club's centennial was celebrated in 1991 with a series of events throughout the year on the campus. There was, of course, the spring show, The Older the Better, as well as a large exhibition which ran through the summer i n Firestone Library and included some 850 items from the Triangle Archive, and in the fall a Triangle reunion weekend of parties, performances, and renewed acquaintances and reminiscences.

How could a centennial celebration be held in 1991 when documents in the Triangle files indicate that the fiftieth anniversary show was Once Over Lightly, produced in 1938-39? In a set of 1939 Board minutes, Fred Fox '39 attempted to explain Triangle's tangled chronology: “In 1926 Samarkand right out of the blue said it was the 38th Triangle production. After that everyone naturally followed suit. All our publicity material said founded in 1893 and that left a 5 year deficit…. Jack [Hurdman '39] and I did our best to find some signs of Princeton drama before 1893 and finally discovered that we could use 1882 as a landmark. That was no good either because we had to have 1888 or nothing. At last we noticed a neat constitution in an old Princetonian of 1888 and we used that. Our records then, start with a fine PUDA (Princeton University Dramatic Association) Constitution. They plod along for five years under that heavy title and finally Booth Tarkington suggests the name Triangle Club for the organization in 1893.” But Club name or constitution aside, the first show truly in the Triangle tradition was Po-ca-hon-tas in 1891; hence the choice of 1991 for the centenary.

Mary Ann Jensen

Curator, William Seymour Theatre Collection

Description

The Triangle Club Records can be used not only to document the performances and business activities of one of the oldest college theatre groups in the country, but also to examine an aspect of student life as it relates to politics, social customs, and student mores. In its one-hundred-plus-year history, Triangle has spoofed perennial Princeton topics such as classroom etiquette, examinations, dating, living arrangements, and dining, as well as broader topics such as women's rights, Vietnam, Watergate, and academic trends.

Arrangement

Organized into the following series:

Series 1: Production Files, 1883-1996
Series 2: Business Correspondence, 1905-1995
Series 3: Photographs, 1883-1994
Subseries 3A: Medium Photographs, 1921-1994
Subseries 3B: Large Photographs, 1883-1985
Series 4: Exhibition Quality Playbills and Scores, 1890-1970
Series 5: Orchestrations, 1903-1986
Series 6: Scrapbooks, 1905-1957
Series 7: Audio-visual materials, posters, and ephemera, 1904-1990
Series 8: October 2008 Accession, 1923-2007

Access and Use

Access

Collection is open for research use.

Restrictions on Use and Copyright Information

Single photocopies may be made for research purposes. Permission to publish material from the collection must be requested from the University Archivist. Copyright is held by the Trustees of Princeton University.

Related Materials

Related Archival Material

Benjamin Franklin Bunn Papers
McCarter Theatre Records
Theatre Intime Records
Jay Kerr Papers
The Long Kickline; a history of the Princeton Triangle Club by Donald Marsden '64
I Also Swept the Floor: Theatre Intime from 1920-1974, by John P. Kendall '74 (senior thesis)
One Hundred Years and Still Kicking: A History of the Princeton Triangle Club (senior thesis #1477)

Processing and Other Information

Processing Information

This collection was processed by Michael Harrison '94, Damian Long '98, Paul Stevens, and Damon McLean '99 between 1994 and 1996. Finding aid written by Michael Harrison '94, Damian Long '98, Paul Stevens, and Damon McLean '99 between 1994 and 1996.

Descriptive Rules Used

Finding aid content adheres to that prescribed by Describing Archives: A Content Standard.

Encoding

Machine-readable finding aid encoded in EAD 2002 by Techbooks and Cristela García-Spitz on December 29, 2006.

Finding aid written in English.

Preferred Citation

Identification of specific item; Date (if known); Triangle Club Records, Box and Folder Number; University Archives, Department of Rare Books and Special Collections, Princeton University Library.

Subject Headings

These materials have been indexed in the Princeton University Library online catalog using the following terms. Those seeking related materials should search under these terms.

Browse other finding aids related to the following terms:

Princeton University

Contents List

Series 1: Production Files, 1883-1996

Series Description

Series 1: Production Files, 1883-1996, contains playbills, scripts, scores, clippings, photocopied photographs, and other materials relating to the Club's annual show. Original photographs are found in Series 3 but do not circulate under normal conditions.

Princeton College Dramatic Association, 1883-1890
Box 1, Folder 1
Po-ca-hon-tas,1890-1891
Box 1, Folder 2
Katharine,1891-1892
Box 1, Folder 3
The Honorable Julius Caesar,1892-1894
Box 1, Folder 4-5
The Mummy,1895-1896
Box 1, Folder 6
Lend Me 5 Shillings/A Tiger Lily,1896-1897
Box 1, Folder 7
Po-ca-hon-tas,1897-1898
Box 1, Folder 8
The Privateer,1898-1899
Box 1, Folder 9
Who's Who/Snowball,1894-1895
Box 1, Folder 10
A Woodland Wedding,1899-1900
Box 1, Folder 11
King of Pomeru,1900-1901
Box 1, Folder 12
The Mullah of Miasma,1902-1903
Box 1, Folder 13
The Man From Where,1903-1904
Box 1, Folder 14
The Pretenders,1904-1905
Box 2, Folder 1
Tabasco Land,1905-1906
Box 2, Folder 2
The Mummy Monarch,1906-1907
Box 2, Folder 3
When Congress Went to Princeton,1907-1908
Box 2, Folder 4
The Duchess of Bluffshire,1908-1909
Box 2, Folder 5
His Honor the Sultan,1909-1910
Box 2, Folder 6
Simply Cynthia,1910-1911
Box 3, Folder 1
Main Street,1911-1912
Box 3, Folder 2
Once in a Hundred Years,1912-1913
Box 3, Folder 3
The Pursuit of Priscilla,1913-1914
Box 3, Folder 4
Fie! Fie! Fi-Fi!,1914-1915
Box 3, Folder 5-6
The Evil Eye,1915-1916
Box 3, Folder 7
Safety First,1916-1917
Box 4, Folder 1-2
The Honorable Julius Caesar,1918-1919
Box 4, Folder 3
The Isle of Surprise,1919-1920
Box 4, Folder 4
They Never Come Back,1920-1921
Box 4, Folder 5
Espanola,1921-1922
Box 5, Folder 1
The Devil's Disciple,1921-1922
Box 5, Folder 2
The Man from Earth,1922-1923
Box 5, Folder 3-4
Drake's Drum,1923-1924
Box 5, Folder 5
The Scarlet Coat,1924-1925
Box 5, Folder 6
Fortuno,1925-1926
Box 6, Folder 1
Samarkand,1926-1927
Box 6, Folder 2
Napoleon Passes,1927-1928
Box 6, Folder 3
Zuider Zee,1928-1929
Box 7, Folder 1
The Golden Dog,1929-1930
Box 7, Folder 2
The Tiger Smiles,1930-1931
Box 7, Folder 3
Spanish Blades,1931-1932
Box 7, Folder 4
It's the Valet,1932-1933
Box 8, Folder 1
Fiesta,1933-1934
Box 8, Folder 2
Stags at Bay,1934-1935
Box 8, Folder 3
What a Relief,1935-1936
Box 9, Folder 1
Take It Away,1936-1937
Box 9, Folder 2
Fol-de-Rol,1937-1938
Box 10, Folder 1-3
Once Over Lightly,1938-1939
Box 10, Folder 4
Many A Slip,1940-1941
Box 11, Folder 1
Ask Me Another,1941-1942
Box 11, Folder 2-3
Time and Again,1942-1943
Box 12, Folder 1
Clear the Track,1946-1947
Box 12, Folder 2
All In Favor,1948-1949
Box 12, Folder 4
Come Across,1949-1950
Box 12, Folder 5
Too Hot for Toddy,1949-1950
Box 13, Folder 1-2
Ham 'n Legs,1949-1950
Box 13, Folder 3
Season,1951-1952
Box 13, Folder 4-5
Malice in Wonderland,1952-1955
Box 14, Folder 1-5
Tunis, Anyone?,1954-1955
Box 14, Folder 6-10
Spree de Corps,1955-1956
Box 15, Folder 1
Take a Gander,1956-1957
Box 15, Folder 2-4
After a Fashion,1957-1958
Box 15, Folder 5-7
For Heaven's Sake,1958-1959
Box 15, Folder 8
For Heaven's Sake,1958-1959
Box 16, Folder 1-2
Breakfast in Bedlam,1959-1960
Box 16, Folder 3
A Midsummer Night Screame,1960-1961
Box 16, Folder 4-5
Tour De Farce,1962-1962
Box 16, Folder 6
Ahead of the Game,1962-1963
Box 16, Folder 7
Funny Side Up,1963-1964
Box 16, Folder 8-10
Grape Expectations,1964-1965
Box 17, Folder 1
High Sobriety,1965-1966
Box 17, Folder 2
Sham on Wry,1966-1967
Box 17, Folder 3-4
Enter Venus,1967-1968
Box 17, Folder 5-6
A Different Kick,1968-1969
Box 18, Folder 1-2
Call a Spade A Shovel,1969-1970
Box 18, Folder 3-4
Cracked Ice,1970-1971
Box 18, Folder 5
Blue Genes,1971-1972
Box 18, Folder 6-8
One More Hour for Uncle Ben,30 April 1972
Box 19, Folder 1
Future Schlock,1972-1973
Box 19, Folder 2-3
You're a Good Man Charlie Brown,1973
Box 19, Folder 4
A Titter Ran Through the Audience,1973-1974
Box 19, Folder 5-6
Blithe Spirit,1974
Box 19, Folder 7
American Zucchini,1974-1975
Box 19, Folder 8-10
Mugs Money,1975-1976
Box 19, Folder 11
Mugs Money,1975-1976
Box 20, Folder 1-2
Kafka, Tea or Me,1976-1977
Box 20, Folder 3-4
Chile Today, Guacamole,1977-1978
Box 20, Folder 6
Academia Nuts,1978-1979
Box 20, Folder 7-8
From Here to Eternity,1979-1980
Box 21, Folder 1
Bold Type,1980-1981
Box 21, Folder 2-4
Stocks and Bondage,1981-1982
Box 21, Folder 5
Under the Influence,1982-1983
Box 21, Folder 6
Revel Without a Pause,1983-1984
Box 21, Folder 7-8
The Best Little Whorehouse in Texas,1984-1985
Box 22, Folder 1
Star Spangled Banter,1985-1986
Box 22, Folder 2
Business Unusual,1986-1987
Box 22, Folder 3-6
90 Minutes of the Best Triangle,1986-1987
Box 22, Folder 6
91 Minutes of the Best Triangle,1987
Box 23, Folder 1
Ain't Mythbehavin',1987-1988
Box 23, Folder 2
Little Shop of Horrors,1988-1989
Box 23, Folder 3
Satanic Nurses,1988-1989
Box 23, Folder 4-5
Grease,1989-1990
Box 23, Folder 6
Easy Street,1989-1990
Box 23, Folder 7
The Older, the Better/Into the Woods,1990-1991
Box 23, Folder 8
Production Files, 1994-1995
Box 23, Folder 9
The Tiger Roars,1996
Box 23, Folder 10

Series 2: Business Correspondence, 1905-1995

Series Description

Series 2: Business Correspondence, 1905-1995, contains general correspondence and correspondence particular to Triangle tours. The latter provides insight into travel arrangements, destinations, accommodations, and local support. The other correspondence details the club's finances, fundraising, theatre management (both McCarter and the Casino), as well as containing information such as club constitutions, trustee meeting minutes, and press releases on performances.

Tour Correspondence, 1905-1913
Box 24, Folder 1-4
General Correspondence, 1913-1915
Box 24, Folder 5-6
Tour Correspondence, 1914-1915
Box 24, Folder 7-8
General Correspondence, 1915-1916
Box 25, Folder 1
Tour Correspondence, 1915-1917
Box 25, Folder 2-4
General Correspondence, 1916-1917
Box 25, Folder 5
Tour Correspondence, 1916-1917
Box 25, Folder 6-7
Correspondence, 1918-1919
Box 26, Folder 1
General Correspondence/Tour Correspondence, 1919-1920
Box 26, Folder 2
Tour Correspondence, 1919-1920
Box 26, Folder 3
General Correspondence/Tour Correspondence, 1920-1921
Box 26, Folder 4
Tour Correspondence, 1920-1921
Box 26, Folder 5
General Correspondence/Tour Correspondence, 1921-1922
Box 26, Folder 6
Tour Correspondence, 1921-1922
Box 27, Folder 1
General Correspondence, 1922-1923
Box 27, Folder 2-6
Tour Correspondence, 1922-1924
Box 28, Folder 1-4
General Correspondence, 1923-1924
Box 28, Folder 5-6
General Correspondence, 1923-1924
Box 29, Folder 1-2
Tour Correspondence, 1923-1924
Box 29, Folder 3-7
Tour Correspondence, 1923-1924
Box 30, Folder 1
General Correspondence, 1924-1925
Box 30, Folder 2-5
General Correspondence, 1924-1925
Box 31, Folder 1-3
Tour Correspondence, 1924-1925
Box 31, Folder 4-6
Tour Correspondence, 1924-1925
Box 32, Folder 1-5
General Correspondence, 1925-1926
Box 33, Folder 1-5
Tour Correspondence, 1925-1926
Box 34, Folder 1-6
General Correspondence, 1926-1927
Box 35, Folder 1-3
Tour Correspondence, 1926-1927
Box 35, Folder 4-6
Tour Correspondence, 1926-1927
Box 36, Folder 1-6
General Correspondence, 1927-1928
Box 37, Folder 1-3
Tour Correspondence, 1927-1928
Box 37, Folder 4-6
Tour Correspondence, 1927-1928
Box 38, Folder 1-7
General Correspondence, 1928-1929
Box 39, Folder 1-3
Tour Correspondence, 1928-1929
Box 39, Folder 4-7
General Correspondence, 1929-1930
Box 40, Folder 1
Tour Correspondence, 1929-1930
Box 40, Folder 2-5
Tour Correspondence, 1929-1930
Box 41, Folder 1
General Correspondence, 1930-1931
Box 41, Folder 2-3
Tour Correspondence, 1930-1931
Box 41, Folder 4-6
General Correspondence, 1931-1932
Box 42, Folder 1
Tour Correspondence, 1931-1932
Box 42, Folder 2-4
General Correspondence, 1932-1933
Box 42, Folder 5
Tour Correspondence, 1932-1933
Box 42, Folder 6-7
Tour Correspondence, 1932-1933
Box 43, Folder 1-2
General Correspondence, 1933-1934
Box 43, Folder 3
Tour Correspondence, 1933-1934
Box 43, Folder 4-7
General Correspondence, 1934-1935
Box 44, Folder 1
Tour Correspondence, 1934-1935
Box 44, Folder 2-6
General Correspondence, 1935-1936
Box 45, Folder 1-2
Tour Correspondence, 1935-1936
Box 45, Folder 3-5
General Correspondence, 1936-1937
Box 46, Folder 1-2
Tour Correspondence, 1936-1937
Box 46, Folder 3-6
General Correspondence, 1937-1938
Box 47, Folder 1
Tour Correspondence, 1937-1938
Box 47, Folder 2-7
General Correspondence, 1938-1939
Box 48, Folder 1
Tour Correspondence, 1938-1939
Box 48, Folder 2-7
General Correspondence, 1939-1940
Box 49, Folder 1
Tour Correspondence, 1939-1940
Box 49, Folder 2-5
General Correspondence, 1940-1941
Box 50, Folder 1
Tour Correspondence, 1940-1941
Box 50, Folder 2-5
General Correspondence, 1941-1942
Box 51, Folder 1
Tour Correspondence, 1941-1942
Box 51, Folder 2-4
General/Tour Correspondence, 1942-1943
Box 51, Folder 5
General Correspondence (no tour), 1943-1946
Box 51, Folder 6
General Correspondence, 1946-1947
Box 51, Folder 9
Tour Correspondence, 1946-1947
Box 51, Folder 10-11
General Correspondence, 1947-1948
Box 52, Folder 1
Tour Correspondence, 1947-1948
Box 52, Folder 2
General Correspondence, 1948-1949
Box 52, Folder 3
Tour Correspondence, 1948-1949
Box 52, Folder 4-5
General Correspondence, 1949-1950
Box 52, Folder 6
Tour Correspondence, 1949-1950
Box 52, Folder 7-9
General Correspondence, 1950-1951
Box 53, Folder 1-2
Tour Correspondence, 1950-1951
Box 53, Folder 3-6
General Correspondence, 1951-1952
Box 53, Folder 7
Tour Correspondence, 1951-1952
Box 54, Folder 1
General Correspondence, 1952-1953
Box 54, Folder 2-3
Tour Correspondence, 1952-1953
Box 54, Folder 4-6
General Correspondence, 1953-1954
Box 55, Folder 1
Tour Correspondence, 1953-1954
Box 55, Folder 2-4
Tour Correspondence, 1953-1954
Box 55, Folder 5
General Correspondence, 1954-1955
Box 55, Folder 6-7
General Correspondence, 1954-1955
Box 56, Folder 1
Tour Correspondence, 1954-1955
Box 56, Folder 2-4
General Correspondence, 1955-1956
Box 56, Folder 5
Tour Correspondence, 1955-1956
Box 56, Folder 6-7
General Correspondence, 1956-1957
Box 56, Folder 8
Tour Correspondence, 1956-1957
Box 57, Folder 1-3
General Correspondence, 1957-1958
Box 57, Folder 4
Tour Correspondence, 1957-1958
Box 57, Folder 5-6
Tour Correspondence, 1957-1958
Box 58, Folder 1-3
General Correspondence, 1958-1959
Box 58, Folder 4
Tour Correspondence, 1958-1959
Box 58, Folder 5-6
General Correspondence, 1959-1960
Box 58, Folder 7-8
Tour Correspondence, 1959-1960
Box 59, Folder 1-2
General Correspondence, 1960-1961
Box 59, Folder 3
Tour Correspondence, 1960-1961
Box 59, Folder 4-8
General/Tour Correspondence, 1961-1962
Box 60, Folder 1-5
General Correspondence, 1962-1963
Box 60, Folder 6
Tour Correspondence, 1962-1963
Box 61, Folder 1-4
General Correspondence, 1963-1964
Box 61, Folder 5
Tour Correspondence, 1963-1964
Box 61, Folder 6-7
Tour Correspondence, 1963-1964
Box 62, Folder 1-3
General Correspondence, 1964-1965
Box 62, Folder 4-5
Tour Correspondence, 1964-1965
Box 62, Folder 6-8
General Correspondence, 1965-1966
Box 63, Folder 1-3
Tour Correspondence, 1965-1967
Box 63, Folder 4-6
Tour Correspondence, 1966-1968
Box 64, Folder 1-5
General Correspondence, 1967-1968
Box 64, Folder 6-7
General Correspondence, 1968-1969
Box 65, Folder 1
Tour Correspondence, 1968-1969
Box 65, Folder 2
General Correspondence, 1969-1970
Box 65, Folder 3
Tour Correspondence, 1969-1970
Box 65, Folder 4
General Correspondence, 1970-1971
Box 65, Folder 5
Tour Correspondence, 1970-1971
Box 65, Folder 6
General Correspondence, 1971-1972
Box 65, Folder 7
Tour Correspondence, 1971-1972
Box 65, Folder 8
General/Tour Correspondence, 1972-1975
Box 66, Folder 1-3
General Correspondence, 1975-1976
Box 66, Folder 4
Tour Correspondence, 1975-1976
Box 66, Folder 5
General Correspondence, 1976-1977
Box 66, Folder 6
Tour Correspondence, 1976-1977
Box 66, Folder 7
General/Tour Correspondence, 1977-1978
Box 66, Folder 8
Tour Correspondence, 1977-1978
Box 66, Folder 9
General/Tour Correspondence, 1978-1979
Box 66, Folder 10
General/Tour Correspondence, 1979-1981
Box 67, Folder 1-2
General/Tour Correspondence, 1988-1991
Box 67, Folder 3-4
General Correspondence, 1994-1995
Box 67, Folder 5
Tour Correspondence, 1994-1995
Box 67, Folder 6

Series 3: Photographs, 1905-1995

Series Description

Series 3: Photographs, 1883-1994, is divided into two subseries: Medium Photographs, 1921-1994, and Large Photographs, 1883-1985. Photographs consist primarily of promotional shots, some backstage photographs, and a small number taken during actual productions. The great majority are black-and-white, though some color photos can be found starting in the late 1950s. Photocopies of all photographs can be found in Series 1, Production Files. Therefore this series is restricted.

Subseries 3A: Medium Photographs, 1921-1994
1921-1922
Box 68
1921-1922 to 1931-1932
Box 69
1932-1933 to 1935-1936
Box 70
1936-1937 to 1938-1939
Box 71
1940-1941 to 1947-1948
(no productions 1942-1946)
Box 72
1948-1949
Box 73
1950-1951 to 1953-1954
Box 74
1954-1955 to 1957-1958
Box 75
1957-1958 to 1958-1959
Box 76
1958-1959 to 1959-1960
Box 77
1960-1961
Box 78
1961-1962
Box 79
1962-1963
Box 80
1963-1964
Box 81
1964-1965 to 1968-1969
Box 82
1968-1969 to 1969-1970
Box 83
1969-1970 to 1971-1972
Box 84
1972-1973 to 1973-1974
Box 85
1974-1975 to 1975-1976
Box 86
1976-1977 to 1978-1979
Box 87
1979-1980 to 1981-1982
Box 88
1982-1983 to 1984-1985
Box 89
1985-1986 to 1986-1987
Box 90
1986-1987 to 1987-1988
Box 91
1988-1989 to 1993-1994
Box 92
Subseries 3B: Large Photographs, 1883-1985
1883-1893
Box 93
1892-1955
Box 94
1906-1932,1956-1985
Box 95
Three oversize photographs:
The Triangle Club at the White House, December 22, 1913;
Cabinet 5, Drawer 4
Kickline for The Mummy Monarch,1906-1907;
Cabinet 5, Drawer 4
Fol-de-Rol composite photograph, 1936-1937
Cabinet 5, Drawer 4

Series 4: Exhibition Quality Playbills and Scores, 1890-1970

Series Description

Series 4: Exhibition Quality Playbills and Scores, 1890-1970, contains playbills and scores identical to those found in Series 1. These items are in pristine or near-perfect condition and are to be used for exhibition purposes. Therefore, as with Series 3, this series is restricted.

Scores, 1901-1915
Box 96
Scores, 1916-1937
Box 97
Scores, 1937-1970
Box 98
Playbills, 1890-1917
Box 98
Playbills, 1919-1970
Box 99

Series 5: Orchestrations, 1903-1986

Series Description

Series 5: Orchestrations, 1903-1986, contains the original musical orchestrations for many of Triangle's productions. These are handwritten and annotated music sheets for the various instrumental parts as well as the master score. Not all performances are represented in this series.

The Man from Where, 1903-1904
Box 100
The Pursuit of Priscilla, 1913-1914
Box 100
Samarkand, 1926-1927
Box 100
Zuider Zee, 1928-1929
Box 101
The Golden Dog, 1929-1930
Box 102
Many A Slip (oversize), 1940-1941
Box 103
Too Hot For Toddy, 1950-1951
Box 104-106
Ham 'N Legs, 1952-1953
Box 107
Malice In Wonderland, 1953-1954
Box 108-109
After A Fashion (oversize), 1957-1958
Box 110
For Heaven's Sake, 1958-1959
Box 111
Funny Side Up, 1963-1964
Box 111
High Sobriety, 1965-1966
Box 111
Breakfast in Bedlam, 1959-1960
Box 112
Ahead Of The Game, 1962-1963
Box 112
A Midsummer Night Screame (oversize), 1960-1961
Box 113
Tour De Farce (oversize), 1961-1962
Box 114
Ahead Of The Game, 1962-1963
Box 115
Grape Expectations (oversize), 1964-1965
Box 116
Grape Expectations, 1964-1965
Box 117
Grape Expectations, 1964-1965
Box 118
Call A Spade A Shovel, 1969-1970
Box 118
Sham On Wry (oversize), 1966-1967
Box 119
Sham On Wry, 1966-1967
Box 120-121
Enter Venus (oversize), 1967-1968
Box 122
Enter Venus, 1967-1968
Box 123-124
A Different Kick, 1968-1969
Box 125
Cracked Ice, 1970-1971
Box 126
Blue Genes, 1971-1972
Box 127
Future Schlock, 1972-1973
Box 128
A Titter Ran Through The Audience, 1973-1974
Box 129
American Zucchini, 1974-1975
Box 130-131
Mugs Money, 1975-1976
Box 132-133
Kafka Tea Or Me, 1976-1977
Box 134-136
Chile Today, Guacamole, 1977-1978
Box 137-139
Academia Nuts, 1978-1979
Box 140
From Here To Hilarity (oversize), 1979-1980
Box 141
From Here To Hilarity, 1979-1980
Box 142
From Here To Hilarity, 1979-1980
Box 143
Bold Type, 1980-1981
Box 143
Bold Type, 1980-1981
Box 144
Stocks And Bondage (oversize), 1981-1982
Box 145-146
Under The Influence (oversize), 1982-1983
Box 147-149
Revel without a Pause (oversize), 1983-1984
Box 150
Revel without a Pause, 1983-1984
Box 151
The Best Little Whorehouse in Texas, 1984-1985
Box 151
The Best Little Whorehouse in Texas, 1984-1985
Box 152
Star Spangled Banter, 1985-1986
Box 152
Easy Street, 1989-1990
Box 152
Star Spangled Banter (oversize), 1985-1986
Box 153
miscellaneous (oversize)
Box 154

Series 6: Scrapbooks, 1905-1957

Series Description

Series 6: Scrapbooks, 1905-1957, contains 24 scrapbooks from various productions, dating primarily from the 1920s and 1930s. They contain clippings, ticket stubs, and other material not necessarily found in Series 1, Production Files, although some overlap does occur.

Tabasco Land,1905-06
Compiled by Publicity Dept.
Box 155
Espanola,1921-22
Compiled by Publicity Dept.
Box 156
Drake's Drum,1923-24
Compiled by Publicity Dept.
Box 157
The Scarlet Coat,1924-25
Compiled by Publicity Dept.
Box 158
Fortuno,1925-26
Compiled by Publicity Dept.
Box 159
Napoleon Passes,1927-28
Compiled by Publicity Dept.
Box 160
Napoleon Passes,1927-28
Compiled by E. Harris Harbison '28
Box 161
Zuider Zee,1928-29
Compiled by Publicity Dept.
Box 162
The Tiger Smiles,1930-31
Compiled by Publicity Dept.
Box 163
Spanish Blades,1931-32
Compiled by Publicity Dept.
Box 164
Fiesta,1933-34
Compiled by Publicity Dept.
Box 165
Stags at Bay,1934-35
Compiled by Publicity Dept.
Box 166
What a Relief!,1935-36
Box 166
Take It Away,1936-37
Box 166
Take It Away,1936-37
Compiled by Frederick E. Fox '39
Box 167
Fol-De-Rol,1937-38
Some production material
Box 167
Fol-De-Rol,1937-38
Compiled by Theodore English '39
Box 168
Fol-De-Rol,1937-38
Compiled by Publicity Dept.
Box 169
Once Over Lightly,1938-39
Compiled by Publicity Dept.
Box 170
Ask Me Another,1941-42
Compiled by Publicity Dept.
Box 171
Never Say Horses,1951-52
Compiled by Publicity Dept.
Box 172
Malice in Wonderland,1953-54
Compiled by R.K. Lewis, Jr. '56
Box 173
Take a Gander,1956-57
Compiled by William W. Lockwood, Jr. '59
Box 174
Take a Gander,1956-57
Compiled by Jack Schlegel '57
Box 175

Series 7: Audio-visual materials, posters, and ephemera, 1904-1990

Series Description

Series 7: Audio-visual materials, posters, and ephemera, 1904-1990, contains reel-to-reel audio tape, 33 1/3 LP records, slides, posters, VHS videotape, 16mm film, and other items that document particular Triangle shows.

Slides and negatives, 1891-c. 1980
Box 176
Seven reel-to-reel audio tapes:
Box 177
One More for Uncle Ben,1972
Box 177
Future Schlock,1973
(3 reels)
Box 177
A Titter Ran Through the Audience,1974
Box 177
American Zucchini,1975
Box 177
unidentified, n.d.
Box 177
Four reels of 16mm film:
Box 177
All in Favor,1949
(2 reels)
Box 177
Midsummer Night's Screame,1961
Box 177
Unidentified, c. 1937?
Box 177
Three VHS videotapes:
Box 178
Once Upon a Mattress,Fall 1993
Box 178
98 Minutes,Fall 1994
Box 178
Rhyme and Punishment,April 1995
Box 178
Twenty-four records
(all 33 1/3 rpm except those indicated):
Box 179
The Scarlet Coat (selections from), 1924-25,
78 r.p.m.; no jacket
Box 179
The Golden Dog (selections from), 1929-30,
78 r.p.m.; no jacket
Box 179
Spanish Blades (selections from), 1931-32,
78 r.p.m.; makeshift jacket
Box 179
Stags at Bay,1934-35,
78 r.p.m.; wrong jacket
Box 179
Never Say Horses,1951-52
Box 179
Ham 'N Legs,1952-53
Box 179
Malice in Wonderland,1953-54
Box 179
Tunis Anyone?,1954-55
Box 179
Spree De Corps,1955-56
Box 179
Take a Gander,1956-57
Box 179
After a Fashion,1957-58
Box 179
For Heaven's Sake,1958-59
Box 179
Breakfast in Bedlam,1959-60
Box 179
Tour de Farce,1961-62
Box 179
Ahead of the Game,1962-63
Box 179
Funny Side Up,1963-64
Box 179
Grape Expectations,1964-65
Box 179
High Sobriety,1965-66
Box 179
Sham on Wry,1966-67,
no jacket
Box 179
45th Edition of the Follies of 1922, 1966-67
Box 179
A Different Kick , 1968-69
Box 179
Call a Spade a Shovel,1969-70
Box 179
From Here to Hilarity,1979-80
Box 179
Where There's a Song,1986-87
(no record, 2 jackets)
Box 179
Ephemera:
Triangle Club Seal; felt banner, Spring '85 - Spring '91
(Approx. 4'8" x 5') Box 180
T-Shirt, white; Easy Street,(1989-90)
tour dates on back
Box 180
Green fabric swatch, possibly from Casino Curtain
(24 x 24) Box 180
14" gold metal necklace with Triangle Club emblem and Princeton Men's Choir emblem; J.M. McKerney, '31
Box 180
Ephemera:

Three set design books, High Sobriety (two) (1965-1966) and Grape Expectations (1964-1965)

Original program cover art: 5 pen and ink drawings by Jim Davis, 1922-1923

Box 181

Oversized (non-poster) Items
LOCATED IN OVERSIZE CABINETS
Fol de Rol: collection for program, 1937-1938
Photograph montage mounted on cardstock
Cabinet 6, Drawer 6, Folder 1
The Mummy Monarch, 1906-1907
Photograph mounted on cardstock
Cabinet 6, Drawer 6, Folder 1
Mugs Money, 1976
Four set designs by C. H. Milligan and B. Strobel
Cabinet 6, Drawer 6, Folder 1
The Triangle Club of Princeton University at the White House, 1913 Dec
Photograph mounted on cardstock
Cabinet 6, Drawer 6, Folder 1
Posters, (to 1947)
Cabinet 6, Drawer 6, Folder 2
The Honorable Julius Caesar, 1892-1893
Cabinet 6, Drawer 6, Folder 2
The Honorable Julius Caesar, 1893-1894
Cabinet 6, Drawer 6, Folder 2
The Pretenders, 1904-1905
Cabinet 6, Drawer 6, Folder 2
Simply Cynthia, 1910-1911
Cabinet 6, Drawer 6, Folder 2
Main Street, 1911-1912
Cabinet 6, Drawer 6, Folder 2
Scarlet Coat, 1924-1925
Cabinet 6, Drawer 6, Folder 2
Stags at Bay; Holiday, 1934-1935
Cabinet 6, Drawer 6, Folder 2
What a Relief! (2), 1935-1936
Cabinet 6, Drawer 6, Folder 2
Once Over Lightly, 1938-1939
Cabinet 6, Drawer 6, Folder 2
Clear the Track, 1946-1947
Cabinet 6, Drawer 6, Folder 2
Posters, (1947-1965)
Cabinet 6, Drawer 6, Folder 3
All In Favor, 1948-1949
Cabinet 6, Drawer 6, Folder 3
Come Across, 1949-1950
Cabinet 6, Drawer 6, Folder 3
Too Hot for Toddy, 1950-1951
Cabinet 6, Drawer 6, Folder 3
Ham 'n Legs, 1952-1953
Cabinet 6, Drawer 6, Folder 3
Malice in Wonderland, 1953-1954
Cabinet 6, Drawer 6, Folder 3
Tunis, Anyone?, 1954-1955
Cabinet 6, Drawer 6, Folder 3
Spree de Corps, 1955-1956
Cabinet 6, Drawer 6, Folder 3
Take a Gander, 1956-1957
Cabinet 6, Drawer 6, Folder 3
After a Fashion, 1957-1958
Cabinet 6, Drawer 6, Folder 3
Breakfast in Bedlam, 1959-1960
Cabinet 6, Drawer 6, Folder 3
Midsummer Night Screame, 1960-1961
Cabinet 6, Drawer 6, Folder 3
Tour De Farce, 1961-1962
Cabinet 6, Drawer 6, Folder 3
Ahead of the Game (2), 1962-1963
Cabinet 6, Drawer 6, Folder 3
Grape Expectations, 1964-1965
Cabinet 6, Drawer 6, Folder 3
Posters, (1965-1977)
Cabinet 6, Drawer 6, Folder 4
Sham on Wry, 1966-1967
Cabinet 6, Drawer 6, Folder 4
Call A Spade A Shovel, 1969-1970
Cabinet 6, Drawer 6, Folder 4
Cracked Ice (4), 1970-1971
Cabinet 6, Drawer 6, Folder 4
Blue Genes (3), 1971-1972
Cabinet 6, Drawer 6, Folder 4
Future Schlock (3), 1972-1973
Cabinet 6, Drawer 6, Folder 4
Fantasticks
Cabinet 6, Drawer 6, Folder 4
A Titter Ran Through the Audience, 1973-1974
Cabinet 6, Drawer 6, Folder 4
American Zucchini, 1974-1975
Cabinet 6, Drawer 6, Folder 4
Mugs Money (3), 1975-1976
Cabinet 6, Drawer 6, Folder 4
Kafka, Tea or Me (3), 1976-1977
Cabinet 6, Drawer 6, Folder 4
Posters, (1977-1986)
Cabinet 6, Drawer 6, Folder 5
Chile Today, Guacamole (3), 1977-1978
Cabinet 6, Drawer 6, Folder 5
Academia Nuts (2), 1978-1979
Cabinet 6, Drawer 6, Folder 5
Happily Ever After (2)
Cabinet 6, Drawer 6, Folder 5
String of Pearls, 1979-1980
Cabinet 6, Drawer 6, Folder 5
Bold Type (3), 1980-1981
Cabinet 6, Drawer 6, Folder 5
Company
Cabinet 6, Drawer 6, Folder 5
Fool's Gold
Cabinet 6, Drawer 6, Folder 5
Stocks and Bondage, 1981-1982
Cabinet 6, Drawer 6, Folder 5
Cabaret (2)
Cabinet 6, Drawer 6, Folder 5
Under the Influence (3), 1982-1983
Cabinet 6, Drawer 6, Folder 5
Revel Without a Pause, 1983-1984
Cabinet 6, Drawer 6, Folder 5
'87 Minutes of the Best of Triangle, 1984
Cabinet 6, Drawer 6, Folder 5
No. 96-Untitled (2), 1984-1985
Cabinet 6, Drawer 6, Folder 5
The Best Little Whorehouse in Texas
Cabinet 6, Drawer 6, Folder 5
Star Spangled Banter (3), 1985-1986
Cabinet 6, Drawer 6, Folder 5
The Boy Friend (2)
Cabinet 6, Drawer 6, Folder 5
Posters, (since 1986)
Cabinet 6, Drawer 6, Folder 6
Business Unusual, 1986-1987
Cabinet 6, Drawer 6, Folder 6
Applause
Cabinet 6, Drawer 6, Folder 6
Ain't Mythbehavin' (2; one signed by cast), 1987-1988
Cabinet 6, Drawer 6, Folder 6
Triangle 88
Cabinet 6, Drawer 6, Folder 6
Satanic Nurses (3; one signed by cast), 1988-1989
Cabinet 6, Drawer 6, Folder 6
Little Shop of Horrors
Cabinet 6, Drawer 6, Folder 6
Easy Street (2), 1989-1990
Cabinet 6, Drawer 6, Folder 6
The Older, the Better (2), 1990-1991
Cabinet 6, Drawer 6, Folder 6
100 Years and Still Kicking
Cabinet 6, Drawer 6, Folder 6
Rhyme and Punishment, 1994-1995
Cabinet 6, Drawer 6, Folder 6
The Music Man, [ca. 1995]
Cabinet 6, Drawer 6, Folder 6
Pulpit Fiction, 1995-1996
Cabinet 6, Drawer 6, Folder 6
'99 Minutes of the Best of Triangle
Cabinet 6, Drawer 6, Folder 6
Godspell
Cabinet 6, Drawer 6, Folder 6
It's a Wonderful Laugh, 1996-1997
Cabinet 6, Drawer 6, Folder 6
In Lava and War, 1997-1998
Cabinet 6, Drawer 6, Folder 6
101 Damnations, 1998-1999
Cabinet 6, Drawer 6, Folder 6
Palindromes are Fun!
Cabinet 6, Drawer 6, Folder 6
The Blair Arch Project, 1999-2000
Cabinet 6, Drawer 6, Folder 6
Menage '03
Cabinet 6, Drawer 6, Folder 6
The Rude Olympics III, 2000-2001
Cabinet 6, Drawer 6, Folder 6
Posters, (not dated)
Cabinet 6, Drawer 6, Folder 7
Glenn Miller Dance
Cabinet 6, Drawer 6, Folder 7
Open House
Cabinet 6, Drawer 6, Folder 7
Triangle auditions
Cabinet 6, Drawer 6, Folder 7
Triangle Club organizational meeting
Box 181, Folder 7
A Get Together Where We Get It Together - For You
Cabinet 6, Drawer 6, Folder 7
A Funny Thing Happened on the Way to the Forum
Cabinet 6, Drawer 6, Folder 7

AR.2008.131 Series 8: October 2008 Accession, 1923-2007

4.5 Linear Feet

Series Description

Series 8: October 2008 Accession, 1923-2007, contains original scripts and scores; performance programs, photographic slides of the Blair Arch Project, and reviews and press clippings.

Arrangement

The arrangement of the records at the time of transfer has been retained.

Programs, 1915-2007
Box 182
Scripts and Scores
1975-1995, Undated
Box 183
1965-1985, Undated
Box 184
Slides, Blair Arch Project, 1999
Box 185
Reviews and Press, 1961-2005
Box 185
Original Scripts and Scores, 1923-1957
Box 185
Posters, 2000-2008, undated
Box 186

Alphabetical list of Triangle Shows

90 Minutes of the Best Triangle,1986-1987
91 Minutes of the Best Triangle,1987
Academia Nuts,1978-1979
After a Fashion,1957-1958
Ahead of the Game,1962-1963
Ain't Mythbehavin',1987-1988
All In Favor,1948-1949
American Zucchini,1974-1975
Ask Me Another,1941-1942
Best Little Whorehouse in Texas,1984-1985
Blithe Spirit,1974
Blue Genes,1971-1972
Bold Type,1980-1981
Breakfast in Bedlam,1959-1968
Business Unusual,1986-1987
Call a Spade A Shovel,1969-1970
Chile Today, Guacamole,1977-1978
Clear the Track,1946-1947
Come Across,1949-1950
Cracked Ice,1970-1971
Devil's Disciple,1921-1922
Different Kick,1968-1969
Drake's Drum,1923-1924
Duchess of Bluffshire,1908-1909
Easy Street,1989-1990
Enter Venus,1967-1968
Espanola,1921-1922
Evil Eye,1915-1916
Fie! Fie! Fi-Fi!,1914-1915
Fiesta,1933-1934
Fol-de-Rol,1937-1938
For Heaven's Sake,1958-1959
Fortuno,1925-1926
From Here to Eternity,1979-1980
Funny Side Up,1963-1964
Future Schlock,1972-1973
Golden Dog,1929-1930
Grape Expectations,1964-1965
Grease,1989-1990
Ham 'n Legs,1949-1950
High Sobriety,1965-1966
His Honor the Sultan,1909-1910
Honorable Julius Caesar,1892-1893,1893-1894,1918-1919
Isle of Surprise,1919-1920
It's the Valet,1932-1933
Kafka, Tea or Me,1976-1977
Katharine,1891-1892
King of Pomeru,1900-1901
Lend Me 5 Shillings,1896-1897
Little Shop of Horrors,1988-1989
Main Street,1911-1912
Malice in Wonderland,1953-1954
Man From Earth,1922-1923
Man From Where,1903-1904
Many A Slip,1940-1941
Midsummer Night Screame,1960-1961
Mugs Money,1975-1976
Mullah of Miasma,1902-1903
Mummy Monarch,1906-1907
Mummy, The,1895-1896
Napoleon Passes,1927-1928
Once in a Hundred Years,1912-1913
Once Over Lightly,1938-1939
One More Hour for Uncle Ben, 30 April 1972
Po-ca-hon-tas,1890-1891
Pretenders, The,1904-1905
Privateer, The,1898-1899
Pursuit of Priscilla,1913-1914
Revel Without a Pause,1983-1984
Safety First,1916-1917
Samarkand,1926-1927
Satanic Nurses,1988-1989
Scarlet Coat, The,1924-1925
Sham on Wry,1966-1967
Simply Cynthia,1910-1911
Snowball,1894-1895
Spanish Blades,1931-1932
Spree de Corps,1955-1956
Stags at Bay,1934-1935
Star Spangled Banter,1985-1986
Stocks and Bondage,1981-1982
Tabasco Land,1905-1906
Take a Gander,1956-1957
Take It Away,1936-1937
The Older, the Better/Into the Woods,1990-1991
They Never Come Back,1920-1921
Tiger Lily, A,1896-1897
Tiger Roars, The,1996-1997
Tiger Smiles, The,1930-1931
Time and Again,1942-1943
Titter Ran Through the Audience, A,1973-1974
Too Hot for Toddy,1949-1950
Tour De Farce,1962-1962
Tunis, Anyone?,1954-1955
Under the Influence,1982-1983
What a Relief,1935-1936
When Congress Went to Princeton,1907-1908
Who's Who,1894-1895
Woodland Wedding,1899-1900
You're a Good Man Charlie Brown,1973
Zuider Zee,1928-1929

Permanent URL: http://arks.princeton.edu/ark:/88435/pc289j056

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