Blackfriars Guild Collection (rppc_bfgc)

Series I. Applications
This series contains the applications and headshots of actors and actresses who auditioned at Blackfriars Theatre in New York. Initially, Blackfriars hired their players from the Actors Equity Association, but after being blacklisted, the theatre had a more limited relationship with the union and had to recruit elsewhere. Due to the fact that Blackfriars could not afford to pay their actors, most people who worked for the theatre were professionals in between jobs or struggling actors willing to accept unpaid roles in return for experience and publicity.

Series II. Blackfriars Guild Chapters
Blackfriars Guild is a national organization of dramatic groups that was established by Fr. Urban Nagle, O.P., and Fr. Thomas Carey, O.P., in 1931. Originally based at the Catholic University of America, the Blackfriars Guild eventually spread to twenty-two cities. Although the New York City theatre was the most well known of the branches, other notable chapters included Grand Rapids (MI), Minneapolis-St. Paul (MN), Springfield (Il), Cleveland (OH), Dayton (OH), Philadelphia (PA), Madison (WI), Louisville (MO), San Antonio (TX), Rochester (NY), Albany (NY), New Haven (CT), Providence (RI), and Lowell (MA).

This series contains materials from productions put on by the chapters of Fall River (MA), Greenwood (R.I), Jersey City (NJ), Milwaukee (WI), Nabnasset (MA), Pittsburg (PA), San Pedro (TX), Washington D.C., and Immaculate Conception Boy's High School in Trenton (NJ). Many of these plays were original works of Nagle and Brendan Larnen, O.P. Today, several chapters are still in existence.

Series III. Blackfriars Guild History
This series includes a variety of materials that document the history of the Blackfriars Guild from its establishment in 1931 until its dissolution in 1974. Fr. Urban Nagle, O.P., and Fr. Thomas Carey, O.P., founded this network of Catholic theatres with the intent that it would become an innovative and viable alternative to the secular productions being offered. The incorporation certificates, by-laws, and constitutions of Blackfriars Theatre in New York, as well as those of the local chapters, lend insight into the organization and mission of the Guild.

The series mainly centers on the Blackfriars Theatre in New York, and provides details on the institute's financial arrangements, property agreements, and Father Carey's unrealized aspirations for a permanent theatre. In addition, the series records the daily responsibilities involved in running the theatre as well as the progress and reception of Blackfriar productions. Of interest, there are also materials from an interview with Fr. Robert Allan Morris regarding his experience working at the theatre. As an advisor of Fr. Carey during the 1950s, Morris' account provides valuable information on the history of Blackfriars Guild.

Series IV. Fr. Thomas Carey, O.P.
Thomas Carey was born in Chicago in 1904. He was orphaned at the age of twelve and left in the care of a local parish priest. Carey was sent to study at Campion Academy, a Jesuit run school in Wisconsin, and then later joined the Dominican Order where he was given the name Brother Fabian. In 1930, while studying at Catholic University of America, Carey designed the set for an original work, “Barter, written by fellow seminarian, Fr. Urban Nagel, O.P. From this initial partnership, the two men wrote and produced a number of plays and together they dreamed of one day establishing a nationwide Catholic theatre group.

In 1931, Nagel and Carey founded Blackfriars Guild. The organization was first located in Washington, D.C., but eventually included chapters in Rochester, Minneapolis-St. Paul, Philadelphia, Dayton, Albany, Madison, Louisville, San Antonio, New Haven, Providence, and New York City. In total, there were twenty-two branches nation-wide.

Fr. Nagel was sent to teach psychology at Providence College in 1934. There, he founded a Blackfriars chapter, which continues to remain active. Carey remained at the Catholic University, and in 1936, he convinced Dean Deferrari that there was a demand on campus for quality theatrical productions. Deferrari subsequently allowed Carey to establish a summer drama program, the Blackfriars Institute of Dramatic Arts. Under the recommendation of Carey, Fr. Nagel was asked to head the summer program. The institute was a success and is a permanent fixture at the school.

In 1940, the two friends found themselves together again in New York City. Fr. Nagel had been assigned to edit the Holy Name Journal, and was able to secure a position there for Carey. The men seized the opportunity of being in New York and quickly established a Blackfriars Theatre at 320 W. 57th Street. Over the next few years, both Carey and Nagel were actively involved in managing and producing original plays that reflected their shared belief that theatre should be spiritually, artistically, and intellectually challenging. Carey put his design talents to use once again when he created the entire set for the highly acclaimed, “Caukey”.

Carey was of the firm opinion that Catholic theatre should be didactic in nature and, in order to secure the future of Blackfriars, a permanent theatre needed to be built. Nagel on the other hand believed that Catholic theatre should be inspirational rather than instructional, and did not feel the same urgency to build their own theatre. In addition, tensions arose between the two men over financial matters and Nagel’s involvement in outside projects. The final break in their friendship occurred when Carey accused Nagel of being inept at handling Blackfriars’ business affairs, and for hiring a financial manager who, Carey believed, was stealing from the corporation. Although this latter accusation proved unfounded, the conflict led to the intervention of their superior, Fr. McDermott. In 1952, McDermott reassigned Nagel to serve as chaplain at a Dominican Sister Motherhouse, St. Mary of the Springs, in Columbus, Ohio, leaving Carey in charge of Blackfriars.

Blackfriars Theatre prospered under Carey’s direction in the 1950s, generally producing at least two plays each year. For the first time, the theatre began to make a profit and Carey believed that he would soon have the funds to build a permanent theatre. However, due to a lack of original scripts, Carey began producing plays that had overt religious themes. While some plays were well received, Blackfriars’ reputation as an innovative theatre began to wane, and consequently, so did funds to build a theatre. In 1971, when Carey was diagnosed with terminal cancer, it marked the beginning of the end of Blackfriars in New York. With the passing of Carey, Blackfriars Guild lost its staunchest advocate and the corporation was dissolved in 1975.

Series V. National Catholic Playwriting Contest
The National Catholic Playwriting Contest was established by the Blackfriars Guild and sponsored by the Knights of Columbus National Office. As an organization intent on fostering a Catholic theatre network, Blackfriars Guild sought to promote the creation of spiritually and intellectually rich plays. This series contains information on the official rules, regulations, and prizes awarded in this competition, such as the Golden Quill, an honor given in the sum of one-thousand dollars. This contest was directed by Fr. Urban Nagle, O.P., and Fr. Thomas Carey, O.P, during their time at the Catholic University of America.

Series VI. Productions
This series contains materials from plays produced by the Blackfriars Theatre of New York. Blackfriars Guild employed the talents of playwrights, many who were members of the Dramatists' Guild of New York, to create original works that were artistically rich, intellectually engaging, and spiritually provoking. Fr. Brendan Larnen, O.P., also lent his playwriting talents to the theatre for over thirty years, and Fr. Urban Nagle penned several works as well.

Blackfriars became known as an innovative alternative to Broadway, and received immense praise for many of its works, especially, "Up the Rebels," "Career Angels," and "Caukey."

During the late 1950s and early 1960s, there was a shortage of original works that met the high standards Blackfriars was used to, and subsequently was forced to revive some older productions. However, Carey was against this trend and strove to run only new plays.

In the 1960s, under the sole direction of Carey, the productions became more didactic in nature, and revolved around religious themes. Carey commissioned playwrights to create works that either featured the lives of religious figures or centered on a theological issue. These works received mediocre reviews, and with a rise in the number of off-Broadway theatres, Blackfriars' reputations as an innovative artistic center slowly diminished.

Nevertheless, the theatre enjoyed over thirty-years of commendation, demonstrating that the Catholic faith and drama were not mutually exclusive.

Series VII. Publications
This series contains published plays, a variety of publications, and excerpts from periodicals that pertain to the history of Blackfriars Theatre and the overall development of drama. In addition, there are several pamphlets and periodicals that center on anti-Semitism and the threat of Communism: Cold War issues that were addressed in several of Blackfriars' productions. This series provides contextual information on the theatrical, political, and religious factors which shaped the Catholic Theatre movement and the direction taken by Blackfriars Guild.

Series VIII. Scrapbooks
The scrapbooks that encompass this series feature the unbound materials that were collected from the first twenty-nine plays produced by Blackfriars Theatre in New York.