NEW YORK, NY.- When playwright and director George C. Wolfe moved to New York City in his 20s, he got a job at an archive for Black cultural history, where his work saving newspaper articles and maintaining records fueled a habit of preserving his own ephemera.

“It activated this sort of curiosity-slash-obsession about who gets remembered, what gets saved, what gets valued and what doesn’t,” Wolfe said recently.

On Thursday, the New York Public Library announced that it had acquired more than 50 boxes of material from throughout Wolfe’s career, during which he became one of the most sought-after theater directors in the country. His productions, including “Angels in America” and “Bring in ’Da Noise, Bring in ’Da Funk,” garnered multiple Tony Awards, and he’s credited with revolutionizing the Public Theater over a decade as its producer.

Working scripts, correspondence with theatrical figures such as Tony Kushner (with whom Wolfe worked closely on “Angels in America”) and photographs from throughout his career were purchased for an undisclosed amount. The archive also includes his research for historically driven productions, including for “Shuffle Along,” which Wolfe wrote based on the events surrounding the 1921 musical — a rare all-Black production at the time — and “Jelly’s Last Jam,” a musical about the life of the jazz pioneer Jelly Roll Morton, which is being revived next year as part of the Encores! series at New York City Center.

Wolfe, 68, who directed “The Immortal Life of Henrietta Lacks” and “Ma Rainey’s Black Bottom” for film, cautions that the act of establishing the archive should not communicate that his career is waning. Rather, he views the process as making room for new stories, and — more practically speaking — making space in his home.

“They were taking over,” he said of the boxes, “so I let them win.”




Wolfe recalled that some of his saved materials included audition forms with his assessments of actors, notes from Kushner on Part 1 of “Angels,” and a scrapbook from his 1986 off-Broadway play “The Colored Museum,” which helped him gain national recognition as a playwright. Some items he said he decided not to part with just yet, including a note from Joseph Papp, founder and longtime leader of the Public Theater, which Wolfe took over a couple years after Papp’s death, producing Broadway-bound shows such as “Caroline, or Change,” “Take Me Out” and “Topdog/Underdog.” (All three have had recent Broadway revivals.)

Doug Reside, theater curator for the New York Public Library for the Performing Arts, has sought to persuade artists such as Wolfe to begin transferring their collections earlier than they might have expected because of complexities around saving digital material that may be stored on machines that are quickly becoming obsolete. This became a priority for Reside when he was a researcher at the Library of Congress working on the archives of Jonathan Larson, the “Rent” playwright and lyricist, whose 3 1/2-inch floppy disks were a challenge to salvage.

“It has become really important to start preserving this history as close to the moment of creation as possible,” Reside said.

Wolfe’s career spans a period of rapid technological development: He wrote and directed his first play, “Up for Grabs,” in 1975, and directed his most recent Broadway production in 2019. The archives include handwritten letters and telegrams Wolfe received with feedback about shows. Further down the technological timeline, there’s a DVD with a preview of Act 2 of “Shuffle Along,” as well as email printouts related to “Ma Rainey’s Black Bottom.”

“It’s telling the stories of the shows that I worked on,” Wolfe said of the collection, “but embedded in that, it’s telling the story of those times.”

Wolfe has not yet agreed to transfer his digital archives to the library, but he said that he would consider doing so in the future. The collection will be accessible in about a year in the special collections reading room of the New York Public Library for the Performing Arts at Lincoln Center.

This article originally appeared in The New York Times.