Go down, down, down, down: take your time: enjoy what you do: use what you can: DO NOT GET AHEAD OF YOUR MACHINE: keep going: on and on.

Randy’s Work:  The novels, novellas, short stories, plays, poem written and travel logs written by Randy and the logs written by Peggy and Randy Ford can be found under the Randy’s Works links in the right menu bar of this website.

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International Renown Artist- NEIL BERNSTEIN

Bernstein or Towering  Based on a true story by Randy Ford and Neil Bernstein

International known artist and memorial builder (Bernstein}, whose work includes memorials to holocaust victims, 9/11 victims. border crossers who died in the Arizona desert. and destruction and loss life by storm Sandy, art that stirs such emotion that it leads to destruction of the artist’s work and attempt on his life and then a mental breakdown, incarceration, divorce, protracted custody battle, stint in the Arizona State Hospital, and finally triumph.


 Navy Distress Flag, PTSD Veterans blood, American Muscle Car (68′ Shelby-Bullit GT) paint, Air Force DD-979 Hazard Tag on canvas fixed to flag.

“ARRANCAR-THE PROMISED LAND FOR THE PEOPLE” Educational centerpiece from THE NEW JERSEY CENTER FOR THE VISUAL ARTS INTERNATIONAL COMPETITION (Telemundo, Univision, PBS-“Golden Gates Bridge Over Troubled Borders Immigration Gateways to U.S.)


“AMERICA-9.11 !” ” FLAG SERIES CREATIVE DEPT OF DEFENSE Begin Friday 13th January 2017 ESPRESSO ART 924 E University Ave Tucson, Arizona 85719

“PRESIDENT TRUMP CHECKS THE PLA 2017” Navy Distress Flag, PTSD Veterans blood,  TRUMP campaign sign, American Muscle Car (68′ Shelby-Bullit GT) paint, Air Force DD-979 Hazard Tag on canvas fixed to flag.



“ARRANCAR-THE PROMISED LAND FOR THE PEOPLE” Educational centerpiece from THE NEW JERSEY CENTER FOR THE VISUAL ARTS INTERNATIONAL COMPETITION (Telemundo, Univision, PBS-“Golden Gates Bridge Over Troubled Borders Immigration Gateways to U.S.)

 The Great Wall-Ark of The United State

Induced by the tempests of public need, our studios breed  mythological icons for the interpretation of historically significant events. Catalytic cyclones, the works shape clandestine materials, classic cars, carnival implements and other exciting materials into unusual contemporary representations of historically significant events.
2017: “Presidential Distress” GDCA Gallery Downtown Los Angeles

2017: Presidential Exhibition-NBC News, Phoenix, Arizona

2017 ACLU-NBC News

2017: NPR “Veterans Corner” 1 hour live interview

2016: New 911 wreckage-debris paintings released

2016 “AMERICAN PIE” series

2016: FILM-“BERNSTEIN!” underway

2016: established “The CREATIVE DEPARTMENT OF DEFENSE” interface and spx-operations agency international. Launched from Los Angeles, California and Washington, D.C.

2016: The New Lincoln Veterans Memorial Los Angeles, California

2015: “The Politics of Haunting and Memory in International Relations by Jessica Aucther released on Amazon (immigration bridges)

2014-2016: “THE NEW LINCOLN VETERANS MEMORIAL”-(return from the ashes) Cross-country-major TV news-media. Classic Lincoln Towncar covered in signatures from the foxhole to The Pentagon to effect influence to U.S. Congress to repair the crippled VA

2013: Orange County Contemporary Arts

2013: Jailed-hospitalized due to “Psychosis induced by improper medications by under-funded VA Healthcare system”

2012: “WASTED MANAGEMENT” FEMA Area 3-Seaside Heights, New Jersey

2010: New Amsterdam

2009: “NEW CENTURY ARTISTS” Chelsea, N.Y.,N.Y.

2008: Santa Fe Railyard-Golden Gates Bridge

2008: “The Golden Gates Bridge(s) Over Troubled Borders” (7) Water-filled 80′ life-saving bridges along and across the U.S.-Mexico borders

2008: PBS Special

2007: El Ojito Center Tucson, Az. One Man 911 Arizona Border Exhibition

2007: University of Louisiana Museum Of Art-“UPROOTED” Lower 9th Ward Debris Works-spokesperson WBRZ

2006-2007: “THE BOTTOM OF THE 9th-Ward site-specific exhibition over the FEMA barricades of New Orleans from the wreckage and “Clandestine” materials of Hurricane Katrina-Rita

2006: Pennsylvania State Art Museum. “Art of the State”
2006: Jones Center/Museum for Contemporary Art. “New American Talents”, juried by Aimee Chang, director of Orange County Museum of Contemporary Art, LA, CA.
2005: Allentown Museum of Art, Allentown, PA. – Juried exhibition.
2005: Pennsylvania State Museum, Harrisburg, PA. – “Art of the State” juried exhibit. Juror: Kathrine Calley Galitz, Metropolitan Museum of Art.
2005: Allentown Museum of Art, Allentown, PA. – “Myth and Magic” group exhibit
2004: Radio Europa, Cazenovia College, Syracuse, NY. – Lecture Series “The Arts of Terrorism”
2004: Europe mecca tv, art and terrorism. Bucks College, Newtown, PA. – Lecture Series “The Arts of Terrorism”
2003: Sofia Museum of Art, Sofia, Bulgaria – Ground Zero Memorial Works- One man exhibition.
2003: Tv Good Morning South Africa. Johannesburg Museum of Art, Johannesburg, South Africa – Ground Zero Memorial Works – One man exhibition.
2002: World Trace Center area, NY, NY – Ground Zero One Man 3000 square ft exhibition adjacent to ground zero.
2000: PNI Gallery, Philadelphia, PA. – Holocaust One Man Show

1998: Highwire Gallery, Philadelphia, PA. – Cutting Edge
1995: SteamRoller Gallery, Clinton, NJ. – One Man Show
1993: Port of History Museum, Philadelphia, PA. “Art On The Edge ”
1991: Penn state college Reddins, PA. – “Art Now” TV Series guest speaker
1991-1996: HighWire Gallery, Philadelphia, PA. – One Man Shows
1991: Yeshiva, Old Jerusalem, Israel – Holocaust Works
1991: Massada, Israel – Dead Sea Siteworks.
1989-1990: Kunstenarts Contemporary Arts, Amsterdam, Netherlands-Ten revolutionary american artists (co-ordinated w/Van Gogh
retrospective, 1990)-active in demolition-special interface operations Berlin Wall-Iron Curtain, Eastern Europe
1988: Day of the Dead Architectural Towers, Philadelphia, PA.
1980-1984: New Hope Artsl, New Hope, PA.
1979: Auswitz, Germany -Site work outside the gates of prison camp.
1978: Dachau, West Germany – Holocaust Works at the gates of Dachau.
1976: Fort Gordon, GA. –(10) Building M

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Robert Flynn Author Novelist Teacher

Bob’s Story:
 I was born at home in a house surrounded by cotton fields.  A few miles to the east and we would would have been in an oil field.  A few miles west and we would have been on land good for nothing but running cows and chasing jackrabbits.  My grandfather had been tricked into buying the only place in twenty miles that would grow cotton.
It was in the cotton field that I first learned the power of the English language.  Those who chopped cotton with a hoe were not called hoers.  As my mother explained to me with a switch.  It occurred to me that if the wrong word like hoer had the power to move my mother to such action, just think what using the right word like hoe hand could accomplish.
That was when I first got the notion of being a writer.  I knew it wasn’t going to be easy.  We didn’t go in much for writing at the country school I attended.  We studied penmanship.  But we knew what a writer was.  A writer was somebody who was dead.  And if he was any good he had been dead a long time. If he was real good, people killed him. They killed him with hemlock. Hemlock was the Greek word for Freshman Composition.
The country school I attended was closed, and we were bused to Chillicothe. Chillicothe, Texas is small. Chillicothe is so small there’s only one Baptist Church. Chillicothe is so small you have to go to Quanah to have a coincidence.  For a good coincidence, you have to go to Vernon.  Chillicothe was fairly bursting with truth and beauty, and my teacher encouraged me to write something that had an epiphany.  For an epiphany, you had to go all the way to Wichita Falls.
Real writers wrote about such things as I had never heard of.Damsels.  Splendor falling on castle walls.  For splendor, we had to go to the Fort Worth Fat Stock Show. Since I wasn’t overly familiar with damsels and  splendor, I tried reading what real writers wrote about rural life.  “Dear child of nature, let them rail.  There is a nest in a green vale.”  Which was pretty mystifying to me.  Didn’t writers get chiggers like everybody else?
It looked like for truth and beauty you had to cross Red River.  All I knew about was a little place called Chillicothe.  And it wasn’t even the Chillicothe that was on the map.  Truth in that mythical place was neither comic nor tragic, neither big nor eternal.  And it was revealed through the lives of common folk who belched and fornicated, and knew moments of courage, and saw beauty in their meager lives.  But I could not write about the people I knew without using the vocabulary they knew.  My father did not believe a cowboy said “golly bum” when a horse ran him through a bob wire fence.
Words are not casual things.  They are powerful.  Even explosive.  Words can start wars, or families.  Words can wound, they can shock and offend.  Words can also heal, and explain, and give hope and understanding.  Words have an intrinsic worth, and there is pride and delight in using the right word.  Anyone who chops cotton with an axe is a hoer.
(From “Truth and Beauty”)
In New Testament times, paper was expensive and writing laborious.  It is for that reason that some stories in the Gospels seem truncated.  Today you can learn The Rest of the Story:
The Good Deed, John 9:
Jesus spat on the ground and made some mud with the spittle; he rubbed the mud on the man’s eyes, and told him, “Go wash your face in the pool of Siloam.  So the man went, washed his face, and came back seeing.  His neighbors then, and the people who had seen him begging before this, asked, “Isn’t this the man who used to sit and beg?”
The rest of the story:
The following day, the man came to Jesus again, and said, “You have ruined my life.  I can’t read or write.  I don’t recognize numbers.  I have no skills.  And now my neighbors know I’m not blind.  How can I beg?  Are you going to let me starve?”  And Jesus spat on the ground again.

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MATTIE LENNON Irish poet, author, folklorist and traditional music aficionado

Irish poet, author, folklorist and traditional music aficionado, with a penchant for holding forth at length on the little vignettes and foibles of human nature that many others pass by unnoted, Mattie Lennon welcomes you.

Make yourself at home and sit awhile with him as he introduces you to some of the sights, scenes and sayings that he has come across in his travels from the little village of Kylebeg among the Wicklow Hills to where he lives.

Where that is exactly depends on what you are looking for. His employers i.e. those who pay my wages, expect to find him hard at work. He works as an inspector with Dublin Bus, while his wife expects to find him at home.  He can be found in both locations, at least some of the time.

But he has managed to find some time to engage in general interests further afield. He has put together accounts of experiences in all manners and means of what he has been up to.  Truly, has enjoyed his career, all o fit, to date and can only hope that there will be more of the same in times to come.

It was 1959. The National Council for The Blind of Ireland gave his visually impaired mother a wireless. It was his family’s first radio. At the time his contemporaries were clued in to the highlights of Radio Luxemburg and the Light Programme. But, always one to live in the past, he has a preference for the folk programmes on Radio Eireann.


On Monday, January 10th, 1949, I attained the age of three. I don’t remember it, but I do recall Thursday 13th, it was the Fair-Day in Blessington. When I awoke it was very dark. I made my way into the kitchen, attracted by the yellow glow of lamplight; my feet sensitive to the change of surface as I stepped from the concrete floor of the upper room to the granite paved kitchen. It was not night but morning; a fact proclaimed by my father’s apparel as he sat on a low stool at a military-style bench which on this occasion served as a breakfast table.

The Primary Cert, my first attempt at growing side locks and the feeling that my initial nocturnal adventure into Soho was in some way repugnant to Catechism teaching are all a sort of psychedelic jumble in my brain. Most memories have become blurred on the screen of time, but superimposed there and in no way distorted is my first picture of that big man, with graying hair, eating home-cured rashers from a maidenhair fern plate. The kitchen was devoid of a clock, but he threw the odd glance at the key-winder pocket watch which hung from a bent oval nail on the second shelf of the dresser. (Years later, during one of my unsuccessful attempts at horology I dismantled the faithful chronometer and having reassembled it, had parts left over; Nothing was learned from the operation except that it had been repaired in 1899). When he had mopped up the last drop of grease with a crust of home-made bread, I was to witness a scene that I would see repeated a thousand times. He took each of his boots in turn and placed a couple of small red coals inside each. Then, expertly, he rocked them from heel to toe several times. He replaced the coals in the fire, laced each boot firmly and stamped his feet on the hearth as if to test it.

A full pipe was tamped with his index finger and reddened with a paper spill lit from the glass-bowled oil lamp which stood at his right elbow. My mother often talked of trimming and filling oil-lamps in the house of gentry, yet she hardly ever succeeded in cutting this lamp wick straight across. The result was a diagonal flame.

Then, he took the reins out of the pony’s winkers that hung by the open fire, under the tallague. With the rope he made a head collar, went to the cow house and led out the white head cow. The name was not a misnomer; she was a big red animal, with a white forehead adorned by two sturdy unmatching horns. I was seeing her for the first time; having sprinkled her with Holy Water, from a jam-dish on the windowsill and making the Sign of the Cross on himself, he brought her to the road. The predawn hue was giving way to daylight. It was already bright enough to see the silhouetted paling posts and the stark contour of Black Hill and the stable.

A rat raced across the road. A neighbour cycled past on his way to work. Friendly salutations were exchanged. My mother ushered me back to bed. My first recordable day had begun.

I spent the  first 25 years of my life at home on a small farm. I can identify with Patrick Kavanagh’s “burgled bank of youth” (and I am one of the few of my generation who knows how to make a bush-harrow). As a young fellow whenever I was blamed in the wrong, I would compose a derogatory ballad about my accuser. There weren’t many false accusations so I wasn’t very prolific.

I was nicknamed “the Poet” but  the term wasn’t always complimentary. I agrees that what is said behind one’s back is their standing in the community and my favourite quotation is a comment made about me by a neighbour: “Wouldn’t you think someone would tell him he’s an eejit, when he doesn’t know himself”.

I have  spent most of the last thirty years in Dublin but when asked “Will you ever go back to Kylebeg”? my answer is always Joycean. When James Joyce was asked, in Trieste; “Will you ever return to Dublin?” he said; “I never left”. 

I have written articles (mostly humorous) for The Sunday Independent, The Irish Times, The Irish Post, Ireland’s Own, Ireland’s Eye, Kerry’s Eye, The Wicklow People, The Leinster Leader as well as numerous on-line publications.

I was once told; “You have the perfect face for radio” and I compiled and presented my own programmes in the “Voiceover” series on RTE Radio One. I have  presented ballad programmes on KIC FM, Liffey Sound and Radio Dublin.

I  co-presented a Saint Patrick’s Day Ceol na nGael programme on WFUV 90.7 in the Bronx and I do pre-recorded programmes for other stations. One such programme is “The Story And The Song” in which I play a number of ballads, having first told the story behind each one.

I still write the occasional ballad (not all of them fit for human consumption).

Some of my literary efforts include stories and poems as well as some articles and essays I have penned for a variety of national newspapers and periodicals. Blogs have become Must Haves, a late addition to a virtual roomful of memories.

For some of my essays, short stories, plays, and poems go to my website and for more of my work follow me on this website

Some of Mattie’s Work can be  found under the Mattie Works links in the right menu bar of this website.



  By Mattie Lennon

It has been said that the first duty of a gentleman is to keep out of the hands of the police. Up to the time of writing I have carried out my gentlemanly duties, in that respect, every day of my life, with one exception. That was Tuesday 04th November 1969 when I was the victim of a wrongful arrest.

At 11:15 A.M. and I was feeding our one and only bonham. A car bearing the roof-sign of our National Guardians of the Peace stopped at the gate of our humble abode at Kylebeg. It was driven by a 38 year old farmer’s son, Paddy Browne, from Kenmare. He shared a surname with the one-time Earls of Kenmare but a Protestant farmer who had rented a house to him had once told me that there wasn’t much evidence of any nobility connection. The observer was a 44-year-old son-of-the-soil from Kilmorgan, Co. Sligo. His Name was Bill Tighe. (Up to that moment I had little dealings with either officer apart from meeting them during Census-taking. I knew that they referred to me as “the Poet”, which was understandable since I was in the habit of linking, even the most grim situation to a poetic allusion.) Despite their agricultural background they had no compunction about taking me away from my pig-feeding, when they asked me to accompany them to Blessington Station.

If my neighbours hadn’t known me as well as they did no doubt the would have been;” Wondering if the man had done a great or little thing”.

Didn’t the poet say;

To every Irishman on earth,

Arrest comes soon or late.

While Browne reversed the Squad-car down our narrow lane Tighe revealed to me that I had stolen an unspecified quantity of ham on Friday 24th October. Although I was no Phrenologist, looking at his profile from the back seat I recalled a comment made by one of my neighbours.  Whatever about the grammatical correctness of the observation I was now tempted to accede to its accuracy; he had once described Tighe as being;  “ as thick as the butt end of a horse’s bollocks that never saw anything only shite.”  And, at that moment, I became a bit more tolerant of those who drew the cartoons of the Irish in the 19th century Punch magazine.

Once in the station another Garda had something to say. This 31 year old was Willie Nash, from Gurtnacrehy, Co. Limerick. (You may not have heard of Gurtnacrehy; the only time the word crops up is in the names of Greyhounds.)  Nash was so well turned out that he was like a male mannequin compared to his more bucolic colleagues.  When he first came to Blessington in January 1962 he was a useful man on the football field and sported a crew-cut. Now he was opting for a (slightly belated) Beatle look. He imparted the additional information that I had maliciously burned a rick of hay, the property of Dan Cullen, on Saturday 27th September. I didn’t share the view of the local farmer who, at the time, said, “There was only one mistake; that he wasn’t in it when they lit it.”

Nash’s body language (as he replaced a nail-file in his tunic pocket, having checked his reflection in the window ) proclaimed his lack of self-esteem and the fact that he was well aware of my innocence. His rhetorical question: “Would it surprise you to know that you were seen lighting it?” was slightly off the mark (not to mention off the wall).

I knew, through my own sources, that a quantity of ham had been reported stolen in Ballinastockan. (I wasn’t told if it was a quarter or a half pound) but I doubted the authenticity of the crime. As the interrogation progressed I became more convinced that the case of the purloined bacon should enter the annals along with The Easter Bunny, the Unicorn and a few pre-election promises.  I knew that there wasn’t a great tradition of steling foodstuffs in the Lacken/Ballinastockan area; the last recorded theft of that nature was pertaining to an incident, during the Civil War, on 15th September 1922. Edward Grace, a Merchant, from Ballymore Eustace had some loaves stolen from two of his vans in Ballyknockan and Lacken on that day.

Despite being the victim of the dirtiest trick ever played on me, being spoken to like an imbecile, humiliated, embarrassed and treated like a criminal I refused to confess to two fictitious crimes. (It’s at times like this the words of Ethel Rosenberg spring to mind; “I am innocent……to forsake this truth is to pay too high a price”). The Sergeant, looking less than prepossessing and more than his thirty-seven years, gave the OK to have me locked in a cell. Maurice O ‘Sullivan, ex-Mental Nurse (known as a “keeper” at the time), from Slaheny, Co. Kerry, was very concise.  Not living up to his family’s nickname of “The Long Maurices” he drew himself up to his full five-foot nine and a half inches, pretended to read from a manilla folder  and told me  : “I have enough evidence here to charge you”.  Perhaps his past was the reason for the brevity;

For he to whom a watcher’s doom

Is given as his task

Must set a lock upon his lips


Did the experience in his previous life prompt him to believe that I was the sort, so much in awe of authority, who would confess to anything? Although it was fifteen years since he surrendered his badge in Saint Fenan’s  Hospital, Killarney, the “One Flew Over The Cuckoo’s Nest Syndrome” obtained; He still thought that he could do what he liked? (“…for in a madhouse there exists no law”).

I thought of William Blackstone who said; ” It is better that ten guilty persons escape than one innocent suffer”. I soon reminded myself that Mr. Blackstone didn’t spend four years working in a Kerry asylum.)

When I was told,  “You’ll get out when you tell us the truth” I took on board my neighbour’s opinion of the speaker. And the farmer’s boots and sly smile I saw as further evidence that Tighe was not a member of Mensa, would not appreciate Tennyson, and so I thought it would be futile to quote;


This truth within thy mind rehearse,

That in a boundless universe

Is boundless better, boundless worse.

My father always said that I would “hear the grass growing” and now I became acutely aware of my better –than- average auricular ability. Sound- proofing had not been a consideration in the design of the cell-door and I could hear every word spoken in the day-room. Industrial-relations matters, within the Gardaí, were touched on lightly before a turn in the conversation that was very interesting and informative; but that is a story for another day. Suffice, for now, to say that there was paraphrasing of the words of Thomas Jefferson; “ We have the wolf by the ears and we can neither hold him nor safely let him go. Justice is in one scale and self-preservation on the other”

I knocked on the cell door. It immediately opened and framed Nash, who I felt was of the opinion that I needed taking down a peg. I studied his face. Why? Because Jim Blake who worked for Paddy Crotty had told me, “That Nash fella has square eyes.” He didn’t. While his optical hemispheres displayed the shiftiness of the insecure they were of regular shape.

He insisted on pretending that I was a suspect and closed the door.

When next I knocked on the cell-door it was opened by Tighe who told me, (why I don’t know) “The sergeant is gone out on another big job”. This was followed by, “Yer father says he doesn’t know what to tink. Will I go out for yer father?” When I once again protested my innocence this, ignorant, lazy, gobshite, who wouldn’t ever stand if he could sit, said, “We know certain tings Matt”. He didn’t specify what the “ things” with the silent “h” wre.)  He closed the door slowly . . . like he did everything else.

When again I knocked with a hope of being released Browne uncovered the spyhole. His eye, viewed through the small rectangle of light, didn’t look friendly.

I was sitting on a wooden bench with some sort of a “tic” on it. Hey! . . . Didn’t  I read on the Leinster Leader about a Ballinastockan man being fined ten pounds for pissing on a mattress in the cell of Blessington Garda station? (Of course it wasn’t worded so in the “Leader”.)

“Are you going to tell us about this fire?”. Guard Browne enquired. Now secure in the knowledge that they knew I wasn’t guilty of anything I didn’t protest my innocence. I simply asked; “Are you going to let me out?”

Browne didn’t reply. He opened the cell door and allowed me into the day room. As he lit a Goldflake butt with a paper spill from the open fire he again accused me of arson. As I looked at his well-worn shoes and archaic wristwatch I thought of his economy-consciousness which his former Sergeant, Frank Reynolds,  had told me about. My comment about the coldness of the cell and my plea to be left in the Day-room fell on deaf, Kenmare, ears. As he dragged on the ignited butt I was sternly told to “get back in.”

I would compile a letter to the Minister for Justice. But that could wait. This was as good a time as any to make a start on a parody. The air of “ The Oul Alarm Clock” would do fine;

“I was told we’re going to charge you

With the burning of a rick,

By Nash and Tighe and Sullivan,

An’ Paddy Browne the prick.”

The cell door opened. Garda Willie Nash told me, “We’re lettin’ ye out but we’ll be takin’ ye in agin.”  He wasn’t a man of his word; I haven’t seen the inside of that cell since.

Mattie Lennon

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PAUL BAKER: Paul Baker & Kitty Baker Papers

A Guide to the Paul & Kitty Baker Collection

Note that there are two major collections of Baker material at the Wittliff. The first, donated by the Bakers in 1999, has been processed and a complete finding aid is listed below. A second major donation by the Baker family was received in 2014 consisting of ten additional boxes of Baker material. That inventory is also provided as an addendum below the finding aid.

1911-1999 (Bulk dates: 1942-1976)
Collection 035

Descriptive Summary

Creator:    Paul & Kitty Baker
Title:    The Paul & Kitty Baker Papers
Dates:    1911-1999 (Bulk dates: 1942-1976)
Abstract:    The Paul & Kitty Baker collection spans 1911-1999 with the bulk of the material relating to Paul Baker’s career as a director and educator. The collection also contains correspondence between the Baker family.
Identification:    Collection 035
Extent:    22 boxes (16 linear feet)
Language:    English, Icelandic, Romanian
Repository:    Southwestern Writers Collection, Special Collections, Alkek Library, Texas State University-San Marcos

Biographical Note:

Noted theater director and educator Paul Baker was born in 1911 in the West Texas town of Hereford to Retta Chapman Baker and William Morgan Baker. He was the son and grandson of Presbyterian ministers, and the youngest of five children. When Baker was eight years old, his father moved the family to Waxahachie, Texas where Baker and his older siblings would eventually attend Trinity University, then located in Waxahachie.

In 1932, Paul Baker earned a bachelor’s degree in drama at Trinity University. Baker then spent a year at Yale University working toward a master’s in drama, but for financial reasons he was unable to continue his studies. He spent the summer of 1934 in England, and while there, he received the offer of a teaching position at Baylor University in Waco, Texas. He began teaching there in 1934. At Baylor, Baker met Sallie Kathryn Cardwell (Kitty), a college math professor and artist. Kitty Cardwell had received her undergraduate degree at Randolph-Macon Woman’s College in Lynchburg, Virginia. She always had an interest in art, but chose math as her major, and went on to receive her Masters of Science in Math from the University of Chicago, where she spent a year working toward her doctorate before coming to Baylor. On December 21, 1936 – three months after they met – Paul and Kitty were married.

The Bakers had three daughters, Robyn Cardwell Baker in 1938, Retta Chapman Baker in 1942, and Sallie Kathryn Baker in 1947. Kitty Baker began teaching a children’s art and drama class for Robyn and her friends in 1941, basing her teachings on the same ideas that Paul Baker was using in his drama classes at Baylor. This class would eventually grow into the Baylor Children’s and Teenage Theater.

In 1939, with the help of a Rockefeller Foundation Scholarship, Baker returned to Yale and completed his master’s degree in drama. In 1941, Baker received a Rockefeller Grant to write about his travels during the summer of 1936 to England, Germany, Russia, and Japan where he studied theater design and production. Also in 1941, Baker returned to Baylor and helped design a new theater called Studio One. In Studio One, the audience was seated in swivel chairs and surrounded by six stages. Five of the stages formed a semi-circle around the audience and the sixth was located in the rear. This marked the beginning of Baker’s many innovative contributions to theater and theater education.

Paul Baker was one of the first theatrical specialists to join the United States Army during WWII, serving as a Special Services Entertainment Officer in Iceland and Paris, France. He directed theatrical performances at the Iceland base. Baker had no trouble finding a variety of men who were talented actors, but he needed actresses. He put in a request for four actresses to perform at his theater. His request led to the formation of the Civilian Actress Technician Corps (CATS), which continued to provide actresses for performances throughout Special Services. In 1945, Baker was awarded the Legion of Merit for the re-organization of the Entertainment Branch of the European Theater of Operation.

Back in the United States, Baker continued to receive recognition for his involvement in education and drama. Baker was the recipient of two more Rockefeller grants in 1946 and 1959. He received the first of these to make a study of leisure time problems as related to community. In 1958, Baker received an Honorary Doctorate of Fine Arts from Trinity University. Baker also served as President of the Southwest Theater Association in 1956 and as President of the National Theatre Conference from 1958 to 1961.

In 1952, Baker took a group of Baylor acting students and staff to present Green Grow the Lilacs by Lynn Riggs at the Theater Babylone in Paris. While visiting the Paris Museum of Modern Art, Baker became interested in the works of the cubists. During this time, Baker was beginning to feel that the progress of theater was lagging behind the other arts. Inspired by the idea of translating modern art techniques into drama, Baker went back to Baylor to produce an updated version of Othello in which these new ideas were expressed. He translated the cubist technique of presenting subjects from more than one point of view into drama by having three actors play the different parts of one character’s personality. Henry Hewes, Drama Critic for the Saturday Review, said that Baker had “accomplished what Orson Wells’ motion picture tried and failed to do – applied the visual arts to a great play without allowing them to inundate it” (Cory, 23). Charles Laughton called Baker’s production of Othello “the most exciting piece of theater in America,” and called Baker “a man absolutely without fear” (Cory, 23). In 1956, Baker used this method again in Hamlet with actor Burgess Meredith playing the main speaking role of Hamlet and three other actors representing the war-like, jovial and introspective sides of the character.

In 1959, while still teaching at Baylor, Baker helped found the Dallas Theater Center, which acted as the graduate school for the Baylor Drama Department. Frank Lloyd Wright designed the Dallas Theater Center, his last building and the only public theater ever built from his design. Baker also contributed to the design of the theater, working closely with Wright and sometimes disagreeing with him over such issues as lighting installation and backstage ramps. Playwright Gene McKinney described his own response to the designs for the Dallas Theater Center the first time he saw them, by saying “I realized this was going to be a different kind of theater. The whole approach to the total space, with its lack of right angles, gave freshness to the idea of theater.” (Cory, 88) Baker would stay with the Dallas Theater Center for twenty-three years.

Baker’s innovations in theater continued to receive praise from across the nation, and in 1961, he was given the first Rogers and Hammerstein Award for outstanding contribution to theater in the Southwest. However, Baker was not without critics. In 1962, he obtained the amateur rights from Eugene O’Neill’s widow to produce O’Neill’s play Long Day’s Journey into Night at Baylor. The contract with Mrs. O’Neill was to do the play intact with no editing of the script. A local Sunday school teacher, who brought her class to see the play, was offended by some of the language. She began a campaign against the production, and the Baylor President ordered Baker to close the play. In response, Baker and his entire department, including assistant professor Robert Flynn and graduate student Preston Jones, moved to Trinity University in San Antonio, Texas. Baker split his time between Trinity and the Dallas Theater Center, which then began to serve as the graduate school for the Trinity Drama Department.

Preston Jones not only followed Baker to Trinity, but also worked with him at the Dallas Theater Center. While there, Jones took to heart Baker’s philosophy of non-specialization, and worked in a variety of positions, including actor, director, stage manager, and ticket taker. Jones credited these experiences with making him a successful playwright. As an actor Jones appeared in several plays at the Dallas Theater Center, including Journey to Jefferson by Robert Flynn, a stage adaptation of William Faulkner’s novel As I Lay Dying. Under Baker’s direction, this Dallas Theater Center production of Journey to Jefferson, won the jury prize at the Theater of Nations in Paris in 1964.

In 1972, Baker appointed Preston Jones managing director of Down Center Stage, a smaller workshop theater within the Dallas Theater Center. Jones’ desire to present new works, combined with a lack of good material available, led him to begin writing his own plays, the first of which was The Knights of the White Magnolia. In 1973, it was produced at the Dallas Theater Center under Baker’s guidance, and inaugurated Jones’ classic Texas Trilogy. Jones and Baker would continue to have a close working relationship at the Dallas Theater Center until Jones’ death in 1979.

In 1972, Baker wrote the book Integration of Abilities, in which he illustrated the teaching techniques he had used in a class of the same name at Baylor and Trinity. In class, Baker taught his students to use all five senses to experience and express their surroundings. Believing that a theater artist should be introduced to all facets of the arts, Baker gave his students assignments in painting, writing, and music composition. During the process of producing a play, he strove to involve the members of the production — including playwrights — in all aspects of theater work, such as taking tickets and helping in areas outside their usual sphere, in order to round out their experience of the theater. Baker explained that with this teaching philosophy he was trying to help students “discover their creative abilities,” and at the same time “help the theater catch up with the progress made in the other arts” (Cory, 20).

Baker retired from his position as Professor of Drama and Chairman of the Drama Department at Trinity University in 1976, but continued his work as Director at the Dallas Theater Center. In 1978, he received both a Distinguished Alumnus Award from Trinity University and an Honorary Doctorate of Humanities from the Texas Christian University.

By 1982, Baker and the Board of Directors at the Dallas Theater Center had begun to hold different views about the direction the Center should take. Baker wanted it to remain an educational theater, maintaining a resident company of actors, writers and directors as it had since its inception. The Board was interested in making the Center a more commercially dynamic venue, and envisioned touring productions featuring nationally-known actors who could attract audiences simply by the presence of their names on the marquee. In March 1982, Baker, after twenty-three years of service as Artistic Director, turned in his resignation. After Baker’s resignation, the Center slowly moved away from its former experimental educational approach, and its role as a graduate school came to an end. However, Baker’s methods in drama continued in the Dallas Children’s Theater, founded by his daughter Robyn Baker Flatt, and at Dallas’ Booker T. Washington School for the Performing Arts, founded by Paul Baker himself in 1976, at the request of the Dallas Independent School District.

After leaving the Dallas Theater Center, Baker continued to receive awards for his work in theater, and he remained busy directing plays and writing books and articles. In 1983, Baker received the Tomas De Gretani Award for outstanding service to American Theater. He directed a variety of plays, including Preston Jones’ Last Meeting of the Knights of the White Magnolia in 1984 at the New Mexico Repertory Theater in Santa Fe. Baker also directed a professional production of Preston Jones’ The Oldest Living Graduate for Paramount Theater of Austin in 1986, and his own adaptation, Hamlet ESP, for the Hyde Park Theater in Austin in 1987. In August of 1990, Baker’s work in drama and education was celebrated by ex-students from Baylor University (1934-63), Trinity University (1963-1975), and the Dallas Theater Center (1959-83), with “The Paul Baker Festival – Second Harvest,” which ran for three days in Waco.

In 1994, Baker was the recipient of the Texas Commission on the Arts Special Merit Award, and in that same year he wrote Making Sense with Five Senses, a textbook featuring his Integration of Abilities Technique. Paul and Kitty Baker currently live on a 132-acre ranch near Waelder, Texas, where they are both active in encouraging the application of their Integration of Abilities Technique at the Waelder elementary school.

The Southwestern Writers Collection also houses the papers of playwright/novelist Robert Flynn, playwright/actor Preston Jones and the actor/artist/director Mary Sue Jones, all of whom worked with Baker at Baylor, Trinity and the Dallas Theater Center.

Scope and Content:

Correspondence, scrapbooks, video cassettes, sound recordings, scripts, clippings, ephemera, photographs, books and periodicals, 1911 to 1999 (bulk 1942 – 1976), created and maintained by Paul and Kitty Baker, document the Bakers’ life long involvement in theater and education, as well as their personal relationship and family life.

The collection consists of twelve series: 1.Correspondence (1927 – 1999, n.d.),
2. Scrapbooks (1952 – 1986), 3. Video Cassettes (1957 – 1995, n.d.), 4. Sound Recordings (1970 – 1978, n.d.), 5. Scripts (1969-1992, n.d.), 6. The Baylor Children’s Theater Early Development (1966 – 1985, n.d.), 7. Clippings (1942 – 19990, n.d.), 8. Theater Brochures and Programs (1929 – 1996, n.d.), 9. Iceland Base Command WWII (1943 – 1945, n.d.), 10. Photographs (n.d.), 11. Personal Ephemera (1911 – 1942, n.d.), and 12. Books and Periodicals (1953 – 1994, n.d.). These series are based on the original order of the materials when present; order was created by the cataloger for the materials that lacked it.

The bulk of this material is related to Paul Baker’s career as a director and educator. The Scrapbook Series and the Sound Recordings Series are predominately made up of material pertaining to Paul Baker’s drama productions. The Video Cassettes Series documents several of Paul Baker’s productions, and includes interviews with Baker about his career and his perspective on drama and education. Material regarding Kitty Baker and the Baker family, while limited, can be found in the Scrapbook Series and the Correspondence Series. The Correspondence Series documents the Bakers’ early years of marriage, and the issues with which they dealt while they were apart during WWII. Some of the material in the Video Cassettes Series and the Books and Periodicals Series also provides documentation on the Bakers’ recent educational involvement with Waelder elementary school, and the Bakers’ use of their Integration of Abilities Technique with its students.

Additional Baker archival material can be found at the Dallas Public Library, and Trinity University. The Dallas Theater Center Collection (1954 – 1984), housed at the Dallas Public Library, represents the period from the Center’s founding through Paul Baker’s years of direction. This Collection consists of 152 linear feet plus 25 oversize boxes containing photographs, set and costume designs, building blueprints, programs, newspaper clippings, advertisements, newsletters, scrapbooks, business records, legal documents, financial records, student/school records, and production, business and personal correspondence. The Paul Baker Papers at Trinity University are made up of twenty-two boxes of correspondence, clippings, material on productions directed by Paul Baker, Children’s Theatre material, and ephemera.

Series Description:

Series I: Correspondence (1927 – 1999, n.d.)
The bulk of this series is comprised of personal correspondence (1942 – 1945) between Paul & Kitty Baker while she remained in the U.S., and he was stationed in Iceland and Paris as a Special Services Entertainment Officer during World War II. This group of correspondence is of particular interest in that it offers great insight into the Bakers’ early relationship as husband and wife. The original chronological order in which the Bakers kept this correspondence has been maintained. The remaining correspondence in this series is an assortment of letters and cards sent to the Bakers between 1927 and 1999. There was little original order to this correspondence, therefore it has been arranged by the cataloger in chronological order.

Series II: Scrapbooks (1952 – 1986)
The scrapbooks in this series contain mostly newspaper clippings, and some photographs and ephemera. The bulk of the scrapbooks are about Paul Baker, his productions, and the different theaters at which he worked. The Family (1952 – 1976) scrapbook contains clippings and photographs relating to the Baker children’s activities and achievements, as well as Mr. and Mrs. Bakers’ educational interests and accomplishments. There are also a few clippings about the Baker family in other scrapbooks in the series. This series has been arranged chronologically.

Series III: Video Cassettes (1957 – 1995, n.d.)
This series, made up of the subseries Tributes and Interviews, Play Productions, Educational, and Miscellaneous, documents the Bakers’ lifelong involvement in theater and education. Within each series the cassettes have been arranged alphabetically by title. Many of the cassettes in the Tributes and Interviews, and Educational Subseries offer insight into Paul Baker’s philosophy of education, while the cassettes in the Play Productions Subseries provide examples of Baker’s work as a director. In this latter subseries, the video cassette of the 1957 Hamlet production has been transferred to DVD.

Series IV: Sound Recordings (1970 – 1978, n.d.)
The majority of the recordings (13 reel to reel tapes, 3 cassettes, and 1 phonograph set, with copies of the cassettes and phonograph set on CD) in this series are of theater productions directed by Paul Baker during his time at Baylor. They are arranged alphabetically.

Series V: Scripts (1959 –1992, n.d.)
The bulk of the scripts in this series are from plays directed or written by Paul Baker. Other scripts were written by students, friends or relatives of Baker. Many of the scripts have been annotated and some are in an early or rough stage. The scripts have been arranged alphabetically by author. Highlights in this series include three plays by the Bakers’ daughter, Sallie Baker Laurie, and two versions of Hamlet, one as arranged by Paul Baker and a second, Hamlet ESP, an adaptation by Paul Baker. Several scripts in this series are by playwrights who are also represented in other drama collections at the Southwestern Writers Collection, including The Last Meeting of the Knights of the White Magnolia, and The Oldest Living Graduate both by Preston Jones, As I Lay Dying by Robert Flynn, and Ramsey Yelvington’s Cloud of Witnesses.

Series VI: The Baylor Children’s Theater Early Development (1966 – 1985, n.d.)
This series contains materials compiled by Kitty Baker about the early development of The Baylor Children’s Theater. In 1941, Mrs. Baker began a children’s art and drama class for the Baker’s first daughter and her friends, which would eventually grow into the Baylor Children’s Theater. In this series, clippings, photographs, booklets, workshop materials and ephemera record the activities of the Children’s Theater and Mrs. Baker’s role as its co-founder.

Series VII: Clippings (1942 – 1990, n.d.)
The small group of clippings in this series highlights periods in Paul Baker’s life from his undergraduate years at Trinity University in Waxahachie, TX, to his work at Baylor University, and his retirement in Waelder, TX.

Series VIII: Theater Brochures and Programs (1929 – 1996, n.d.)
The brochures and programs in this series come mostly from theaters and productions with which Paul Baker was involved either as a performer or director. They are arranged alphabetically by theater name.

Series IX: Iceland Base Command WWII (1943 – 1945, n.d.)
Paul Baker collected the material in this series during his time as Special Service Entertainment Officer at Iceland Base Command in World War II. The Iceland Base Command newspaper, “The White Falcon,” contains several articles about productions directed by Paul Baker at the base. Also included in this series are programs from some of these plays, as well as art works from Iceland. This series is arranged by material type.

Series X: Photographs (n.d.)
This series contains nine studio proofs of Paul and Kitty Baker. Additional photographs can be found in the Scrapbooks series.

Series XI: Personal Ephemera (1911 – 1942, n.d.)
This series is made up of handwritten notes, commencement programs from Trinity and other Universities, booklets about foreign missionary work, calling cards and other assorted ephemera. The material is arranged by material type.

Series XII: Books and Periodicals (1953 – 1994, n.d.)
The material in this series pertains to theater and education, and much of it is by or about Paul Baker. Annotated or unpublished titles have been filed with in this series, other titles as listed have been cataloged separately.

Administrative Information

Access Restrictions: Open for research.
Preferred Citation: The Paul & Kitty Baker Collection, Southwestern Writers Collection, Texas State University-San Marcos
Acquisition Information: Donated by Paul & Kitty Baker, 1999.
Processing Information: Processed by Emily Painton, 1999. Inventory revised by Alan Schaefer, 2010.

Detailed Description of the Collection

Series I: Correspondence (1927 – 1999, undated)
Box /Folder

Personal correspondence between Paul & Kitty Baker
1 /1 1942
1 /2-5 1943
1 /6 1944
2 /1-2
2 /3-4 1945
2 /5-6 Assorted correspondence 1927 – 1963
2 /7 Letter from Paul Baker with the article “Growing Up a Sullen Baptist” by Robert
Flynn attached, 1999
2/1 3 Clipping from magazine of Icelandic art

Series II: Scrapbooks (1952 – 1986)
Box /Folder

18 – 1952 -1976, Family
18 – 1956, Hamlet – Burgess Meredith
19 – 1957 – 1960 (Dallas Theater Center)
19 – 1958 – 1961 (Baylor Theater, Dallas Theater Center)
20 – 1959 – 1961 (Dallas Theater Center, Baylor Theater, and Baylor Children’s
20 – 1966 – 1973 (Trinity Theater)
3 /1 1974, Jack Ruby, All American Boy: A Pictorial Progression Project of the
Theater at Work as photographed by Chastity Fox
3 /2 1985 – 1986, The Oldest Living Graduate

Series III: Video Cassettes (1957 – 1995, undated)
Box /Folder

Tributes and interviews (1990 – 1995, undated)
3 /3 Paul Baker Second Harvest Tribute – 2 hr. 20 min. film featuring individual
tributes from Baker’s ex-students – Master of Ceremonies, Mary Sue
Jones, 1990
A Guide to the Paul & Kitty Baker Collection (Collection 035) 15

Tributes and interviews (1990 – 1995, undated), continued
4 /1 Second Harvest Tribute, produced by Clu and Miriam Gulager – a 15 minute
photo history of Paul Baker and his family, 1990
4 /2-4 Austin Faith Dialogue: TV Program Broadcast
5 /1 April 24, 1994, Austin: Richard Thompson interviews Dr. and Mrs. Paul Baker,
Making Sense With Five Senses sponsor – Austin Metropolitan
Ministries Central Presbytarian Church, Austin, Texas. 30 minutes. (4
copies, folders 1, 2, & 3 of 4)
5 /2 KLRN Artbeat #625 “Learning With Artists”
5 /3 KLRN Artbeat “Learning With Artists”
5 /4 KLRU – Texas Education Report – April 21, 1995, Art and the Curriculum
6 /1 Kitty & Paul Baker Book Fair, October, 1995, standard speed/San Antonio cable
TV interview
6 /2 Paul Baker interview with Robert Flynn. The Arts and Education Reform Town
Meeting/Round Table with the Secretary of Education and others
6 /3-4 Paul Baker: A Profile (tape missing from folder 4)
7 /1 Paul Baker’s Second Harvest Film, Jerry Mack Ratliff, 1990
Play Productions (1957 – 1978, undated)
7 /2 Hamlet – a 30 minute film of the Baylor Theater experimental production. Film
directed by Eugene McKinney, staged by Paul Baker in 1957 (includes
DVD copy)
7 /3 Lu Ann Act I & II
7 /4 Lu Ann Act III
8 /1 The Oldest Living Graduate, 1 hr. 56 min., Dallas Theater Center, 1978
8 /2 Excerpts from the Dallas Theater Center production of Stillsong by Sallie K.
Baker, staged by Paul Baker, produced by PBS, Dallas, Texas, 30 minutes.
Educational (1991 – 1993, undated)
8 /3 ABCs of Natural Abilities, November 1, 1991
8 /4 ABCs of Natural Abilities Workshop, June 5, 1991
9 /1 ABCs of Natural Learning
9 /2-3 The Arts and Education Reform Town Meeting/Round Table with the Secretary
of Education and Others (2 copies)
A Guide to the Paul & Kitty Baker Collection (Collection 035) 16
Educational (1991 – 1993, undated), continued
9 /4 Enhancing Leadership Skills, January 12, 1993, Waelder
10 /1 Final Days ABC Workshop
10 /2 Frontline: Teacher, Teacher FRON815K, 59 minutes
10 /3 Waelder ISD Arts Program (missing)
Miscellaneous (1994)
10 /4 World Cup ’94 Virtual Field Trip

Series IV: Sound Recordings (1957 – 1978, undated)
Box /Folder

Tape Reels (1970 – 1978, undated)
11 /1 Children’s Theater Alice in Wonderland (two reels)
11 /2 Hamlet ESP, 1970 (two reels)
11 /3 Hamlet ESP Acts I & II, Act III (two reels)
12 /1 Hamlet ESP Acts I, II, & III, recorded at Trinity University, 1970 (two reels; one
copy on two audio cassettes & one copy on three CD-Rs)
12 /2 Of Time and the River, Act I & II (two reels)
12 /3 Oldest Living Graduate, 1978, Preston intermission (one reel)
12 /4 Speech 304, 1 & 5 (two reels)
Audio Cassettes and LPs (undated)
13 /1 Hamlet #1-3 (three cassettes)
21 /1 Hamlet, Paul Baker’s Baylor Theater Stage Production on a 3-LP set, with liner
notes and script (also available on 3 CD-R copies)

Series V: Scripts (1959 – 1992, undated)
Box /Folder

13 /3 Baker, Paul and Gene McKinney, Mary Anna Branson, and Ramsey Yelvington
Dramatic Images: Plays For the Church, 1959
13 /4 Baker, Sallie Sky-Giant
13 /5 Byers, Ruth and Malcolm Stewart Fellows Teatru Piese Tigrul Purpuriu Caruia Il
Placeau Clatitele Si La Volan,1969
13 6 Ebersole, Martha Texas Tacky,1983 (published version)
A Guide to the Paul & Kitty Baker Collection (Collection 035) 17
13 /7 Ebersole, Martha Texas Tacky, in two acts with director’s notes by Paul Baker,
13 /8 Flynn, Robert As I Lay Dying, a stage adaptation, 1992
13 /9 Gibson, Jewel Brann and the Iconclast, based on Brann and the Iconclast by
Charles Carver, undated
14 /1 Gibson, Jewel Get Out of Town, Mr. Brann, based on Brann and the Iconclast
by Charles Carver, undated
14 /2 Jones, Preston The Last Meeting of the “Knights of the White Magnolia”, a play
in two acts, undated
14 /3 Jones, Preston The Last Meeting of the “Knights of the White Magnolia”, a play
in two acts. One of the three plays comprising a Texas Trilogy, 1976
(published version)
14 /4 Jones, Preston The Oldest Living Graduate, a play in two acts. One of the three
plays comprising a Texas Trilogy, 1976
14 /5 Kirk, William Bear-Bottom Woods, undated
14 /6 Laurie, Sallie Door-Play, a play in two acts, 1977
14 /7 Laurie, Sallie Stillsong, 1976
14 /8 Schaefer, Frank A Man of Calling, a play in three acts, undated
14 /9 Shakespeare, William Hamlet, as arranged by Paul Baker and Staff, undated
15 /1 Shakespeare, William Hamlet ESP, an adaptation by Paul Baker, published
version, 1971
15 /2 Wolfe, Thomas Of Time and the River, a dramatization by the Baylor Theater,
15 /3 Yelvington, Ramsey Cloud of Witnesses, prepared by Paul Baker, 1984
Series VI: The Baylor Children’s Theater Early Development (1966 – 1985, undated)
15 /4-5 Ms. Kitty Baker’s materials on early development of the Baylor Children’s
22 – 3-ring binder with materials on early development of the Baylor Children’s

Series VII: Clippings (1942 – 1990, undated)
Box /Folder

15 /6 Article about Paul Baker from the San Antonio Light, August 5, 1990
15 /7 Assorted clippings
21 – Framed clipping about the Dallas Theater Center which was designed by Frank
Lloyd Wright
A Guide to the Paul & Kitty Baker Collection (Collection 035) 18
Series VIII: Theater Brochures and Programs (1929 – 1996, n.d.)
15 /8 Dallas Theater Center brochures
15 /9 Trinity University Theater brochures
16 /1 Assorted theater brochures

Series IX: Iceland Base Command WWII (1943 – 1945, n.d.)
21/ 3 Copies of the Iceland Base Command newspaper, “The White Falcon,” and an
Icelandic newspaper, “Morgunbladid”
16 /2 Artworks
16 /3 Play programs and ephemera

Series X: Photographs (n.d.)
16 /4 Nine black and white, three and a half by five inch studio proofs of Paul and Kitty Baker

Series XI: Personal Ephemera (1911 – 1942, n.d.)
16 /5 Handwritten notes
16 /6 Trinity University and assorted university material
Series XI: Personal Ephemera (1911 – 1942, n.d.), continued
16 /7 Foreign missionary material
16 /8 Calling cards
16 /9 Assorted ephemera

Series XII: Books and Periodicals (1953 – 1994, n.d.)
16 /10-11 Baker, Paul ABCs of Natural Sensory Abilities Program Handbook (Preliminary
Copy), Waelder Independent School District, 1992
17 /1 Baker, Paul American Stars, n.d. (unpublished script)
17 /2 Stecker, Elizabeth Wear The Baylor Theater Method of Work – Excerpts From the
Thesis: The Method of Work of the Baylor Theater with a Critical
Analysis of the Prodcution of Othello, n.d.
The following titles have been cataloged separately:
Baker, Paul The Drama Review: Architecture/Environment, with article “Flexible
Theatrical Space,” 1968. PN 1601 .T8
A Guide to the Paul & Kitty Baker Collection (Collection 035) 19

Accession 2015-078

Baker Estate/Paul and Kitty Baker

This addition to the Paul and Kitty Baker archives includes drafts and workshop materials of Baker’s Making Sense with the Five Senses, extensive lesson plans and teacher evaluations from Baker’s work with Waelder Independent School District and the Arts Magnet School, drafts and cue sheets for Hamlet ESP, and research material and drafts of Peer Gynt. Other material in this collection includes correspondence with former students, Baker’s Texas Institute of Letters and other awards, and pictures of productions at the Dallas Theater Center.

BOX 2004 (1 of 10)
2004/1: Baker’s Introduction to Your Sensory learning Abilities” Workshop Plan
2004/2: “Weekly Lesson Plan Explained 47 and Groups”
2004/3: “Master Copy Lindblade” Lesson Plans
2004/4: “Additional Lesson Blades”
2004/5: “Exercises for Training the Voice” [12 Copies]
2004/6: “Exercises for Training the Voice” [14 Copies]
2004/7: “Reaction to Book” Published with TCU Press
2004/8: “Workshops Held 1992—New Orleans, Denver, Utah”
2004/9: “Proclamation” for Baker’s Sensory Learning [34 Copies]
2004/10: “TAAS Material from Lindblade”
2004/11: “Sensory Learning As Applied to Weekly Lesson Plan”
2004/12: “Skip Country Rhythm Introduction”
2004/13: “Beat Reading”
2004/14: “Paul Baker” Articles on Baker’s Work With Waelder School District
2004/15: “Summary 1990 Teacher Meeting”
2004/16: “J. Chester Written Receipt of Tapes 1 + 2” Transcipts
2004/17: “Tape 1—Continued, July 3, 2000” Transcript
2004/18: “US News Report—The Five Senses” [13 Copies]
2004/19: “Your Child’s Brain—Newsweek” [16 Copies]
2004/20: “23 Psalm—An Analysis of the Sensory Realm of the 23 Psalm”
2004/21: “5 Senses Workshop at Church” [3 Copies]
2004/22: “Waelder Elementary Workshop”
2004/23: “Baylor + DTC + Trinity—Names of Students with Reputations”
2004/24: “Programs Nuture Kids’ Money Skills—The Prescription for Smart Kids” News Articles, Dated 1997
2004/25: “Makin’ Sense KLRN, P.B. Enterprise”
2004/26: News Clippings on Children’s Education, Dated 1996-1997
2004/27: News Clippings on Children’s Education, Dated 1996-1997

BOX 2005 (2 of 10)
2005/1: News Articles on Baker’s Arts Magnet School
2005/2: Fax Correspondence with Robin Flatt Concerning Sensory Learning
2005/3: Other Materials on Sensory Learning
2005/4: Production Notes on Macbeth, Including Cues & Character Information
2005/5: Seven Paths to Peace, Inscribed to Baker
2005/6: “ABC Crozier—C. Crozier”
2005/7: “Printed Material & ABC Copy” [9 Copies]
2005/8: “Joan Miesler—Say What ABC Accomplishes”
2005/9: “Symbolic Knowledge & Related Writing”
2005/10: “NSA Vocabulary Master Copy”
2005/11: “Formal Writing of Paul Baker Regarding ABC + NSA”
2005/12: “Dallas Morning News—Early Childhood Program”
2005/13: “Baylor DTC—Integrations Theses”
2005/14: “No. 1 Complete—OA-J Material”
2005/15: “ABC Summer 1992”
2005/16: “Lesson Plan 1991”
2005/17: “LSG—WISD” Notes on Teacher Evaluations
2005/18: “Steve Martin”
2005/19: “Mrs. Adair Margo Chairman” Correspondence
2005/20: “Margaret Mills—Cultural Trust Council”
2005/21: “McArthur, Charlotte” Correspondence, Dated 1992
2005/22: “WISD—Roger Mudd—Learning in America”
2005/23: “Master Copy, Dallas A Mag”
2005/24: “Kitty Baker—Main Office”
2005/25: “Paul Baker, Proclamation 2/30”
2005/26: News Articles and Notes on Baker’s Departure from Baylor
2005/27: “Birmingham” Including Copy of Making Sense with Five Senses
2005/28: “Susan Perez—Letter for Robyn”
2005/29: “Grader WISD—July 1992”
2005/30: “Summer 91—Grade Level”
2005/31: “Elementary Sight Base Committee Request”
2005/32: “WISD 1992 Evaluation Forms”
2005/33: Unused Alphabetical File Folders
2005/34: A Waiting Heart by Amanda McBroom

BOX 2006 (3 of 10)
2006/1: “Making Sense—Paul Baker 2 Originals”
2006/2: Making Sense with Five Senses by Paul Baker
2006/3: “Making Sense P.R.”
2006/4: “Making Sense Peer Tapes” (1 of 2)
2006/5: “Making Sense Peer Tapes” (2 of 2)
2006/6: “Baker + Reynold Arnold Beginning Script for Integration of Abilities”
2006/7: “Lon Tinkle Review of Pa’s Integration of Abilities””
2006/8: “Making Sense Comments”
2006/9: “Complete Copy (Draft of Baker Biography)”
2006/10: “Rough Draft Complete Copy #2” of Baker’s Biography, Including Edits
2006/11: Correspondence with Henry Carter, Dated October-December 2004
2006/12: “Bible Reading—Psalm I, Psalm 23” Plus Baker’s Texas Medal of Arts Award
2006/13: “Baylor Theater Before 1948” Photographs (1 of 2)
2006/14: “Baylor Theater Before 1948” Photographs (2 of 2)
2006/15: Photographs of a Paul Baker Exhibit
2006/16: “E. Perez Articles and Tape Transcripts
2006/17: “Tapes 1-2-4” Typed Transcripts
2006/18: “The Baylor Theater Method of Work—Beth Wear” Othello Script
2006/19: “Very Imp. Keys—Keys”—Student Testimonials
2006/20: Trinity Spring 1999 Issue, Including Articles on Theater Makeover
2006/21: Baylor Line Spring 2001, Fall 2001, and Fall 2003 Issues Featuring Articles on     Paul Baker
2006/22: “Mary Sue Jones” Memorial News Articles and Services
2006/23: “List for DTC Opening 1969”
2006/24: Dallas Theater Center Grant Report
2006/25: 2003 Texas Book Festival Catalog, Including Flyers from Robert Flynn’s     Reading at Southwestern Writers Collection
2006/26: “The Pat Neff Report 1947” of Baylor Drama Department

BOX 2007 (4 of 10)
2007/1: “Medal of Arts 2007”
2007/2: Texas Medal of Arts Highlights DVD
2007/3: “Collage of Fellows”
2007/4: “Paul Baker—B.B. Woods”
2007/5: “2001 Baylor Gathering—Genesis of the Creative Spirit” (1 of 2)
2007/6: “2001 Baylor Gathering—Genesis of the Creative Spirit” (2 of 2)
2007/7: artsTEXAS Fall 2000 Issue [3 Copies]
2007/8: “Paul Baker Enterprises NSFS Statement”
2007/9: Dallas Theater Center: The Early Years 1955-1982 [2 Copies]
2007/10: Ruth Taylor Theater at Trinity University Floor Plans [14 Copies]
2007/11: “Bautista” Correspondence Dated 1994
2007/12: Dallas Theater Center: A Theater Turns 20
2007/13: The Drama Review: Architecture/Environment
2007/14: Venture: The Baylor Literary Quarterly, Issue 54
2007/15: American Theater Fellows: The First Thirty Years With Inlaid Notes
2007/16: The Place of Experimentation in the College Theater, an Address by Baker to     the Northwest Drama Conference in 1953
2007/17: Fax Correspondence with Art Rogers, Dated May 1999
2007/18: News Articles on Paul Baker and/or Dallas Theater Center
2007/19: Baker’s Research Material and Notes
2007/20: “Student Records DTC Baylor”
2007/21: “McKinney Book—Bob Flynn Whai Article”
2007/22: “As I Lay Dying” Correspondence
2007/23: “Baylor Line”
2007/24: “Baylor Celebration Copy”
2007/25: “Curriculum Plan for a Drama Student”
2007/26: “TCU Book—Flynn Contract” (1 of 2)
2007/27: “TCU Book—Flynn Contract” (2 of 2)

BOX 2008 (5 of 10)
“Peer Gynt”
2008/1: Baker’s Reworked Hamlet Script
2008/2: “Hamlet—56-57.70”
2008/3: “Hamlet ESP, Flynn Book”
2008/4: “Light Booth Script” for Hamlet, Special Arrangement by Baker
2008/5: Hamlet Script Arranged by Paul Baker and Staff
2008/6: Baker’s Hamlet ESP, Including Baker’s Scene Drawings
2008/7: Theatre Southwest September and April 1991
2008/8: Dallas Theater Center 1959-1979
2008/9: The Paul Baker Theater: A Photo History
2008/10: Dallas Theater Center 50th Anniversary Promotions
2008/11: Costume Designs for The Tempest for Dallas Theater Center’s Production
2008/12: Other Notes and Materials
2008/13: “Othello and Different Perspectives”
2008/14: Baker’s Director’s Notes on Henry IV (1 of 2)
2008/15: Baker’s Director’s Notes on Henry IV (2 of 2)
2008/16: Peer Gynt—Peer Gynt Script Adapted for the Stage by Baker, Including Some     Annotations
2008/17: Peer Gynt—Peer Gynt Adapted for the Stage by Paul Baker, Copyrighted 1986
2008/18: Peer Gynt—Handwritten Notes on Peer Gynt Novel
2008/19: Peer Gynt—“Ideas—Peer Gynt”
2008/20: Peer Gynt—“Peer Gynt 5/25/82” Draft with Annotations
2008/21: Peer Gynt—“Program Information, Houston, NYC, etc”
2008/22: Peer Gynt—Baker’s Notebooks on Peen Gynt

BOX 2009 (6 of 10)
“Peer Gynt” Continued
2009/1: Peer Gynt—“Extra Script”
2009/2: Peer Gynt—Baker’s Notes on Peer Gynt
2009/3: Peer Gynt—Rolf Ejelde’s Translation of Peer Gynt, Including Baker’s     Annotations
2009/4: Peer Gynt—Peer Gynt, Illustrated by Arthur Rachkam, Including Baker’s Inlaid     Material
2009/5: Peer Gynt—The Quintessence of Ibsenism by Bernard Shaw, Including Baker’s     Annotations
2009/6: Peer Gynt—Kenneth McLeish’s Translation of Peer Gynt
2009/7: Peer Gynt—Rolf Ejelde’s Translation of Peer Gynt, Including Baker’s Inlaid     Material
2009/8: Peer Gynt—Horace Maynard Finney’s Translation of Peer Gynt
2009/9: Peer Gynt—Ibsen: A Biography by Michael Meyer
2009/10: Baker’s Professor Emeritus at Trinity University Award
2009/11: Baker’s Texas Institute of Letters Award and Senate Resolution No. 950
2009/12: “Yale” Drama Alumni Newsletters 1981-1991
2009/13: “Therapy Agenda, Sense Therapy”
2009/14: “J. P. Batiste”

BOX 2010 (7 of 10)
2010/1: “Campbell + Jack Thomas” Correspondence, Dated June 1995
2010/2: “Octavia Solis” Lecture for a Dallas Workshop in 1992
2010/3: “SWTA College of Fellows”
2010/4: “Reba Robinson”
2010/5: “Albert Ratcliffe”
2010/6: “Recommendations”
2010/7: “Ted Perry” Correspondence
2010/8: “Janice Northers” Correspondence
2010/9: “N.T.C. Conference”
2010/10: “Northouse, Donna” Correspondence, Dated 1994
2010/11: “James Laurie” Correspondence & Poetry
2010/12: “Retta Kelly” News Clippings
2010/13: “Jeff Kinghorn” Correspondence and News Clippings
2010/14: Texas Women’s University Curriculum Information
2010/15: “Bob Flynn” News Articles
2010/16: “Retta Kelly”
2010/17: “Robyn Flatt” and Dallas Children’s Theater
2010/18: “Jean Fish Davis”
2010/19: “O. Cory Ackermann” Correspondence
2010/20: “Menu Cheatham”
2010/21: “Arts Connection—Talk Workshop”
2010/22: “Sallie” Correspondence and Other Writings
2010/23: “Sallie Play Space”
2010/24: “Joe Brown” Correspondence, Dated 1991
2010/25: “Birkhead-B” Concerning Mary Sue Jones’s Memorial Service
2010/26: “Dedication—Photo Exhibit”
2010/27: “Cyril E. Bryant” Correspondence
2010/28: “Paul Baker Finished Films
2010/29: News Articles on Robert Wilson
2010/30: Unused File Folders
2010/31: Expressionism in Art, Including Baker’s Annotations
2010/32: “Scrapbook” of Trinity University Events

BOX 2011 (8 of 10)
2011/1: “Class Notes from Theatre Classes @ Yale 1937” (1 of 4)
2011/2: “Class Notes from Theater Classes @ Yale 1937” (2 of 4)
2011/3: “Class Notes from Theatre Classes @ Yale 1937” (3 of 4)
2011/4: “Class Notes from Theatre Classes @ Yale 1937” (4 of 4)
Wooden Box for Business Cards [Broken]

BOX 2012 (9 of 10)    Document Box
“Paul Baker—Drama in Education Workshop” VHS Videotape
“ABC’s of Natural Sensory Abilities Waelder Elementary Summer School     Presentations—Summer, 1991, Tape I” VHS Videotape
“ABC’s of Natural Abilities Workshop, June 5, 1991, 11:30 a.m.-2:30 p.m.” VHS     Videotape
“ABC’s of Natural Abilities Workshop, June 6, 1991, 9:30 a.m.-12:00 p.m.” VHS     Videotape
“ABC’s of Natural Abilities Workshop, June 6, 1991, 1:00 p.m.-3:00 p.m.” VHS     Videotape
“ABC’s of Natural Sensory Abilities Waelder Elementary Summer School     Presentations—Summer, 1991” VHS Videotape
“ABC’s of Natural Abilities Workshop, June 7, 1991, 9:00 a.m.-12:00 p.m.” VHS     Videotape
“ABC’s of Natural Abilities Workshop, June 7, 1991, 9:00 a.m.-12:00 p.m.” VHS    Videotape
“ABC’s of Natural Abilities Faculty/Staff Meeting, June 13, 1991, 11:30-12:30” VHS    Videotape
“Presentation: Dr. Paul Baker Waelder I.S.D. Summer School, May 31st, 1993” VHS    Videotape

BOX 2013 (10 of 10)    Document Box
“4Cupid Paul Baker Tribute (1990)” VHS Videotape
“1990 PB Second Harvest—Tribute: 2 hours, 20 minutes” VHS Videotape
“1990 PB Second Harvest—Tribute: 2 hours, 20 minutes” VHS Videotape
“1990 PB Second Harvest—Tribute: 2 hours, 20 minutes” VHS Videotape
“1990 Second Harvest—Gulager Tribute, Clu + Miriam, 15 minutes” VHS Videotape
“1990 Second Harvest—Tribute by Clu + Miriam Gulager, 15 minutes” VHS Videotape
“Paul Baker Festival: A Tribute from Miriam and Clu 1990” VHS Videotape
“Portrait of an Idol by Reynold Arnould” VHS Videotape
“Dallas Theater Center, Excerpts from Stillsong—PBS by Sallie Baker, Festival Copy, 30     minutes” VHS Videotape
“Hamlet, Baylor Theater 1957 Production—Staged by Paul Baker, 30 minutes” VHS     Videotape
“Hamlet, Baylor Theater 1957 Production—Staged by Paul Baker, 30 minutes” VHS     Videotape
“Hamlet, Baylor Theater, As Staged by Paul Baker Director, An Impression of the 1957     Experimental Production, 18:55 minutes” VHS Videotape

Mapcase Materials:
Drawer 22
18” x 25” Dallas Playmarket ’74 Exhibit Poster


Randy’s play U R HUNGRY {Specialty Short Orders} on the DOWN CENTER STAGE at the Dallas Theater Center.

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Intensity from page to stage

Intensity from page to stage

‘As I Lay Dying,’ rich with inner voices, an unblinking look at the human animal

'As I Lay Dying'
Dylan Page and Matt Bowdren in Rogue Theatre’s production of “As I Lay Dying.” 


 The company opens Faulkner’s “As I Lay Dying,” a novel steeped in Mississippi mud, dysfunctional characters and words so lush and writing so magical that it, along with his other works, won Faulkner a Nobel Prize for Literature in 1949.

“One of the things I really really like about this novel is that Faulkner looks very unflinchingly at us – or makes us look at ourselves unflinchingly,” said Joseph McGrath, co-founder of Rogue and the director of this production.

“We may have all sorts of higher thoughts, but we are physical beings, and we are never really allowed to forget that. It’s an unflinching look at what it is to be human not just in an emotional, but physical sense.”

Faulkner wrote “As I Lay Dying” in 1930. Since then it has been consistently cited as one of the great American novels of the 20th century.

And the play, adapted by Annette Martin, doesn’t fool around with the master’s text.

“We aren’t doing the entire novel,” said McGrath.

“The adaptation cuts a lot out. But there isn’t a word that’s not Faulkner’s. We’ve pulled everything from the book.”

“As I Lay Dying” chronicles the journey of the dirt-poor Bundren family members as they attempt to bring the wife and mother, Addie, to her requested burial site.

It is character-rich, and each of them delivers monologues, revealing inner thoughts, turmoils and troubles.

“They are all narrators, but not all the narrators are reliable,” said McGrath.

“So what you’re doing is piecing together what is happening and what is true and reliable. The effect is one of isolation, where every person is in his own world.”

McGrath is compelled by the family in this story, and the nature of family that Faulkner addresses in “As I Lay Dying.”

“This family is so inept without its mother,” he said.

“We join them as they are in the death watch, and already the family is beginning to disintegrate. Their journey, without that figure of Addie that would help them make decisions along their way, is pretty inept and comic. I hope to bring out the comedy. In a way, it’s deeply disturbing and very close to farce.”

And as for those who fear Faulkner, this may be your chance to embrace the author.

Of all of his works, this is the “shallow end,” said McGrath.

“This is the easy way to get into Faulkner.”

• Presented by: The Rogue Theatre.

• Adapted by Annette Martin

• Where: 300 E. University Blvd. in the Historic Y.

The story

Addie Bundren is dying, watching as her son Cash builds her coffin. She has one wish: to be buried in a town 40 miles away.

It’s a difficult request to fulfill, but the family tries. Addie’s body in hand, they take nine days and deal with flood, fire and buzzards in their quest to bring Addie to her final resting place in her hometown of Jefferson, Miss.

While committed to granting their mother’s desire, the characters, through a series of monologues, reveal some desires of their own that they think can be fulfilled in Jefferson.

ANOTHER ADAPTATION OF ‘”AS I Lay Dying” was written by Robert Flynn. called “Journey to Jefferson” and was first directed by PAUL BAKER at the Dallas Theater Center.  Robert Flynn’s adaptation was later widely produced and won international awards.

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IT IS TIME DALLAS SAVED Frank Lloyd Wright’s crumbling Kalita Humphreys Theater

Staff photographer

It’s time for Dallas to save Frank Lloyd Wright’s crumbling Kalita Humphreys Theater

It is a sorry treatment that began before this landmark structure was even completed, in 1959, and has pretty much continued unabated ever since. Even this paper has been guilty of defamation. After one of the many unfortunate renovations inflicted upon the theater over the years, my predecessor as architecture critic bemoaned it as a “forlorn ammonite in a sea of asphalt.”

Let me suggest a more generous reading.

The Kalita, which became a city landmark in 2005, is an iconic late work by America’s most singular architect; a masterpiece of structural daring wedged with care into a verdant landscape; and an enveloping jewel that promotes innovative theatrical productions. At least this is how it was conceived, and in many ways how it remains, although its attributes have been veiled and sometimes erased by decades of accumulated degradation, in both the physical and figurative senses.

🎙️ DMN architecture critic Mark Lamster discusses the Kalita Humphreys Theater on KERA’s Art & Seek Podcast:
PAUL BAKER was Randy Ford’s greatest mentor.  Randy followed him from the Dallas Theater Center, Baylor University. Trinity University, and back to the Dallas Theater Center.  Randy received his Masters of Fine Arts from Trinity University at the Dallas Theater Center.  That is a lot of history.

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