Jane White Papers, 1924-2001 (ongoing)
General International Standard for Archival Description
Sophia Smith Collection Smith CollegeNorthampton, MA
Finding aid encoded in NoteTab Pro. Encoded by Jennifer Smar. 2005-10-26
Encoded Archival Description
Encoded Archival Description (EAD) Version 2002
collection
Jane White Papers
White, Jane
Biographical History for: Jane White Papers
Biographical Note Jane White was born on October 30, 1922 to Walter and Leah Gladys (Powell) White. The Whites stood among the elites of the Harlem Renaissance. Walter White, a native of Atlanta, Georgia, rose through the ranks of the National Association for the Advancement of Colored People (NAACP) to become national secretary of the organization in 1931. He published several acclaimed works, including Rope and Faggot (1929), an analysis of lynching funded by a Guggenheim fellowship, the novels The Fire in the Flint (1924) and Flight (1926), and his autobiography A Man Called White (1948). By many accounts an exceptionally beautiful woman, Gladys White had been employed as a stenographer at the New York office of the NAACP and had a rich musical heritage from her father, a Jubilee singer, which she put to good use as a performer in a Broadway musical Deep River (1926). Known as the "White House of Harlem," their apartment in the fashionable Sugar Hill neighborhood served as the setting for a range of cultural and social evenings. As children, Jane and her brother Walter Carl Darrow, born in 1927, absorbed the artistic and intellectual influence of their parents as well as such regular guests as James Weldon Johnson, Paul and Eslanda Robeson, Carl Van Vechten, and George Gershwin. Jane's career as an actress and her brother's work as an opera singer and television writer indicate the lasting impact of this creative milieu. Jane White's education reflected Walter White's political philosophy. Looking to integrate elite educational institutions, which often remained exclusively white in the socially separate 1920s, 30s, and 40s, he negotiated admission of his daughter to the Ethical Culture Schools of New York City and later, with the cooperation of Smith President Emeritus William Allan Neilson, to Smith College. In college, Jane majored in Sociology in order to follow in the path of her father's social activism, but she maintained a stronger passion for the arts. She minored in music, studying classical voice with Anna Hamlin, and participated in extracurricular dance and fencing. In 1943 she also served as the president of the student House of Representatives, making her the first African American elected to serve in a government position at Smith. She was graduated in 1944 and worked for a short time as a proofreader for the Research Institute of America while she also attended beginners' acting classes at New York's New School. In 1945 she secured her first stage role, the lead in a high profile Broadway production. José Ferrer was staging Lillian Smith's Strange Fruit, a controversial novel about interracial love in the South, and sought an actress for the role of Nonnie, a light-complexioned, small-town black woman whose white lover ultimately spurns her. Paul Robeson, a friend of the White family, suggested Jane for the part, and her inexperience did not hamper a successful audition. Though critical response to the play was mixed, it did well, particularly after Eleanor Roosevelt praised it-and White's performance-in her column, "My Day." In the fifteen years following this debut, White pursued the time-honored learning arc of an acting career with stints in summer stock, on Broadway and off, and acting instruction under various teachers, including Uta Hagen. Her broad recognition in the theatre world ultimately came with the highly successful off- Broadway to Broadway run of Once Upon A Mattress, the musical comedy that served as a launching vehicle for Carol Burnett. A role as the domineering queen showcased White's commanding stage presence and ushered in a spate of portrayals of similarly powerful women in Shakespearean and classical pieces throughout the 1960s and into the 1990s. She won the 1965-66 Obie award for her performances in the New York Shakespeare Festival as the Princess of France in Love's Labor's Lost and Volumnia in Coriolanus, and the 1988-89 Los Angeles Critics Circle Award for the Mother in Lorca's Blood Wedding. Despite these critical successes, White grew dissatisfied with the range of roles offered to her, a problem particularly complicated by her skin tone, which made her "too black for white roles-and this really hurt-too white for black roles." Her light complexion, shared with her father who had used it to his advantage by crossing the color line to investigate crimes against blacks in the South, often worked against her in the literal-minded American theatre, compelling her to use make-up to create a distinctly Anglo-Saxon look for the stage. Even so, White found that she was often not considered for roles because she did not fit the cliché image of a black woman. Frustrated, she and her husband Alfredo Viazzi, an Italian-born restaurateur and writer whom she had wed in 1962, relocated to Rome in 1965. In Europe, her roles ironically included a critically acclaimed stage performance in Trumpets of the Lord, a piece about the black church based on the writings of Walter White's mentor, James Weldon Johnson. In the late 1960s, the Viazzis returned to the U.S. In addition to work in the theatre, Jane White (who continued to use her maiden name in her profession) began a series of cabaret performances in her husband's restaurants. The genre highlighted White's versatility and led to her one-woman show, Jane White, Who?... (1979-80), which was interspersed with songs and autobiographical reminiscence. In the 1980s, the Kool Jazz Festival featured her as a soloist, and Bobby Short presented her at Town Hall for a cabaret evening. In her personal life, White experienced the loss of many of those dear to her. Her father ended his career with the NAACP in a scandal brought on by his divorce of Gladys and remarriage to white food expert Poppy Cannon in 1948, and he died of a sudden heart attack in 1955. Her mother died in Germany in 1979 at age 85. Her brother was killed in a mountain climbing accident in 1975 at the age of 48, and her beloved husband Alfredo Viazzi succumbed to a heart attack in 1987 when he was 66. These tragedies, however, did not slow her career. From the 1970s to the 2000s, she filled roles of imposing, strong-willed women in a gamut of productions: comedies and musicals including A Little Night Music and Follies, and such classical and dramatic works as Ghosts, Pygmalion, and Brecht's Caucasian Chalk Circle. The Metropolitan Opera presented her, in the 1983-84 and 1993-94 seasons, in spoken roles in Les Troyens and La Fille du Regiment. She also worked in television, memorably as a villain on the soap opera Search for Tomorrow, and in film, playing the role of a Park Avenue Madam in Klute and the Schoolteacher in Beloved. Critical response to Jane White's career since her Strange Fruit debut has ranged from pans to raves but has enabled a long and varied life's work. She has been honored by the NAACP for that work. She has counted among her fans such notables as Bobby Short, playwright Moss Hart, maestro James Levine, and theatre impresario/actor Jean-Louis Barrault, as well as the numerous performers and directors with whom she has worked. Jane White died in 2011.
Scope and Contents of the Collection The Jane White Papers consist of 3.75 linear ft. dating from to 1924 to 2001. Types of materials include scripts, newspaper clippings, notes, publicity, correspondence, audiotapes, and photographs. The bulk of the papers concern Jane White's theatrical career. These materials, enhanced by White's eloquent self-reflections in interviews generated by her work on stage, document the career of a versatile performer. Her tenuous place on the color line brings into relief the shifting perceptions of racial identity over the span of the civil rights era and beyond, particularly as they emerged and developed in the professional theatre. Documents in the collection reveal White's thoughts about her personal life and political activist heritage as well as the craft of her work. There is evidence of how she constructed her characters and executed performances. A small amount of biographical information highlights White's life outside the theatre, and the many photographs show her onstage as well as in more candid poses. While the collection documents Jane White's life and work and, to a lesser extent, that of her husband Alfredo Viazzi, her perspective on her prominent family lends insight into studies of parents Walter and Gladys White. Note: This collection has not been fully processed and additions are expected.
Actresses--United States--Biography--Sources
lcsh
African American actresses--Biography--Sources
Theater--United States--History--20th century--Sources
Women in the theater--United States--History--Sources
lcnaf
White, Walter Francis, 1893-1955
series
SERIES I. BIOGRAPHICAL MATERIALS (1962-2000),
This series contains written overviews of White's life, including materials from the 1992 autobiographical performance she staged at the Sophia Smith Collection's fiftieth anniversary celebration, as well as writings and correspondence. Correspondents include Jean-Louis Barrault, Jerome Robbins, and Henry Denker. A 1958 speech on racial justice delivered to Actors' Equity and various projects undertaken by Alfredo Viazzi can be found here.
SERIES II. PROFESSIONAL ACTIVITIES (1948-2001),
This series covers the span of White's work in theatre and onscreen, and the period from the 1960s to the 1980s is documented most extensively. Scripts, music, programs, publicity, and clippings and other printed material can be found as well as correspondence, including many congratulatory telegrams. The series also includes White's handwritten notes and reel-to-reel audiotapes from her cabaret performances. Photographs from performances are located in SERIES III. PHOTOGRAPHS, and a scrapbook that contains correspondence, clippings, and photographs documenting her work in the 1940s and 1950s is located among the oversize materials.
SERIES III. PHOTOGRAPHS (1924-2001),
This series contains staged and candid photos from performances, publicity shots of Jane White, and snapshots of Jane White alone, in groups, and with family and friends.
Biographical writings and stage credits, circa 1993, n.d.
Actors' Equity speech: correspondence and clipping, 1958
"Life as an Actress: A Mystery Story": script, photograph photocopies, program, and publicity from White's performance at Sophia Smith Collection's "Revealing Life Stories" fiftieth anniversary symposium, 1992
Oral history transcripts and publicity, 1993
Fredi Washington memorial service: typescript and program, 1994
Correspondence (includes Jean-Louis Barrault), 1967-70, 1989-95
Clippings: general, 1962-2000, n.d.
Awards, 1965-79
Alfredo Viazzi projects: includes correspondence, clippings, and screenplay synopsis, 1967-75, n.d.
"Mean Anthony": story by Jane White and correspondence, 1976
Ah, Men: script, program, and clippings, 1981
Amen: script, 1990
Blood Wedding: programs, publicity, award, notes, script, and clippings, 1988
Brittanicus: program, 1963
Burnt Flowerbed: program and clippings, 1974
Butcher's Daughter: correspondence, program, clippings, script, and notes, 1993
Cabaret performances: programs, publicity, clippings, and reel-to-reel audiotape, 1976-77, 1979
[please use cassette copy of audiotape]
Caucasian Chalk Circle: correspondence, program, clippings, script, and music, 1990
Cleopatra: research material, 1948-63
Coriolanus: correspondence, clippings, programs, program notes, research material, and script, 1991
Cuban Thing: program and clippings, 1968
La Fille du Regiment
Follies
Correspondence (includes Judith Ivey), programs, and clippings(includes program to Stephen Sondheim celebration), 2001
Script, notes, and research material
Ghosts: program and clippings, 1986
God's Trombones (tribute to James Weldon Johnson): program, 1992
Greeks: notes, programs, script, and clippings, 1981
Heartbreak House: script, notes, and research material, 1986
Hop, Signor!: correspondence, program, and clippings, 1962
I Hate Hamlet: correspondence, program, clippings, script, and notes, 1992
Iphigenia in Aulis: correspondence, programs, and clippings, 1968
Jane Eyre: correspondence, programs, and clippings, 1958
Jane White, Who?...
Correspondence
San Francisco management, 1979
New York lawyers, 1980
Opening night telegrams, congratulations, fan mail, 1980
Programs, publicity, and award, 1980
Clippings, 1979-80
Scripts, song lyrics, corrections, 1979, 1985
Reel-to-reel audiotapes, 1979
[please use cassette copies]
King Lear: clippings, 1975
Kool Jazz Festival: programs, 1984
Life and Death of King John: program, script, notes, and research material, 1988
Liliom: includes correspondence from Jane White to Gladys White, program, clippings, 1957
Little Night Music: clippings, 1996
Lola: script, music, notes, and research material, 1982
Love's Labor's Lost
Madwoman of Chaillot: contract and publicity, 1985
Master of Thornfield
Nefertiti: clippings, 1977
New York Shakespeare Festival (1965): correspondence, programs, and clippings from Troilus and Cressida, Love's Labor's Lost, and Coriolanus, 1965-66
Oh Dad, Poor Dad, Mamma's Hung You in the Closet and I'm Feeling So Sad: correspondence, programs, and clippings, 1966
Once upon a Mattress: correspondence, programs, and clippings, 1959-64, 1972
Petrified Prince, 1994-95
Correspondence (includes Harold Prince), program, and clippings, 1994-95
Script, notes, and music, 1994
Pleasure of Honesty, correspondence, programs, and research material, 1993-1995
Power and the Glory: correspondence (includes Carl Van Vechten), programs, and clippings, 1958
Put Your Hands Together: correspondence, photograph, and program, 1982-83
Pygmalion: program, correspondence, clippings, and script, 1990
Razzle Dazzle: clippings, 1951
Rosmersholm: programs, clippings, 1974
Search for Tomorrow: clippings, 1969, 1979
Strange Fruit: clipping, n.d.
Take a Giant Step: program, 1953
Taming of the Shrew: correspondence, programs, and clippings, 1960
Tennessee Williams: A Celebration: program, 1982
Tributes to Bobby Short, 1992-93: correspondence, programs, and clippings, 1992-93
Trojan Women: correspondence, programs, and clippings, 1963
Troilus and Cressida
Tropical Breeze Hotel: correspondence, clippings, notes, and research material, 1995
Les Troyens and La Fille du Regiment: correspondence, programs, clippings, schedules, script, and music, 1983-84, 1993-94
Trumpets of the Lord: correspondence, script, program, and clippings, 1967-68
White and the Black: programs and clippings, 1967-68
You Never Know: programs, 1953
Miscellaneous performances, 1952-98
Jane White alone, with family, and Alfredo Viazzi, 1924-circa 1970s
Jane White in groups, includes Tennessee Williams, Carrie Nye, and Gael Greene, 1979-93
Publicity shots, circa 1940s-90s
Amen, 1989
Blood Wedding, 1988-89
Burnt Flowerbed, 1974
Butcher's Daughter, 1993
Cabarets, concerts and clubs, 1975-79, n.d.
Come What May, 1950
Coriolanus, 1965, 1991
Caucasian Chalk Circle, 1990
Cymbeline, circa 1970
Follies, 2001
Ghosts, 1986
Greeks, 1981
Heartbreak House, 1986
Hop, Signor!, 1962
I Hate Hamlet, 1992
Iphigenia in Aulis, 1968-69
It's Only a Play, 2000
Jane Eyre, 1958
Jane White, Who?..., 1979-80
King Lear, 1975
Liliom, 1957
Little Night Music, 1996
Lola, 1982
Love's Labor's Lost, 1965
Lysistrata, 1970
Madwoman of Chaillot, 1985
Man of Destiny, 1962
Oh Dad, Poor Dad, 1966
Once Upon a Mattress: photographs and album, 1961-61, 1964
Pygmalion, 1990
Rosmersholm, 1974
Search for Tomorrow, n.d.
Strange Fruit
Taming of the Shrew, 1960
Trojan Women, 1963
Tropical Breeze Hotel, 1995
Les Troyens and la Fille du Regiment, 1983-84
Les Troyens, 1993-94
Trumpets of the Lord, 1967, 1969-70
OVERSIZE MATERIALS
Scrapbook, 1945-57
Biographical materials: clippings, 1978, 1999-2000, n.d.; Obie award, 1965-66
Professional activities
Strange Fruit script, 1945; clippings, 1991; and publicity, 1982-2001
Jane White, Who?...: publicity and posters, 1979-80
Photographs and artwork: Photographs (includes White family, 1939), 1939-82; and charcoal drawing of Jane White, 1967
Oh Dad, Poor Dad: poster, 1966