Monday, 26 October 2026

Home : Welcome to Our Site of Theatre Scenes

    


   For the first time in my life, I encountered plays as a university student. As an English major, I had the fortunate opportunity to read some plays as part of my coursework. I had never been particularly fond of long novels—and consequently hadn’t read much literature—but plays were relatively short and easy to digest. I ended up reading quite a few plays, most of which belonged to the genre known as "modern plays" in theatrical history. It was a fitting subject, given that I was living in the era that followed that period. I was especially drawn to the works of the American playwright Eugene O’Neill, which I read in both English and Japanese. My fascination with drama only grew from his plays. After graduating from university, I read fewer plays, but I began attending more live performances, catching a wide variety of shows several times a year. During a year I spent in London, I made it a point to see a play every two weeks. Now that I have retired, I have found myself with an abundance of time. This led me to the idea of gathering photographs of theatrical scenes and sharing them with all of you around the world. These images were taken nearly a century ago and are free from copyright restrictions. Among them are hundreds of photographs collected by Japanese enthusiasts of plays around 1930. At that time, new theater groups were emerging in Japan, drawing inspiration from Western drama. For these groups, photographs of stage scenes were likely the only reference material available for creating costumes and stage sets. Some of these images are so rare that even people in the West today would be unable to find them—and I would like to share them with you all. This is the starting point for this website. From here, I have expanded my search, scouring various countries to collect theatrical photographs from all over the world. From roughly 1890 until 1935, theater was a major form of entertainment, not just in Japan but globally. I invite you to step into that vibrant, spectacular world of theatrical plays.



   This website invites all people in the world to enjoy viewing the various theatre scenes in Europe and America especially from 1890 until 1935, when people enjoyed theatrical performances most of all times, but eventually drew to a close with the arrival of cinema.

   Each blog of drama performances consists of these parts.
  •  Title of each performance of the play
  •  Simple annotation of the performance
  •  Additional annotation of the performance or the play or the playwright
  •  And, most important of all, the photographs and postcards and pictures of the performance of the play, which are basically in the public domain because they were over 100 years old 
  • Link to other sites for further infomation on each performance or each play.


HOW TO USE THIS SITE

・The easiest way to make full use of this site is to use the search window or gadget on the right-right hand column of the blog, with such key words as the name of the playwright, the title of the play, or the year of the performance.

・Drama performances are arranged chronologically from the newest to the oldest and archived in the following way.
       Year of Performance 1914  ⇒  1914+100=2014  ⇒ Archived in the year 2014
       But performances year after 1926 are all archived under the year 2026.
                                       


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Sunday, 25 October 2026

Mourning Becomes Electra written by Eugene O'Neil and produced at the Guild Theatre, New York City, with the stage designed by Philip Moeller (1880 - 1958), in 1931-1932.

   Scenes from Mourning Becomes Electra written by the American playwright Eugene O'Neill (1888 - 1953) and produced at the Guild Theatre, New York City, with the stage designed by Philip Moeller (1880 - 1958), having run for 150 performances from October 26, 1931 until March 1932.

   The play was structured as a trilogy that took six hours to perform. In the New York Times, J. Brooks Atkinson wrote, "to this department, which ordinarily reserves its praise for the dead, Mourning Becomes Electra is Mr. O'Neill's masterpiece."

















Mourning Becomes Electra featured Alla Nazimova and Alice Brady in 1931.



From L to R: Grant Gordon (as Joe Silva), Arthur Hughes (as Seth Beckwith)


In 1931, the Theatre Guild produced O'Neill's five-hour trilogy Mourning Becomes Electra, based on the model of Aeschylus' Oresteia. All three plays, The Homecoming, The Hunted, and The Haunted, were performed in one evening with an hour dinner break between the first two plays. 

All God's Chillun Got Wings (1924) written by Eugene O'Neil (1888-1953) and performed at the Kamerny Theatre, Moscow, in 1920s.

   A scene from У всех божьих чилланов есть крылья (All God's Chillun Got Wings, 1924) written by the American playwright Eugene O'Neil (1888-1953) and performed at the Kamerny Theatre, Moscow, in 1920s.

   Perhaps this is one of the most contradictory his plays, in which Paul Robeson starred in the premiere, in which he portrayed black the husband of a cruel white woman who, resentful of her husband's skin color, destroys him promising career as a lawyer.





Saturday, 24 October 2026

The Love for Three Oranges (Opera in four acts and a prologue) by Sergei Sergeyevich Prokofiev (1891-1953) and performed in Russia in 1927

A scene from The Love for Three Oranges (Opera in four acts and a prologue) by the Russian composer Sergei Sergeyevich Prokofiev (1891-1953) and performed in Russia in 1927 under the direction of  Aleksei Dikiy (Soviet actor and director who worked at Moscow Art Theatre,  1889-1955) with the stage by the Russian theatre artist I. M. Rabinovich (1894-1960).




Desire under the Elms (1924) written by Eugene O’Neill and produced at the Kamerny Theatre, Moscow, in 1926

Scenes from Desire under the Elms (1924) written by the American playwright Eugene O’Neill (1888 - 1953) and produced under the direction of Alexander Tairov and Alice Koonen at the Kamerny Theatre (Chamber Theater),  Moscow, on November 11, 1926.



Abby Putnam (A.Koonen). "Desire under the Elms" by Y.O. Nil. 1926


E. Cabot (L. Fenin) and Iben (N. Tseretelli). A scene from the play "Desire under the Elms" by Eugene O'Neill. 1926






Dance by E. Cabot. A scene from the play by E. O'Neill "Desire under the Elms". 1926




Cover of the magazine "New Spectator" (1926, No47)





Friday, 23 October 2026

Beyond the Horizon written by Eugene O'Neill and produced at Lawrence School, Holyoke, Massachusetts on 11 December 1937.

Poster for the Federal Theatre Project presentation of Beyond the Horizon written by the American playwright Eugene O'Neill (1888 - 1953) and produced at Lawrence School, Holyoke, Massachusetts on 11 December 1937.




Poster designed by Wharton Esherick for the production of The Emperor Jones written by Eugene O'Neill and performed at the Hedgerow Theatre in 1930.

   Poster designed by Wharton Esherick for the production of The Emperor Jones written by the American playwright Eugene O'Neill (1888 - 1953) and performed at the Hedgerow Theatre, Philadelphia, in 1930 with Jasper Deeter.

   Jasper Deeter (1893-1972) was an American-born stage and film actor, stage director, and founder of Hedgerow Theatre in Rose Valley, Pennsylvania, one of the first regional repertory theatres in the United States. Deeter gained prominence in the theatre world in the 1919 production of Eugene O'Neill's Exorcism: A Play in One Act. A close relationship with O'Neill ensued, and Deeter joined the Provincetown Players, which was an experimental theatre group that produced many of O'Neill's one-act and full-length plays in New York City. Deeter appeared in several of O'Neill's plays, including The Hairy Ape and The Emperor Jones. Deeter is credited with convincing the playwright to cast a black actor, Charles Sidney Gilpin, in the lead role of Brutus Jones in The Emperor Jones. 
  
 


Arthur Rich and Jasper Deeter as Brutus Jones in  The Emperor Jones