Special Collections & University Archives University of Massachusetts Amherst Libraries

Heath, Gordon, 1918-1991

Gordon Heath Papers, 1913-1992.
44 boxes (22.75 linear feet).
Call no.: MS 372 and 372 bd

Gordon Heath, Paris
Gordon Heath, Paris

African American expatriate, stage and film actor, musician, director, producer, founder of the Studio Theater of Paris and co-owner of the nightclub L’Abbaye. Includes personal and professional correspondence, scrapbooks containing photos and clippings from assorted television and film productions in addition to songs, poetry, and reviews of plays or playbills from productions he attended.

The Papers also contain art work, sheet music, personal and production photographs, and drafts of his memoirs.

Biographical Note

Seifield Gordon Heath, African American expatriate, stage and film actor, musician, director, producer, founder of the Studio Theater of Paris and co-owner of the nightclub L’Abbaye, was born on September 20, 1918 in Manhattan’s San Juan Hill district in New York.1 He was the only child of Harriette (Hattie) and Cyril Gordon Heath, but had a half-sister, Bernice Heath. Hattie Heath was a second generation American of African and Indian lineage. Cyril was born in Barbados and worked as a steward for the Hudson River Night Line. In his later years Cyril was a devoted public servant, active in the local YMCA, neighborhood associations, and church sponsored groups. Gordon attended elementary and high school at the Ethical Culture Society School in Manhattan. In the early 1940s he graduated from Hampton Institute in Virginia.

Gordon Heath began performing at a young age. As a child he sang in St. Cyprian’s Church choir, won a state-wide drama competition, and played both the violin and the viola. Heath began focusing his attention on acting during his teens, in part to escape his father’s aspirations and expectations for his musicianship. In 1938, he began writing and performing radio sketches for WNYC. Heath began training with a group of African American actors during the same year under the direction and guidance of Marian Wallace.

Heath acted in several plays under the direction of his childhood friend Owen Dodson while attending Hampton Institute in the early 1940s. In 1943 he landed his first Broadway role, playing the “second lead” in Lee Strasberg’s South Pacific. In 1945, while working as a radio announcer, Heath won the lead role in Elia Kazan’s Deep Are the Roots, a controversial Broadway “race play.” Heath played the role of Brett Charles, an African-American war hero who returns home following WWII to find that the “fight for democracy” has had little effect on race relations in the Jim Crow South. The play had a fourteen-month run on Broadway that began in 1945, and had a five-month run in London in 1947. Heath’s performance was widely acclaimed, and he was lauded as “the next Paul Robeson.”

Deep Are the Roots provided Gordon Heath with new opportunities and possibilities. Prior to the play’s London run, Heath made his directorial debut in Family Portrait, an off-Broadway play in which he also played the lead. Later, while in London, Heath became enamored with Europe, a position that was reinforced after he returned to the U.S. and realized that racism prevented him from gaining access to the types of roles he desired to perform. However, while in the U.S., he met the man who would become his partner, Leroy Payant, an actor from Seattle. In 1948 he left the U.S. and began working in London via Paris, but was often passed over in favor of British actors, particularly for coveted roles. As he later explained of his trials and tribulations in London, “each time, for each part, it was a hustle.”2

Seeking to establish “continuity in the theater,” he instead turned to the more friendly confines of Paris where Heath and Payant opened up L’Abbaye, a nightclub where the two performed folksongs, spirituals and the blues in a quiet and intimate setting. L’Abbaye was initially created as a means for the two men to make a living between roles. However, it quickly became an important institution in Paris, particularly among expatriates and artists, and remained in operation for 27 years. During the 1950s Heath appeared in a number of radio and television programs throughout Europe. He also appeared in a number films, including Sapphire, the Nun’s Story, and the Madwoman of Chaillot, among others. Also, he and Payant recorded their music and toured throughout Europe and the Middle East. Heath remained active in theater, especially in London, France and the U.S. However, he still found it difficult to secure the artistic freedom and types of roles that he desired. As Helen Gary Bishop explained:

The French were only casting him black roles and, in their nationalistic zeal, would not give an American, however talented, a directing job – certainly not in any subsidized theater. There were even quotas on the number of American and English plays, which could be done in the commercial theater. And in England it appeared that he was being typecast as a West Indian.3

In the 1960s Gordon Heath attempted to alleviate these restrictions by founding the Studio Theater of Paris (STP), an English speaking theater workshop and group comprised largely of expatriates from England and the U.S. During its ten years in existence, the STP, under Heath’s direction, produced such plays as the Glass Menagerie, After the Fall, The Skin of Our Teeth, In White America, The Slave and the Toilet, and Kennedy’s Children. Heath not only directed these works, but also created the playbills and posters, worked publicity, and made arrangements with American Church of Paris, the institution that housed most of the group’s productions. STP also served as forum for lectures from visiting professors, critics, and round table discussions. Later, STP helped arrange for Martin Luther King to preach at the church. The STP’s list of productions and activities are significant in that they express the highly charged racial and political climate of the period. However, STP did not limit itself to “art for politics’ sake.” Regardless, much of the support the group had received from the American Church of Paris waned following the departure of its progressive leader. Afterward, the church began preaching moderation, and cut the STP off from the support that had previously helped make it viable.

In the 1970s Heath began performing more frequently in the U.S. In 1970 he returned to U.S. for five months to play the lead in Oedipus at the Roundabout Theater. Later in the same year he and Payant performed Dr. Faustus in Washington D.C. Heath noticed the changes happening in American Theater, and in particular, Black theater, some which pleased him, others which did not. “Black theater was a reality, off and off-off Broadway were healthy, and government subsidies and funding seemed abundant.”4 However, Heath also felt that the younger generation of Black actors had made the mistake of rejecting their social past, the political past, and the theatrical past. Still, by the mid 1970s Heath was largely encouraged by what he saw happening in the U.S.: “The fact of Negroes playing with public approbation, a general public…playing these parts we never thought we’d get a crack at (such as Lear) is so exciting I can’t tell you.”5

During this period Heath worked and corresponded with several key players of the Black Arts Movement, including director Woodie King and writer A.B. Spellman. After Payant’s death in 1976 and the subsequent closing of L’Abbaye, Heath began appearing more regularly in the U.S., and even moved back to New York for a period of time in the late 1970s and early 80s. While remaining active in theater, he also helped organize a community group and a rent strike to improve conditions in the building in which he had grown up. After, he returned to Paris to live, but continued performing on both sides of the Atlantic. His final performance, a production of Wole Soyinka’s The Lion and the Jewel done in conjunction with choreographer Pearl Primus, whom Heath had worked with over forty years earlier, was staged at the University of Massachusetts in 1987. The University’s Press also commissioned the publication of Heath’s memoirs, a project he worked on in Paris until his death on August 31, 1991. While Heath was unable to finish his memoirs, Deep Are The Roots: Memoirs of a Black Expatriate, the University of Massachusetts Press published what he had completed in 1992.

Footnotes
  1. As Heath reports in his memoirs, his “father and his genteel cohorts” had had the district renamed “Columbus Hill” during Gordon’s youth. Gordon Heath, Deep Are the Roots: the Memoirs of a Black Expatriate (Amherst: University of Massachusetts Press, 1992) p.11.
  2. Encore American & Worldwide News, April 5, 1976.
  3. Helen Gary Bishop, “Gordon Heath – American Actor Between Two Continents,” The Soho Weekly News, April 21, 1977.
  4. Ibid.
  5. “The Two Worlds of Gordon Heath,” Encore American & Worldwide News, April 5, 1976.

Chronology of Gordon Heath’s Life
1918 Birth, September 20, 1918; Columbus Hill, New York City
1936-1940 Worked for the National Youth Administration’s (NYA) Brooklyn branch
1938-1946 Script writer and performer on radio stations (WNYC & WMCA) in New York
1943 First Broadway performance; South Pacific, directed by Lee Strasberg
1945-1947
Became New York’s first African American radio announcer (WMCA)
Starred in Elia Kazan’s controversial wartime Broadway hit, Deep Are the Roots
1947
Directed first professional play; Family Portrait
Starred in five month London run of Deep Are the Roots, directed by Daphne Rye
1948 Moved to Paris to escape the limitations and typecasting faced by Black actors in the U.S.
1949-1976 Opened l’Abbaye, a nightclub in Paris’s Left Bank where he and life partner and business associate Leroy Payant performed spirituals, the blues, and folk songs for their loyal following for more than twenty-five years. Heath closed l’Abbaye following Payant’s death from cancer in 1976
1957-1958 Co-starred in movie, A Nun’s Story, with Audrey Hepburn
1965-1979 Founded/directed the Studio Theater of Paris (STP)
1987 Final performance; The Lion and the Jewel, directed by Richard Trousdell, Amherst, Ma.
1991 Death, October 31, 1991; Paris, France
1992 Publication of Deep Are the Roots: Memoirs of a Black Expatriate
Scope and Contents of the Collection

The Papers of Gordon Heath 1913 [1942-1979] 1991 consist of personal and professional correspondence, and scrapbooks containing photographs, art work, poetry, clippings, plays, playbills, sheet music, and drafts of his memoirs. Heath’s career as a performer is fully represented in the collection, as is much of his personal life. The scrapbooks of Heath’s performances in film, theater, television, radio, and musical concerts, including the response of critics to these works, document his work in detail.

The Gordon Heath Papers are arranged in ten series as follows: Biographical Materials, 1913-1991, General Correspondence, 1930-1990, Subject Files, Writings, 1956-1991, L’Abbaye Files, 1949-1976, Production Scrapbooks, 1937-1987, Scrapbooks – General, Photographs, 1913-1987, Artwork, and Printed Materials.


Information on Use
Terms of Access and Use
Restrictions on access:

The collection is open for research.

Preferred Citation

Cite as: Gordon Heath Papers (MS 372). Special Collections and University Archives, W.E.B. Du Bois Library, University of Massachusetts Amherst.

History of the Collection

Acquired from M. Alain Woisson, 1993

Processing Information

Processed by David Goldberg, August 2001.


Additional Information

Sponsor
Encoding funded by the Andrew W. Mellon Foundation.

Language
English.

Separated Material

One item, a journal entitled The Mask: a Quarterly Journal of the Art of the Theatre, March 1908 to April 1911, (the first 12 issues of this European publication) was removed from the papers and catalogued to Special Collections and Archives.


Series Descriptions
1913-1991
Boxes 1-2

Series I consists primarily of biographical information about Gordon Heath and his family. The materials include Gordon Heath’s obituary, personal papers — including financial records and his passport — and his parent’s personal papers — including a brief installment of Harriette Heath’s journal — as well as articles about Mr. Heath’s life and career, including several autobiographical articles.

1930-1990
Boxes 3-7

Series 2 comprises incoming and outgoing letters on a wide range of subjects, both personal and professional. The general correspondence provides information about Heath’s major interests, and includes letters of courtesy, as thank you notes and compliments on performances; personal business; inquiries about employment possibilities and logistics; discussions of books, plays, and artists; friendly correspondence; family matters; and love letters. Correspondence spans over 40 years, with the most thorough period of correspondence occurring between 1947 and 1976. The first box in the series consists of general correspondence, and is arranged alphabetically. Box 4 contains family correspondence, and consists primarily of postcards and letters that Mr. Heath sent to his parents between 1930 and 1978. Letters were written by Gordon Heath to his mother. However, letters from Leroy Payant to the Heath family and letters from Mrs. Heath to her son are also included. Box 5 consists of letters from Leroy Payant to Gordon Heath between 1947-1976, while Box 6 contains Heath’s letters to Payant during the same period. These letters document both the professional (performances, concerts, L’Abayye) and personal relationship the two men shared during their nearly 30 years together. Box 5 contains Christmas cards created and distributed by Heath over a number of years. Also included is a list of recipients from 1952 to 1976. Boxes 2-5 are arranged chronologically.

1956-1991
Boxes 8-9

Series 3 consists primarily of drafts of Deep Are the Roots: Memoirs of a Black Expatriate, Gordon Heath’s memoirs. Materials include illustrations, pictures, newspaper, magazine, journal, and playbill clippings that Mr. Heath used as guideposts for his narrative or potential inclusion within the pages of the manuscript. Drafts include handwritten sections of the text, edited typed drafts, illustrated drafts, and the final proof. Also included is an article about spirituals written by Heath. Heath’s other publications and writings can be located in Series 1, Biographical Materials, which contains autobiographical articles.

Heath’s poetry has been separated from his manuscripts and is instead located in Box 39 (Series 9, “Artwork”)

Box 10

Alphabetically arranged subject headings include topics such as “Americans in Paris,” “Negro spirituals,” and the “Theater Arts Magazine,” as well as names of individuals such as James Baldwin, Owen Dodson, Langston Hughes, and Pearl Primus. Materials include manuscripts, clippings, poetry, correspondence, lecture notes, and playbills.

1949-1976
Boxes 11-13

Series 5 consists of three boxes of correspondence, newspaper and magazine clippings, reviews, and photos related to “L’Abbaye,” the Left Bank nightclub co-owned by Heath and Payant between 1949 and 1976. The two performed at the club nightly, singing spirituals, the blues, and folk songs for their loyal following. The club was opened initially to allow the men to be financially viable while acting. Ultimately, however, it became an institution on the Left Bank, and was patronized by many expatriates, tourists, and locals. Part of the club’s appeal was its intimacy. Patrons snapped to applaud rather than clap, so as not to wake the neighbors. Also, patrons were expected to remain quiet during performances, a rarity in other Left Bank establishments. The materials in this series are arranged chronologically.

1937-1987
Boxes 14-27

Series 6 consists of chronologically arranged scrapbooks of performances in which Heath performed or which he directed, or both. The series is divided into several sub series based on the medium of the performance: theater, film and poetry readings, television performances, radio and recordings, and musical concerts. Theater productions make up the majority of the series, and have been divided further to bring coherence to Heath’s prolific career as a thespian. The theater subseries is sub divided into three categories; 1) General Scrapbooks – which consists of performances between 1935 and 1987; 2) Studio Theater of Paris (STP) Scrapbook; 1965-1976 – which consists of both organizational papers, correspondence, and scrapbooks of productions either created, directed, or acted in by Heath; and finally, 3) Scripts – from productions that Heath either acted in or directed, and which contain notes, stage directions, and other supplementary comments.

Many of Heath’s production scrapbooks contain photos from given productions. However, other photos from specific productions can be located in Series 8: Photographs.

1930-1976
Box 28

Series 7 consists primarily of miscellany that Heath had filed in scrapbooks but not documented or categorized. The series, alphabetically arranged by type of material, includes such materials as photos and clippings from assorted television and film productions, songs, poetry, miscellaneous reviews of plays or playbills from productions Mr. Heath attended.

1913-1987
Boxes 29-37

Series 8 contains both personal and production photographs ranging from Gordon Heath’s childhood to his last performance in 1987. Personal photos have been subdivided into two categories, “family ” and “friends and colleagues.” Production photos are also subdivided, with Studio Theater of Paris photos separated from other productions. Production photos have been arranged chronologically where possible.

Boxes 38-40

Series 9 consists of drawings, sketches, prints, designs, poetry, and prints made by Mr. Heath. These materials include designs for book jackets, Christmas cards, letters, playbills, and advertisements. Other materials are included that seemingly were created either for fun, practice, or personal expression.

Contents List
Series 1. Biographical Materials
1913-1991
Boxes 1-2
Obituary
Box 1:1
Biographical information & resumes
Box 1:2
Genealogy
Box 1:3
Harriette Heath: cards, notes, miscellani
Box 1:4
Harriette Heath: death certificate, marriage certificate & other records
Box 1:5
Harriette Heath in Paris,
1954
Box 1:6
Harriette Heath: journal
Box 1:7
Cyril Gordon Heath
Box 1:8
Articles on Gordon Heath
Box 2:9
Camp Minisink,
1935-1936
Box 2:10
Journal,
1946
Box 2:11
Journal,
1953
Box 2:12
Journal,
1960
Box 2:13
Interviews,
1949 & 1950
Box 2:14
Autobiographical essay in Elsevier,
1958
Box 2:15
Gordon Heath on the Studio Theater of Paris (STP)
Box 2:16
Financial and personal papers
Box 2:17

Series 2. General Correspondence
1930-1990
Boxes 3-7
Clippings and articles (filed in original accordion file)
Box 3:18
Accordion file: “A” to “Z”
Box 3:19-37
Letters from Gordon Heath to Mrs. Heath,
1930-1978
Box 4:38-70
Letters from Leroy Payant to Mrs. Heath,
1972-1976
Box 4:71
Postcards from Gordon Heath to parents,
1947-1950
Box 4:72
Postcards from Gordon Heath to parents,
1952-1972
Box 4:73
Gordon Heath: letters and cards to Leroy Payant,
1947-1976
Box 5:74-85
Leroy Payant to Gordon Heath,
1947-1971
Box 6:86-108
Gordon Heath and Lee Payant: Christmas cards & designs
Box 7:109-10
Christmas card lists,
1952-1976
Box 7:111

Series 3. Writings
1956-1991
Boxes 8-9
Deep Are the Roots: photos & sketches
Box 8:112
Deep Are the Roots: photos & sketches
Box 8:113
Deep Are the Roots: photos & clippings
Box 8:114
Deep Are the Roots: first draft
Box 8:115
Deep Are the Roots: drafts
Box 8:116
Deep Are the Roots: drafts, part 1
Box 9:117
Deep Are the Roots: drafts, part 2
Box 9:118
Deep Are the Roots: final proof
Box 9:119
UMASS Press enclosures
Box 9:120
Gordon Heath: article on spirituals
Box 9:121

Series 4. Subject Files
Box 10
Doris Abramson,
n.d.
Box 10:122
Osceola Archer,
1984
Box 10:123
Articles: Americans in Paris,
1958-1970
Box 10:124
James Baldwin,
(?)-1988
Box 10:125
James Baldwin: clippings,
1988
Box 10:126
James Baldwin: correspondence,
1955-1957(?)
Box 10:127
Jules Chametzky,
n.d.
Box 10:128
Owen Dodson: letters, postcards, etc.,
1940-1954
Box 10:129
Owen Dodson,
n.d.-1988
Box 10:130
Owen Dodson: clippings,
1983-1988
Box 10:131
Owen Dodson: biographical material,
1967-1983
Box 10:132
Owen Dodson: manuscripts (plays, publications),
1943
Box 10:133
Owen Dodson: playbills & programs,
1939-1975(?)
Box 10:134
Owen Dodson: poetry,
1937-1944
Box 10:135
Jaques Douai,
1958
Box 10:136
Arnaud D’Usseau,
1990
Box 10:137
Langston Hughes: letter & biographical info,
1964-1966
Box 10:138
Earle Hyman,
1988
Box 10:139
Notes and lectures on theater,
1967(?)-1975(?)
Box 10:140
Rosey Pool,
1974
Box 10:141
Pearl Primus,
1943-1959
Box 10:142
San Juan Hill: clippings,
1939-1983
Box 10:143
Spirituals,
1955-1956
Box 10:144
Theater Arts Magazine; 1950s,
1950-1955
Box 10:145
Thomas Wolfe,
n.d.
Box 10:146

Series 5. L’Abbaye Files
1949-1976
Boxes 11-13
L’ Abbaye letters,
1951-1970s
Box 11:147-60
Letters to Gordon Heath & Lee Payant (re L ‘Abbaye recordings)
Box 11:161-62
L’Abbaye scrapbook,
1949-1976
Box 12:163-73
L’Abbaye scrapbook, no dates
Box 12:174
L’Abbaye photo scrapbooks
Box 13:175-78

Series 6. Production Scrapbooks
1937-1987
Boxes 14-27
Theater scrapbook,
1937-1942
Box 14:179
Theater scrapbook,
1938-1945
Box 14:180
Hamlet
Box 14:181
The Eve of St. Mark,
1942
Box 14:182
Homecoming,
1944
Box 14:183
The Little Foxes,
1946
Box 14:184
Death Takes a Holiday,
1946
Box 14:185
Family Portrait,
1946
Box 14:186
Demonstration,
1947
Box 14:187
Deep Are the Roots,
1945-1946
Box 14:188
Deep Are the Roots,
1946
Box 14:189
Deep Are the Roots,
1945-1947
Box 14:190
Deep Are the Roots,
1947
Box 14:191-2
Demoiselle,
1949
Box 14:193
Othello,
1950
Box 14:194
The Hero’s Are Tired,
1955
Box 14:195
Cranks,
1955-1956
Box 15:196
For the Defense,
1956
Box 15:197
Monteparnasse,
1958
Box 15:198
The Negro and the European-American Theater,

1959
Box 15:199
The Washington Years,
1960
Box 15:200
Putain,
1961
Box 15:201
Signe Du Feu,
1961
Box 15:202
The Expatriate,
1961
Box 15:203
Dr. Faustus,
1962
Box 15:204
Mon Oncle Du Texas,
1962
Box 16:205
J.B., The Zoo Story & The Death of Bessie Smith,
1963
Box 16:206
Renards,
1963
Box 16:207
The Man on the Stairs,
1964
Box 16:208
The Meter Man,
1964
Box 16:209
The Centurions,
1965
Box 16:210
Requiem for a Nun,
1965
Box 16:211
The Dutchman & The Slave
Box 16:212
S.U.D. (opera),
1965
Box 16:213
Neighbors,
1966
Box 16:214
The Connection,
1968
Box 16:215
La Nuit Bulgare,
1969
Box 16:216
Voices of America,
1970
Box 16:217
Lady From Maxim’s,
1970
Box 16:218
Oedipus,
1970
Box 16:219
Othello,
1972
Box 16:220
Julius Ceasar,
1976
Box 16:221
The Sun King at Versailles,
1976
Box 17:222
Endgame,
1977
Box 17:223
Defiant Island,
1978
Box 17:224
Eh Joe,
1978
Box 17:225
The Good Doctor,
1979
Box 17:226
Sounds of a Triangle,
1979
Box 17:227
Kohlhass,
1980
Box 17:228
On Wayward Wings,
1981
Box 17:229
Appear and Show Cause,
1981
Box 17:230
Child of the Sun,
1981
Box 17:231
Paul Robeson,
1982
Box 17:232
Testament Du Jour,
1982
Box 18:233
An Homage to Langston Hughes,
1986
Box 18:234
Lady Day,
1987
Box 18:235
MacBeth,
1987
Box 18:236
Street of No Return,
1987
Box 18:237
The Lion and the Jewel,
1987
Box 18:238
[STP] STP Scrapbook – general;
circa 1965
Box 19:239
Metro Theater
Box 19:240
First meeting letters
Box 19:241
In White America
Box 19:242
Telemachus Clay
Box 19:243
The Tiger & The Dumbwaiter
Box 19:244
The Skin of Our Teeth,
1966
Box 19:245
After the Fall,
1966
Box 19:246-47
Zoo Story,
1966-1967
Box 19:248
An Homage to Langston Hughes and Carl Sandburg,
1967
Box 20:249
Mother Courage,
1967
Box 20:250
Dear Liar,
1967
Box 20:251
La Jeunne Fille de Hue,
1970
Box 20:252
Who’s Afraid of Virginia Woolf,
1971
Box 20:253
The Good People,
1973
Box 20:254
Dos Passos,
1973
Box 20:255
Kennedy’s Children,
1975
Box 20:256
The Glass Menagerie,
1976
Box 20:257
[scripts] Endgame
Box 21:258
Les Voisins
Box 21:259
Dear Liar
Box 21:260
Who’s Afraid of Virginia Woolf
Box 21:261
Dos Passos Show
Box 21:262
[scripts] The Sun King at Versailles
Box 22:263
Kohlhass
Box 22:264
Paul Robeson
Box 22:265-67
Quand j’ Avais Cinq Ansje Mai Tue
Box 22:268
Sombre Claire & the Sound of Wings
Box 22:269
Puppet Play/ Le Mari Honnete
Box 22:270
March to Freedom
Box 22:271
Britannicus
Box 22:272
Defiant Island
Box 22:273
[film and poetry] Animal Farm,
1955
Box 23:274
A Nun’s Story,
1957-1958
Box 23:275
Black and Unknown Bards,
1957-1958
Box 23:276
Passionate Summer’s Rank,
1958
Box 23:277
Sapphire
Box 23:278
Vigil at Arms,
1961
Box 23:279
Madwoman of Chaillot,
1968
Box 23:280
[television] Tanker Nebraska/French and English performances
Box 24:281
The Troubled Air,
1953
Box 24:282
Starlight,
1953
Box 24:283
Emperor Jones,
1953
Box 24:284
Halcyon Days,
1954
Box 24:285
The Concert,
1954
Box 24:286
Othello,
1955
Box 24:287
VPRO television
Box 24:288
Cry the Beloved Country,
1958
Box 24:289
Black and Unknown Bards,
1958
Box 24:290
Chelsea at Eight,
1958
Box 24:291
Easter Spirituals,
1959
Box 24:292
Val Pernell Spectacular,
1960
Box 24:293
Alan Melville Parade,
1960
Box 24:294
[radio & recordings] WNYC,
1939
Box 25:295
radio scripts
Box 25:296-7
clippings
Box 25:298
Emperor Jones,
1952
Box 25:299
Cry the Beloved Country,
1955
Box 25:300
VARA Amsterdam Radio,
1969
Box 25:301
Recordings for the blind
Box 25:302
Langston Hughes,
1987
Box 25:303
Gordon Heath, Oral History: the early years
Box 25:304
[concerts] misc. clubs and concerts
Box 26:305
Copenhagan,
1949
Box 26:306
Embassy, et al.,
1949-1954
Box 26:307
Institute of Contemporary Art,
1952
Box 26:308
Club Carousel & Lechelle de Jacob,
1949-1952
Box 26:309
Stockholm,
1952
Box 26:310
Cafe Society & Mont Parnesse,
1952
Box 26:311
German Army Tour,
1953
Box 26:312
Noctambules,
1954
Box 26:313
Sainte-Chapelle,
1955
Box 26:314
Spence concert,
1957
Box 26:315
Evolution Musicale de es Tennesse,
1963
Box 26:316
Israel concert,
1964 (?)
Box 26:317
Monts de Apostilles,
1965
Box 26:318
Beyond the Blues at Haverford,
1966
Box 26:319
Black Ceremonial,
1968
Box 26:320
Union Theological Seminary, N.Y.,
1970
Box 26:321
American Cathedral in Paris,
1970-1976
Box 26:322
Theatre Montansver, Versailles,
1974
Box 26:323
[Production scrapbooks--oversized]; [T.V.] For the Defense,
1956-1958
Box 27:324
Paul Robeson,
1981-1987
Box 27:325
[script] Paul Robeson
Box 27:326
[script] Puppet Play,
1983
Box 27:327
Puppet Play,
1983
Box 27:328
Emperor Jones,
1984-1985
Box 27:329

Series 7. General Scrapbooks
1930-1976
Box 28
Songs, stories, book reviews, Hampton, YMCA
Box 28:330
Film and T.V. assorted scrapbook
Box 28:331
Productions attended
Box 28:332
Playbills & programs
Box 28:333
STP programs
Box 28:334
Misc. reviews
Box 28:335-36
Committee on Education & Race Relations
Box 28:337

Series 8. Photographs
1913-1987
Boxes 29-37
Assorted Photos
Box 29:338
Gordon Heath, head shots
Box 29:339
Harriette Heath,
1913-1978
Box 29:340
Mother with family
Box 29:341
Gordon Heath with parents
Box 29:342
Mr. And Mrs. Heath
Box 29:343
Cyril Heath
Box 29:344
Camp Carlton
Box 29:345
La Guardia,
1947
Box 29:346
Gordon Heath & friends
Box 30:347
Owen Dodson
Box 30:348
Paul Robeson
Box 30:349
Professional Photos
Box 30:350
Unidentified photo scrapbook
Box 30:351
Leroy Payant
Box 30:352
Leroy Payant (film, theater)
Box 30:353
Leroy Payant
Box 30:354
Payant & Heath
Box 30:355
Payant & Heath
Box 30:356
Gordon & guitar
Box 30:357
Gordon Heath
Box 31:358-59
Ebony,
1951
Box 31:360
Rome,
1952
Box 31:361
German tour,
1953
Box 31:362
De Marney,
1946 & 1954
Box 31:363
Villa Racine,
1951-1956
Box 31:364
Villa Racine,
1952
Box 31:365
Villa Racine
(no dates)
Box 31:366
Hotel France et d’ Orient
Box 31:367
45 & Villa
Box 31:368
Gordon Heath with beard
Box 31:369
Gordon Heath, bust
Box 31:370
Airport,
1960
Box 31:371
Tony Kent,
1967
Box 31:372
Heaths & Hoppers (family photos)
Box 31:373
Heathridge
Box 31:374
Heathridge Portrait
Box 31:375
Perfitt photos
Box 31:376
Party at Owen’s
Box 31:377
Gordon Heath in Amherst
Box 31:378
Male friends
Box 32:379
Gary Walters
Box 32:380
Hayemi Sassoon
Box 32:381
Richard Perfitt
Box 32:382
Edward Cambridge
Box 32:383
Alain Parchowski
Box 32:384
Ali Babah
Box 32:385
Payant & Heath
Box 32:386
Photos by Gordon Heath
Box 32:387
Male friends
Box 32:388
Paris,
1949-1960s
Box 32:389-91
[production photos] Pygmalion,
1942
Box 33:392
Morning Becomes Electra,
1944
Box 33:393
Hamlet,
1945
Box 33:394
Garden of Time,
1945
Box 33:395
Family Portrait,
1946
Box 33:396
Deep Are the Roots,
1946-1947
Box 33:397
The Little Foxes,
1947
Box 33:398
Deep Are the Roots,
1946-1947
Box 33:399
Death Takes a Holiday,
1948
Box 33:400-401
USIS,
1949
Box 33:402
Les Demoiselles de Petit Vertu,
1949
Box 33:403
Othello,
1950
Box 34:404
Mother in Europe,
1954
Box 34:405
Cry the Beloved Country, 1955 & Halcyon Days, 1954
Box 34:406
St Chappelle,
1955
Box 34:407
Othello (BBC),
1955
Box 34:408
Cranks,
1955
Box 34:409
For the Defense,
1956
Box 34:410
Amsterdam, 1956 & Chelsea, 1958
Box 34:411
Passionate Summer,
1958
Box 34:412
Black and Unknown Bards,
1958
Box 34:413
A Nun’s Story,
1958
Box 34:414
Les Laches Vivent Despoir & Le Signe Du Feu,
1959
Box 34:415
The Expatriate,
1961
Box 34:416
Dr. Faustus,
1962
Box 34:417
La Putain Respctueuse,
1962
Box 34:418
Le Petits Renards,
1963
Box 34:419
Man on the Stairs,
1964
Box 34:420
SUD,
1965
Box 34:421
In White America,
1965
Box 35:422
Heathridge,
1966
Box 35:423
Lost Command,
1966
Box 35:424
After the Fall,
1966
Box 35:425
The Skin of Your Teeth,
1966
Box 35:426
Zoo Story, Tiger & Dumbwaiter,
1966
Box 35:427
Tribute to Carl Sandburg & Langston Hughes,
1967
Box 35:428
Dear Liar,
1967
Box 35:429
Les Voisins,
1966
Box 35:430
Les Voisins,
1967
Box 35:431
Mother Courage,
1967
Box 35:432
Madwoman of Chaillot,
1968
Box 35:433
Oedipus,
1970
Box 36:434
Oedipus & Julius Ceasar,
1970
Box 36:435
The Lady From Maxim’s,
1970
Box 36:436
Telemachus Clay
Box 36:437
Othello,
1972
Box 36:438
Dos Passos,
1972
Box 36:439
The Beautiful People,
1973
Box 36:440
Frost in Season, 1974 & Virginia Woolf, 1971
Box 36:441
Born Free, 1974 & Holes de Porcechine, 1975
Box 36:442
Kennedy’s Children
Box 36:443
Glass Menagerie,
1975
Box 36:444
The Sun King at Versailles,
1976
Box 36:445
Endgame,
1977
Box 36:446
Defiant Island,
1978
Box 36:447
Sounds of a Triangle
Box 36:448
The Good Doctor,
1979
Box 36:449
Kohlhass,
1980
Box 36:450
The Connection
Box 36:451
Child of the Sun,
1981
Box 36:452
Testament du Jour,
1987
Box 36:453
[STP photos] Actors
Box 37:454
photo scrapbook
Box 37:455

Series 9. Artwork
Boxes 38-40
Envelopes and designs for Gil
Box 38:456
Designs/sketches; Au Commencent
Box 38:457
Designs/sketches; Disneyland
Box 38:458
Designs/sketches; Gilles de Rais
Box 38:459
Designs/sketches; The Harder They Come
Box 38:460
Designs/sketches; Paola D’Alba & Denise Walls
Box 38:461
Devices & Designs
Box 38:462
Graphics; Faites vous memevotre macheur
Box 38:463
Graphic designs; Seven Pillars
Box 38:464
Graphics, sketches & designs
Box 38:465
Sketches, drawings, designs, etc.
Box 38:466-69
Sketches, drawings, designs [oversized]
Box 39:470
Drawings, cinema people
Box 40:471
[poetry] “Negro Poetry”
Box 40:472
Beyond the Blues
Box 40:473
STP
Box 40:474
“letters”
Box 40:475
for Edmund,
1940-1943
Box 40:476

Series 10. Printed Materials
Box 41-44

Series 10 contains sheet music that Mr. Heath collected over the years. These materials are located in an oversized box.

Mother Courage [manuscript in German]
Box 41:477
Misc. sheet music
Box 41:478
Songs by Heath
Box 42:479
American folk spirituals
Box 42:480-81
Cat Ballou
Box 42:482
A Land Beyond the River
Box 43:483
Death Takes a Holiday
Box 43:484
Lamp at Midnight
Box 43:485
Assorted plays
Box 43:486
Crapouillot, July, 1960 v 48 (2)
Box 44:487
Negro Digest, April, 1967 v 16 (6)
Box 44:488
O’Neil, Eugene. Long Day’s Journey into Night (London: Butler & Tanner, 1956).
Box 44:489
Signoret, Simone. La Nostalgie N’est Plusce Qu’elle e’tait (Paris: Seuvil, 1976).
Box 44:490

Subjects
  • Abbaye (Nightclub : Paris, France)
  • African American actors--France--Paris--History
  • African American singers--France--Paris--History
  • African Americans in the performing arts--History
  • African-American theater--History--20th century
  • Baldwin, James, 1924-
  • Chametzky, Jules
  • Dodson, Owen, 1914-
  • Expatriate musicians--France--Paris--History
  • Hughes, Langston, 1902-1967
  • Musicians--United States--History
  • Nightclubs--France--Paris--History
  • Paris (France)--Intellectual life--20th century
  • Payant, Lee--Correspondence
  • Primus, Pearl
  • Rive gauche (Paris, France)--Intellectual life--20th century
  • Studio Theater of Paris
  • Theater--Production and direction--France--Paris--History
Contributors
  • Abramson, Doris E
  • Heath, Gordon, 1918-1991
Types of material
  • Photographs
  • Scrapbooks
  • Scripts
  • Sheet music
  • Sketches
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