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The Connection (play)

play written by Jack Gelber

Manuscripts, fine bindings, an engraving plate and preserved performance ephemera
Arts and lettersInterpretive dossier study · Crown Archives visual atlas
Record originEnglish Wikipedia
Text licenseCC BY-SA 4.0
Source revisionNov 15, 2025
Entity authorityQ7727370 ↗
Source-derived summary

The Connection is a 1959 play by Jack Gelber. It was first produced by the Living Theatre, directed by Living Theatre co-founder Judith Malina, designed by co-founder Julian Beck, and featured music by jazz pianist Freddie Redd.

Synopsis

The play has a play-within-a-play format, with characters Jim Dunn as the "producer" and Jaybird as the "writer" attempting to stage a production about the underbelly of society using "real" addicts. Some of the addicts are jazz musicians. They all (except for the "producer", "writer", and two "photographers") have one thing in common: they are waiting for their drug dealer, their "connection". The dialogue of the characters is interspersed with jazz music.

Original cast

Source:

Jim Dunn – Leonard Hicks

Jaybird – Ira Lewis

Leach – Warren Finnerty

Solly – Jerome Raphel

Sam – John McCurry

Ernie – Garry Goodrow

1st Musician – Freddie Redd (composer, piano)

4th Musician – Jimmy Corbett (bass)

First Photographer – Louis McKenzie

Second Photographer – Jamil Zakkai

2nd Musician – Jackie McLean (alto saxophone)

3rd Musician – Clyde Harris (drums)

Harry – Henry Proach

Sister Salvation – Barbara Winchester

Cowboy – Carl Lee

Man in audience – Martin Sheen (uncredited)

Original production credits

Written by Jack Gelber

Directed by Judith Malina

Designed by Julian Beck

Other performances of The Connection

Revised Cast, 1961

Redd's score, new cast

Freddie Redd, composer/piano

Howard McGhee, trumpet

Tina Brooks (originally Jackie McLean's understudy), tenor saxophone

Milt Hinton, bass

Osie Johnson, drums

Touring Cast, 1961/62

Score by Cecil Payne and Kenny Drew, Conducted by Cecil Payne

Cecil Payne, baritone sax

Clark Terry, trumpet

Bennie Green, trombone

Duke Jordan, piano

Ron Carter, bass

Charlie Persip, drums

Los Angeles Production

The score to accompany the Los Angeles production was performed by Dexter Gordon who also played "Number One Musician". He later recorded several pieces from this production for his Blue Note release Dexter Calling... (1961).

Quote (from the liner notes to the Blue Note album):

"Soul Sister," the original that launches the first side is one of the themes Dexter wrote for the score of the Hollywood version of The Connection in which he had an acting, playing, and writing role; it is the equivalent of Freddie Redd's "(Theme for) Sister Salvation"...

Editorial summary

The public source identifies “The Connection (play)” as play written by Jack Gelber. This brief keeps that definition visible, then builds a research path around Connection, play and written.

Editorial reviewA productive route into publication, performance and collection histories when the underlying object or edition remains clearly identified. The current lead gives the account dated anchors—1959, 1961—that can be checked directly. The selected authority fields contribute no independent date. Its value is orientation rather than verdict, with Connection, play and written providing the first useful test.
Editorial analysis

Why this record matters

A short description can identify a subject without explaining its stakes. For “The Connection (play)”, the useful work is to connect “play written by Jack Gelber” to the records capable of establishing context and consequence.

Evidence profile

Object files, edition statements, performance records and contemporary criticism preserve different stages of the work’s history. The source revision retrieved here is dated Nov 15, 2025. The linked authority identifier is Q7727370. None of the 0 selected statements returned an explicit reference. The first chronological checks are 1959 and 1961.

Critical limits

Later fame can flatten the distinction between original context, subsequent adaptation and institutional collecting history. The lead is largely declarative, so disagreement and counter-evidence require a deliberate search beyond the opening account. Authority statements aid reconciliation but still require their own references, qualifiers and ranks to be checked.

How to read it

Separate the work, its editions or performances, and its later reception. Catalogue records, publication histories and object files often preserve different parts of that story.

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  • Identifying works and editions
  • Tracing reception history
  • Finding collection records
Verify next

The original object or edition, catalogue raisonné, performance record, rights file and holding institution.

Three-step research path

  1. Establish the record: confirm the title “The Connection (play)”, its source revision and the description used here.
  2. Expand the search: follow The Connection (play) primary sources, The Connection (play) archive and Connection research across catalogues and specialist indexes.
  3. Test the account: compare the strongest cited source with the responsible institution’s current record and note any disagreement.

Questions for further research

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  3. Where is authorship, date or provenance documented?
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Source & attribution

This entry incorporates text from “The Connection (play)” on English Wikipedia. Contributors are listed in the page history. Text is available under the Creative Commons Attribution-ShareAlike 4.0 License. Selected authority identifiers and statements are retrieved from Wikidata under CC0; their references and qualifiers remain part of the verification path.