Gifford House Inn | Bradford Street addition.
The Merrill family succeeded the Giffords at the Gifford House, which they would run for 60 years. Paterfamilias was George A. Merrill, a native of Maine, who came to Provincetown in his early 40s to take over the Gifford House. In 1910, Merrill added the large, blocky Bradford Street wing that dominates the ensemble. “Immaculately comfortable lodgings, the best of food, pleasant surroundings, and quiet, were the principles of Mr. Merrill’s conduct of the Gifford House,” <em>The Advocate</em> said on his death in 1951 at the age of 92. He and his wife, Amelia (Leland) Merrill, had two sons: Daniel C. Merrill, who succeeded his father in the management and ownership of the hotel, and Charles A. Merrill, a renowned correspondent and editor at <em>The Boston Globe</em>. In 1918, Daniel Merrill married Carrie M. Matheson, whose father had been president of the First National Bank. They lived at 8 Carver Street. Merrill himself became president of the First National in 1959. Their daughter, Nancy O. Merrill, was also associated in the management of the Gifford House until she became the curator of glass at the Chrysler Museum. She lived until 2007.
The Merrills sold the Gifford House in 1963 to John Atkins, Dr. Thomas F. Perry, Alton E. Ramey and Francis Rogers, ending nearly a century of single-family stewardship. One of the first things the new owners did was redecorate the cocktail lounge in a marine motif, complete with driftwood bar, and rename it the Compass Room. The next step was taken by E. Ruth Rogers, Francis’s wife, who redecorated the lobby and dining room in early American décor — presuming that early Americans painted their dining chairs pink. Mrs. Rogers, who died in 2004, was not only the innkeeper at Gifford House, she also ran the Norse Wall Guest House at 7 Cottage Street.
The Gifford’s cultural apogee occurred in the summers of 1966 through 1969, when the Act IV Café Experimental Theater operated in the cellar. Intended as a showcase for experimental, deliberately provocative short plays, Act IV was described by <em>The Advocate</em> as the creation of a “talented theatrical trio”: Robert Costa, Doug Ross and Eric Krebs. (Krebs later founded and directed the John Houseman and Douglas Fairbanks Theaters in New York.) “With little money and a small basement playhouse it introduced dozens of plays over a four-year span,” Donald Wood wrote in <em>Cape Cod: A Guide</em> (1973). Act IV is chiefly remembered today because of the involvement of the actor Beverly Bentley and her husband, Norman Mailer. “Act IV seemed a good way for Beverly to have a creative life separate from her husband’s, but this was not to happen,” Hilary Mills wrote, in <em>Mailer: A Biography</em> (1982). “Instead the project stimulated Mailer’s own theatrical interests.” Following Sharon Thie’s <em>Soon Jack November</em>, Mailer’s <em>Scenes From the Deer Park</em>, based on his novel, opened at Act IV in the summer of 1966, directed by Leo Garen. It moved to the Theatre de Lys in Greenwich Village in 1967. Bentley performed in both the Off-Broadway and Off-Bradford versions. The summer of 1966 saw the performance of <em>Dutchman</em> by Amiri Baraka, then known as LeRoi Jones. The play probes the destructive state of race relations through the fatal encounter on a subway between a black man, Clay, and a white woman, Lula. At Act IV, the role of Clay was played by Charles Gordone, an actor and playwright who would win the Pulitzer Prize in drama three years later for his play, <em>No Place to be Somebody</em>. Bentley played the role of Lula. Its two-week engagement drew capacity crowds. During this season, Jerry Stiller and Anne Meara appeared in John Mortimer’s <em>Lunch Hour</em>. The 27-year-old Al Pacino appeared at Act IV in its second season as Murph in <em>The Indian Wants the Bronx</em>, by Israel Horovitz. With him, as Gupta, was John Cazale, who would later play Fredo Corleone to Pacino’s Michael Corleone in <em>The Godfather: Part II</em>. The play moved to the Astor Place Theater six months later, and <em>The New York Times</em> described Pacino’s portrayal as “painfully accurate (and often funny).” Just a week after <em>Indian</em>’s brief run, Rosalyn Drexler’s <em>Hot Buttered Roll</em> was presented at Act IV, having scandalized Boston. Warren Finnerty starred. Two more plays by Baraka, <em>The Baptism</em> and <em>The Slave</em>, were also presented in the 1967 season, during which <em>The Advocate</em> praised Costa and the playhouse. “Its productions have continued to be of top professional caliber and its programming has been searching, often daring, and always interesting.” John Waters recalled going enthusiastically to every performance in the first two seasons of “great theater.” Terrence McNally’s <em>Sweet Eros</em> was staged during the third season, several months before it opened in New York with Sally Kirkland. Act IV closed the next year, 1969 — appropriately enough, after its fourth season.
Public spaces in the hotel have undergone numerous transformations and name changes over the years. The restaurant has been known as 11 Carver, Stillwaters, and Thai Aroi. The Porchside Lounge was once the Porch Bar. The basement bar was called Back Street (an old name for Bradford) and is now known as Club Purgatory, which features karaoke nights on Thursdays, disco nights on Fridays, underwear parties on Saturdays and leather nights on Sundays. The Gifford’s current proprietor, James Foss, also owns the Watership Inn.
¶ Last updated on 9 January 2010.