The Blackfriars Theatre Guild collection details the American Catholic theatre movement from the 1940s into the early 1970s. The Catholic Church in the United States traditionally discouraged its clergy and laity from attending or participating in theatre during the 19th and early 20th centuries. Believed to have corrupting influences, theatre was seen to be irreconcilable with religion. However, with a growing concern for the spiritual welfare of those involved in this art, coupled with a public demand for plays of virtue, the Catholic Actors Guild (1914) and the Catholic Dramatic Movement (1922) were established to repair the rift between faith and theatre. These movements were the forerunners of the Blackfriars Guild.
In 1931, two Dominicans, Father Urban Nagle, O.P., and Brother Fabian Carey, O.P, decided to found their own Catholic theatre, reviving the name of the sixteenth century private theatres in London. The group was based at Catholic University where the two men were studying, but the organization would eventually extend to twenty-two chapters across the country. However, it was the New York City branch, under the direction of Nagle and Carey that was the most widely acclaimed and celebrated theatre of the guild. As a viable off-Broadway theatre, it provided actors, playwrights, and directors both valuable experience and publicity. Moreover, Blackfriars produced original works which were spiritually and intellectually challenging. Although Blackfriars Theatre closed in 1972, the experiment showed that theatre and religion were not mutually exclusive.
The desire for a nation-wide Catholic theatre movement was not limited to Nagle and Carey. In 1936, Fr. Nagle attended the National Catholic Theatre Conference, which was formed for the purpose of bridging the divide between religion, philosophy, and theatre. The Conference operated for thirty years from a permanent office at Catholic University, but in 1941, its official headquarters became the Blackfriars Theatre in New York City.
The Blackfriars Theatre in New York City was founded in 1940 by Fr. Nagle and Fr. Carey. Earlier that year, Nagle had been commissioned to edit Holy Name Journal, which was based in New York. Under the guise that he needed help editing the journal, Nagle convinced his superiors to transfer Carey there as well. At the time, there was a growing concern from the Catholic laity that current theatrical productions were immoral, and they began to express a desire for more wholesome forms of entertainment. Due to this favorable atmosphere, the two friends seized the opportunity to establish the Catholic theatre that they had been dreaming about for over a decade. Nagle and Carey were able to rent the auditorium of a former YMCA located on 320 West 57th Street. The space could seat up to three-hundred and eighty-three people, but because of licensing restrictions, the theatre would eventually reduce the number of seats to two-hundred and ninety-nine.
Fr. Nagle and Fr. Carey wanted plays rich in artistic, intellectual, and spiritual substance, rather than works intentionally trying to avoid censorship. They turned to the Dramatists’ Guild of New York to recruit playwrights and used the Actors Equity Association to provide performers. Since Blackfriars was unable to pay any of their staff, the actors were mostly artists in between work who were willing to act in return for experience and publicity. They also acquired the talents of director Dennis Gurney, who would head the majority of Blackfriars’ plays over the next eighteen years.
The first play that Blackfriars produced was from fellow Dominican, Fr. Brendan Larnen, O.P. The work, “Up the Rebels,” was about the Irish Civil War with historical relevance to the current debate over Ireland’s involvement in the Second World War. The play received rave reviews, commencing a successful first year. Unfortunately, the plays produced the following season that were not as well received, and the theatre had to deal with union strikes that were irresolvable. The conflict led to the blacklisting of Blackfriars by the Actors Equity Association, although the group, unofficially, continued to provide the theatre with actors.
The 1943-1944 seasons added greatly to the prestige of Blackfriars Theatre with the release of critically acclaimed shows such as “Career Angels” and “Caukey”. “Career Angels” became the first play to be picked up by Broadway, although that version did not do as well as the original, and “Caukey” was a socially progressive production which employed the talents of the American Negro Theatre.
Blackfriars Theatre grew considerably from 1945-1952, ultimately conducting shows seven nights a week for four week runs. In 1950, the theatre lost its lease and was forced to look for other accommodations. Franklin Hauser of the School of Radio Technique approached Nagle and offered the school’s auditorium for rent. Nagle agreed, but the move contributed to widening a chasm that had formed between Nagle and Carey.
Beginning in 1950, conflicts over financial matters and management of the theatre arose between Carey and Nagle. By 1952, their partnership had eroded to the point where their superior, Fr. McDermott, was forced to mediate. McDermott ultimately ordered Nagle to become the chaplain at the Dominican Sisters’ Motherhouse of St. Mary of the Spring in Columbus, Ohio, leaving Carey in charge of Blackfriars Theatre.
During the Nagle-Cary conflict, there were no fall productions at Blackfriars. However, upon reopening, it continued to produce at least two shows a year. The Guild began to make a profit for the first time, and Fr. Robert Alan Morris and Fr. Dominic Rover, who had been assigned to help Carey with productions, suggested that they begin to pay their actors and stage hands. Carey was against this idea though because he wanted to save money and eventually build a permanent theatre for Blackfriars. Disagreements between the men also arose over the lack of substantial, and original, scripts. Carey wanted innovative works that were didactic in nature; but, Morris and Rover reasoned that it was more practical to revive old scripts until quality works could be produced. Although, Carey agreed to a trial run of paying actors and using revivals, he ultimately ended both practices. Morris and Rover decided to resign in the face of artistic differences and were sent to teach at Providence College. Despite these problems, the 1950s saw a flourishing of Catholic theatre and Catholic involvement in the arts.
The 1960s witnessed a notable shift in the nature of plays produced by Blackfriars Theatre. Under the sole direction of Carey, the plays were explicitly religious dramas, focusing on the lives of saints or issues of Catholic doctrine. Fr. Larnen continued to write for Blackfriars but was mainly commissioned to generate works based on Carey’s ideas. Other playwrights from this era included Fr. Edward A. Molloy, C.SS.R, Mary Dahos, and Rose Crieco. Unfortunately, these plays never received the commendation that the theatre’s earlier works had, and Blackfriars began to decline in prominence.
Besides the lack of original plays, many other factors led to the demise of Blackfriars Theatre. First, the number of off-Broadway theatres increased considerably during the 1960s, diminishing the image of Blackfriars as a leading experimental theater. Also, in 1968, Vatican II espoused a new role for the Catholic Church in the larger community, effectively removing the need for a separate Catholic Theatre. The National Catholic Theatre Conference subsequently was dissolved after this change. Finally, in 1971, Blackfriars was notified that the auditorium was to be torn down, the same year Fr. Carey was diagnosed with cancer. Long time supporter of Carey, Maureen Martin, formed “Friends of Fr. Carey” with the aim to revive Blackfriars. However, by that time, the need for a Catholic theatre was obsolete, and the attempt failed.
Blackfriars Guild provided valuable experience to producers, directors, and actors; created original works that were theatrically and spiritually stimulating; and showed that theatre and the Church could be reconciled. Moreover, Blackfriars Guild was viewed by the Dominican Order as a source for financing their religious endeavors, and the corporation made substantial endowments to the Province of St. Joseph. The corporation was an instrumental tool in bridging the divide between theatre and faith.
Collection is open for research by appointment. Materials do not circulate. Some materials may be restricted, for further information contact the Archives and Special Collections, Phillips Memorial Library, Providence College.
Researchers are advised that express written permission to reproduce, quote, or otherwise publish any portion or extract from this collection must be obtained from the Phillips Memorial Library. Although Providence College has physical ownership of the collection and the materials contained therein, it does not claim literary rights. It is up to the researcher to determine the owners of the literary rights and to obtain any necessary permissions from them.
Author Last Name, First Name Middle Name or Initial. Title or description of material. Day month year. Blackfriars Guild Collection. SC016, Box number, Folder number. Providence College Archives and Special Collections. URL if applicable.
The Blackfriars Guild Collection documents the tenure of Blackfriars as a viable and prolific off-Broadway theatre during the mid-twentieth century. Correspondence, legal articles, news clippings, photographs, and publications, detail the inception and development of the New York chapter. These materials reveal how the organization was established and directed, in addition to showing the favorable reception it received from the public.
Also included within this collection are the applications of actors, copies of the scripts, photographs of the cast and performances, play bills, reviews, memorabilia, and scrapbooks created for many of the productions. Films, tapes, and transcripts give additional insight into the performances themselves and the history of the corporation.
Furthermore, this collection contains the correspondence of Father Thomas Carey, one of the founders and primary manager of Blackfriars Theatre in New York. Photographs, publications, and news clippings provide further information on the man who was a driving force behind the creation and operation of the theatre.
This collection is arranged into eight series.
In 1975, after the dissolution of Blackfriars Guild Corporation, the collection was bequeathed to the archives department of Providence College.
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.
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.
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.
Digitized version available upon request.
Digitized version available upon request.
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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.
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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.
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.
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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.
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.