Inventory of the Reza Abdoh Collection of Papers, 1983-1999

*T-Mss 1996-010

Billy Rose Theatre Collection

The New York Public Library for the Performing Arts
New York, New York

Contact Information
The New York Public Library for the Performing Arts
Billy Rose Theatre Collection
40 Lincoln Center Plaza
New York, New York 10023-7498
Phone: 212/870-1639
Fax: 212/870-1868
Email: [email protected]
Web address: http://www.nypl.org/research/lpa/the/the.html

Processed by:
Date Completed:

Camille Croce Dee

November 2000

2000 The New York Public Library. Astor, Lenox, and Tilden Foundations. All rights
reserved.

Descriptive Summary
Title:

Reza Abdoh Collection of Papers, 19831999

*T-Mss 1996-010
2.5 linear feet (6 boxes)
Billy Rose Theatre Collection.
The New York Public Library for the
Performing Arts

Collection ID:
Extent:
Repository:

Administrative Information
Access
Collection is open to the public. Advance notice may be required.
Reza Abdoh scripts may NOT BE COPIED under any circumstances. This prohibition
includes photocopying, microfilming (except for preservation), scanning, digitizing,
copying by hand or any other form of photo mechanical or electronic reproduction.
Further no future performances of Reza Abdoh productions will ever be permitted.
This restriction also applies to the videotapes. No copies and no excerpts are permitted
with out express permission from Brenden Doyle.
Publication Rights
For permission to publish, contact the Curator, Billy Rose Theatre Collection.
Preferred Citation
Reza Abdoh Collection of Papers, *T-Mss 1996-010, Billy Rose Theatre Collection, The
New York Public Library for the Performing Arts.
Custodial History
The collection was donated to the Billy Rose Theatre Collection by colleagues and
friends of Reza Abdoh: Jennifer Boggs, Brenden Doyle, Raul Vincent Enriquez, Tom
Fitzpatrick, Juliana Francis, Stephen Francis, Ariel Herrera, Grace Jordan, Adam Leipzig,
Daniel Mufson, and Diane White from 1996 through January 2000.

Biographical Note
Reza Abdoh, avant-garde director, playwright, company leader and poet, was
born on February 23, 1963 to Ali Abdoh and Homa Oboodi in Teheran, Iran. At the age
of seven, he saw Peter Brooks production of A Midsummer Nights Dream in London
and was deeply affected by it. Although there is some dispute regarding the biographical
facts of his life from 1972-1982, it is known that during this period, he lived in England,
where he directed Peer Gynt by Henrik Ibsen around 1977.
About 1980, he moved to Los Angeles where he directed numerous plays,
including a program called Three Plays by Howard Brenton (1983), Shakespeares King
Lear (1985), The Farmyard by Franz Xavier Kroetz (1985), The Sound of a Voice and As
the Crow Flies by David Henry Hwang (1985).
In addition to directing, by 1986 he began to create his own works such as
A Medea: Requiem for a Boy with a White Toy and Rusty Sat on a Hill One Dawn and
Watched the Moon Go Down, both produced in Los Angeles. It was also at this time he
created the first in a body of videos: My Face and Oh Thello Sit Still. Abdohs theatrical
works often included multimedia elements; his works did not rely solely upon the text to
convey their meaning.
Reza Abdoh adapted and directed King Oedipus by Sophocles and Eva Peron by
Cop at Theatre Upstairs (Los Angeles, 1987). In 1988, he directed Peep Show, a work
which he co-authored with Mira-Lani Oglesby. Produced at Los Angeless Hollywood
Highland Hotel, Peep Show won L.A. Weeklys Production of the Year Award.
Continuing his collaboration with Mira-Lani Oglesby, he directed Minamata (1989) at
the Los Angeles Theatre Center. In 1990, Father Was a Peculiar Man, directed by
Abdoh and produced by En Garde Arts, was performed in New York Citys meat-packing
district. That same year saw his creation and direction of The Hip-Hop Waltz of Eurydice
at the Los Angeles Theatre Center. This work would also be performed at the Festival de
Theatre des Ameriques, Montreal (1991), the Sigma Festival, Bordeaux and Mercat des
la Flors, Barcelona (1992), and at the Festival dAutomne, Paris (1993). He also directed
Pasos en la Obscuridad, a work he co-created with Frank Ambriz, at the Los Angeles
Festival in 1990.
He wrote and directed Bogeyman which the Los Angeles Theatre Center produced
in 1991. That same year marked the formation of his Dar A Luz theater company and his
receiving the Audrey Skirball-Kenis Theatre Award for Outstanding New Work.
In 1992, Dar A Luz performed his work The Law of Remains in the Diplomat
Hotel, New York City and in October of that year took the production to the Walker Arts
Centers Freight House in Minneapolis. 1992 saw him branch out to other mediahe
created and directed The Blind Owl, a ninety-minute feature film; he also directed Long
Beach Operas production of Verdis Simon Boccanegra. His Tight Right White was
performed by Dar A Luz in New York City in 1993. From May through July of that
same year, he toured with Dar A Luz, which performed The Law of Remains in the
Springdance Festival, Utrecht; Festival Internacional, Granada; Wiener Festwochen,
Vienna; Internationales Tanzfestival, Munich; Theater am Turm, Frankfurt;
Sommertheater, Hamburg, and the Festival dAutomne, Paris.

He directed Quotations from a Ruined City, which he wrote with his brother,
Salar; it was performed by Dar A Luz in New York City in 1994. In 1995, he wrote and
directed A Story of Infamy (a.k.a. The History of Infamy). He was among the first five
winners of the Cal Arts/Alpert Award in the Arts.
Reza Abdoh died of AIDS on May 11, 1995 in New York City at the age of 32.
In 1996, he was posthumously awarded a Bessie Choreographer and Creator Award for
Sustained Achievement.

Scope and Content Note

The Reza Abdoh collection consists of biographical materials, ephemera,
clippings, scripts, and photographs relating to his theater and film projects, both produced
and unproduced. There are also papers relating to Dar A Luz, the theater company he
formed in 1991.
The biographical materials include transcripts of interviews with Reza Abdoh, but
consist mostly of transcripts of interviews conducted by Daniel Mufson with Abdoh's
brother, Salar, and close friends and associates during the 1990s. Mufson's Master's
thesis for the Yale School of Drama is also included, along with unpublished essays,
general articles on Reza Abdoh, and a chronology of his life and work.
Productions form the largest part of the collection. The Reza Abdoh Collection
shows the progression of his work from 1983 to 1995 and offers insight into the
development of these works through evolving versions of scripts, handwritten notes and
miscellaneous materials from various people involved with these works. His works
between 1991 through 1995 are especially well-documented, particularly the European
tour of 1993, which includes copies of ground plans, light and sound design material and
other production ephemera. There are also a number of materials, including a script,
relating to The Blind Owl, a ninety-minute feature film he directed in 1992.
Correspondence is minimal and does not include any personal letters to or from
Reza Abdoh. Since all collection materials were donated by Reza Abdoh's associates,
relatively few items were directly generated by Abdoh himself. However, there are some
notes for the text of A Story of Infamy (his last work) which appear to be in his own hand,
and an annotated script for another unproduced work, The Saga of Faust Part I - Degree
Zero: The Birth of Mephisto. There is also an annotated script for Tight Right White, as
well as handwritten corrections (which also appear to be his) made to the project proposal
for this work. A draft of a letter to Des McAnuff contains some of his jottings and
drawings; there are also the beginnings of a note on the back of A Story of Infamy
correspondence. Of his unproduced works, A Story of Infamy is best documented. It
appears to have been scheduled for performance in Europe in May and June of 1995 but
then cancelled, due to Abdoh's death in May of that same year. Of particular interest is a
written statement by Salar Abdoh regarding A Story of Infamy made in memory of his
brother.

Organization
The collection is organized into 4 series and 22 sub-series. They are:
Series I:
Biographical Information
Series II:
Dar A Luz Company Papers
Series III:
Productions
Sub-series 1 - As the Crow Flies; The Sound of a Voice
Sub-series 2 - The Blind Owl (Motion picture)
Sub-series 3 - Bogeyman
Sub-series 4 - Eva Peron; King Oedipus
Sub-series 5 - The Farmyard
Sub-series 6 - Father Was a Peculiar Man
Sub-series 7 - Heads; Christie in Love; The Saliva
Milkshake
Sub-series 8 - The Hip-Hop Waltz of Eurydice
Sub-series 9 - King Lear
Sub-series10 - The Law of Remains
Sub-series11 - A Medea: Requiem for a Boy with a White
Toy
Sub-series12 - Minamata
Sub-series13 - Pasos en la Obscuridad (a.k.a. Pisadas en
La Obscuridad)
Sub-series14 - Peep Show
Sub-series15 - Quotations from a Ruined City
Sub-series16 - Rusty Sat on a Hill One Dawn and
Watched the Moon Go Down
Sub-series17 - Simon Boccanegra (Opera)
Sub-series18 - Tight Right White
Series IV:

Other Projects
Sub-series 1 - Leaden Tears
Sub-series 2 - The Saga of Faust Part I - Degree Zero:
The Birth of Mephisto
Sub-series 3 - Shahnameh
Sub-series 4 - A Story of Infamy

Series Descriptions
Series I : Biographical Information [1988-1999]
[1 box]
This series contains 12 interview transcripts: a 1994 TV/Radio interview
with Daniel Mufson which incorporates an earlier interview between Reza Abdoh
and Richard Stayton in Los Angeles, and eight additional interviews conducted in
the 1990s by Daniel Mufson with Reza Abdoh's brother, Salar, and with close
friends and associates: Tony Charles, Tom Fitzpatrick (known as Tom "Fitz"),
Juliana Francis, Meg Kruszewska, Dokhi Mirmirani, Tom Pearl, and Ken Roht.
Daniel Mufson's Master's thesis for the Yale School of Drama, "Places Ripped
Open Again and Again: Sex, Identity and Death in the Recent Works of Reza
Abdoh" (Spring 1995) is also included. There are also transcripts of interviews
between Reza Abdoh and John Bell (1994), Josette Feral (ca. 1995), and Howard
Ross Patlis (1992; Epilogue 1995). The remaining materials are several general,
published articles about Abdoh, an unpublished essay by Charles Marowitz, and a
chronology of his life. Of particular interest is a draft of a letter (ca. 1986) to Des
McAnuff at the La Jolla Playhouse, mostly handwritten by Tom Fitzpatrick, but
containing handwritten notes and drawings by Reza Abdoh.
Series II:
Dar A Luz Company Papers
[1991-1993] [1 folder]
This series contains the company's by-laws, certificate of incorporation,
tax exemption certification, and independent contractor's form. There are also
items relating to the company's European tour (April 28-June 20 and
July 11-July 20, 1993), such as the letter of agreement between Dar A Luz and
Ariel Herrera, the company's touring schedule, and photocopies of Ariel Herrera's
passport and travelers checks.
Series III: Productions
[1983-1995]
[4.5 boxes]
This series consists of materials relating to produced works created and/or
directed by Reza Abdoh, including works with co-authors Mira-Lani Oglesby,
Frank Ambriz, and Salar Abdoh. It contains works for theater, one feature film,
The Blind Owl (1992) and one opera, Simon Boccanegra (1992). The materials
include scripts, text development materials, production notes, reviews and
clippings, (a number of which are in foreign languages) a small amount of
correspondence relating to productions, project proposals, programs and
photographs. There are also set, lighting, sound and property design materials.
Other ephemera include contact sheets, publicity materials, rehearsal schedules,
itineraries, festival booklets, and information kits for festival participants.
Bogeyman, The Hip-Hop Waltz of Eurydice, The Law of Remains, Quotations
from a Ruined City, and Tight Right White are the best-documented productions.

Sub-series 1 - As the Crow Flies; The Sound of a Human Voice by David Henry
Hwang [1986]
[1 folder]
Produced by Diane White, directed by Reza Abdoh, set, lighting and
costumes by Timian Alsaker, sound design by Jon Gottlieb, musical direction by
Carl Stone. Opened February 16, 1986 at the Los Angeles Theatre Center.
Papers include a program, clippings and 5 black and white photographs.
Sub-series 2 - The Blind Owl (Motion picture) by Reza Abdoh [ca. 1991]
[3 folders]
Starring Dar A Luz Performance Works, produced by Adam Soch, coproduced by Adrian Velicescu and Crocker Coulson, Tainbreaker Films; directed
by Reza Abdoh, director of photography, Adrian Velicescu, art director, Sergio
Onaga, costumes by Alix Hester. Papers include an undated screenplay
(86 pages), a 1991 screenplay (41 pages), a shooting schedule including a note to
Reza Abdoh from W. Galen Wade (11/9/1991), a project proposal, and two
promotional booklets containing reviews and press on Reza Abdoh's work, a
director's statement, and color photocopies of stills from the film.
Sub-series 3 - Bogeyman by Reza Abdoh [1991] [5 folders]
Produced by Diane White, directed by Reza Abdoh, sets by Timian
Alsaker, lighting by Rand Ryan, costumes by Marianna Elliott, sound by Raul
Vincent Enriquez and W. Galen Wade, video by Adam Soch and choreography by
Ken Roht. Opened at the Los Angeles Theatre Center, August 29, 1991 and ran
through October 13th. Papers include Tom Fitzpatrick's rehearsal script, a script
dated "9/19/91," a program, flyer, handbill, technical notes to the sound designers,
clippings, 67 color rehearsal snapshots, a rehearsal schedule, contact sheets, and
copies of accident reports filed by Tom Fitzpatrick involving the cast. There is
also a script for a workshop of the play done in New York City on 9th Avenue and
42nd Street, June 1991. Included are script development materials such as
dialogue from the film Wall Street hand transcribed by Tom "Fitz" (Fitzpatrick), a
photocopy of the acting version of the play High Priest of California by Charles
Willeford, and first drafts of what became Bogeyman, including some handwritten
by Tom Fitzpatrick.
Sub-series 4 - Eva Peron by Copi; King Oedipus by Sophocles [1987]
[1 folder]
Produced by Marta Holen, directed by Reza Abdoh; assistant director,
Susan Sitnek, set sculpture by Joella March, lighting by Bill O'Shaughnessy,
original music by Jim Berenholtz, and costumes by D. Chambers. Opened at
Theatre Upstairs, Hollywood, California and ran for 18 performances. Papers
include a program, a publicity postcard, a stenographer's pad which served as the
reservations book, and clippings.

Sub-series 5 - The Farmyard by Franz Xavier Kroetz [1985]

[1 folder]
Produced by Echoe Bones, in association with Irv Goodnoff, directed and
designed by Reza Abdoh. Opened August 1985 and played through September 7,
1985. Papers include 2 sheets of reviews and 3 black and white photographs.
Sub-series 6 - Father Was a Peculiar Man by Reza Abdoh and Mira-Lani
Oglesby [1990]
[1 folder]
Produced by Anne Hamburger, presented by En Garde Arts, directed by
Reza Abdoh, sets by Kyle Chepulis, lighting by Brian Aldous, costumes by
Claudia Brown, choreography by Maggie Rush and Ken Roht, original music and
sound design by Eric Liljestrand. Opened June 29, 1991 and ran through July 21,
1991 on Ninth Avenue and Little West 12th Street in New York City's meatpacking district. Papers include a program and clippings.
Sub-series 7 - Heads; Christie in Love; The Saliva Milkshake by Howard
Brenton [1983]
[1 folder]
Directed by Reza Abdoh, sets by Clemi Boubli and lights by Joe
Morrissey. Opened at the Fifth Estate Theatre June 1983. Papers consist of one
review by Robert Koehler in the Los Angeles Times, 6/17/1983.
Sub-series 8 - The Hip-Hop Waltz of Eurydice by Reza Abdoh [1990-1993]
[5 folders]
Produced by Diane White, directed by Reza Abdoh, sets and costumes by
Timian Alsaker, lighting by Rand Ryan, sound by Erik Blank and Raul Vincent
Enriquez, (for subsequent productions in Montreal, Bordeaux and Barcelona, Raul
Vincent Enriquez alone designed the sound), video by Adam Soch. Opened at the
Los Angeles Theatre Center December 13, 1990; at the Festival de Theatre des
Ameriques, Montreal May 30,1991 and played through June 2, 1991; at the Sigma
Festival, Bordeaux November 10, 1992 for 5 performances; at the Mercat de les
Flores, Barcelona November 19, 1992 and played through November 22, 1992; at
the Festival D'Automne a Paris November 23, 1993 and played through
November 28, 1993.
Papers include a flyer, press kit and booklet for the Los Angeles Theatre
Center production, a festival brochure and technical schedule for the Montreal
production, a program for the Bordeaux production, a festival brochure for the
Barcelona production. For both the Bordeaux and Barcelona productions, there
are sound system designs by Raul Vincent Enriquez. For the Paris production,
there is a festival packet containing a program, a festival booklet, and a
supplement to Le Monde relating to the festival, as well as an audio diagram by
Raul Vincent Enriquez. There is also a general outline of the play dated 10/15/90
and a folder of clippings for all productions.

Sub-series 9 - King Lear by William Shakespeare [1985] [1 folder]

Produced by Ron Frank, directed by Reza Abdoh, sets by Mark Hudson,
lighting by Bronislawa Sklowdowska, costumes by France Holland. Opened at
the Gangway Performance Center, January 17, 1985. Papers include 1 sheet of
clippings and 1 black and white cast photograph.
Sub-series 10 - The Law of Remains by Reza Abdoh [1991-1993] [16 folders]
Performed by Dar A Luz, produced by Diane White, directed by Reza
Abdoh, sets by Sonia Balassanian (Timian Alsaker for Paris), lighting by Rand
Ryan (Timian Alsaker for Paris), costumes by Liz Widulski (Alix Hester also
listed for Granada and Vienna), sound by Raul Vincent Enriquez (Eric Blank also
listed for Paris), video by Adam Soch.
Opened at the Hotel Diplomat, New York City, February 15, 1992 and
played through March 14, 1992; at the Walker Arts Center Freight House,
Minneapolis, October 21, 1992 and played through October 25, 1992; at the
Springdance, Utrecht, Holland, April 29, 1993 and played through May 8, 1993;
at the XI Festival Internacional Teatro Granada, Spain, May 8, 1993 and played
through May 18, 1993; at the Wiener Festwochen 1993, Vienna, May 24, 1993
and played through May 28, 1993; at the Dance '93 festival, Munich, June 3, 1993
and played through June 6, 1993; at the Theater Am Turm, Frankfurt, June 11
through June 13, 1993 and June 15 through 19, 1993; at the Internationales
Sommer Theater Festival, Hamburg '93, July 16, 1993 and played July 19, 1993.
Papers include 3 scripts: 1 marked "Sabrina" (135 pages), 1 titled
"Section I: Shot With a Diamond" (142 pages), Ariel Herrera's script which
includes sound cues, rehearsal schedules, (probably for the New York City
production), a rough draft for a contract and other production notes; for the New
York City production, there is a program, postcard, poster, flyer, and 4 opening
night "good luck" notes to Ariel Herrera. For the Minneapolis production, the
papers include a program, a Walker Arts Center brochure, and a sheet of
directions to the Freight House.
For the Utrecht production, papers include a program, 3 festival
brochures, 5 sheets of general and festival information for festival participants.
For the Granada production, the papers include a program, a festival brochure, 3
sheets of general and festival information for festival participants, and a festival
name tag for Ariel Herrera.
For the Vienna production, the papers include a program, a festival
booklet, a program for the entire festival, and a cover sheet for "Previews and
Reviews."
For the Munich production, the papers include a festival postcard, 2
festival booklets, and a packet containing 2 information sheets and a booklet on
Munich. For the Frankfurt production, the papers include a festival booklet

(oversized), a folder with a contact sheet of Theater Am Turm (TAT) personnel,

and a festival name tag for Ariel Herrera. For the Hamburg production, the
papers include a festival schedule, a festival business card marked "Reza Abdoh
& comp.," and 1 sheet for information on Hamburg details signed "Rupert"
(probably Skinner).
For the Paris production, the papers include a festival packet which
includes a program, a festival booklet, a Le Monde supplement relating to the
festival, and 8 sheets of general and festival information. There is also a single
sheet of information signed "Tom" (probably Pearl) for company members on
accommodations.
For the Spring/Summer European tour, the papers include a contact sheet
and Ariel Herrera's travel insurance papers. There are also sound cue sheets,
choreographic notes, blocking notes and text development materials not related to
any specific production and 2 folders of clippings.
Sub-series 11 - A Medea: Requiem for a Boy with a White Toy by Reza Abdoh
[1986]
[1 folder]
Produced by Marta Holen, Edward Gerard and Pat Strong, directed and
designed by Reza Abdoh, lighting by Jim Okumura, costumes by Anisa
Boudjakdji, masks by Marc-Olivier Gerard. Opened at the L.A.
Experimentalltheatr [sic] July 11, 1986 and played through August 3, 1986.
The papers include Tom Fitzpatrick's text containing handwritten sections and
annotations, a contact sheet, 3 flyers, including 1 for Memories to a Medea (a play
based on Abdoh's work) by Karen Yeghiazarian, and an acting edition of
Robinson Jeffers's Medea, and clippings.
Sub-series 12 - Minamata by Reza Abdoh and Mira-Lani Oglesby [1989]
[2 folders]
Produced by Diane White, directed by Reza Abdoh, sets and costumes by
Timian Alsaker, lighting by Timian Alsaker and Douglas D. Smith, sound by Jon
Gottlieb, projections by Bradford Fowler and Douglas D. Smith. Opened at the
Los Angeles Theatre Center April 14, 1989 for 44 performances. The papers
include Tom Fitzpatrick's script, which includes rehearsal and performance
schedules, vocal warm-ups and song lyrics, a program, Los Angeles Theatre
Center Fall-Winter schedule, 1988-1989, 5 black and white production
photographs, and clippings.
Sub-series 13 - Pasos en la Obscuridad (a.k.a. Pisadas en la Obscuridad) by
Reza Abdoh and Frank Ambriz [1990]
[1 folder]
Written and performed in Spanish, directed by Reza Abdoh. Opened at
the Los Angeles Festival September 6, 1990. The papers include a festival
booklet, 2 black and white rehearsal photographs, 1 color still from the video, and
clippings.

Sub-series 14 - Peep Show by Reza Abdoh and Mira-Lani Oglesby [1988]

[1 folder]
Produced by Marta Holen, directed by Reza Abdoh, videos by Reza
Abdoh and Bill O'Shaughnessy, visual artist, Steve Oglesby. Opened at the
Hollywood Highland Hotel, Hollywood, California April 16, 1988 and played
through April 24, 1988. The papers include a part of Tom Fitzpatrick's script
(the Dr. Scott and Hamlet scene), which includes handwritten notes and sketches,
a transcript of a Paul Harvey newscast (that was played on television sets at the
end of the show), 4 black and white photographs, and clippings.
Sub-series 15 - Quotations from a Ruined City by Reza Abdoh and Salar Abdoh
[1993-1994] [9 folders]
Performed by Dar A Luz, produced by the Los Angeles Festival in
association with Dar A Luz (Diane White, producer for Dar A Luz), directed by
Reza Abdoh, lighting design by Jennifer L. Boggs, costume design by Eddie
Bledsoe and Gene Barnhart, sound design by Raul Vincent Enriquez and
[W.] Galen Wade, film and projection design by Tal Yarden, choreography by
Ken Roht and Reza Abdoh; for New York and subsequent productions, Adam
Soch listed as video designer.
Opened as a work-in-progress at the Los Angeles Festival, September 10,
1993 and played through September 19, 1993; at 448 West 16th Street, New York
City, February 24, 1994 and played through March 5, 1993 or April 10, 1993; at
the Festival Grec, Mercat des Flors, Barcelona, July 27, 1994 and played through
July 29, 1994; at Internationales Sommer Theater Festival, Hamburg, Germany
August 3, 1994 and played through August 5, 1994; at Sommerszene 94,
Salzburg, Austria; at the Arhus Festuge, September 3, 1994 and played through
September 6, 1994; at the Hebbel-Theater, Berlin, Germany October 7, 1994 and
played through October 10, 1994; at Culturgest, Lisbon October 21, 1994 and
played through October 23, 1994.
For the Los Angeles production, the papers include a program, a drawing
and a blueprint of a section for the set, and a photocopy of set pieces. For the
New York production, the papers include a program, postcard, poster, contact
sheet, 4 typed prop lists, 1 handwritten prop note (on envelope), 26 handwritten
index cards listing props, a "to do" list for props dated 2/17/94, typed letter also
dated 2/17/94 from the company manager, Susan Ottaviano, to Carroll Musical
Instrument Rental regarding drum rentals, a freelance agreement (unsigned) dated
2/3/94 between Dar A Luz and Grace Jordan, 12 color Polaroid shots of props,
and lighting instrument schedules and diagrams.
For the European tour, the papers consist of a brochure on the touring
production, programs for the Festival Grec, Mercat des Flores, Barcelona,
Internationales Sommertheater Festival Hamburg, and for the Culturgest, Lisbon,
festival booklets for Sommerszene 94, Arhus Festuge, and for the HebbelTheater. There is also a festival postcard for the Arhus Festuge. There are also

10

light plots, instrument, master-dimmer, hookup and channel schedules. There are
5 scripts: 1 dated 6/16/94, 1 marked "Reza's Text," 1 with stage manager's notes,
1 marked "New York Section 1/26/94,"and 1 German translation.
There are ground plans and sound cue sheets not related to any specific
production, clippings, and an article by John Bell, "Love and Death in the Hyper
Zone: Reza Abdoh's Quotations From a Ruined City."
Sub-series 16 - Rusty Sat on a Hill One Dawn and Watched the Moon Go
Down by Reza Abdoh with additional text material by Suraya Nobel, Meg
Kruszewska, and Salar Abdoh [1986]
[1 folder]
Produced by Marta Holen (only Associate Producer listed), directed and
designed by Reza Abdoh, lighting by J. Kent Inasy, costumes by Sona Chelebian,
sound design by Bill O'Shaughnessy, original music by Fredric Myrow,
photographic images by Ron Frank. Opened at Stages Theater, Hollywood,
California December 6, 1986 and played through January 18, 1987. Papers
include a flyer, handwritten scene lists by Susan Sitnek (Stage Manager), and
clippings.
Sub-series 17 - Simon Boccanegra (Opera) by Giuseppe Verdi [1992]
[1 folder]
Produced by the Long Beach Opera, California, directed by Reza Abdoh,
conducted by Steven Sloane, designed by Y.Z. Kami, lighting design by Rand
Ryan. Opened at the Terrace Theater, March 22, 1992 for 2 performances.
Papers include a program, a brochure, and clippings.
Sub-series 18 - Tight Right White by Reza Abdoh [1993-1994] [7 folders]
Performed by Dar A Luz, produced by Diane White, directed by Reza
Abdoh, set design by Michael Casselli, lighting design by Rand Ryan, costume
design by Alix Hester (Hillary Moore for European tour), sound design by Raul
Vincent Enriquez, film by Greta Snider (Tal Yarden for European tour), video by
Adam Hoch, choreography by Felix Fibich, Nelson Vasquez, Flo Vinger,
masques by Joseph Cardona.
Opened at 440 Lafayette Street, New York City March 11, 1993 and
played through April 17, 1993; at the Festival Americain "Exit," Maison des Arts
de Creteil, May 4, 1994 for 4 performances; at the Kunsten Festival des Arts,
Brussels, Belgium May 27, 1994 for 4 performances.
Papers include 4 scripts: 1 marked "Reza's script" dated 2/17/93, 1
marked "Tour Version" dated 2/17/93, 1 indicated as the New York City version
of script dated 2/17/93, 1 marked "European Tour Version" dated 4/16/94. For the
New York City production, there are flyers and color photocopies of production
photographs. For the European tour, there are lighting diagrams and for the
Festival Americain, Creteil, France, a festival brochure and program, as well as a
copy of a "good luck" telegram to Reza Abdoh from Jacques Toubon, French

11

Cultural Minister. For the Kunsten Festival des Arts, Brussels, Belgium, there is
a program and a festival booklet.
Not related to any specific production, there is a project proposal (1992)
and photocopies of the proposal with corrections probably made by Reza Abdoh,
ground plans, sound cue sheets, a photocopy of an artist's layout for "Let's Get It
On--The Politics of Black Performance," and clippings.
Series IV: Other Projects [ca.1980s-1995]
[8 folders]
This series contains materials relating to unproduced works by Reza
Abdoh, including works with co-authors. Scripts, project proposals, text
development notes, budgets, some project-related correspondence, floor plans,
elevations, a costume book and copies of sketches by Eddie Bledsoe, and one
festival booklet for Viener Festwochen, Vienna (May-June 1995). A Story of
Infamy is the best-documented of these works and was in production planning at
the time of Abdoh's death.
Sub-series 1 - Leaden Tears by Reza Abdoh [ca. 1993]
[1 folder]
Papers consist of a project proposal for the multi-media work which had a
tentative opening date of March 1994. The proposal includes a budget press and
media coverage of Abdoh and his work and a list of Dar A Luz Board members.
Sub-series 2 - The Saga of Faust: Part I Degree Zero: The Birth of Mephisto
by Reza Abdoh [ca. 1980s]
[1 folder]
Papers consist of a script (66 pages) and 8 additional sections of text
with what appears to be annotations in Abdoh's own handwriting.
Sub-series 3 - Shahnameh by Reza Abdoh [ca. 1993]
[1 folder]
Papers consist of a script (151pages) with unidentified annotations and a
letter from Ken Ellis, Los Angeles Festival regarding possible production sites for
this work, including photocopies of photos of the sites.
Sub-series 4 - A Story of Infamy by Reza Abdoh and Salar Abdoh [ca.19941995, some undated]
[5 folders]
Papers consist of a typed script, handwritten text notes (probably Reza
Abdoh's), correspondence regarding the European tour, with a handwritten
(probably by Reza Abdoh) draft of a note on the back of a sheet of
correspondence, a production budget, a production schedule, a costume book with
photocopies of sketches, including fabric swatches. There are additional black
and white copies of costumes sketches by Eddie Bledsoe, floor plans and
elevations, and a festival booklet for the Wiener Festwochen, Vienna, Austria
May 5-June 11, 1995. There is a project proposal titled A History of Infamy which
is marked "Revised 9/94." The proposal includes a budget, chronologies of Reza
Abdoh and Dar A Luz professional credits, and a listing of press for Reza Abdoh.
The papers also include a statement in memory of his brother written by Salar
Abdoh which was read at a memorial service for Reza Abdoh.

12

Container Listing
Series I: Biographical Information
Box 1, folder 1
Box 1, folder 2
Box 1, folder 3
Box 1, folder 4
Box 1, folder 5
Box 1, folder 6
Box 1, folder 7
Box 1, folder 8
Box 1, folder 9
Box 1, folder 10
Box 1, folder 11
Box 1, folder 12
Box 1, folder 13
Box 1, folder 14

Interview with Reza Abdoh, March 15, 1992 / Howard Ross Patlis
To reach divinity through the act of performance : an interview with Reza
Abdoh, 1994 / John Bell
TV/Radio interview with Reza Abdoh, 1994 / Daniel Mufson
Ultimately, theatre is not about theory, 1995 / Josette Feral
Interview with Ken Roht, May 2, 1998 / Daniel Mufson
Interview with Salar Abdoh, June 11, 1998 / Daniel Mufson
Interview with Salar Abdoh, June 19, 1998 / Daniel Mufson
Interview with Tony Torn, Tom Pearl and Juliana Francis, December 16,
1998 / Daniel Mufson
Interview with Dokhi Mirmirani, March 18, 1999 / Daniel Mufson
Interview with Tony Charles / Daniel Mufson
Interview with Tom Fitzpatrick / Daniel Mufson
Interview with Meg Kruszewska / Daniel Mufson
Places ripped open again and again : sex, identity, and death in the recent
works of Reza Abdoh, 1995 / Daniel Mufson
Chronology, 1988 / Reza Abdoh

Series II: Dar A Luz Company Papers

Box 1, folder 15

Company papers, 1991 / dar a luz (New York, N.Y.)

Series III: Productions

Sub-Series 1 - As the Crow Flies; The Sound of a Voice
Box 2, folder 1

As the crow flies, February 16, 1986 / David Henry Hwang

Sub-Series 2 - The Blind Owl (Motion picture)

Box 2, folder 2
Box 2, folder 3
Box 2, folder 4

The blind owl (Screenplay) / Reza Abdoh

The blind owl (Screenplay), 1991 / Reza Abdoh excerpts from the
screenplay; includes shooting schedule and a letter
The blind owl (Motion picture), 1991 / Reza Abdoh promotional
booklets

13

Sub-Series 3 - Bogeyman
Box 2, folder 5
Box 2, folder 6
Box 2, folder 7
Box 2, folder 8

Box 2, folder 9

Bogeyman, June 1991 / Reza Abdoh script and text development

materials for the New York City Workshop production
Bogeyman, September 19, 1991 / Reza Abdoh script for L. A. Theatre
Center production
Bogeyman, July 1991 / Reza Abdoh Tom Fitzpatricks rehearsal
script
Bogeyman, August 28, 1991 / Reza Abdoh program, publicity
material, tech notes, accident reports, and clippings for L. A. Theatre
Center production
Bogeyman rehearsal photographs, August 1991

Sub-Series 4 - Eva Peron; King Oedipus

Box 2, folder 10

Eva Peron, July 10, 1987 / Copi

Sub-Series 5 - The Farmyard

Box 3, folder 1

The farmyard, August 1985 / Franz Xaver Kroetz

Sub-Series 6 - Father was a Peculiar Man

Box 3, folder 2

Father was a peculiar man, June 29, 1990 / Reza Abdoh

Sub-Series 7 - Heads; Christie in Love; The Saliva Milkshake

Box 3, folder 3

Heads, June 1983 / Howard Brenton

Sub-Series 8 - The Hip-Hop Waltz of Eurydice

Box 3, folder 4
Box 3, folder 5
Box 3, folder 6
Box 3, folder 7
Box 3, folder 8

The hip-hop waltz of Eurydice, October 15, 1990 / Reza Abdoh outline and
script excerpt
The hip-hop waltz of Eurydice, December 13, 1990 / Reza Abdoh publicity
materials and photocopied booklet from L. A. Theatre Center production
The hip-hop waltz of Eurydice, May 1991 / Reza Abdoh program and
production materials for Montreal, Bordeaux and Barcelona productions
The hip-hop waltz of Eurydice, November 1993 / Reza Abdoh production
materials includes festival kit and sound plot for Festival Dautomne a Paris
The hip-hop waltz of Eurydice, September 1990 / Reza Abdoh clippings

14

Sub-Series 9 - King Lear

Box 3, folder 9

King Lear, January 17, 1985 / William Shakespeare

Sub-Series 10 - The Law of Remains

Box 3, folder 10
Box 3, folder 11
Box 3, folder 12
Box 3, folder 13
Box 3, folder 14

Box 3, folder 15

Box 3, folder 16

Box 3, folder 17

Box 4, folder 1

Box 4, folder 2
Box 4, folder 3

Box 4, folder 4
Box 4, folder 5
Box 4, folder 6
Box 4, folder 7-8

The law of remains / Reza Abdoh script marked Sabrina, 135 pages
The law of remains / Reza Abdoh script marked Section I: Shot with
a Diamond, 142 pages
The law of remains, 1991 / Reza Abdoh Ariel Herreras script;
includes sound cues, rehearsal schedule and rough draft of contract
The law of remains, February 15, 1992 / Reza Abdoh production
materials for Hotel Diplomat, New York City production
The law of remains, October 21, 1992 / Reza Abdoh program,
brochure, map and schedule for Walker Arts Center Freight House,
Minneapolis production
The law of remains, April 29, 1993 / Reza Abdoh program, festival
brochure, booklet and descriptive materials for Springdance festival,
Utrecht, Holland production
The law of remains, May 8, 1993 / Reza Abdoh program, festival
booklet and general information for XI Festival Internacional de Teatro
de Granada (FIT), Spain
The law of remains, May 24, 1993 / Reza Abdoh program, festival
booklets and publicity item for Wiener Festwochen, Vienna, Austria
production
The law of remains, June 3, 1993 / Reza Abdoh brochure, booklets,
postcard and information kit for Dance 93 festival, Munich, Germany
production
The law of remains, June 1993 / Reza Abdoh festival booklet and
information for Theater Am Turm, Frankfurt, Germany production
The law of remains, July 16, 1993 / Reza Abdoh brochure and
information for Internationales Sommer Theater Festival, Hamburg 93
production
The law of remains, 1993 / Reza Abdoh contact sheet and Ariel
Herreras travel insurance papers for Spring/Summer European tour
The law of remains, December 1, 1993 / Reza Abdoh information
sheet on Paris and kit for Festival Dautomne a Paris
The law of remains / Reza Abdoh production notes and text
development materials
The law of remains, September 12, 1991 / Reza Abdoh clippings

Sub-Series 11 - A Medea: Requiem for a Boy with a White Toy

Box 4, folder 9 A Medea : requiem for a boy with a white white toy, July 11, 1986 / Reza Abdoh

15

Sub-Series 12 - Minamata
Box 4, folder 10

Box 4, folder 11

Minamata, April 14, 1989 / Reza Abdoh script (Tom Fitzpatricks

copy), including rehearsal and performance schedules, vocal
warmups, and song lyrics
Minamata, April 14, 1989 / Reza Abdoh program, flyer,
clippings, and photographs for L. A. Theatre Center production

Sub-Series 13 - Pasos en la Obscuridad

Box 4, folder 12

Pasos en la oscuridad, September 6, 1990 / Reza Abdoh

Sub-Series 14 - Peep Show

Box 4, folder 13

Peep show, April 16, 1988 / Reza Abdoh

Sub-Series 15 - Quotations from a Ruined City

Box 5, folder 1
Box 5, folder 2

Box 5, folder 3
Box 5, folder 4

Box 5, folder 5
Box 5, folder 6
Box 5, folder 7
Box 5, folder 8

Box 5, folder 9

Quotations from a ruined city, June 16, 1994 / Reza Abdoh scripts: 1 dated
6/16/1994, 1 marked Rezas text [undated]
Quotations from a ruined city, January 26, 1994 / Reza Abdoh scripts: 1
with stage managers notes [undated], 1 marked New York Section
1/26/1994, 1 German translation [undated]
Quotations from a ruined city, August 19, 1993 / Reza Abdoh program,
ground plans and technical drawing for Los Angeles Festival production
Quotations from a ruined city, February 24, 1994 / Reza Abdoh program,
publicity material, production materials, photographs of props for New York
City production
Quotations from a ruined city, February 24, 1994 / Reza Abdoh lighting
notes and information for New York City production
Quotations from a ruined city, July 1994 / Reza Abdoh programs, festival
booklets, light plot and notes for European tour [7-10/1994]
Quotations from a ruined city / Reza Abdoh ground plan and sound cue
sheets
Quotations from a ruined city, 1994 / Reza Abdoh article by John Bell,
Love and Death in the Hyper Zone: Reza Abdohs Quotations from a
Ruined City
Quotations from a ruined city, September 1993 / Reza Abdoh clippings

16

Sub-Series 16 - Rusty Sat on a Hill One Dawn and Watched the

Moon Go Down
Box 5, folder 10

Rusty sat on a hill one dawn and watched the moon go down, December 6,
1986 / Reza Abdoh

Sub-Series 17 - Simon Boccanegra (Opera)

Box 5, folder 11

Simon Boccanegra (Opera), March 22, 1992 / Giuseppe Verdi

Sub-Series 18 - Tight Right White

Box 5, folder 12
Box 5, folder 13
Box 5, folder 14

Box 6, folder 1
Box 6, folder 2

Box 6, folder 3

Box 6, folder 4

Tight right white, February 17, 1993 / Reza Abdoh script marked
Rezas script
Tight right white, February 17, 1993 / Reza Abdoh script marked
Tour Version
Tight right white, March 11, 1993 / Reza Abdoh script marked New
York City version of script [2/17/1993], flyers and color photocopies of
photographs for New York City production
Tight right white, April 16, 1994 / Reza Abdoh script marked
European Tour Version, 71 pages
Tight right white, May 1994 / Reza Abdoh flyer, festival calendar and
letter for Maison des Arts de Creteil, Festival Americain, Exit; program
and festival booklet for Kunsten Festival des Arts, Brussels, Belgium;
lighting diagram for European tour
Tight right white, 1992 / Reza Abdoh project proposal, ground plans,
sound cue sheets, and artists layout for Lets Get It OnThe Politics of
Black Performance [1992-1995]
Tight right white, March 1993 / Reza Abdoh clippings

Series IV: Other Projects

Sub-Series 1 - Leaden Tears
Box 6, folder 5

Leaden tears project, 1993 / Reza Abdoh

Sub-Series 2 - The Saga of Faust Part I - Degree Zero: The Birth of

Mephisto
Box 6, folder 6

The saga of Faust: part I degree zero: the birth of Mephisto, 1980 / Reza
Abdoh

17

Sub-Series 3 - Shahnameh
Box 6, folder 7

Shahnameh, 1993 / Reza Abdoh

Sub-Series 4 - A Story of Infamy

Box 6, folder 8
Box 6, folder 9
Box 6, folder 10
Box 6, folder 11
Box 6, folder 12

A story of infamy, September 1994 / Reza Abdoh project proposal

A story of infamy, 1994 / Reza Abdoh text and notes for Wiener
Festwochen
A story of infamy, 1994 / Reza Abdoh production materials for Wiener
Festwochen
A story of infamy, 1995 / Reza Abdoh costume book
A story of infamy / Reza Abdoh floor plans, elevations and costume
sketches

Separated Materials
1) Theatre on Film and Tape (TOFT) Archive
A collection of 23 videotapes documenting a number of Reza Abdoh's
productions.
2) Rodgers and Hammerstein Archives of Recorded Sound
13 sound recordings
3) *T- Cabinet
a) Three-dimensional figure
Black fabric-covered doll-like figure, probably from The Law of
Remains
b) Laminated plaque
From LAssociation quebecoise des critiques de theatre for
The Hip-Hop Waltz of Eurydice, Los Angeles Theatre Center,
Best Foreign Production for the 1990-1991 season. (11 x 14 inches)
4) B File Photographs
The Hip-Hop Waltz of Eurydice Los Angeles Theatre Center production
photographs (4)

18