Meet Martha Swope, the Legendary Broadway Photographer Who Captured Iconic Moments From Hundreds of Productions and Rehearsals She spent nearly 40 years taking theater and dance pictures, providing glimpses behind the scenes and creating images that the public couldn’t otherwise access Stephanie Rudig - Freelance Writer June 11, 2025 Photographer Martha Swope sitting on a floor covered with prints of her photos in 1987 Andrea Legge / © NYPL Martha Swope wanted to be a dancer. She moved from her home state of Texas to New York to attend the School of American Ballet, hoping to start a career in dance. Swope also happened to be an amateur photographer. So, in 1957, a fellow classmate invited her to bring her camera and document rehearsals for a little theater show he was working on. The classmate was director and choreographer Jerome Robbins, and the show was West Side Story. One of those rehearsal shots ended up in Life magazine, and Swope quickly started getting professional bookings. It’s notoriously tough to make it on Broadway, but through photography, Swope carved out a career capturing theater and dance. Over the course of nearly four decades, she photographed hundreds more rehearsals, productions and promotional studio shots. Unidentified male chorus members dancing during rehearsals for musical West Side Story in 1957 Martha Swope / © NYPL At a time when live performances were not often or easily captured, Swope’s photographs caught the animated moments and distilled the essence of a show into a single image: André De Shields clad in a jumpsuit as the title character in The Wiz, Patti LuPone with her arms raised overhead in Evita, the cast of Cats leaping in feline formations, a close-up of a forlorn Sheryl Lee Ralph in Dreamgirls and the row of dancers obscuring their faces with their headshots in A Chorus Line were all captured by Swope’s camera. She was also the house photographer for the New York City Ballet and the Martha Graham Dance Company and photographed other major dance companies such as the Ailey School. Her vision of the stage became fairly ubiquitous, with Playbill reporting that in the late 1970s, two-thirds of Broadway productions were photographed by Swope, meaning her work dominated theater and dance coverage. Carol Rosegg was early in her photography career when she heard that Swope was looking for an assistant. “I didn't frankly even know who she was,” Rosegg says. “Then the press agent who told me said, ‘Pick up any New York Times and you’ll find out.’” Swope’s background as a dancer likely equipped her to press the shutter at the exact right moment to capture movement, and to know when everyone on stage was precisely posed. She taught herself photography and early on used a Brownie camera, a simple box model made by Kodak. “She was what she described as ‘a dancer with a Brownie,’” says Barbara Stratyner, a historian of the performing arts who curated exhibitions of Swope’s work at the New York Public Library. An ensemble of dancers in rehearsal for the stage production Cats in 1982 Martha Swope / © NYPL “Dance was her first love,” Rosegg says. “She knew everything about dance. She would never use a photo of a dancer whose foot was wrong; the feet had to be perfect.” According to Rosegg, once the photo subjects knew she was shooting, “the anxiety level came down a little bit.” They knew that they’d look good in the resulting photos, and they likely trusted her intuition as a fellow dancer. Swope moved with the bearing of a dancer and often stood with her feet in ballet’s fourth position while she shot. She continued to take dance classes throughout her life, including at the prestigious Martha Graham School. Stratyner says, “As Graham got older, [Swope] was, I think, the only person who was allowed to photograph rehearsals, because Graham didn’t want rehearsals shown.” Photographic technology and the theater and dance landscapes evolved greatly over the course of Swope’s career. Rosegg points out that at the start of her own career, cameras didn’t even automatically advance the film after each shot. She explains the delicate nature of working with film, saying, “When you were shooting film, you actually had to compose, because you had 35 shots and then you had to change your film.” Swope also worked during a period of changing over from all black-and-white photos to a mixture of black-and-white and color photography. Rosegg notes that simultaneously, Swope would shoot black-and-white, and she herself would shoot color. Looking at Swope’s portfolio is also an examination of increasingly crisp photo production. Advances in photography made shooting in the dark or capturing subjects under blinding stage lights easier, and they allowed for better zooming in from afar. Martha Graham rehearses dancer Takako Asakawa and others in Heretic, a dance work choreographed by Graham, in 1986 Martha Swope / © NYPL It’s much more common nowadays to get a look behind the curtain of theater productions via social media. “The theater photographers of today need to supply so much content,” Rosegg says. “We didn’t have any of that, and getting to go backstage was kind of a big deal.” Photographers coming to document a rehearsal once might have been seen as an intrusion, but now, as Rosegg puts it, “everybody is desperate for you to come, and if you’re not there, they’re shooting it on their iPhone.” Even with exclusive behind-the-scenes access to the hottest tickets in town and the biggest stars of the day, Swope remained unpretentious. She lived and worked in a brownstone with her apartment above her studio, where the film was developed in a closet and the bathroom served as a darkroom. Rosegg recalls that a phone sat in the darkroom so they could be reached while printing, and she would be amazed at the big-name producers and theater glitterati who rang in while she was making prints in an unventilated space. From left to right: Paul Winfield, Ruby Dee, Marsha Jackson and Denzel Washington in the stage production Checkmates in 1988 Martha Swope / © NYPL Swope’s approachability extended to how she chose to preserve her work. She originally sold her body of work to Time Life, and, according to Stratyner, she was unhappy with the way the photos became relatively inaccessible. She took back the rights to her collection and donated it to the New York Public Library, where many photos can be accessed by researchers in person, and the entire array of photos is available online to the public in the Digital Collections. Searching “Martha Swope” yields over 50,000 items from more than 800 productions, featuring a huge variety of figures, from a white-suited John Travolta busting a disco move in Saturday Night Fever to Andrew Lloyd Webber with Nancy Reagan at a performance of Phantom of the Opera. Swope’s extensive career was recognized in 2004 with a special Tony Award, a Tony Honors for Excellence in Theater, which are given intermittently to notable figures in theater who operate outside of traditional awards categories. She also received a lifetime achievement award from the League of Professional Theater Women in 2007. Though she retired in 1994 and died in 2017, her work still reverberates through dance and Broadway history today. For decades, she captured the fleeting moments of theater that would otherwise never be seen by the public. And her passion was clear and straightforward. As she once told an interviewer: “I’m not interested in what’s going on on my side of the camera. I’m interested in what’s happening on the other side.” Get the latest Travel & Culture stories in your inbox.

The desert that surrounds Taliesin West, Frank Lloyd Wright’s winter home and studio, is no stranger to camping. Which is perhaps why it is the perfect place to unveil the Airstream Frank Lloyd Wright Usonian Limited Edition Travel Trailer, a new collaboration between the architect’s eponymous foundation and the American travel trailer brand.When Wright arrived in the Sonoran Desert in December of 1937, he made two purchases. First, 600 acres of land, on which Taliesin West would eventually sit. Then, shortly after, a handful of tents for his apprentices to sleep in while they helped build the new property. Even once construction finished, it became a tradition that his disciples would build temporary shelters among the cacti, bushes, and sandy soil. “This was a camp, and Wright was moved by the way canvas from the tents diffused light. That’s what inspired the canvas roofs on Taliesin West today,” Sally Russel, the director of licensing at the Frank Lloyd Wright Foundation, said at a press briefing at Taliesin West about the trailer.You might also like: What Was It Like Living at Frank Lloyd Wright’s Taliesin West?The trailer door features a pattern called the Gordon Leaf motif, which was created by Taliesin apprentice Eugene Masselink. Photo: Andrew PielageCoincidentally, Airstream’s founder, Wally Byam, began designing trailers for people who didn’t like sleeping on the ground in tents—a sect his first wife belonged to. Nearly 100 years later, the Usonian trailer lets owners enjoy the desert (or any part of the world) Wright-style, while still taking advantage of modern comforts like a bed, shower, and kitchen. “I’ve been dropping the idea of a Frank Lloyd Wright trailer into the thought mill at Airstream for about 20 years,” Bob Wheeler, the president and CEO of Airstream, said at the briefing.The kitchen includes under cabinet lighting and warm, wood-toned cabinets. Photo: Andrew PielageInside the Frank Lloyd Wright AirstreamAt just over 28 feet long, the trailer is among the larger of Airstream’s offerings, which range from 16 to 33 feet. From the outside, the company’s instantly recognizable aluminum shell offers little evidence of the idiosyncrasy that’s on full display inside. But from the moment the door opens—which is printed with a leaf motif designed by a Taliesin apprentice—Wright’s influence is all encompassing.You might also like: 7 Stylish Mobile Homes Owned by Celebrities

Like a good pair of Basquiat Crocs, there are innumerable bad ways to license an artist’s work. So when Airstream looked to partner up on a project with the Frank Lloyd Wright Foundation, the aluminum-clad trailer brand could have just printed one of the architect’s famous patterns on a limited run of its vehicles and called it a day. It probably would have even sold well. But that is decidedly what Bob Wheeler, Airstream’s president and CEO, did not want to do.  “We said, ‘All right, let’s make sure that everything has a purpose and a function—that way it’s not just a pastiche, or some kind of lame attempt to mimic something,’” Wheeler recalls. “We didn’t want it to seem overdone or kitschy.” Instead, the brand embarked on a multiyear collaboration with the experts at Wright’s Taliesin West home and studio in Scottsdale, Arizona, and today the two are rolling out the 28-foot Airstream Frank Lloyd Wright Usonian Limited Edition Travel Trailer. With just 200 numbered vehicles that retail for $184,900 on offer, you—like me—might not be able to afford one at the moment, but they just might also restore your faith in the art of the artist collab at large.  [Photo: Airstream] BETTER LATE THAN NEVER Wheeler has a passion for midcentury design (as you might expect of Airstream’s CEO), so it tracks that he’d be a natural fan of Wright’s organic architecture. “Honestly, this has been a dream of mine for the last 20 years, which is about as long as I’ve been president of Airstream,” he says. “Why are Wright’s designs so celebrated today? It’s because they’re timeless. I think there are values there that incentivize someone to buy an Airstream that overlap in some meaningful ways.” Though Wright and Airstream founder Wally Byam were active at the same time and likely shared some of the same design fan base, there’s no record of them ever meeting. But a collaboration between the two ultimately proved inevitable when Wheeler reached out to Wright’s foundation in 2022. Foundation historian Sally Russell says her team wasn’t initially sure how robust a joint project could be. They eventually toured the Airstream factory in Ohio where the trailers are handmade using 3,000 rivets over the course of 350 hours, and saw how much customization was truly possible. Then she realized that it could be a great showcase of Wright’s work.  Beyond an Airstream’s signature aluminum exterior, Wheeler says the trailer is essentially a blank canvas. “And that’s where we can really flex some design muscle and allow others to do so.”  Russell says the foundation first explored whether to make the trailer feel like an adaptation of a specific Frank Lloyd Wright home. “The answer to that was no,” she says. “We didn’t want to try to re-create the Rosenbaum House and shove it into the size of a trailer. It didn’t make sense, because Frank Lloyd Wright certainly designed for each of his individual projects—he created something new, something that expressed the individual forms of the project, the needs of the client. So there was a great awareness of wanting to continue that legacy through the work that we did on the trailer.” The two teams ultimately homed in on the concept of Usonian design, a style that aimed to democratize design via small, affordable homes with a focus on efficient floor plans, functionality, and modularity.  In other words: an ideal fit for an Airstream. [Photo: Airstream] COLLAPSIBLE CHAIRS AND CLERESTORY WINDOWS When you approach the trailer, the connection to Wright is immediate on the custom front door featuring the Gordon leaf pattern, which the architect commissioned his apprentice Eugene Masselink to design in 1956. It’s a tip of the hat to nature, presumably an Airstreamer’s destination, and can be found subtly throughout the trailer in elements like sconces and cabinet pulls—but not too much, per the design mission at the outset. (“At one point we had a lot more of that Gordon leaf in there,” Wheeler notes. “We dialed that way back.”) With the push of a button, the bench seating converts into a king-size bed—one of Wheeler’s favorite elements. It is the largest bed in any Airstream, and is a first for the company, he says.  [Photo: Airstream] Another convertible element, in line with that focus on modularity, is the living space at the front of the trailer. Here, a dining table, desk, and seating inspired by the slant-back chairs that Wright used throughout his career collapse into a wall cabinet. Wheeler says Airstream used to deploy clever features like this in the midcentury era, before modern preferences trended toward built-in furniture. “So in some ways, this is a bit of a flashback to an earlier design in the ’50s, which is appropriate.” The teams also honored Wright’s focus on natural light, relocating Airstream’s usual overhead storage in favor of clerestory windows, which are prominent in Usonian homes. Meanwhile, the overall color palette comes from a 1955 Wright-curated Martin-Senour paint line. Russell says the team selected it for its harmonious blend with the natural settings where the trailer is likely headed, featuring ocher, red, and turquoise.  Ultimately, “It’s like a Frank Lloyd Wright home, where you walk into it, and it’s a completely different experience from any other building,” Russell says. “I hope that he would be very happy to see that design legacy continue, because he certainly did that with his own fellowship and the apprentices that he worked with.” [Photo: Airstream] USONIAN LIFE Starting today, the limited-edition, numbered trailers will be available for order at Airstream dealerships. Wheeler says the company was originally going to release just 100 of them, but got so much positive feedback from dealers and others that they doubled the run.  On the whole, the collaboration comes in the wake of a boom time for Airstream, which is owned by Thor Industries. Airstream experienced a surge during the pandemic, resulting in a 22% jump in sales in 2021 as people embraced remote work or realigned their relationship to the world.  “We’ve come back to earth now, and now we’re much more tied to actual market retail rates, which is what we know,” Wheeler says. In its third-quarter financials, Thor reported $2.89 billion in revenue (up 3.3% from previous year). While the company declined to provide Airstream-specific numbers, its overall North American towable RV division is up 9.1% from the same period in 2024. But there’s a problem afoot: The current administration’s tariffs, which Wheeler says made settling on the price for the Frank Lloyd Wright collaboration tricky. He adds that the company is struggling with shortages caused by the disruption in the supply chain, and high interest rates are also a problem.  [Photo: Airstream] “Look, we’re 94 years old,” he says. “We’ve been through more of these cycles than we can count, so we’re fine, and we’ll continue to trade on authenticity, quality, great service and support, a great dealer network, and a brand that really has become part of the fabric of the U.S. traveling adventure.”

In Rancho Palos Verde, California, the disassembled Wayfarers Chapel designed by Lloyd Wright, the son of Frank Lloyd Wright, has been stored away since last July, following damage from landslides. A potential site for the ecclesiastical structure has been found. The proposed site would expand the footprint of the serene property and protect its structures from further damage caused by land movement.  In the 1970s, a landslide at the site destroyed the chapel’s visitor center, and the geologic movement was inactive for a while. However, in the past few years activity began accelerating at an unprecedented rate. In February 2024, the Wayfarers Chapel announced that it would close its doors due to land movement in the area. The shuttering left a displaced congregation and devastated brides in its wake, but there was still hope of a return. Then, in May 2024, it was announced that the only way to maintain the structure was to disassemble it. Land movement had caused glass panels to shatter, the metal framing to warp, and cracks to form in the concrete. Though leadership initially wanted to rebuild on site, the worsening conditions proved this was no longer a viable option. In July 2024, with the help of Architectural Resources Group, the church was meticulously disassembled with each part numbered and labeled. Many of the irreplaceable materials used to construct the original chapel were salvaged. The pieces have since been kept in storage, waiting to be rebuilt.  The chapel was disassembled and stored for preservation. (Architectural Resources Group) The chapel’s new site must carry similar characteristics to the old one to uphold its National Historic Landmark designation. The prospective site, Battery Barnes, shares the original site’s coastal views of the Pacific, while situating the reassembled chapel outside the Portuguese Bend. Built in 1943 as part of the U.S. Army’s coastal fortification plan, the Battery Barnes’s connection to World War II could also be highlighted throughout the use of the land.  The glass chapel will be reconstructed using the salvaged original materials. (Architectural Resources Group/Courtesy Wayfarers Chapel) Wayfarers Chapel also plans to take advantage of the expanded footprint of the proposed site. During an episode of “RPV City Talk,” the chapel’s communications director Stephanie Cartozian shared that the organization hopes to rebuild the chapel along with the lost visitor center, as well as constructing a museum, archival center, and restaurant. The campus would also see the addition of public restrooms for hikers, expanding on its community accessibility.   Currently, Wayfarers Chapel is fundraising to cover the rebuild, with part of the funds going toward securing the site. Unlike wildfires, earthquakes, or flooding, landslides are not considered disasters in the State of California. Thus, along with fundraising efforts, local lobbying efforts are being made to add landslides to the list of covered emergencies, which could create a path to governmental assistance.

By Peter D. Geldart (Petra Books, 2025) The post-WWII years brought a need to house returned veterans and their new families, along with an excitement about new types and forms of housing. Working in the spirit of the age, 35-year-old Ottawa architect James Strutt in 1959 worked with six clients on round houses—a set of designs intended to reduce building costs by using materials most efficiently, while creating modernist, open-plan spaces.  The designs, inspired by the work of Buckminster Fuller and Frank Lloyd Wright, were for single-floor structures in which a curve of rooms and an open living-dining area surround a central hexagonal service core built of concrete block. The whole is topped by a geometrically complex roof, shaped using tongue-and-groove Western Red Cedar to create a hyperbolic paraboloid, or saddle-like shape. Strutt’s own family home of 1956, built according a similar scheme over six weeks for less than $1,800, survives in the Gatineau Hills, near Ottawa, and is being rehabilitated by the National Capital Commission. Author Peter D. Geldart’s family were the original residents of a Strutt-designed round house. Geldart, who has a background in architecture, gives a thorough overview of the architectural drawings of the six round houses using Strutt’s original hand-drawn materials, now held at the National Archives of Canada. These show variations on the theme, with schemes varying from 1,400 to 2,000 square feet, and extra wings swapped out for carports.  By publishing this material, Geldart hopes to contribute to a contemporary revival of Strutt’s ideas. “Is the concept of a ‘low-cost house of 1,000 sq. ft.’ viable in the 21st century?” he asks. “While the house was built to the standards of the day, it can now be built using modern materials and techniques.”  As appeared in the June 2025 issue of Canadian Architect magazine  The post Book Review: The Round Houses of 1959 Designed by Architect James Strutt appeared first on Canadian Architect.