Viewing page 20 of 35
It looks like you're using a mobile device. We recommend using a physical keyboard for transcription entry.
AT THIS THEATRE by Louis Botto THE ETHEL BARRYMORE [[image of Barrymore theatre]][[caption]]STAN STARK[[/caption]] This beautiful theatre was built by the Messrs. Shubert in honor of the beloved Ethel Barrymore and opened on December 20, 1928, with the actress starring in The Kingdom of God. After that the great star appeared here in The Love Duel, Scarlet Sister Mary, The School for Scandal and An International Incident. Still owned by the Shubert Organization, the theatre's most recent productions were Harold Pinter's Betrayal, starring Daniel Craig, Rachel Weisz and Rafe Spall; Alan Cumming's (almost) one-person Macbeth; the biographical musical Chaplin; a revival of Death of a Salesman, which won Tonys for Best Direction (Mike Nichols) and Best Revival of a Play; and the concert show An Evening with Patti LuPone and Mandy Patinkin. Other tenants have included a revival of Tom Stoppard's Arcadia; Elling; David Mamet's Race; Exit the King, featuring a Toy Award-winning performance by Geoffrey Rush; Mamet's Speed-the-Plow and November; Company; Ring of Fire; The Glass Menagerie; Sly Fox; Salome (a staged reading); Imaginary Friends; The Tale of the Allergist's Wife; the revival of The Real Thing; Putting it Together; Amy's View; Electra; The Life; An Ideal Husband; Indiscretions; The Sisters Rosenweig; and a revival of A Streetcar Named Desire with Jessica Lange and Alec Baldwin. Before that: Mule Bone; Lettice & Lovage (Maggie Smith, Margaret Tyzack-both Tony Award winners); Neil Simon's Rumors; The Secret Rapture; Mikhail Barryshnikov in Metamorphosis; August Wilson's Joe Turner's Come and Gone; Social Security; David Rabe's Hurlyburly; the musical Baby; Zoe Caldwell in Lillian; Jessica Tandy (Tony Award), Hume Cronyn and Keith Carradine in Foxfire; the musical Is There Life After High School?; Katharine Hepburn and Dorothy Loudon in The West Side Waltz; Gilda Radner in Lunch Hour; Anthony Perkins and Mia Farrow in Romantic Comedy; I Love My Wife, the Cy Coleman/Michael Stewart musical; Robert Duvall in David Mamet's American Buffalo; Tom Stoppard's Travesties; Jessica Tandy, Hume Cronyn and Anne Baxter in No[[?]]l Coward in Two Keys; Rex Harrison in Pirandello's Emperor Henry IV; Ingrid Bergman in Captain Brassbound's Conversion; two Melvin Van Peeble plays, Ain't Supposed T Die a Natural Death and Don't Play Us Cheap; Alec Mc Cowen in The Philanthropist; and Conduct Unbecoming. Productions in the 1960s included a hit revival of The Front Page; Geraldine Page, Lynn Redgrave and Michael Crawford in Peter Shaffer's Black Comedy; Lee Remick and Robert Duvall in Wait Until Dark; James Baldwin's The Amen Corner; Henry Fonda in Critic's Choice and with Olivia de Havilland in A Gift of Time; and Michael Redgrave and Sandy Dennis in The Complaisant Lover. During the 1950s the hits included The Consul; Rex Harrison and Lili Palmer in Bell, Book and Candle; Hume Cronyn and Jessica Tandy in The Fourposter; Deborah Kerr and John Kerr in Tea and Sympathy; The Chalk Garden; A Raisin in the Sun; and The Desperate Hours. Hits of the 1940s: Rodgers and Hart's sexy Pal Joey with Gene Kelly and June Havoc; Katharine Cornell, Judith Anderson and Ruth Gordon in The Three Sisters; Gertrude Lawrence and Raymond Massey in Pygmalion; and Eliza Kazan's production of A Streetcar Named Desire, starring Jessica Tandy, Marlon Brando and Kim Hunter. In the 1930s Fred Astaire made his last Broadway appearance here in Cole Porter's Gay Divorce; Katharine Cornell and Laurence Olivier amused in No Time for Comedy; The Women lasted for 657 performances; Paul Muni scored in Key Largo; and Walter Huston appeared in Knickerbocker Holiday. Space limitations prevent us from mentioning all the productions that have played at this theatre. PLAYBILLVAULT.COM WHO'S WHO IN THE CAST Tony nominations, including Wicked, Venus in Fur, The Diary of Anne Frank, A View from the Bridge, and Jerusalem. Recent productions include Betrayal and Waiting for Godot/No Man's Land. Recipient of the Robert Whitehead Award for Distinguished Producing. SCOTT M. DELMAN (Producer) is an occasional private-equity investor and inveterate enthusiast for great theatre. Delman has co-produced some 30 plays and musicals on Broadway and London's West End, earning seven Tony nominations and two Tony Awards. ROY FURMAN (Producer). Currently on Broadway: Bullets Over Broadway, Mothers and Sons, After Midnight, Rocky, The Book of Mormon (Tony), and Cinderella. Other productions include Betrayal, Annie, War Horse (Tony), The Heiress, West Side Story, Spamalot (Toy), and The History Boys (Tony). Co-founded the investment firm Furman Selz, now vice chairman of Jefferies. Vice chairman, Lincoln Center; president emeritus, Film Society of Lincoln Center. STEPHANIE P. McCLELLAND (Producer) has won six Tony and Drama Desk awards and produced more than 50 plays and musicals worldwide. Recent credits include The Cripple of Inishmaan; All the Way; After Midnight; Twelfth Night/Richard III; Betrayal; The Book of Mormon; The Heiress; and One Man, Two Guvnors. She is the founder of Green Curtain Productions and serves on the boards of the Juilliard School and American Associates of the National Theatre. Love and gratitude to my dear family. RUTH HENDEL (Producer). Credits include Betrayal; Hedwig and the Angry Inch; Of Mice and Men; A Gentleman's Guide; After Midnight (assoc.); I'll Eat You Last; Fela!; Clybourne Park (Tony); Death of a Salesman (Tony); The Motherf**ker With the Hat; American Idiot; Red (Tony); Caroline, or Change; Metamorphoses; My Name is Asher Lev; and The Exonerated. Theatre board affiliations: LAByrinth, PlayCo, Yale School of Drama, and the O'Neill Center. SONIA FRIEDMAN/TULCHIN BARTNER (Producer). Sonia Friedman has initiated more than 130 new productions over the last few years and previously collaborated with Tulchin Bartner on Twelfth Night/Richard III, Betrayal (West End), No Man's Land (West End), Mojo, Old Times, Chimerica, Merrily We Roll Along, The Sunshine Boys, Jerusalem, La Cage aux Folles, The Mountaintop, and The Norman Conquests, among many others. THE ARACA GROUP (Producer). Founded in 1997 by partners Matthew Rego, Michael Rego, and Hank Unger, Araca produces and merchandises theatrical events on Broadway and around the world. HENI KOENIGSBERG (Producer). Producing credits include Betrayal, A Gentleman's Guide to Love and Murder, The Testament of Mary, The Gershwins' Porgy and Bess (Tony), Chinglish, and Priscilla Queen of the desert. Board member: the Juilliard Drama Council and the Juilliard National Council. Love to my family for their support. DARYL ROTH (Producer) holds the singular distinction of producing seven Pulitzer Prize-winning plays: Anna in the Topics, August: Osage County (Tony), Clybourne Park (Tony), How I learned to Drive, Proof (Tony), Edward Albee's Three Tall Women, and Wit. Her more than 85 theatrical productions include Kinky Boots (Tony) Buyer & Cellar; Love, Loss, and What I wore; and The Normal Heart (Tony). JOAN RAFFE & JHETT TOLENTINO (Producer). Broadway: A Gentleman's Guide to Love and Murder, The Velocity of Autumn, Vanya and Sonia and Masha and Spike (Tony), and Macbeth with Alan Cumming. Public Theater: Love's Labour's Lost. Center Theatre Group: The Sunshine Boys. Regional: Somewhere in Time. Off-Broadway: Bedlam's Saint Joan/Hamlet; Buyer & Cellar; and My Name is Asher Lev (Outer Critics Circle Award). JOEY PARNES (Executive Producer) has served as a Broadway producer and general manager for more than 30 years. Recent credits include A Gentleman's Guide to Love and Murder, Betrayal, and Vanya and Sonia and Masha and Spike, End of the Rainbow, Hair (Tony), The Merchant of Venice, Bloody Bloody Andrew Jackson, Equus, Passing Strange, Edward Albee's Who's Afraid of Virginia Woolf?, Copenhagen, The Tempest, and Noise/Funk, among others. He is a past president of the Yale Dramatic Association. PLAYBILLVAULT.COM
Please note that the language and terminology used in this collection reflects the context and culture of the time of its creation, and may include culturally sensitive information. As an historical document, its contents may be at odds with contemporary views and terminology. The information within this collection does not reflect the views of the Smithsonian Institution, but is available in its original form to facilitate research. For questions or comments regarding sensitive content, access, and use related to this collection, please contact firstname.lastname@example.org.