"THE BARRIER",
Washington, D. C.,

September 27, 1950

MEMO FROM: Langston Hughes
TO: Michael Myerberg & Joel Spector
After the opening performance
of
"THE BARRIER"

1. First my deep gratitude for so careful a production and for all the thought and hard work that went into it. For the work that is still to come, perhaps these notes may be of some help.

2. While stronger and more beautiful in many respects than the Columbia or Ann Arbor productions, nevertheless, it seems to me that something of the simplicity and directness which those previous performances had been lost at the moment, and what has taken the place of this former simplicity is a kind of bombastic melodrama as it came over the footlights last night. Particularly:

A. The 1st Act curtain---where all three actors on the stage seem ready to chew the scenery. Here I think the internal drama and tensions would hold without so much external "sound and fury", haste, and big gestures. I do not like Bert's *running off the stage* like a child.

B. The fight between Bert and his father in Act II is excellent up to the point where Norwood falls on the floor. Here the groaning is unduly extended, becomes sadistic in effect, and brutal rather than a tragic self-defense.

C. The final curtain---much too "busy". In my opinion, the simpler the better here. Last night too much changing of lights, too much walking about on the part of Talbot before the slap, MUCH too much fire. Too much suggestion of the old melodramas of the ten-twenty-thirty days of my youth. A few more bars of music after the curtain falls might help here, too.

D. The off stage noises of the mob are distracting now rather than menancing and terrifying. Need a great of work.

3. BERT'S ENTRANCE in Act I---Action here should not be slowed up by present long aria. Liked Columbia-- Ann Arbor version much better. Suggest not more singing than these versions contained before moving on to his scene with his mother.

2

Sept. 27, 1950

MEMO Con't.

4. MINOR SUGGESTIONS:

A. BERT'S jacket on entrance horrible color and cut. Nothing of tenseness of body in scene with father comes through. Suggest whatever jacket he wears be taken on shortly after entrance---it's a hot day, anyhow.

B. CHANDELIERE beautiful. But it need never be lighted. Simply let it hang there as relic of past. When it is lighted, attracts undue attention---and seems too small in proportion to room. Unlighted, is very good.

C. CORA'S long entrance down stairs in final scene does not hole. Too long drawn out here.

D. OFF-STAGE VOICES in Ballet not clearly heard. Suggest different placins of Mr. Tibbett and Miss Holloman. And since dance on lower level tells important story, it would seem to me better if all three characters were covered by sports as they move about stage. Particularly much of young Cora's facial anguish seemed lost last night. Also warmer lighting on lower level sequences would seem to me better.

E. Suggest shorter musical interlude between the two scenes Act II. And bigger chords at curtain if possible, of Scene 1 after Cora's curse.

2. While stronger and more beautiful in many respects than the Columbia or Ann Arbor productions, nevertheless, it seems to me that something of the simplicity and directness which those previous performances had has been lost at the moment, and what has taken the place of this former simplicity is a kind of bombastic melodrama as it came over the footlights last night. Particularly:

A. The 1st Act curtain---where all three actors on the stage seem ready to chew the scenery. Here I think the internal drama and tensions would hold without so much external "sound and fury", haste, and big gestures. I do not like Bert's *running* off the stage like a child.

B. The fight between Bert and his father in Act II is excellent up to the point where Norwood falls on the floor. Here the choaking is unduly extended, becomes a sadistic in effect, and brutal rather than a tragic self-defense.

D. The off stage noises of the mob are distracting now rather than menancing and terrifying. Need a great deal of work.

Sept. 27, 1950

MEMO Con't.

4. MINOR SUGGESTIONS:

C. CORA'S long entrance down stairs in final scene does not hold. Too long drawn out here.

D. OFF-STAGE VOICES in Ballet not clearly heard. Suggest different placing of Mr. Tibbett and Miss Holloman. And since dance on lower level tells important story, it would seem to me better if all three characters were covered by sports as they move about stage. Particularly much of young Cora's facial anguish seemed lost last night. Also warmer lighting on lower level sequences would seem to me better.