Welcome to Issue #10 of The DTW Quarterly. This is going to be our last issue for a while because we will be suspending publication for at least a year. The reasons for this are multiple. But most have to do with changing the look and the content of the publication. Also we need to find sponsorship of some kind to continue, along with additional writers and reporters who can and will contribute material that will make this publication richer and more varied. We think that the effort is worthwhile and will be expending a great deal of energy in our attempt to discover the manner and means that will enable us to bring the magazine back with a renewed vision and vitality and an expanded world view as well.
Doug Ward and the NEC were responsible for bringing many worthwhile plays to the attention of the American public and were highly celebrated and praised for it. Some went on to win national awards while others joined the standard canon of frequently produced plays. Some burned brightly for a short while and then faded due to what Doug likes to call “Instant amnesia” or possibly just benign neglect. One such work is Paul Carter Harrison’s The Great Mc Daddy. It was originally produced by the NEC in its 1973-74 season. Then it was revived by the NEC in 1977. It was again revived by the current incarnation of The NEC from November 9th to December 8th, 2012 at the 777 Theatre in New York City. This is a play that was praised in 1974 as a “precursor of the new black musical” by NY Times critic Clive Barnes. Since that time it had a sporadic life in regional theatres and at universities. But this is an innovative work that deserves to be revived, seen, studied and scrutinized because it not only entertains but expands the boundaries of the musical (African- American and American) as well. And in the interest of aiding such an endeavor we are dedicating this issue to it.