Historian Discusses Fate of Shakespeare Theatre

Listening to historian Wilson Faude discuss the auspicious opening and star-studded casts Stratford’s former American Shakespeare Theatre (AST) boasted, one can almost hear the appreciative roar of local crowds on high-performance nights.

So what happened?

For one thing, there just weren’t enough of those stellar performances, Faude says.

“The biggest problem is the productions were frightfully uneven,” he says. “The really tough thing about Shakespeare is that even the spear carrier has to be up to the task.”

Faude visited Stratford Monday night for a talk and signing of his book, “Hidden History of Connecticut,” in Lovell Room. About 30 people attended the event.

Currently the archivist for the City of Hartford, Faude is a former curator of the Mark Twain House and a former executive director of the Old State House. He was chairman of the Connecticut Historical Commission for 12 years.

Stratford’s troubled Shakespeare-devoted venue is one of several historic aspects of the nutmeg state included in Faude’s book. He wrote it, he says, because “I’ve always been impressed with great stories in Connecticut.”

AST’s story began in 1950s with the idea to establish a theater in the region dedicated to Shakespeare’s classic works. A major financial supporter was Joseph Vernon Reed. Construction began in 1954 and a year later the theater opened with “Julius Ceasar.”

“And there is the hubris,” says Faude. “They never had a chance to even think about catching their breath.”

Reviews of subsequent performances were decidedly mixed. Reed’s “writing six-figure checks” kept the theater afloat, but perhaps also helped blunt any incentive to improve the quality of performances.

“They should not have done that first season,” Faude says. “They should have gotten their act together.”

Nevertheless, the theater’s stage was graced by celebrated actors such as Katharine Hepburn, Helen Hayes, Roddy McDowell, Jack Palance and many, many more. For a few years, John Houseman was its artistic director.

When Reed died in 1973, the generous infusion of funds ceased. Money became so scarce that four years later the season was cancelled. Development attempts with the state and city have put the theater on intermittent life support, but it has yet to be firmly established as the thriving Shakespearean theater house originally envisioned.

“It’s horrible,” says Joseph Kochiss, who was in the first AST production of “Julius Caesar” and “King John” the following year. Kochiss was among many in the audience who lamented the theater’s demise.

He was joined by Carol Lockshier and other theater fans and historic preservationists.

Ties to what many local residents consider historic treasures are what stoke their determination to maintain the theater. Faude noted that its location near an interstate highway and a railroad help make it a palatable prospect for refurbishment.

“There are lots of pluses if the financial footing could be found. It’s such a fabulous resource,” says Faude. “Could it reopen again? I really want it to.”

He suggests one way that could happen is if the theater establishes its own residential company and/or develops a partnership with a renowned entity such as London’s Globe Theatre, rather than attempt to mount every production from scratch.

The idea intrigues Kochiss.

“I never thought of that concept of having a theater company,” he says. He saw at least one potential roadblock, however. “We don’t have the actors today that they had then.”