Oral History Interviews
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The oral histories housed in the James K. Hosmer Special Collections Library were recorded in the 1970s. Some originally aired on the radio; others were simply captured with an eye toward preserving the memories of interviewees for posterity. The interviewees spanned a variety of professional fields including business, music, art, architecture, and urban planning. The interviewers were a similarly diverse group that included radio DJs, historians, and volunteers.
Oral histories are available in their entirety online in cases where the sound quality is good and a legal release form was signed by the interviewee. Oral histories for which no release form exists or that are of poor sound quality can be accessed on CD at Special Collections. If a written transcript of an interview is available this is noted on the interview description. Transcripts are also available at Special Collections.
Please feel free to contact Special Collections directly if you have questions about this collection.
Cedar Lake Ice Company
Interviewee: Nassig, George W.Interviewed by: Benson, Bernard C. in 1977
Summary:
Summary from HCL catalog record: "Bernard C. Benson interviews George W. Nassig, retired employee of the Cedar Lake Ice Company, about the ice business in Minneapolis" (Oral history project. No. 45-47, Cedar Lake Ice Company / George W. Nassig, Summary).
(33 min.)
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Part 2
(64 min.)
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Part 3
This oral history is not available online. Contact Special Collections staff for more information. (ask for interview #47) Transcript available: no
Depression, The: Silberman, Ed
Interviewee: Silberman, EdInterviewed by: Parish, Audrey H. in 1983
Summary:
This is a taped interview with Ed Silberman who lived with his family in North Minneapolis in the early 1930’s, went to the University of Minnesota where he was compelled to participate in R.O.T.C., worked to help earn his college education and earned a master’s degree in Engineering in 1936. Ed’s father owned a business in North Dakota but the family came to live in North Minneapolis. The Depression hit while he was in high school. His father’s business failed during that time and the Depression began affecting Ed’s life about the time he graduated from high school. He remembers that his parents were very protective of their children regarding money matters.
Ed started attending the University of Minnesota where tuition was $20 a quarter. He was conscious of the closing of banks because he could not draw out money for his second quarter tuition. He helped out by working as a grocery store clerk on Saturday afternoons. He was conscious that some of the students had to drop out of school because of the depression. His recollections include the fact that R.O.T.C. was compulsory and was also a controversial matter on campus. While drilling they experienced jeers from bystanders and a popular anti-R.O.T.C. slogan was: “I shall not fight for God or country.”
Ed’s beliefs regarding a future were that he could always make a good living following college and that if the could make $5000 a year that would take care of him for life. While his work at the grocery store exposed him to the circumstances of poverty, he does not remember ever seeing anyone in dire straits. His memories include a sympathetic dentist named Henry Strommen who went around to local merchants and collected groceries to make up boxes that were given to people in desperate straits.
His recollections of the trucker’s strike were only impressions, nothing first-hand. He remembers hearing of street battles. People fighting each other picked fruit and vegetables from trucks and threw it at each other. There were fist fights and sometimes fighters threw paving bricks at opposition. His sympathies were anti-striker since he worked for people who sold produce and couldn’t sell if there wasn’t anything delivered for sale. He remembers that his father was strongly anti-communist and that there were agitators who pushed for communism.
His last year at the U of M was on a fellowship for which he earned $750 a year and he continued working in the grocery store. As part of that fellowship study he worked in the Experimental Engineering Building where he worked on models of the lab that would later become the hydraulics lab created by the Public Works Administration in 1936. He later became director of the Hydraulics Engineering Laboratory. After graduation his first job was with the Minnesota State Planning Board. The Water Resources Program was instituted under auspices of a Federal program. In that position he was required to contribute from his monthly paycheck to the Farmer Labor Party headed by Floyd B. Olson, Governor of Minnesota. His next job was with the Corp of Engineers working on locks and dams.
(91 min.)
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Depression, The: Silberman, Idell
Interviewee: Silberman, IdellInterviewed by: Parish, Audrey H. in 1983
Summary:
Idell discusses her life as a child of immigrants during the depression, and also her work to better society on a local and national level. Her family lived in north Minneapolis. She discusses her family life saying that her community didn’t really feel the depression since they were all have-nots anyway. There was nobody else to compare her life to who had more. Also she describes her very loving family and how they always felt grateful for what they had rather than being envious of what they did not have. Furthermore she discusses relations with those inside and outside the Jewish community, and how businessmen in the community would support each other. She also explains how her mother would help others and how this influenced her to make the community better. She goes on to describe her education, and the fact that it was expected that she would go to college. She describes her college life as one of study without much of a social life. She worked at a department store for $3 a day to pay for her $20 a quarter tuition.
She then describes her marriage to Ed Silberman and how she followed him from post to post during the war. After the war they moved back to Minnesota dissatisfied with community life in Washington, DC. When they returned they found they had to build a new community life with other recent returnees. This began her life of service as she got involved in the school and park boards to make her community a better place. She also worked to get vocational training for students. Furthermore she helped to organize the first charter flights to Europe so teachers and students could have more international experiences. She was also vocal about the need for language training for children after a trip to Russia where she learned all students were taught English. She thought this would bring about world peace. She was also active on the national scene working with the UN and building an educational partnership with NASA. Finally she speaks about her involvement with various Jewish and interfaith organizations and their attempts to educate young people and their parents about Israel. She closes by talking about how important education is to her.
She then describes her marriage to Ed Silberman and how she followed him from post to post during the war. After the war they moved back to Minnesota dissatisfied with community life in Washington, DC. When they returned they found they had to build a new community life with other recent returnees. This began her life of service as she got involved in the school and park boards to make her community a better place. She also worked to get vocational training for students. Furthermore she helped to organize the first charter flights to Europe so teachers and students could have more international experiences. She was also vocal about the need for language training for children after a trip to Russia where she learned all students were taught English. She thought this would bring about world peace. She was also active on the national scene working with the UN and building an educational partnership with NASA. Finally she speaks about her involvement with various Jewish and interfaith organizations and their attempts to educate young people and their parents about Israel. She closes by talking about how important education is to her.
(92 min.)
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Effects of the 30’s and WWII on Life Today: Goss, Marie
Interviewee: Goss, MarieInterviewed by: Loken, Vivian M in 1986
Summary:
Marie Goss was born in New York City, lived in Washington, D.C. and came to the Midwest and thence to Minnesota in 1947. Her father was a graduate of Harvard Law School and was employed by the Federal Trade Commission in Washington, D.C. Her mother went to Cornell College and got her Master’s Degree before the year 1900. Marie earned a B.A. Degree in Education from George Washington University in D.C. but was unable to find employment as a teacher during that period of time. She went to a business school to learn shorthand and typing and then found employment teaching those skills in a business college.
Later, she met her husband who became employed, as she was then by the Civilian Conservation Corps in the capacity of facilitating personnel. Following that, her husband was employed by the University of Illinois at Urbana-Champaign where Marie joined him after their marriage. In Illinois Marie became involved with the League of Women Voters. She recalls that her mother had stressed the importance of education which then should be used to benefit others rather than for cultural advancement. Then Marie speaks about her views on equal economic opportunity for women and gives her opinion of how women might effectively represent their views on the subject.
In 1947 Mr. Goss took employment with Pillsbury Company which resulted in the family’s move to Minnesota. Marie managed their household, including their three children, and continued her own interests. An active participation in the League of Women Voters led her into the political arena.
Finally she talks about the Minneapolis Library system and her work on the Library Board. She gives her personal views about women working in public life along with men and she gives her private views about contribution of effort that can be rewarding in public life as well as in private life.
Later, she met her husband who became employed, as she was then by the Civilian Conservation Corps in the capacity of facilitating personnel. Following that, her husband was employed by the University of Illinois at Urbana-Champaign where Marie joined him after their marriage. In Illinois Marie became involved with the League of Women Voters. She recalls that her mother had stressed the importance of education which then should be used to benefit others rather than for cultural advancement. Then Marie speaks about her views on equal economic opportunity for women and gives her opinion of how women might effectively represent their views on the subject.
In 1947 Mr. Goss took employment with Pillsbury Company which resulted in the family’s move to Minnesota. Marie managed their household, including their three children, and continued her own interests. An active participation in the League of Women Voters led her into the political arena.
Finally she talks about the Minneapolis Library system and her work on the Library Board. She gives her personal views about women working in public life along with men and she gives her private views about contribution of effort that can be rewarding in public life as well as in private life.
(84 min.)
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Excelsior Minnesota History
Interviewee: Moody, Lowell Henderson; Moody, Kitty StonerInterviewed by: Justad, Joe in September 25, 1965
This oral history is not available online. Contact Special Collections staff for more information. (ask for interview #?) Transcript available: no
Godfrey Family
Interviewee: Palen, MargueriteInterviewed by: Baker, Patty in 1977
Summary:
Summary from HCL catalog record: "Marguerite Palen, granddaughter of Ard Godfrey, reminisces about the Godfrey family and house" (Oral history project. No. 44, Godfrey family / Marguerite Palen, Summary).
(47 min.)
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Guthrie Theatre
Interviewee: Schoenbaum, Donald H.Interviewed by: Wuest, Mrs. Frederick in 1974
Summary:
In a 1974 interview, Donald H. Schoenbaum, Managing Director of the Guthrie Theatre and Executive Vice President of the Guthrie Theatre Foundation, discusses the management of the Guthrie Theatre. Schoenbaum discusses fundraising and financial issues stemming from the early private support of the theatre and the attempts to resolve the difficulties by expanding fundraising efforts. Schoenbaum also discusses the early goals of the Guthrie, artistic challenges, the role of the artistic director, program planning, planning a season, future plans for the Guthrie, and the impact of the Guthrie on local and national theaters. Schoenbaum also emphasizes the importance of programs and activities aimed at students and the significant percentage of the audience that is students.
(60 min.)
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Impact of life in the 1930’s and World War II on life today
Interviewee: Cooper, E.J.Interviewed by: Loken, Vivian M in 1984
Summary:
These are the ruminations of a man who held the position of Superintendent of Schools in Robbinsdale #281 for many years. His father and two brothers were teachers, but E.J. Cooper wanted to find his fortune out west. He found employment in Colorado, but his wife did not fare well in the high elevation. From there he went to fill a position as teacher in New Mexico and ultimately came to Robbinsdale.
One of his teaching engagements was in New Mexico where he taught exceptionally bright students. His discovery was that children of well educated parents were better students than many of the children of immigrants. Mr. Cooper speculates about that in the sense that many people who emigrated to foreign lands did so because they were unable to do well in their own land.
He speaks of building up a large district with a good school system, such as Robbinsdale, through use of stringent hiring practices. He would not break in new teachers. If they taught elsewhere for a couple years and then came back, he would try to work them into his system. His soliloquies cover his standards for judging a good teacher. In the matter of teaching practices, Mr. Cooper relates to the custom of teachers weeding out poor pupils by failing them in order to do justice to the remainder of the class.
His interest in slow learners resulted in the system doing a great deal to advance their opportunities. There was emphasis, too, on opportunities in education for the disabled. Mr. Cooper spoke with pride on the excellent math program in Robbinsdale School District.
Mr. Cooper commented, too, on the way World War II changed the nature of the community. Return of veterans to their old neighborhood expanded into the suburbs. As a result, more new schools had to be built which increased the size of the district and expanded opportunities within the system. MEA represents the big teachers’ body in the state of Minnesota more strongly than the union, Mr. Cooper believes, although they co-exist with some harmony. He advances the opinion that positive leadership in management makes it possible to get contracts with teachers without a strike. Since retirement from his job as Superintendent, Mr. Cooper served on the library MELSA board.
One of his teaching engagements was in New Mexico where he taught exceptionally bright students. His discovery was that children of well educated parents were better students than many of the children of immigrants. Mr. Cooper speculates about that in the sense that many people who emigrated to foreign lands did so because they were unable to do well in their own land.
He speaks of building up a large district with a good school system, such as Robbinsdale, through use of stringent hiring practices. He would not break in new teachers. If they taught elsewhere for a couple years and then came back, he would try to work them into his system. His soliloquies cover his standards for judging a good teacher. In the matter of teaching practices, Mr. Cooper relates to the custom of teachers weeding out poor pupils by failing them in order to do justice to the remainder of the class.
His interest in slow learners resulted in the system doing a great deal to advance their opportunities. There was emphasis, too, on opportunities in education for the disabled. Mr. Cooper spoke with pride on the excellent math program in Robbinsdale School District.
Mr. Cooper commented, too, on the way World War II changed the nature of the community. Return of veterans to their old neighborhood expanded into the suburbs. As a result, more new schools had to be built which increased the size of the district and expanded opportunities within the system. MEA represents the big teachers’ body in the state of Minnesota more strongly than the union, Mr. Cooper believes, although they co-exist with some harmony. He advances the opinion that positive leadership in management makes it possible to get contracts with teachers without a strike. Since retirement from his job as Superintendent, Mr. Cooper served on the library MELSA board.
(85 min.)
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Life in Minneapolis in the 1930's: Fair, Jeanette A.
Interviewee: Fair, Jeanette A.Interviewed by: Loken, Vivian M in 1984
Summary:
Jeanette Fair was a teacher and a school principal. Her interview touches upon changes in her profession through a span of thirty plus years. She relates to changes in teaching contracts from the days when a teacher violated her contract by getting married through union-dictated contracts of more recent years. She speaks about her association with the Delta Kappa Gamma Society through which she actively promoted the movements that brought about a broader system of employment rights and advancement for teachers (with emphasis on equal rights for women) on a state, national, and international basis. While her teaching was in a school in a suburban area, her views are those of a Minneapolis and a Minnesota woman.
(81 min.)
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Life in Minneapolis in the 1930’s: Cohn, Lillian
Interviewee: Cohn, LillianInterviewed by: Loken, Vivian M in 1984
Summary:
In this 1984 Interview Linda Cohn discusses her life as the daughter of Jewish immigrants in the 1930s and beyond. She discusses several things during the interview. These include her parent’s personal history. Her father was a miller who had to work as a laborer when he arrived in Minnesota. He later made umbrellas and cut keys. These included the keys for the Foshay tower. She had three brothers who became lawyers, and one who became a business man. Her mother was from Austria-Hungary and tramped grapes to make the $25 needed for passage to America. She also discusses her life during the depression. Her family could only afford one year of high school so she started working retail. She became discontented, and her father loaned her the money to go to Business College. She states that she remembers the strikes of the 30’s but they did not affect her personally. She does remember the anxiety they caused though. She also discusses her personal life. She was married to a salesman in 1917, and they had one son: Victor. She worked in a dress shop until the end of the Second World War. She then joined various Jewish activist groups. She describes the women in these groups as aggressive. She also relates the story of former Governor Floyd B. Olson who would turn on the gas for people in the Jewish community on the Sabbath since they were forbidden to do so by religious law. She also discusses her son’s time at the Star Tribune and the Washington Post. Finally she closes with her views on contemporary society versus what she remembers as a young woman.
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Life in Minneapolis in the 1930’s: Nellie Stone Johnson
Interviewee: Johnson, Nellie StoneInterviewed by: Loken, Vivian M in 1983
Summary:
Nellie Stone Johnson was born into a family of seven children to farmer parents in a North Central Minnesota area. She says being raised on a farm gave her skills to produce and be self-sufficient; it helped her to avoid becoming hung up on status. After going to the University of Minnesota and then to additional college classes in Wisconsin, Nellie went to work for the Minneapolis Athletic Club. Having become involved with young people in political groups, she turned her interests to union affairs where she became a shop steward and then vice president of the union. She was one of the first women to hold vice presidency in a union. That was as high as a woman could go. It was that union which sponsored Nellie’s bid for election to the library board where she served for several years. She remembered the truckers’ strike in 1934 and identified with the strikers. Her father was on his way to the International Marketplace with a load of potatoes and rutabagas when he was stopped by the strikers. He made a deal with the strikers that he would donate his produce if they would pay his gas to that point. Her memories of the strike include the efforts of “Bloody” Michael Johannes, Minneapolis police chief, to break the strike. Women manned strike headquarters during the truckers’ strike, providing coffee and food for picketers. It was a dangerous job. In some parts of the country, headquarters were bombed.
Nellie’s memories include personal recollections of Floyd B. Olson. When he ran for the governorship the second time, she remembers he became much more political. She was aware of that because she, too, was changing. She knew him as dedicated to the people and dedicated to labor. He got into trouble with labor when he called out the National Guard during the truckers’ strike. Nellie left work at the athletic club and went to work in the garment industry. She was deliberately preparing herself for setting up in business. Her first shop was in the old Kresge Building. Her present shop is in the Lumber Exchange Building. The changes taking place for women in employment, business and politics were interrupted by the fact that women were forced to work during the war when men were in armed services. It was not possible to coerce for better working conditions and equal opportunity when employees were essential to winning the peace.
A major movement for legislation during that time was for Social Security. Many people walked to work and put the money saved into a pot for sending labor delegates to Washington to lobby for Social Security. Almost everybody had an elderly relative in the county poor farm which was considered the greatest evil of the times. The greatest local impact in the fight of black people through the NAACP was to destroy Jim Crowism. In the hotel industry the battle was to give blacks equal opportunity for jobs, for eating in restaurants and staying in hotels. Workers for the cause helped to educate Hubert H. Humphrey to the fact that there was more out there than general politics. The real impact of life in the 30’s was that it resulted in legislation for the betterment of people. The movement of those times led the way to passage of the Civil Rights Act.
Nellie’s memories include personal recollections of Floyd B. Olson. When he ran for the governorship the second time, she remembers he became much more political. She was aware of that because she, too, was changing. She knew him as dedicated to the people and dedicated to labor. He got into trouble with labor when he called out the National Guard during the truckers’ strike. Nellie left work at the athletic club and went to work in the garment industry. She was deliberately preparing herself for setting up in business. Her first shop was in the old Kresge Building. Her present shop is in the Lumber Exchange Building. The changes taking place for women in employment, business and politics were interrupted by the fact that women were forced to work during the war when men were in armed services. It was not possible to coerce for better working conditions and equal opportunity when employees were essential to winning the peace.
A major movement for legislation during that time was for Social Security. Many people walked to work and put the money saved into a pot for sending labor delegates to Washington to lobby for Social Security. Almost everybody had an elderly relative in the county poor farm which was considered the greatest evil of the times. The greatest local impact in the fight of black people through the NAACP was to destroy Jim Crowism. In the hotel industry the battle was to give blacks equal opportunity for jobs, for eating in restaurants and staying in hotels. Workers for the cause helped to educate Hubert H. Humphrey to the fact that there was more out there than general politics. The real impact of life in the 30’s was that it resulted in legislation for the betterment of people. The movement of those times led the way to passage of the Civil Rights Act.
(66 min.)
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Life in Minneapolis in the 1930’s: Sporre Margaret
Interviewee: Sporre, MargaretInterviewed by: Loken, Vivian M in 1984
Summary:
In this 1984 Interview with Margaret Sporre she discusses her life during the depression and her views on life now. She begins by talking about her childhood growing up in various European immigrant communities, and her views on their interactions. She discusses her father who worked for the railroad, and was a strong union supporter. It was his views that made her the strong union supporter that she is now. She then discusses her life during the depression. She says that she was more concerned with having a job than she was with feminism. However she states that she very rarely noticed any inequities in the workplace. She also discusses her various jobs from department store clerk to power machine operator to prototype maker. She states that she never had much of a social life due to lack of money. She goes on to discuss her traditional views on the role of women, and her domestic attitude towards what they should do. She closes by discussing her life and job in the present. The tape ends abruptly.
(30 min.)
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Literature and Minneapolis
Interviewee: Kittleson, J. HaroldInterviewed by: Bridgman, Betty in 1972
Summary:
Summary from HCL catalog record: "no. 39, 48-50. J. Harold Kittleson, donor of the 19th Century American Studies Collection in the Emerson Room of Minneapolis Public Library's North Regional Library, discusses the Emerson Room, his associations with 19th century authors, and book collecting -- no. 50. Wendell Glick delivers a lecture at the opening of the Minneapolis Institute of Arts exhibit, "Walden to St. Anthony: New England Writers Influence Minnesota," which features books from the 19th Century American Studies Collection" (Oral history project. No. 39, 48-50, Emerson Room at North Regional Library, Minneapolis Public Library / J. Harold Kittleson., Contents).
(81 min.)
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Part 2
(32 min.)
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Part 3
(64 min.)
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Part 4
Summary:
Summary from HCL catalog record: "no. 39, 48-50. J. Harold Kittleson, donor of the 19th Century American Studies Collection in the Emerson Room of Minneapolis Public Library's North Regional Library, discusses the Emerson Room, his associations with 19th century authors, and book collecting -- no. 50. Wendell Glick delivers a lecture at the opening of the Minneapolis Institute of Arts exhibit, "Walden to St. Anthony: New England Writers Influence Minnesota," which features books from the 19th Century American Studies Collection" (Oral history project. No. 39, 48-50, Emerson Room at North Regional Library, Minneapolis Public Library / J. Harold Kittleson., Contents)
(47 min.)
This oral history is not available online. Contact Special Collections staff for more information. (ask for interview #50)
Transcript available: no
Local Architecture: Hall, Kate Dunwoody
Interviewee: Cavin, BrooksInterviewed by: Baker, Patty in 1976
Summary:
Local architect, Brooks Cavin discusses the 1964 Kate Dunwoody residence hall at 10th street and Lasalle for the Women's Christian Association. *Project files are available in the Brooks Cavin papers at the University of Minnesota's Northwest Architectural Archives, Manuscripts Division.
(26 min.)
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Lowry Hill Neighborhood
Interviewee: Hardenbergh, MargaretInterviewed by: Brink, Lucille and Lehmann, Sally in 1976
Summary:
"no. 43. Margaret Hardenbergh, daughter of the Rev. Harry P. Nichol, rector of St. Mark's Episcopal Church from 1892-1900, reminisces about Lowry Hill" (Oral history project. No. 41, 43, Lowry Hill neighborhood and Minneapolis memories / Helen Jones, Margaret Hardenbergh, Contents).
(61 min.)
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Interviewee: Jones, Helen W.
Interviewed by: Anson, Sally and Lehmann, Sally in 1976
Summary:
Summary from HCL catalog record: "no. 41. Helen Jones, daughter of C.J. Winton and widow of Carl W. Jones, recalls her early impressions of Lowry Hill and Minneapolis" (Oral history project. No. 41, 43, Lowry Hill neighborhood and Minneapolis memories / Helen Jones, Margaret Hardenbergh, Contents).
(64 min.)
This oral history is not available online. Contact Special Collections staff for more information. (ask for interview #41)
Transcript available: yes
Melvin Hansen's Story
Interviewee: Hansen, MelvinInterviewed by: Stephenson, Sallie in 1982
Summary:
This interview with Melvin Hansen discusses his life in Minnesota in the early to mid twentieth century. He describes his parents’ lives, his mother’s immigration from Norway, and his father’s involvement in a Native American uprising in Montana. He then talks about his early life, and his father’s experiences in the butcher’s trade. His family lived on Cedar Ave. which he describes as being all swamp between Franklin and Lake Avenues. He then moved to 14th Ave, and attended Abbott School. He goes on to describe the various jobs he had in his youth. These included delivery boy, street sweeper, optician’s assistant, and mail order clerk. He then began working for his father moving cattle for butchering and hides. Finally he did a stint as a mail carrier for the Postal Service.
In 1917 after the war broke out he decided to enlist in the army. He was trained as a medic due to poor vision in one of his eyes. He was stationed in Mexico with the National Guard. He describes the base that he worked at as the biggest post exchange in the area, and how he made quite a bit of money selling cigarettes. He then talks about his time in France during the war. He describes how many of the soldiers would try to fake epilepsy to get out of the army. He describes the trip to Paris by boat as harrowing. The waters were rough, and the enemy sunk ships in the fleet carrying 50 to 60 thousand men.
Upon his arrival in Paris he was instructed to help in the sand bagging of Notre Dame. Next he describes his time working as a medic in Paris. He talks about saving a man with a pickaxe through his head, amputating limbs, and singing to a dying German soldier.
After the war he had to travel cross county from New York to get his discharge. He then describes moving into a new house in Minneapolis, and how he used to like to go dancing. He then took a job managing a clothing store in Mapleton but came home to his parents on the weekends. He describes the people he worked with there, and how he would take them with him to Minneapolis on the weekends. However, one morning before he returned to Mapleton he discovered the clothing store burned down. He went back, collected his accounts by memory and decided to go into real estate.
It was at this time that he met his wife working in a real estate office. They didn’t get married right away because he could not afford it. In 1929 his brother died. On the way back from the funeral they stopped in the town in which his parents had been married, and his fiancée suggested that they be married on the spot and they were. For a time they lived with his parents until he acquired some real estate that he converted into tenements. They owned the Oak Grove Hotel and lived in it for a time. They were married for 14 years before they had their daughter Cheryl. He goes on to describe his other experiences in real estate in the 1940’s. He bought the Metropolitan Building from Thorpe Realty over the telephone for $250,000. Finally, he shows the interviewer his scrap book, and elaborates on some of the things he has already discussed.
(106 min.)
This oral history is not available online. Contact Special Collections staff for more information. (ask for interview #115)
Transcript available: yes
Metropolitan Building: Man Who Tore Down the Met
Interviewee: Jorvig, RobertInterviewed by: Stephenson, Sallie in May, 1982
Summary:
In May of 1982 Sallie Stephenson conducted an interview of Robert Jorvig about the decision to tear down the Metropolitan building. They discuss the problems with the building, deteriorating plumbing, exterior cracking, and difficulties bringing the building up to code. The interior, elevators, and structural materials of the building are detailed. They discuss redevelopment in downtown Minneapolis, the Gateway project and differences in attitudes toward historic preservation. Jorvig talks about the history of the skid row area of Minneapolis and the relocation of residents when buildings were torn down. There is discussion of the court trials to try and save the building. The interview concludes with the reasons for the decision to tear down the Metropolitan Building.
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Milling History
Interviewee: Moore, AllanInterviewed by: Narration and unknown interviewer in 1950
Summary:
In a 1950 recording, former Vice President of Pillsbury, Allan Moore presents a brief history of grain milling and discusses milling in Minnesota and the United States. Moore examines advance in milling technology and the impact on flour production and distribution. Moore also discusses wheat farming in the United States. Moore also discusses the economics of flour milling, the Minneapolis Grain Exchange, and wheat quality.
(25 min.)
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Interviewee: Pillsbury, Philip W.
Interviewed by: Moore, Allan in 1974
Summary:
During a 1974 interview, Philip W. Pillsbury, a former president of Pillsbury Company, discusses advances in wheat and flour production and their influence on the company's success. Pillsbury discusses his path to becoming Pillsbury's president and working in every department of Pillsbury and the Pillsbury's family milling legacy. Pillsbury also discusses the early history of Pillsbury and its affiliation with an English company until the 1920s. Pillsbury discusses building a research laboratory after WWI to develop new uses for flour, the acquisition of Globe Grain and Milling Company in California, and expansion into world markets in 1954. Pillsbury also discusses the company's goal to have products in every department of the supermarket, including forays into wine, flowers, and meat. Other topics included increasing world population and increasing yield to feed starving populations, hydro-processing to extract proteins from grains, and fortifying flours.
(50 min.)
This oral history is not available online. Contact Special Collections staff for more information. (ask for interview #22)
Transcript available: no
Minneapolis History: Rimarcik, John
Interviewee: Rimarcik, JohnInterviewed by: Lawton, Heather / Skinner, Benjamin in 2011
Summary:
In this interview John Rimarcik describes his experiences with and impressions of Charlie's Cafe Exceptionale as well as the restaurant business in Minneapolis, Minnesota. He describes meeting Charles Saunders as well as his feelings about Louise Saunders and the closing of the restaurant. He also describes the Minneapolis restaurant scene and how it has changed over the years. This includes comparisons between Charlie’s and his own restaurants. He explains the differences in service between them, and describes how he feels the atmosphere of a restaurant can affect the taste of the food. In addition he explains some of his feeling about being in the business. Note: This interview was recorded on July 27, 2011 by Heather Lawton and Benjamin Skinner. It took place at the Monte Carlo restaurant in Minneapolis Minnesota of which Mr. Rimarcik is the owner. The interview starts and ends abruptly. A copy of this interview as well as the consent form is located in the Charlies Café Exeptionale Collection (M/A 2000.185)
(37 min.)
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Minneapolis Photographer: Peel, Clifford
Interviewee: Peel, CliffordInterviewed by: Baker, Dr. and Mrs. C. C., Jr. in 1974
Summary:
On January 30, 1974, Clifford Peel, a photographer from Minneapolis, sat down with interviewer Patty Baker and discussed his experiences as a reconnaissance photographer in World War I and his career as a commercial photographer in Minneapolis. He gives personal anecdotes about the French front in World War I and describes the type of photographing missions he took part in. Peel then goes on to discuss how he became a commercial photographer after the war. He summarizes his first job at Hibbard Studios in Minneapolis, which lasted until 1925, and then tells how he created the successful partnership of Norton and Peel Studio on 1004 Marquette Avenue in Minneapolis from 1925-1965. Peel speaks in-depth about the studio's projects, clients, and photography techniques.
(65 min.)
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Part 2
Summary:
Clifford Peel speaks about his Minneapolis photography business, Norton & Peel, in a 1974 speech at the Breakfast Club of Minneapolis. Peel presents several examples of the commercial photograph services offered by Norton & Peel including motion picture photography for entertainment and industry, color photography, and photo finishing. Peel also mentions their large collection of photographs of Minneapolis skylines, street scenes, public buildings, parks, and rivers, photos of northern Minnesota scenes, automobiles, and women's fashions. Peel cites two books published using photos from the Norton & Peel collection: Minneapolis, City of Opportunity and The Story of Progress in Pictures. Peel also discusses photographing the scene of a car accident for insurance and legal purposes, creating murals from photographs for Dayton's and the Nicollet Hotel, and photos for the agriculture industry and the steel industry.
(14 min.)
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Minneapolis Public Library
Interviewee: Brown, Martina and Burke, DorothyInterviewed by: Leifeld, Beth in 1973
Summary:
Beth Leifeld interviews Minneapolis Public Librarians, Martina Brown and Dorothy Burke, about the library’s plans for an oral history project. They discuss the oral history committee, procedures, volunteers, release forms, transcription, recording equipment and quality, interview topics for oral histories, funding, and other oral history projects in Minnesota.
(51 min.)
This oral history is not available online. Contact Special Collections staff for more information. (ask for interview #60)
Transcript available: no
Interviewee: Gaines, Ervin J.
Interviewed by: Kittleson, J. Harold in 1974
Summary:
Ervin J. Gaines, Minneapolis Public Library director from 1964-1974, discusses his term as director and the initial controversy surrounding his appointment as Library Director. Gaines discusses the work practices at the Minneapolis Public Library when he began as director and his reorganization of the library during his tenure. Gaines discusses garnering support for the library. Gaines discusses the tension between Hennepin County and the Minneapolis Public Library system, Hennepin County's declining financial support for the Minneapolis Public Library, and the county's increasing pressure to merge the Hennepin County libraries with the Minneapolis system in the late 60's and early 70's. The interview includes a discussion of the expansion of library services to non-book materials and access to information for personal, financial, and social use. Gaines discusses the significance of nature to Minnesotans and the creation of the Environment Conservation Library of Minnesota at Central Library. Implementation of INFORM in 1971.
(64 min.)
This oral history is not available online. Contact Special Collections staff for more information. (ask for interview #30)
Transcript available: no
Part 2
Summary:
In this interview, Gaines discusses his early life in New York and his education. Gaines discusses his unconventional career path to becoming a library director. He also discusses his book review contributions to the Minneapolis Tribune newspaper.
(27 min.)
This oral history is not available online. Contact Special Collections staff for more information. (ask for interview #31)
Transcript available: no
Minneapolis Theater: Anderson, Cordelia
Interviewee: Anderson, CordeliaInterviewed by: Saltzman, Muriel in 1987
Summary:
This 1987 interview relates information concerning the Illusion Theater. Anderson begins with discussing the structure of the Illusion Theater: both social service and artistic, a show is a comprehensive package of social education. She then went on to talk about the development of the play “Touch”(for K-6 children); “No Easy Answers”(for Teens), and “For Adults Only” (College age and up). She also discussed the Theater’s touring: both talks by prevention leaders and with the whole cast. The theater also did purely artistic shows and purely educational workshops. Anderson then talks about her own background in Social Service, the development of theater and an Emmy Award for “Touch” in 1984. Anderson starts to discuss how the plays are developed. Development of a play begins with research. Then all the company participates in improvisation. The theater uses color blind casting but must be careful of how color and race are interpreted by the audience. Anderson talked about how theater is rewarding because the company and Anderson believe in it, but funding is always a problem: social service, non-profit, and arts are not well funded at this time and in this society. A concern of the theatre is to keep the balance between the artistic and social service aspects of the theatre’s missions.
(70 min.)
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Minneapolis Theater: Ballet, Arthur
Interviewee: Ballet, ArthurInterviewed by: Brown, Barbara in 1984
Summary:
In this 1984 interview Arthur Ballet discusses the various things that he has done in his theater career. He begins by talking about his time at the University of Minnesota. Prior to World War II he was a chemistry major. When he got out of the army he switched his major to theater after being cast in an amateur play. From there he got involved in the University Theater, specifically its outreach to high schools. He goes on to discuss his opinion on the University theater program and what he feels is a loss of identity. He feels something was lost between traditional theater, and attempts to make the theater trendier. Furthermore, he also discusses his views on the university student body both past and present. Next he describes the university course that he began teaching after he decided he no longer wanted to direct. He then describes his relationship with Guthrie, the establishment of the Guthrie Theater, and the effect this has had on the University Theater. Next his views on what a theater should be are discussed, and he explains the importance of knowing the audience and community. Also the minimalist theater that was present in the 1980’s is discussed as well as theater in Europe and the Eastern Bloc. Finally he talks about a program to get recognition for new playwrights. He closes talking about his time on television, and the effect the medium has had on theater. A folder on the oral history at Special Collections includes an ad for KSTP TV, channel 5’s Entertainment Reporter, Arthur Ballet, undated.
(95 min.)
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Minneapolis Theater: Barkla, Jack
Interviewee: Barkla, JackInterviewed by: Lamberton, Dorothy in 1984
Summary:
In this 1984 interview Dorothy Lamberton interviewed award winning theater designer Jack Barkla. Barkla commented on his early childhood and how he got into design. He then went on to talk about some of his early work with Minnesota theaters. In the summer of 1969, John Donahue asked Barkla to come to work at the Children’s Theater. He then discussed the artistry of Donahue and the relationship with the Children’s Theater and the Art Institute. Barkla also discussed the politics of artistic boards and the philosophy of creative versus business mentality.
Barkla was asked to design School for Scandal for Guthrie and then invited to be Resident Theater Designer. He discussed early Guthrie, which was set up to appeal to regional tastes, which has not been lost sight of in its attempt to become “world class.” Guthrie went from small beginnings, 60 staff to around 300 and money became more important than quality of productions. Barkla lamented that unfortunately the Guthrie now holds the view that “good actors” come from New York. He said success for the creative artist comes from a combination of luck, money to begin with, and political aspect of knowing the right people.
He then discussed differences of students years ago and now. Now they look for paycheck first before developing their innermost talents. Barkla believed that symbols of wealth were deemed too important rather than the pursuit of excellence. He discussed Guthrie’s penchant now to hire actors from either coast rather than local people of equal abilities, whereas the Children’s Theater did give local people an opportunity to excel. Barkla went on to talk about why he chose to stay in Minneapolis.
Barkla was asked how the Guthrie influenced Minneapolis theater. He discussed very early theater activity in the Minneapolis St. Paul area that predated the Guthrie and the fact that this was a center for theater props and painted curtain backdrops for many years. He lamented the fact that many of the Twin Cities scenic and drapery company records and renderings were no longer available and lost to theater history. He briefly discussed his view of the difference of American and European theatrical heritage and present-day audiences here and abroad.
Barkla discussed early versus Guthrie today. Early stage was brilliantly designed whereas now there is a front and a side and design now overpowers the actors, where previously the actors were the focus. He mentioned that in theater design, one has to be more authentic because the audience can come from or be familiar with cultures all over the world. Barkla stated that the present art for everybody approach has bowdlerized all areas of art.
(110 min.)
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Minneapolis Theater: Boesing, Paul
Interviewee: Boesing, PaulInterviewed by: Brown, Barbara in 1984
Summary:
Paul begins the interview by talking about his connection to the Firehouse Theater and the origins of the Firehouse. Paul also gives some background on Marlow Hotchens, the founder of the Firehouse. Boesing then briefly discussed the Repertory Co. Paul describes the Firehouse’s primary intention was to do artistic theater as opposed to political, but the theater changed and also did experimental theater over the years. He discusses Minneapolis theater and the rich tradition of the theater community in the city. After Firehouse closed, many of the people that were working at Firehouse Theater began working with the Main Ensemble Theatre. Jim Stoll took up the Palace Theater. Paul reflected on the closing of the Firehouse and the natural life spans of Theater. Boesing also talked about some of the more successful plays at the Firehouse. Paul composed the music for Jack-Jack, which was a Firehouse original hippie musical. He also talked about the Firehouse touring Europe. Next he talks about his background and his artistic career. Paul finally talks about the Minneapolis theater scene and why he thinks there are so many theaters in Minneapolis. He also touches on the Firehouse’s place in Minneapolis theatre and what is important in starting a theatre.
(58 min.)
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Minneapolis Theater: Brown, Polly (Olive Case)
Interviewee: Brown, Polly (Olive Case)Interviewed by: Lamberton, Dorothy in 1983
Summary:
Polly Brown discusses the Guthrie Theater and her role as director of development.
(53 min.)
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Minneapolis Theater: Cowles, John Jr.
Interviewee: Cowles, John Jr.Interviewed by: Lamberton, Dorothy in 1984
Summary:
In this September 11, 1984 interview John Cowles Jr., a former member of the Guthrie Board discusses how the Guthrie got started. He details the process of deciding on a location, and the decisions that led them to eventually build it next to the Walker art center. He then goes on to discuss the process of fundraising and cost estimates for the building of the theater. This involved not only talking to organizations, but also to Guthrie himself. He also explains how the small nucleus of people involved in early administration got together, their further fundraising efforts, and some battles with Guthrie. Furthermore he describes the aftermath of Guthrie’s leaving, and the problems with his successor. Finally he discusses the early operations of the theater, the attempts to open an acting school, and his feelings on how the theater is run today.
(82 min.)
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Minneapolis Theater: Cranney, Jon R.
Interviewee: Cranney, Jon R.Interviewed by: Lamberton, Dorothy in 1985
Summary:
In a 1985 interview, Jon Cranney, the Artistic Director of the Children’s Theater Company at the time, discussed his background in theater including the influences of his parents and teachers. Cranney also discussed his experiences as an actor, a stage manager, and a production manager at the Guthrie Theater and the Guthrie’s affect on other theaters in the Twin Cities. Cranney also discussed obtaining his MFA and his experiences as a freelance actor.
(65 min.)
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Minneapolis Theater: Davidson, John B
Interviewee: Davidson, John BInterviewed by: Lewin, Rhonda in 1987
Summary:
This is a taped interview with John Davidson, one of the founders of the Children’s Theater Company and the Moppet Theater. He also notes his background at the University Theater and in off-Broadway productions. Davidson then talks about his time as the managing director of the Moppets and the early controversy: CTC as a social welfare agency or as good art. Davidson talked about the poor quality of theatre for children in the country at that time. He talked about how Ruth Humlicker was instrumental in getting the group into the Minneapolis Institute of Arts and how the CTC was split on whether or not to move. Davidson also touches on the question of professional theatre and the value of theatre unions.
Davidson details the setting up of CTC at the Minneapolis Institute of Arts and the first production of Sleeping Beauty. In 1967 Davidson left CTC, there was a problem of balance between artistic director and managing director. He then discusses his lawsuit with CTC over the rights to his play Cinderella. Davidson also touches critics and on John Donahue’s troubles at CTC. CTC reached its high potential in the late 1960s. Davidson finishes his critique on Donahue as an epic, talented figure who betrayed the community. He continued to talk about how CTC was playing it safe but lacks artistic vision and how he believes a theatre should have a balance between artistic and managing fine arts.
Davidson then starts to discuss his life as a playwright and the beginning of KTCA in 1958, while he was at the University. He then talks about his work with A Little on the Side, a review theatre at 28th and Hennepin; it produced musical satirical reviews in 68 and 69. They also played at Chanhassen the year before big stage and at Dudley Riggs when 26th and Hennepin theatre was opening. Davidson then talked about his beginning in theatre at the University. He went on to talk about what theatre people are like: cast parties. Finally Davidson discussed the reasons for the demise of the Cricket Theatre downtown.
(147 min.)
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Minneapolis Theater: Diercks, Shirley
Interviewee: Diercks, ShirleyInterviewed by: Lewin, Rhonda in 1983
Summary:
In this 1983 interview Shirley Diercks begins by talking about the origins of Children’s Theater with John Donahue, John Davidson, Martha Pierce Boesing, and Beth Leinerson and their reasons for moving on. She then discussed the Minneapolis Repertory Theatre with Gary Schultz in 1961 and the casting policies. Diercks then talked about the Theatre in the Round and its open audition policy. Shirley then went on to a talk about her time at the University Theatre. She did a total of 60 shows over her 5 years at the University. She regretted that the University theatre was not allowed to be a professional theatre. She then touched on the financial difficulties of actors and the differences between the actor’s unions AFTRA and Equity. She also stressed the importance of being in an actor’s union. Diercks then went on to talk about her time at Chanhassen and how they’ve been successful at getting audiences into the theatre. Lewin then asked Diercks to discuss if there was support between theatres and actors of rival theatres. Diercks finally talks about where she sees Minneapolis Theatre will be in 5 to 10 years.
(123 min.)
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Minneapolis Theater: Donahue, John Clark
Interviewee: Donahue, John ClarkInterviewed by: Reid, George in 1984
Summary:
This 1984 interview relates information concerning the Children’s Theater. Donahue begins by describing how he got involved in the theater. He was a printmaker who became a scene painter, played in the orchestra pit, and became an actor. He states that the U of M was responsible for him discovering the theater. He went on to teach theater, but returned to Minneapolis and got involved in the creation of the Children’s Theater. He wanted to introduce theater to a younger audience. He goes on to explain how he left after two years due to a lack of artistic vision, and how he and some others established what would be the Children’s Theater. He goes on to explain the workings of the Moppet Theater which he was a part of before the Children’s Theater, and how after the split they moved to the Minneapolis Institute of Arts. He also describes an art school that he established where artists would donate their time to teaching the children. Finally he describes the growth and issues that the theater experienced in its early days.
(31 min.)
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Minneapolis Theater: Driver, William - Managing Director Metropolitan Arts Alliance
Interviewee: Driver, WilliamInterviewed by: Lamberton, Dorothy in 1982
Summary:
In June of 1982 Dorothy Lamberton conducted this interview of William Driver about what the Metropolitan Arts Alliance was and its beginning and early history. They discussed the early experience of William Driver and the contribution of the University of Minnesota to the Minneapolis theater scene. They discussed what caused the explosion of theater in the Twin Cities area and the individuals who had significant influence on theater locally.
(63 min.)
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Part 2
Summary:
William Driver discussed the size and scope of Minneapolis Theater and different kinds of Community Theater and have the theater’s carved out different niches and thus they do not compete with each other? Driver also discusses the future of Minneapolis Theater and its impact on theater nationally. In conclusion, he discusses the role of the critics in the development of theater locally.
(63 min.)
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Minneapolis Theater: Field, Barbara
Interviewee: Field, BarbaraInterviewed by: Saltzman, Muriel in 1985
Summary:
Barbara starts off by discussing her background and involvement with the Guthrie as well as her own work. She was the literary manager under Michael Langham. At the Guthrie, Field tried to enlarge the number of plays, to boost revenue, which necessitated a much larger support staff. Langham hired her because she is a playwright, rather than an academic. She then discussed the transition to Alvin Epstein who brought Michael Finegold as another literary manager; Epstein’s problems at the Guthrie. Field was the first to approach Garland Wright as director for Camille. The search after Epstein: Ramos told the Board that this time artists should be on artistic search committee, (in Epstein’s search there were no artists involved) the search included Terry Hars; Ed Shanon, Ellis Roab, and Arthur Ballet. She then discussed how very shortly after a breakdown between Cueli and management began.
Field then went on to talk about how the unusual shape of the Guthrie stage baffled many directors. She also discussed the adaptations vs. translations and her adaptation of Great Expectations. She talked about how she developed great admiration for Cueli for bringing in outstanding direction. Field went on to discuss how the nature of the Guthrie stage and the size of the theater, the Guthrie should stay with big, epic theater which has big ideas and the need for a small Guthrie stage for smaller plays. She also defined what theatricality is. Finally she discussed her own background: a BA in English at University of Pennsylvania. She also described what a literary manager was and their role in the theater. Finally she talked about the value of reporting for the Guthrie.
Field then went on to talk about how the unusual shape of the Guthrie stage baffled many directors. She also discussed the adaptations vs. translations and her adaptation of Great Expectations. She talked about how she developed great admiration for Cueli for bringing in outstanding direction. Field went on to discuss how the nature of the Guthrie stage and the size of the theater, the Guthrie should stay with big, epic theater which has big ideas and the need for a small Guthrie stage for smaller plays. She also defined what theatricality is. Finally she discussed her own background: a BA in English at University of Pennsylvania. She also described what a literary manager was and their role in the theater. Finally she talked about the value of reporting for the Guthrie.
(60 min.)
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Minneapolis Theater: Fink, Irving
Interviewee: Fink, IrvingInterviewed by: Lewin, Rhoda G. in 1983
Summary:
Irving Fink discusses directing and acting in the 1983 Theater in the Round Players’ production of “Night Must Fall”. He also discusses Minneapolis theater in general.
(72 min.)
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Minneapolis Theater: Firman, John W.
Interviewee: Firman, John W.Interviewed by: Friefeld, Lynn in 1985
Summary:
A 1985 interview with the assistant director of the Minnesota State Arts Board,
John Firman, discussed several influences contributing to the growth and development of Minneapolis theater from 1963-1985. Two main influences discussed include the Minnesota State Arts Board and grants for theatrical organizations and individuals. Censorship concerns, administrative concerns, and conflict of interest issues arising from the public funding of theater organizations are also discussed.
(53 min.)
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Minneapolis Theater: Garceau, Annette
Interviewee: Garceau, AnnetteInterviewed by: Green, Max in 1986
Summary:
This 1986 Interview with Annette Garceau talks about how she got involved in the theater, specifically costume design. She speaks about the design process for costuming as well as the materials involved. She also explains why costumes may not be used more than once. In addition she explains technique, and covers what happens when an actor does not want to wear a costume. The recording is unfortunately quite garbled.
(62 min.)
This oral history is not available online. Contact Special Collections staff for more information. (ask for interview #111)
Transcript available: no
Minneapolis Theater: Graham, Kenneth L.
Interviewee: Graham, Kenneth L.Interviewed by: Brown, Barbara in 1983
Summary:
Kenneth Graham, an actor, a former University of Minnesota theater arts department chair and professor, as well as the director of the University Theater discusses the development of theater in Minneapolis and the impact of children’s theater on students and the community.
(44 min.)
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Part 2
(42 min.)
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Minneapolis Theater: Green, Max B
Interviewee: Green, Max B.Interviewed by: Lamberton, Dorothy in 1986
Summary:
Max discusses how he became involved in the theater. He first got interested by having a painting and sculpture show at the Theatre in the Round and Charles Russell commented that he would be good at set design and invited him to become active in that aspect of theater. His first experience was at the First Unitarian Society. Max was an English major and made his career in writing and advertising. Also he grew up in a farm setting where he learned to use tools and built animal cages, etc. as a youth, and could transfer those skills to what is involved in building sets. He worked in community as an unpaid volunteer and was asked if he had help in working on the sets. He talked about depending on unpaid volunteers for set construction and how they were utilized effectively for the production. Max then went on to discuss the great challenge in arena staging is to keep it arena but to do venturesome things. He then talked about how he worked with directors as a professional albeit amateur. Max said he always made a scale model and that helped in visualize it rather than merely having blueprints, because it was so much easier for the players to visualize the set, especially for amateur performers. He was asked to give his impression of the Theater in the Round as it has evolved over the years. He then talked about what he attributed to the longevity of Theater in the Round, the large number of individuals who are active at all levels. Max then was asked about whether the problems of community theater have changed or whether they are the same. Finally, he discussed the contribution of the Guthrie and the University Theater have made to the local theater scene.
(51 min.)
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Minneapolis Theater: Hatfield, Douglas. Hatfield, Naomi
Interviewee: Hatfield, Douglas. Hatfield, NaomiInterviewed by: Green, Max in 1982
Summary:
Naomi describes the origin of Theater-in-The-Round, which evolved from Frederick Hilgendorf’s Circle Theatre. She was one of the founding members of Theater-in-The-Round in 1952. Search for additional direction brought Doug to the Theatre in 1954. Doug comments that in 1954 Community Theater was not a highly respected term. Theater-in-The-Round tried to upgrade itself and the Community Theater would be doing newer and more challenging plays with new scripts. Theater-in-The-Round uses many different directors each season, to maximize opportunities within the organization. When the Guthrie opened in 1963 Theater-in-The-Round got fallout in the form of directors. Discussion of Theater-in-The-Round problems: they have gotten grants only for special projects such as touring. Community Theater is composed of a moving group, actors and production people who gravitate to various Theaters. A small group stays permanently with Theater-in-The-Round. Theater-in-The-Round has a policy against pre-casting. Doug talks about Technical Advisory Board, a teaching and resource pool, which Theater-in-The-Round uses. In later years Theater-in-The-Round has expanded its community services with tours of Theatre workshops. There is too much static for in this recording to put it online but a listening copy is available at Special Collections.
(72 min.)
This oral history is not available online. Contact Special Collections staff for more information. (ask for interview #89)
Transcript available: no
Minneapolis Theater: Haugland, David
Interviewee: Haugland, DavidInterviewed by: Friefeld, Lynn in 1983
Summary:
In 1983, Lynn Friefeld interviewed David Haugland, Executive Director of the Affiliated State Arts Agencies of the upper Midwest. David started by talking about the affiliation, its origins and its purpose. He also talks about the staff and membership of the affiliation, as well as, its sources of funding. David describes how the affiliation is involved in Minneapolis theaters and what criteria must be met by theater companies in order to receive consideration from the affiliation. David also commented on the criteria for the sponsoring organizations and how many local sponsors take advantage of the productions the affiliation makes available to them. He goes on to describe how the affiliation contributes to the vitality of theater in Minneapolis, through putting on original theater pieces with a regional theme, extended opportunities and experience for local actors, actresses, and set designers. David finishes up the interview by talking about some of his personal observations about theater in Minneapolis.
(42 min.)
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Minneapolis Theater: Lawless, Sarah
Interviewee: Lawless, SarahInterviewed by: Lewin, Rhoda in 1984
Summary:
Sarah began the interview by discussing her personal and professional history including her time at the Milwaukee Little Theatre, Ford Foundation’s Theatre Communications Group, Actors’ Studio, Guthrie Theatre, Dayton Hudson, Padilla & Speer, Children’s Theatre, and the Denver Center Theatre Co. Sarah then went on to discuss the special qualities of Twin Cities theatre, including wonderful working conditions, funding, and the high standards of theater in the area. She then talked about the future of theater in the Twin Cities and the role of critics in supporting Minneapolis. Sarah then talked about qualities of a good administrator and their training. Lawless also discussed the environment of the theatre and color-blind casting and the actors’ equity union. Finally Sarah talked about arts fundraising and the future of Children’s Theatre Co.
(80 min.)
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Minneapolis Theater: Lehr, Wendy
Interviewee: Lehr, WendyInterviewed by: Miller, Anne in 1986
Summary:
This is a taped interview with Wendy Lehr, one of the founders of the Children’s Theatre Company. Lehr starts off by talking about the beginning of the Children’s Theatre Company from its roots in the Moppet Theater which was located in the Seven Corners area of Minneapolis. 1965 was the first year of the Children’s Theater Company and they did five productions that year. There was an increasing need for more space and more money. Lehr talks about how the theater’s early shows were experimental, but those shows fit well with the more receptive 1960’s audiences. Lehr talked about the different productions the theater put on, including some original scripts.
She continued to discuss the many elements in a successful production and how you need a marriage of the audience, actors and other theater workers. Lehr then talks about the difference between child and adult productions. Frequently the adult plays had smaller budgets and were easier to produce. Lehr believes theatre is important for the participants and for the audience. Theater is the “human experience, it is kind of communion.”
CTC was operating theatre classes informally for students. The goal was to use the arts as the center for academic study, to integrate the young people interested in theatre into an academic setting. The school was difficult to finance and there weren’t sufficient funds to offer scholarships. Lehr believes the closing of the school will affect the theatre. Finally Lehr talks about her own future, her teaching and her work with regional theatre.
(90 min.)
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Minneapolis Theater: Lewin, John
Interviewee: Lewin, JohnInterviewed by: Lamberton, Dorothy in 1987
Summary:
This in-depth interview with John Lewin from 1987 gives much insight into his career as well as to the Minneapolis theater. He begins by giving some background on his feelings on his career, and notes that he has always felt that he was an observer. He explains that there were many things that got him involved in the theater, and lists his experiences in high school and college productions. This included theater work when he was in the Army. After leaving the army he obtained a masters in theater from the U of M, but was dropped as a doctoral candidate by the English department there. He then moved to New York where he got a teaching job, but admits he injected too much psychology into his classes. He returned to Minneapolis, and got involved doing TV commercials and various theater projects. He also describes watching the boom in Minneapolis theater after the building of the Guthrie. He goes on to discuss his experiences with Sir Tyrone Guthrie, and how he “changed his life.” It was during this time that he wrote his English version of The House of Atreus. He describes that it was due to an agreement about royalties from this play, and the inability to reach a contract agreement that satisfied his manager and himself, that he left the theater. However, before this he wrote and got a couple of plays published including one that went to Broadway and failed in one night.
After this he moved to Ireland at the invitation of Tony Guthrie to write a version of Oedipus for an Australian theater. This went well so he also wrote a version of Oedipus at Colonus which also did very well. During this time he also rewrote his play on the Crimean War which he hopes will come to full production. He then goes on to talk about the good and the bad of the acting profession, and the early years at the Guthrie. He talks about how the communication between everybody involved in the Guthrie needs to be improved. He is asked about the Board of the Guthrie, but really knew nothing. He also talks about his time working with Chueli, and his dislike of post-modern theater. He then talks about the things that he learned from both Chueli and Guthrie as well as discussing Doug Campbell’s work. He then discusses the differences between two of the early theaters he had been involved in (Chanhassen and The Cricket). Finally he discusses his experiences with directing, why he does not go to many plays, his feelings on repertory, and the need to hire local actors.
(134 min.)
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Minneapolis Theater: Livingston, Sheila
Interviewee: Livingston, SheilaInterviewed by: Lamberton, Dorothy in 1983
Summary:
In a 1983 interview, Sheila Livingston, the Public Relations Director of the Guthrie Theater at the time, discusses her beginnings at the Guthrie as a volunteer and being offered a professional position with the Guthrie in 1971 to develop programs for students and teachers. Livingston also discusses her position as the public relations director, attracting good artists, Repertory Theater, audience reactions, and attracting non-theater goers. Livingston also stresses the importance of encouraging theater attendance by students to the development of future theater audiences. Television’s impact on theater is discussed, as well as the Guthrie Theater’s influence on local theater.
(63 min.)
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Part 2
Summary:
In this part of the Livingston interview, Livingston discusses the opportunities the Guthrie offers for actors. She also discusses the importance in finding a good director, who in turn helps find good actors. The interview then turned to the dilemma that theaters have with letting directors take a creative license with the plays, but not losing the audience at the same time. Finally she discusses putting on musical plays and the complications that arise.
(62 min.)
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Part 3
Summary:
This is a continuation of the March 24 1983 interview with Sheila Livingston from tapes 83 and 84. She discusses the affect of reviews on the theater, and the actors. She also discusses what the roles of reviews and reviewers should be. She also talks about her feelings about the various plays that are performed. She tries to have pride in all of the productions despite her feelings about the content of the work. However she does admit that the Guthrie sometimes does put on bad plays, and there is a need to work damage control. She ends the interview by explaining more about public relations, and shares some stories of people who have written to the theater over the years. Also she stresses the need for volunteers from the community.
(21 min.)
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Minneapolis Theater: Loppnow, Merle
Interviewee: Loppnow, MerleInterviewed by: Brown, Barbara in 1986
Summary:
The interview of Merle Loppnow begins with his background in Minnesota. He talked about going to Minneapolis theatre in the 1920s and 1930s and his time as a founder of the Penthouse Players in St. Paul. He then went on to talk about the University Theater after WWII and becoming the first teacher of arts business management at the University. He also talked about how the University Theater and symphony were a seminal force in Minneapolis culture by bringing children to concerts and shows during school hours. Loppnow then talked about the how the theater guild brought shows to Minneapolis; on tour in the early 1930s. Loppnow then discussed how the Bush and McKnight fellowships at the Guthrie were a great stimulus to the University Theater and how the Guthrie helped to stimulate all the theaters in Minneapolis. He then discussed the importance of liberal education and the Theatre’s place in education. He also discussed the explosion of theatre in Minneapolis had begun before the Guthrie came. Finally Loppnow talked about the need for corporate sponsorship of theater and how the strongest theaters now are regional ones, no single national theater. He closes with the reasons why he is optimistic about theater in Minneapolis.
(94 min.)
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Minneapolis Theater: May, Bob
Interviewee: May, BobInterviewed by: Lewin, Rhonda in 1983
Summary:
In 1983, Rhonda Lewin interviewed Bob May, Managing Director of the Jewish Community Theater. Bob began the interview by talking about his early life in Florida and California. He then went on to talk about coming to St. Cloud for school and his introduction to theater production. May talked about his early work at the Waverly and Children’s Theaters. May then discussed how he became a primarily musical theater director. Lewin then asked May to explain why he thought Minneapolis has come to have so much theater. May described how the Guthrie’s inspiration, the liberal community, and Chanhassen also added quality to the Minneapolis theater scene. He also talked about the provinciality of the theater world.
May continued to talk about community theater and changes in local theater and how he has seen the quality improved. He also talked about how actors use local theaters as stepping stones, rather than citizens using theater as recreation. May then talked about how a director is also a teacher, although with experienced actors he is more of a guide. He also talked about how he would find director jobs in the theater community. Waverly is the one theater May has run. Finally, May talked about the steps a director takes in staging a play.
(120 min.)
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Minneapolis Theater: Montilino, John
Interviewee: Montilino, JohnInterviewed by: Saltzman, Muriel in 1987
Summary:
This 1987 interview with John Montilino gives information on the Illusion Theater of which he is the managing director. He begins by giving some information on the history of the theater. It began as a school for mimes, and eventually moved more towards conventional theater. After receiving a grant from the McKnight Foundation the theater also began to be concerned with preventing the sexual abuse of children and violence prevention. He goes on to describe his previous experience in a corporate setting, and some of his frustrations with the private sector. After he had done some volunteer work for the Illusion he was eventually asked to become the managing director. He then discusses the formation of the board, and how they deal with the marketing aspects of the theater. The development of the board was one of the main concerns that he had upon his arrival at the theater. He also discusses profit versus non- profit cash flow issues, and talks about fundraising activities. He continues to speak about the various jobs that the board members do, and how they really have no interest in each other’s jobs. He describes their current budget concerns, and states that their then current budget was as big as it would get. However it was not bad at 600,000-800,000 dollars. He also states that he would like to get more national talent into the theater, and describes how every theater in Minneapolis has its own niche. The problem of reaching potential audiences is discussed, and the interview closes with his views on the board, and what its powers are reliant on.
(69 min.)
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Minneapolis Theater: Morosco, Beatrice Shebel
Interviewee: Morosco, Beatrice ShebelInterviewed by: Baker, Patty in 1975
Summary:
Beatrice Morosco discusses the early South Minneapolis history of Lake Harriet and Nokomis areas. Also discusses early Minneapolis theaters including the Shubert, Woodmen's Hall, and the Lyceum Theater.
(54 min.)
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Minneapolis Theater: Moulton, Robert
Interviewee: Moulton, RobertInterviewed by: Brown, Barbara in 1983
Summary:
In a 1983 interview, Dr. Robert Moulton discusses his dance and choreography background, his costuming background, and the University of Minnesota theater group in the 1950’s, the Minneapolis theater scene in the 1950’s, and the Guthrie Theater.
(64 min.)
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Minneapolis Theater: Rapson, Ralph
Interviewee: Rapson, RalphInterviewed by: Lamberton, Dorothy in 1984
Summary:
This interview of Professor Ralph Rapson deals with Rapson’s role as the chief Architects of the Guthrie. The interview starts out with Rapson discussing how he became involved with the Guthrie and his early work with the Walker family. He talks about how he decided that the Stratford Theater was the model for the Guthrie. He went on to talk of the basic disagreements he and the Guthrie had. Rapson talked about how the lack of funds for the project affected the overall design. He then discussed the changes that were made recently. Rapson was then asked if the new design posed problems with the contractor and how an architect functions after he gets the go-ahead, and discussed how he prepared for the first designs with the Guthrie. Rapson finally talked about how the remodeled Guthrie Theater today fulfills the same mission as the original Guthrie did.
(57 min.)
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Minneapolis Theater: Reuler, Jack
Interviewee: Reuler, JackInterviewed by: Saltzman, Muriel in 1984
Summary:
In this 1984 interview Jack Reuler explains the origins of the Mixed Blood Theater, and his involvement in it. He describes how the theater was started as a summer project for a social services agency he was working for. He wanted to create not a minority, but a multicultural theater. Though it started as a summer project it continued, and became its own entity. He continues by describing the conditions when the theater was founded. They had $60 a week and a crew of 23 people. He explains how they wanted to do plays dealing with social issues, and reach out to lower incomes and minorities. For a time they even offered free childcare and transportation to the theater. He also talks about how the theater began to come into it’s own starting in 1977, and also their practice of color blind casting. Next he talks about how they became an actors equity theater. This was a novelty at the time. He also explains the organization of the theater, and how he has had to take on many jobs. This includes choosing plays finding funding and the hiring of cast. He states that they will be successful when everybody practices colorblind casting. He then explains that he needed an avenue to express his political views and he chose theater. He also talks about his directing influences such as John Donahue, but states that he is mostly self taught. He also freely admits that there are better directors, and says that his plays are charcoal drawings to Donahue’s paintings. The plays that he likes are also discussed as well as the history of plays. In addition he discusses the role of the board of directors, and how he is sure the theater will change when he is gone. He also discusses the need for all youth to experience theater, how he writes plays, and finally how he likes to inject humor and satire into their works.
(86 min.)
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Minneapolis Theater: Semans, William
Interviewee: Semans, WilliamInterviewed by: Masiee, Elizabeth in 1982
Summary:
In December 1982 William Semans, founder of the Cricket Theater discusses how the theater was founded and talks about the early shows at the theater. Semans goes on to discuss the differences between large theaters and small theaters. Semans then goes on to talk about the Guthrie Theater and its impact on local theater. He also talks about how he picked plays for the Cricket and the struggles of working in the theater as one gets older.
(31 min.)
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Minneapolis Theater: Steele, Mike
Interviewee: Steele, MikeInterviewed by: Brown, Barbara in 1984
Summary:
Mike began the interview by giving some biographical information and told how he ended up deciding to become a theater critic. He discussed his early work for the Hutchinson News in Hutchinson, Kansas and how he finally became a Minneapolis Tribune drama critic. Mike then talked about the Guthrie and Firehouse theaters and how they influence each other. He then discussed the quality of theater in Minneapolis and the sense that Minneapolis is a going theatre town. He touched on Minneapolis’ theatre ambience being slicker, but wonders if Minneapolis has reached the limit of growth. Mike then talked about the change from “chaotic creativity” to “consensus management” and how there is a limit to the dynamic life of any theatre. They also discussed the funding issues of the theatre. Mike then touched on musical plays in Minneapolis and the value of theatre training schools. He then talked about the different problems with P.R. and selling poor shows and the problem of predicting what will be good or what will sell. Mike then talked about the problems with the Guthrie. He then touched on the current (1984) state of Minneapolis Theatre. Finally they discussed how the craft of criticism changes over time and the genesis of the Twin Cities Drama Critics Circle.
(120 min.)
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Minneapolis Theater: Thompson, David W.
Interviewee: Thompson, David W.Interviewed by: Brown, Barbara in 1983
Summary:
Dr. David W. Thompson, a University of Minnesota Professor and Chairman of the Theatre Department from the 1940’s to the 1980’s, discusses his education and background in theater. The interview includes discussions of the evolution of oral interpretation at the University of Minnesota and in the United States; the importance of theater’s role in society related to human interaction, public speaking, and psychodrama; the changes in University of Minnesota theater from the early 1950’s to the early 1980’s; and the Guthrie Theater’s effect on University theater.
(64 min.)
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Minneapolis Theater: Weirs, Geol. Dowse, Marcy. Olson, Thomas W.
Interviewee: Weirs, Geol. Dowse, Marcy. Olson, Thomas W.Interviewed by: Lamberton, Dorothy in 1983
Summary:
The interview takes place on March 6th 1983. The interview begins with an introduction to the interviewees and to the Children’s theater company. A brief history of the theater and it’s various locations is given. Next they discuss the administration of the theater as well as finance and various logistics. They also comment on the large number of adults that attend productions. Also they explain children’s needs for the arts for their own development. They go on to discuss play selection and the internal workings of the theater. The lives of students at the theater are then described. They go into detail about their academic and theater education, and the various opportunities open to them. The audience then asks questions of the three. They discuss the lack of a traveling theater, and how they have used TV and video to combat this. They also explain the entrance process for students, and give details on the academic program. This portion of the interview closes with a discussion of the production season, how plays are chosen, and what is appropriate for children to view. Tape number 81 duplicates this interview.
(59 min.)
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Minneapolis Theater: Whiteley, Larry
Interviewee: Whiteley, LarryInterviewed by: Lamberton, Dorothy in 1986
Summary:
This interview with Larry Whiteley takes place on November 25, 1986, and concerns his long running theater career as well as his involvement in Theater 65. He begins by talking about the various theaters that he has worked at both in Minnesota and in New York. He talks about the lack of experimentation in NY theater, and how regional theaters have overcome this due to having less pressure. He then goes on to discuss the many theaters he has been a part of including college theaters. He continues by discussing the problems having to do with financing, volunteering, and also competition from the large number of theaters. He also discusses the need for changing material to attract audiences. There is also a core group of people that he likes to use, but they are so spread out, and not always available. He is also asked to compare Minnesota and New York audiences. He discusses how the audiences here are more relaxed which leads to less pressure. The audiences also vary more in Minnesota. Also New York productions are more costly which leads to less risk taking. He also talks about how most theaters prefer to work on their own. They are afraid of being too exposed. However sometimes they do sometimes work together. He continues by stating that those who were rejected by the Guthrie have started other companies around Minneapolis. However, he says that the Guthrie should keep to themselves. He discusses theater education, and states that it needs to focus more on economic realities and hands on experience. Finally, he discusses his career at theater 65 and says the only difference between it and other theaters is its focus on seniors. There have been plenty of actors, as well as materials. He closes by talking about the various logistics and jobs he does at Theater 65.
(42 min.)
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Minneapolis Theater: Whiting, Frank M
Interviewee: Whiting, Frank M.Interviewed by: Brown, Barbara in 1983
Summary:
Dr. Frank M. Whiting, director of the University of Minnesota theatre arts program from 1944-1971, discusses his theater background in Utah, as well as the importance of audience expectations; high school theater; the value of good theater in Minneapolis; connections between professional and amateur actors; and the benefits of a thrust stage.
(62 min.)
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Minnesota Artists: Booth, Cameron
Interviewee: Booth, CameronInterviewed by: Reid, George in 1974
Summary:
Minnesota artist Cameron Booth discusses his early experience painting signs and his education at the Chicago Art Institute. Booth moved to the Twin Cities in 1921 for a job teaching drawing and painting at the Art institute and he discusses his artistic growth and Minneapolis/St. Paul art community from 1921 to the 1974. Booth mentions his appreciation for the Athenaeum art book collection and librarians Miss Jaegerman (?) and Miss Todd.
(62 min.)
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Part 2
Summary:
Minnesota artist Cameron Booth discusses his career teaching art and the teaching methods he preferred for artistic instruction. He also mentions the influence of Hans Hoffman and Bauhaus on his art.
(65 min.)
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Minnesota Artists: Boratko, André and Thwaites, Charles W.
Interviewee: Boratko, André and Thwaites, Charles W.Interviewed by: Reid, George in
Summary:
Minnesota artist André Boratko discusses murals he painted for the Federal Art Program under the Works Progress Administration (WPA) in the 1930s and 1940s.Also contains an interview with Wisconsin artist Charles W. Thwaites discussing murals he created in Minnesota for the WPA in the 1930s and 1940s.
(43 min.)
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Minnesota Artists: Fossum, Syd and Lewandowski, Edmund
Interviewee: Fossum, Syd and Lewandowski, EdmundInterviewed by: Reid, George in 1977
Summary:
Artist Syd Fossum discusses WPA projects and the Minnesota Arts Union. In a separate interview, artist Edmund Lewandowski discusses his involvement with the Works Progress Administration (WPA).
(45 min.)
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Minnesota Artists: Haines, Richard and Haupers, Clement
Interviewee: Haines, Richard and Haupers, ClementInterviewed by: Reid, George and Archabal, Nina in
Summary:
Artist Richard Haines discusses his involvement with the Works Progress Administration (WPA) art projects during the 1930s and 1940s. Clement Haupers portion of this interview is not available online.
(53 min.)
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Minnesota Artists: Haupers, Clement
Interviewee: Haupers, ClementInterviewed by: Reid, George and Archabal, Nina in 1977
Summary:
Artist Clement Haupers discusses his involvement with the Works Progress Administration (WPA) art projects during the 1930s and 1940s.
(49 min.)
This oral history is not available online. Contact Special Collections staff for more information. (ask for interview #53a)
Transcript available: no
Part 2
(84 min.)
This oral history is not available online. Contact Special Collections staff for more information. (ask for interview #54)
Transcript available: no
Minnesota Artists: Ibling, Miriam and Booth, Cameron
Interviewee: Ibling, Miriam and Booth, CameronInterviewed by: Reid, George in 1977
Summary:
Artist Miriam Ibling discusses her Minnesota murals painted for the Works Progress Administration (WPA) in the 1930s and 1940s. Also contains an interview with artist Cameron Booth discussing his artistic involvement with the Works Progress Administration.
(45 min.)
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Minnesota Artists: Morrison, George
Interviewee: Morrison, GeorgeInterviewed by: Reid, George in 1974
Summary:
Minnesota artist George Morrison discusses his early art education at the Minneapolis School of Art and his early influences including local artists, the Bauhaus, and the French school of painting. He discusses going to New York, the New York art scene, and enrolling at the Students Art League and his art becoming more expressionistic in the 1940s and 1950s. Morrison mentions winning a Fulbright to France in 1952. Morrison also discusses being a painting and drawing professor at the University of Minnesota.
(63 min.)
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Minnesota Artists: Quirt, Walter
Interviewee: Quirt, Eleanor FalkInterviewed by: Reid, George in 1974
Summary:
An interview with Eleanor Quirt focuses on her husband's, Walter Quirt, artwork. Eleanor Quirt discusses some of the artistic influences, including Stuart Davis, on her husband's work. Quirt also wrote prolifically and his wife refers to his papers. Eleanor Quirt also describes Quirt's friendships and professional relationships with other Minnesota artists and artists around the country.
(57 min.)
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Minnesota Artists: Reineke, Karen
Interviewee: Reineke, KarenInterviewed by: Archabal, Nina in 1977
Summary:
Karen Reinke, from Milaca, MN discusses the Work Projects Administration murals in Milaca by Andre Boratko and others. Reineke also discusses logging and dairy production in Milaca, MN.
(32 min.)
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Minnesota Artists: Wedin, Elof
Interviewee: Wedin, ElofInterviewed by: Reid, George and Archabal, Nina in 1977
Summary:
Artist Elof Wedin discusses his Minnesota arts projects for the Works Progress Administration in the 1930s and 1940s.
(60 min.)
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Minnesota Orchestra
Interviewee: Interviewed by: Woelm, James (Jim) in 1976
This oral history is not available online. Contact Special Collections staff for more information. (ask for interview #3) Transcript available: yes
Interviewee: Bregmann, Joseph
Interviewed by: Rooney, Dennis in 1972
Summary:
In a 1972 recording Dennis Rooney interviews Joseph Bregmann a former member of the Minneapolis Symphony Orchestra about his days under conductor Emil Oberhoffer. He played violin under Oberhoffer for one season and reflects upon the farewell concert for Oberhoffer. Further discussion covers length of season, venues where the orchestra played and guest conductors.
Bregmann also played under Henri Verbrugghen and Eugene Ormandy. During the Depression under Ormandy the Orchestra took a pay cut and reduced its touring schedule. Bregmann attributes some of these changes to poor management by Mrs. Carlyle Scott. Dimitri Mitropoulos replaced Ormany and the Orchestra toured more often. Bregmann thought highly of Mitropoulos and Bregmann's perspective on his personality and musical ability is enlightening. Bregmann finished his career under Antal Doráti and Stanislaw Skrowaczewski.
When Bregmann was playing with the orchestra the first records were cut by Brunswick Company. For the recordings a smaller 50 piece orchestra played. Later the orchestra did recordings for RCA under Ormandy.
(50 min.)
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Interviewee: Cisek, Richard
Interviewed by: Rooney, Dennis in 1972
Summary:
A 1972 interview by Dennis Rooney of the Minnesota Orchestra Manager, Richard Cisek, discusses fundraising, promotions, partnerships, and changes to the Orchestra. In particular, Cisek describes how the Minneapolis Symphony Orchestra (later known as Minnesota Orchestra) successfully expanded their 27 week season to 48 weeks due to increased partnerships and a mailing advertisement campaign, which increased its clientele and revenues. Moreover, the Orchestra was able to expand their local venues with the opening of the I. A. O'Shaughnessy Auditorium at St. Catherine's College in St. Paul. Cisek also gives an explanation to why the Minneapolis Symphony Orchestra became Minnesota Orchestra. He describes how the Orchestra's focus became to serve not only Minneapolis, but Minnesota as a whole, with the new name encompassing a larger audience.
(62 min.)
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Part 2
Summary:
In 1972 Dennis Rooney interviewed Richard Cisek, manager of the Minnesota orchestra, for a radio broadcast. Cisek discusses publicity for the orchestra, changes in fundraising from 1958 to 1972, and concert arrangement. Fundraising methods such as the guarantee fund, endowment funds, foundations, and the professional staff that conduct fundraising are described. Costs of running the Orchestra are provided and successful fundraising campaigns are discussed. Changes in musician salaries and benefits and the employment challenges for musicians throughout the years are detailed. Cisek predicts that arts organizations will need to collaborate more to make the best use of funding, since he thinks funding will not keep increasing as it has in the past decade.
(38 min.)
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Interviewee: Dalrymple, Bernice
Interviewed by: Rooney, Dennis in 1972
Summary:
Dennis Rooney interviews concertgoer Bernice Dalrymple for a 1972 radio broadcast about the early years of the Minnesota Orchestra. Rooney expressed interest in the years during which Emil Oberhoffer and Henri Verbrugghen conducted the Minnesota Orchestra, although Mrs. Dalrymple says that she has a hard time remembering much about Verbrugghen compared to the other conductors. Mrs. Dalrymple recalls her impressions of the orchestra's evolution from the early 1900's to the 1970's. She describes the public perception of the orchestra's management and her experiences attending the concerts at the Lyceum Theater and then the Northrop Auditorium, especially after becoming a season ticket holder in 1914. Dalrymple mentions her relationship with former orchestra manager, Mrs.Carlyle Scott, her association with the Women's Exchange and the Artists Course during the 1930's, and her disagreements with conductor Eugene Ormandy. She discusses the orchestra's role as a place of refuge during World War I and the Depression, when the Orchestra reduced ticket prices and members agreed to work for half-pay. In addition to the earlier Orchestra conductors, Dalrymple also gives her (mostly positive) opinions of Dimitri Mitropoulos, conductor from 1937 to 1949, Antal Dorati (1949-1960) and Stanislaw Skrowaczewski, music director from 1960-1979. Rooney asks about Bernice Dalrymple's membership in the Women's Association of the Minneapolis Symphony Orchestra (WAMSO), an organization heavily involved in fundraising, publicity, and music education.
(55 min.)
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Interviewee: Danz, Frank Jr.
Interviewed by: Rooney, Dennis in
Summary:
Violinist and son of concertmaster Frank Danz, Sr., Danz discusses his father's beginnings at the orchestra, and his band concerts at Lake Harriet, at Lake Como, and for James J. Hill. He also recounts his own experiences and acquaintances, and memories of his father.
(6 min.)
This oral history is not available online. Contact Special Collections staff for more information. (ask for interview #9)
Transcript available: no
Interviewee: Ferguson, Donald
Interviewed by: Rooney, Dennis in 1972
Summary:
Ferguson was a music professor at the University of MN and the program annotator for the Minneapolis Symphony Orchestra. This interview was with Dennis Rooney in August 1972 at Donald Ferguson's home in Minneapolis.
Donald Ferguson shares his historical perspective as professor emeritus in the Music Department at the University of Minnesota and as program annotator with the Minneapolis Symphony Orchestra. His vivid memories of working with Emil Oberhoffer, first conductor, and of Henri Verbrugghen, Eugene Ormandy, and Dimitri Mitropoulos are very detailed. He explains how he founded the Bach Society in 1933.
(60 min.)
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Part 2
(40 min.)
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Interviewee: Harvey, John H.
Interviewed by: Rooney, Dennis in
Summary:
John H. Harvey, St. Paul Pioneer Press music critic, speaks about the early years of the orchestra, including the leadership of Oscar Kalman, and Eugene Ormandy's tenure as conductor (1931-1936), Ormandy's intensity and excitement, his great attention to detail, public reaction to him, and his notable performances. Snippets of these performances are included. Harvey compares the musical styles of Ormandy and Antal Dorati (1949-1960) to that of Dimitri Mitropoulos (1937-1949) and Stanislaw Skrowaczewski (1960-1979), and also describes the period of transition between Ormandy and Mitropoulos, and the public's reactions to both conductors.
Harvey also describes the initial opposition to the "twelve tone" programming of Mitropoulos in the face of the dominant neoclassical style (Stravinsky, Hindemith, Copeland, etc.), the physical appearance of Northrop Auditorium at the time, including the design and demise of the orchestral shell, Mitropoulos's collaboration with and the public's attitude toward Ernst Krenek, teacher and composer at Hamline, and the problems the orchestra faced during World War II. He speaks of Mitropoulos at length, regarding his style, attitude, and his programming in comparison to Dorati, and recounts of the events surrounding Mitropoulos's and Dorati's leaving the orchestra.
Harvey also describes the conflict about Mitropoulis's guest conducting, after he decided to divide his time between the New York Philharmonic and the Minneapolis Symphony, and contrasts this to the"jet age conductor" (Ozawa, Julini, Previn). He also lengthily discusses the work of the critic that he succeeded at the St. Paul Pioneer Press, Frances Ford, and ends with comments regarding John Sherman of Minneapolis Star.
(62 min.)
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Part 2
(4 min.)
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Interviewee: Hiscock, Jennie
Interviewed by: Rooney, Dennis in 1972
Summary:
Jennie Hiscock, a regular concertgoer for most of her life, talks about singing in the chorus conducted by Emil Oberhoffer and also attending his concerts. She describes Oberhoffer's practice of controlling the audience and teaching them “how to behave at a concert” and his statuesque style of conducting. Hiscock attended concerts at the Lyceum Theater during Oberhoffer's tenure, and compared the concert-going experience between the Northrop and Lyceum theaters. She preferred the Lyceum's seating arrangements for the better view it offered. Next, Hiscock described her experience attending a Minneapolis Symphony Orchestra concert in Greece with Antal Dorati conducting in 1958. She spoke highly of how Oberhoffer rehearsed with her amateur chorus while she was a University student. She also praised Ormandy as a conductor. Later, Hiscock discusses an overall increase in the Minneapolis Orchestra's audience's knowledge of music from the time when Hiscock first began attending concerts. Dennis Rooney asks if Jennie Hiscock remembers anything about Mrs. Carlyle Scott - she recalls how she would introduce upcoming concerts, and manage temperamental people, and her involvement with the Artist's Course and the symphony's involvement with the University. Rooney asks about Hiscock's interest in other performances besides the orchestra, and she mentions her interest in opera. Finally, Hiscock discusses Anna Eugénie Schoen-René, her sister's somewhat eccentric former vocal coach.
(35 min.)
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Interviewee: Scheurer, Karl
Interviewed by: Adams, Merle in 1974
Summary:
Karl Scheurer discusses his experience with the Minneapolis Symphony Orchestra. Scheurer discusses joining the orchestra in 1908 as the second concertmaster and later becoming 1st viola. Scheurer describes the touring experience in his early day with the orchestra.
(56 min.)
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Part 2
This oral history is not available online. Contact Special Collections staff for more information. (ask for interview #5) Transcript available: yes
Interviewee: Sokoloff, Boris
Interviewed by: Rooney, Dennis in 1972
Summary:
Boris Sokoloff was the manager of Minneapolis Symphony Orchestra from 1953 to 1964. This interview was with Dennis Rooney in April, 1972. The interview took place in Philadelphia, PA.
Boris Sokoloff discusses his 11 year tenure as manager of the Minneapolis Symphony Orchestra. He discusses the financial challenges which each manager of a large orchestra faces. He praises the women's volunteer organization (WAMSO) and their work in increasing orchestra subscriptions. He has vivid memories and personal comments about orchestra conductors he knew and with whom he worked.
(60 min.)
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Part 2
(4 min.)
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Minnesota Television and Radio: Card, Clellan
Interviewee: Card, Clellan Mrs. (Marion)Interviewed by: DeHaven, Bob in 1976
Summary:
Marion Card, the wife of Clellan Card, discusses her husband's radio and television career as a WCCO radio personality and Axel of the 1950s-60s Minnesota children's TV program Axel and His Dog.
(29 min.)
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Minnesota Television and Radio: Diercks, Shirley
Interviewee: Diercks, ShirleyInterviewed by: DeHaven, Bob in 1977
Summary:
Minnesota radio personality Shirley Diercks discusses her involvement with the actors union, American Federation of Television and Radio Actors-Twin Cities Local, and her acting experiences.
(45 min.)
This oral history is not available online. Contact Special Collections staff for more information. (ask for interview #61)
Transcript available: no
Near-North Minneapolis: Hobbs, Marabeth
Interviewee: Hobbs, MarabethInterviewed by: unknown in 1974
Summary:
Marabeth Hobbs describes North Minneapolis neighborhoods, businesses, and schools during the late 19th century and the early 20th century.
(30 min.)
This oral history is not available online. Contact Special Collections staff for more information. (ask for interview #29)
Transcript available: no
Walker Art Center
Interviewee: Interviewed by: Woelm, James (Jim) in 1976
This oral history is not available online. Contact Special Collections staff for more information. (ask for interview #2) Transcript available: yes
Wilbur B. Foshay and Minneapolis
Interviewee: Gow, Harry and Mrs. GowInterviewed by: Baker, Patty and Chorn, Irving in 1975
Summary:
Harry Gow, a former employee of William B. Foshay, discusses Minneapolis businesses and residences in downtown Minneapolis and south Minneapolis in the 1920's and 1930's.
(22 min.)
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