Deep are the roots : memoirs of a Black expatriate
Author(s)
Bibliographic Information
Deep are the roots : memoirs of a Black expatriate
University of Massachusetts Press, c1992
Available at 4 libraries
  Aomori
  Iwate
  Miyagi
  Akita
  Yamagata
  Fukushima
  Ibaraki
  Tochigi
  Gunma
  Saitama
  Chiba
  Tokyo
  Kanagawa
  Niigata
  Toyama
  Ishikawa
  Fukui
  Yamanashi
  Nagano
  Gifu
  Shizuoka
  Aichi
  Mie
  Shiga
  Kyoto
  Osaka
  Hyogo
  Nara
  Wakayama
  Tottori
  Shimane
  Okayama
  Hiroshima
  Yamaguchi
  Tokushima
  Kagawa
  Ehime
  Kochi
  Fukuoka
  Saga
  Nagasaki
  Kumamoto
  Oita
  Miyazaki
  Kagoshima
  Okinawa
  Korea
  China
  Thailand
  United Kingdom
  Germany
  Switzerland
  France
  Belgium
  Netherlands
  Sweden
  Norway
  United States of America
Note
Includes index
Description and Table of Contents
Description
An accomplished actor whose career spanned 5 decades on the stages of New York, London and Paris, Gordon Heath (1918-1991) achieved national prominence in 1945 for his starring role in the Broadway production of "Deep Are the Roots", a searing exploration of American race relations at the close of World War II. By 1948, like other black artists before him, he had moved to France. With his longtime companion, Lee Payant, he opened the nightclub L'Abbaye in Paris and continued to perform on stage in Great Britain, Europe and the United States. Reviewing the New York production of "Oedipus" in 1970, Clive Barnes wrote in the New York Times, "A man born to play the prince, Mr Heath has an instinctive nobility and moves and talks with all the natural authority of a classic hero. In this memoir, Heath tells the story of his formative years - his childhood on Manhattan's West Side, his summer sojourns at a camp for black youngsters in upstate New York, his awakening sexuality, his education in and out of school, his training in music, art, voice and dance, and his plunge into a life in the theater.
Recounting his experiences from Broadway to London's West End, he offers deft sketches of such friends as Owen Dodson, Elia Kazan and Pearl Primus. The result is an engaging portrait of a black artist as a young man and an important contribution to theatre history.
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