The Jess Mack Papers document the professional life of burlesque agent and comedy writer Jess Mack from 1916 to 1988 in Las Vegas, Nevada. In addition to contracts, correspondence, engagements, and newspaper articles, the collection contains five boxes of jokes, scripts and scenes used in various burlesque productions. Other material includes photographs of entertainers and burlesque stars, joke booklets, and issues of Mack's magazine, Cavalcade of Burlesque, dating from 1951 to 1954.
From the Ralph Roske Oral History Project on Early Las Vegas; OH-00944. On April 4, 1976, Gordon Brusso interviewed Floyd L. Jenne (born 1915). The interview discussed Boulder City McGill, as well as Nevada history.
Norma Morrow Zuckerman is the driving force behind the Jewish Repertory Theatre of Nevada [JRTN], an organization she co-founded with Charlene Sher in 2010. The endeavor coincided with Norma’s pursuit of an MFA at UNLV a couple of years prior. With the commitment to her studies and to bring professional Jewish theatrical performances to Las Vegas, her energetic personality intensified. In 2007, she performed in The Diary of Anne Frank and noted the audience was supporting Jewish Family Services Agency. Norma could sense the community’s eagerness for professional theatre and she was just the one to deliver it. Over the following years, JRTN produced an array of Jewish-themed and acted plays. Since then she tries to bring The Diary of Anne Frank to the stage annually and finds partners to bring 1400 eighth graders to the performance. By 2012, her commute between Los Angeles, where she is a garment designer/manufacturer with her husband Eugene, and Las Vegas had become routine and her passion for professional theatre in Las Vegas increased. This was the year that The Smith Center for Performing Arts opened. The first theatrical production was Golda’s Balcony, a one-woman drama starring Tovah Feldshuh. It was the spectacular co-promotion by Norma’s JRTN and the Smith Center. Norma was smitten with the theatre from a young age and studied with some of the best acting coaches—Milton Kastelas, Stella Adler, Wynn Handman. In this oral history she recalls the people who have helped her, the performances that have charmed audiences and the value of live theatre.